DOCSLIB.ORG

Festival Jungle, Policy Desert?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Festival Jungle, Policy Desert? FFEESSTTIIVVAALL JJUUNNGGLLEE,, PPOOLLIICCYY DDEESSEERRTT?? FESTIVAL POLICIES OF PUBLIC AUTHORITIES IN EUROPE Comparative report (draft version not to be quoted or published) Prepared by: Dorota Ilczuk (Warsaw School of Social Psychology, Pro Cultura) Magdalena Kulikowska (Pro Cultura)1 1 With contribution from the Pro Cultura Foundation Team: - Aleksandra Litorowicz – desk research - Anna Stępniewska – co-author of chapter 4 - Iwona Wyżga – graphics and design 1 Part I 1. Introduction ..................................................................................................................... 4 1.1. Origin of the idea ....................................................................................................................................... 4 1.2. Research methodology ................................................................................................................................ 4 1.3. Definitions ................................................................................................................................................... 6 1.4. Data sources................................................................................................................................................ 7 2. Publicly supported, international festivals with an artistic orientation – the European landscape.............................................................................................................................. 8 2.1. How many and where.................................................................................................................................. 8 2.2. Art forms...................................................................................................................................................... 9 3. Public authorities’ support for festivals ......................................................................... 10 3.1. Motives ...................................................................................................................................................... 10 3.2. Publicly supported festivals’ arena........................................................................................................... 13 3.3. Which level of public authority is most engaged?..................................................................................... 17 3.4. Funding schemes....................................................................................................................................... 18 3.5. Scale of public funding of festivals............................................................................................................ 23 3.6 In-kind support ........................................................................................................................................... 26 4. Case studies – comparative overview ............................................................................ 27 4.1 Character, mission and legal status of festivals chosen as case studies .................................................... 27 4.2 Duration, audience, sold tickets ................................................................................................................. 31 4.3 Festivals’ budgets: income and expenditure .............................................................................................. 33 4.4 Support from public authorities ................................................................................................................. 40 5. Festival policies of public authorities ............................................................................. 43 6. Conclusions and recommendations (to be elaborated after the RT conference)........... 46 Part II Country by country presentation of national reports......................................................... 47 AUSTRIA.......................................................................................................................................................... 47 BULGARIA....................................................................................................................................................... 63 CROATIA ......................................................................................................................................................... 74 ENGLAND........................................................................................................................................................ 81 ESTONIA.......................................................................................................................................................... 95 FINLAND ....................................................................................................................................................... 105 FLANDRES .................................................................................................................................................... 116 FRANCE......................................................................................................................................................... 124 GERMANY ..................................................................................................................................................... 135 2 HUNGARY ..................................................................................................................................................... 155 GREECE ........................................................................................................................................................ 168 ITALY ............................................................................................................................................................. 175 POLAND ........................................................................................................................................................ 184 PORTUGAL ................................................................................................................................................... 199 RUSSIA........................................................................................................................................................... 216 SERBIA........................................................................................................................................................... 221 SLOVAKIA ..................................................................................................................................................... 227 SPAIN............................................................................................................................................................. 235 SWEDEN........................................................................................................................................................ 253 TURKEY......................................................................................................................................................... 264 Appendix 1: Questionnaire ............................................................................................... 284 3 1. Introduction 1.1. Origin of the idea Cultural Information and Research Centres Liaison in Europe (CIRCLE) and the European Festival Research Project (EFRP), together with Interarts have conducted an international research project devoted in general terms to the issue of festivals and public authorities’ approaches to them. Festivals are rapidly becoming one of the most important cultural phenomena on the European cultural scene. Such events generate a variety of cultural expressions and illustrate many social practices. As most festivals aim to present varied artistic and cultural practices, they constitute an invaluable source of information on specific communities of different origins, beliefs, opinions and traditions. Modern festivals very often provide the arena for intercultural interactions, as well as an important factor in the re-organisation of public space. The complex character of festivals, the multitude of their functions (social, artistic, cultural, economic) and the broad spectrum of their impact cannot be ignored. The impact that festivals have on the overall shape of culture within specific territory has also been noticed by public authorities in European countries which have already, or are starting to, include festivals in their agendas. Even so, the approaches of public authorities to festivals have not yet been analysed and it has become clear that there is a serious lack of dependable information in this field. Anthropological, sociological and economic approaches have already been presented within the framework of the European Festival Research Project, but making the picture complete requires an analysis and evaluation of public policies towards festivals. This research project therefore aims to make a significant contribution to the process of creating a consistent and rational information base on the subject. In order to achieve this, CIRCLE decided to join forces with EFRP and to carry out, in cooperation with Interarts, a research project entitled „Festival Policies of Public Authorities in Europe”. The project was realised between May and October 2007. 1.2. Research methodology The whole research project consists of four stages: - international survey based on a questionnaire, 4 - preparation of an international
Load more

Recommended publications
  • Theatre Festivals in Macedonia, And, on the Other, the Presence of the Macedonian Theatre Production and Theatre Artists at Different Theatre Festivals in Slovenia
    38 UDC 792.079(497.7+497.4) The paper offers two perspectives for analysing this specific cultural collaboration based on statistical analyses of the data collected during the bilateral research project between Macedonia and Slovenia in the field of the theatre. On the one hand, the authors analyse the presence of the Slovenian theatre productions at the various theatre festivals in Macedonia, and, on the other, the presence of the Macedonian theatre production and theatre artists at different theatre festivals in Slovenia. In the conclusion, they present the combined results of the bilateral research, emphasising the most frequent exchange habits found in the Macedonian and Slovenian theatre festivals during the last 25 years. The total sum reveals a discrepancy in the bilateral collaboration: 69 Slovenian productions participated in the Macedonian theatre festivals; 33 Macedonian productions in the Slovenian theatre festivals and 13 Macedonian productions in various theatres in Slovenia. The international festivals Ex Ponto (Slovenia) and MOT (Macedonia) played a crucial role in this relation. Keywords: theatre, festival, collaboration, production, Macedonia, Slovenia The Theatre Bridge between Macedonia and 39 Slovenia: Theatre Festivals Zala Dobovšek and Sasho Dimoski Introduction: A post-Yugoslav theatre bridge Being part of the former Yugoslav federation for a long period of time, Macedonia and Slovenia have built a strong cultural collaboration, both bilaterally and with the other federal republics. Since 1991, the year when both
    [Show full text]
  • Fonoteka Umfc Muzyka Polska – Katalog
    FONOTEKA UMFC MUZYKA POLSKA – KATALOG 1. Do korzystania ze zbiorów uprawnieni są wyłącznie studenci i pracownicy UMFC. 2. Katalog ułożony jest w porządku alfabetycznym według nazwisk kompozytorów. 3. Nawigacja ułatwiona jest za pomocą paska zakładek (bookmarks – pasek po lewej stronie czytnika). Najbardziej popularni kompozytorzy mają własne zakładki, w obrębie twórczości F. Chopina dodatkowo zastosowano podział według form muzycznych i obsady. Wszystkie te struktury są dostępne poprzez rozwinięcie odpowiedniej zakładki. Niezależnie od tego można skorzystać z narzędzia wyszukiwania – skrót klawiszowy [Ctrl+F]. 4. W zamówieniu należy podać jedynie sygnaturę płyty. Mieści się ona w prawym górnym rogu każdej karty. 5. Katalog jest rozwiązaniem tymczasowym. Aktualizacja ma miejsce raz w roku. A ADAM Z WĄGROWCA CD 5996 6047 Opera omnia = [Dzieła wszystkie] : [37 utworów] / Rostislaw Wygranienko, organy 58’27” Acte Préalable, 2008 CD 5996 ; 6047 ADAM Z WĄGROWCA CD 5188 Canzona / Il Tempo 3’06” DUX, 2004 CD 5188 ADOLPHO CD 3395 Vesperae in F : [CATB, Vno I et II, Cor I et II et Org] / Rev. Tomasz Jarosz CSsR, celebrans ; Musica Sacra ; Bennonitae Cantantes ; Clementinum ; kier. muz. Piotr Wilczyński Acte Préalable, 2002 CD 3395 AJDINOVIĆ Jacek Wiktor CD 4899 Arrière-pensée du temps : for violin, cello and piano / Agata Jeleńska, skrzypce ; Karol Marianowski, wiolonczela ; Anna Forma, fortepian 12’45” Festiwal Warszawska Jesień 2005 : CD 7/7 CD 4899 AJDINOVIĆ Jacek Wiktor CD 5282 [Kwartet smyczkowy nr 2] = String Quartet No. 2 : Futurum / Camerata String Quartet 17’28” [Warszawska Jesień 2006] Polmic, 2007 CD 5282 AJDINOVIĆ Jacek Wiktor CD 5481 Kyrie : Missa solemis 2007 / A. Kapla, sopran ; K. Otczyk, mezzosopran ; M. Nerkowski, baryton ; W.
    [Show full text]
  • Downloaded 4.0 License
    CHAPTER 14 Choral Societies and National Mobilization in Nineteenth-Century Bulgaria Ivanka Vlaeva Compared with the histories of many national movements in nineteenth- century Europe, in Bulgaria the industrial revolution was delayed and mod- ern culture arrived late. Lagging behind most other Europeans, the Bulgarian population had to compensate for its lack of modern cultural development. Thus, one important characteristic of Bulgarian culture is its evolution at accelerated rates. Before liberation in 1878, for almost five centuries the Bulgarian lands were under Ottoman rule, without their own governmental and religious institu- tions. Foreign rule, a feudal economy, a weak middle class, and the absence of national cultural institutions were serious obstacles to the development of a new culture on the western European model. The most important aims for the Bulgarians (led by educators, intellectuals, and revolutionists) were to struggle politically against Ottoman governance, economically for new industrial pro- cesses in the Ottoman Empire, and culturally for a national identity. The lead- ers of the revolutionary movement called for a struggle not against the Turkish people, but against Ottoman rulers and foreign clerks.1 These historical processes resemble those elsewhere in Europe, especially in the central and southeastern regions. Nineteenth-century Bulgarian culture therefore needs to be considered along with that of the Balkans more gener- ally because of the cultural similarities, interactions, and fluctuations in this region.2 The establishment of a new economy and the fight for modern educa- tion were among the main priorities in Bulgarian communities. The eighteenth and nineteenth centuries are the so-called Revival period in Bulgarian cultural development, strongly influenced by the ideas of the Enlightenment.
    [Show full text]
  • Shakespearean Hypertexts... 315
    Shakespearean hypertexts... 315 SHAKESPEAREAN HYPERTEXTS IN COMMUNIST BULGARIA1 Alexander Shurbanov Sofia University Since the first days of the reception of Shakespeare’s work in Bulgaria during the second half of the nineteenth century down to the present time two of his tragedies, Romeo and Juliet and Hamlet, have held an unrivalled sway on the national stage and over the people’s minds. Another one, Othello, was produced very frequently in the beginning, though often by non-Bulgarian troupes, and yet another, Macbeth, was a set text at the schools for many decades but rarely took the fancy of theatre directors and audiences. It is hardly surprising then that these plays, and especially the first two, have penetrated more deeply than the others into the nation’s consciousness. Their cultural diffusion can be gauged by the number of references to their characters and stories in all kinds of public discourse. One can often hear remarks like “He’s a real Hamlet/ Othello/ Romeo” or “She’s a true Ophelia/ Desdemona/ Juliet”. Adjectives and abstract nouns have been derived from some of these names to refer to the central quality they stand for, such as ‘hamletovshtina’ (‘hamletism’), meaning an inability to overcome hesitation. A few quotations from the plays, such as “Something is rotten in the state of Denmark” and “To be, or not to be: Ilha do Desterro Florianópolis nº 49 p. 315-338 jul./dez. 2005 316 Alexander Shurbanov that is the question”, are frequently adduced in various contexts and discourses. Such wide spread of the appropriation process could not leave the nation’s literature unaffected.
    [Show full text]
  • Vi Festiwal Between
    DIRECTORS FROM EASTERN EUROPE: A BOOK LAUNCH Tomasz Wiśniewski and Katarzyna Kręglewska in conversation with KALINA STEFANOVA (Bulgaria) and MARVIN CARLSON (USA) Thursday, 13 May 2021, 16.00 CET Guests include: Noémi Herczog (Hungary), Maria Zarnescu (Romania), Michal Zahálka (Czech Republic), and Octavian Saiu (Romania) Link: https://fb.me/e/18qcchVqi Kalina Stefanova is author/editor of 16 books: 14 books on theatre, some of them launched in New York, London, and Wroclaw, and two books of fiction, published in nine countries, and in two editions in China. She was a Fulbright Visiting Scholar at New York University and has been a Visiting Scholar at the University of Cape Town, South Africa, Meiji University, Japan, and the Shanghai Theatre Academy, China, among others. In 2016, she was appointed Visiting Distinguished Professor of the Arts School of Wuhan University, China, as well as Distinguished Researcher of the Chinese Arts Criticism Foundation of Wuhan University. She served as IATC’s Vice President (2001/2006) and as its Director Symposia (2006-2010). In 2007, she was the dramaturg of the highly acclaimed production of Pentecost by David Edgar, directed by Mladen Kiselov, at the Stratford Festival of Canada. Since 2001, she has regularly served as an evaluation expert for cultural and educational programs of the European Commission. Currently she teaches at the National Academy for Theatre and Film Arts, Sofia. Marvin Carlson is a theatre, drama, and performance studies scholar. He is a Distinguished Professor of Theatre, Comparative Literature and Middle Eastern Studies and holder of the Sidney E. Cohn Chair at the Graduate Center of the City University of New York.
    [Show full text]
  • Festivalul Naţional De Teatru
    THE NATIONAL THEATRE FESTIVAL, 27th Edition 20 – 30 OCTOBER 2017 EDITION HELD UNDER THE HIGH PATRONAGE OF THE PRESIDENT OF ROMANIA THE PROGRAM OF ALL THE PERFORMANCES AND EVENTS Friday, 20 October PERFORMANCES 18:00 The Comedy Theatre Studio Hall Don Juan Adapted after Molière Directed by: Andrei şi Andreea Grosu Set Design: Vladimir Turturica Produced by: The Comedy Theatre, Bucharest Length: 1 h 20 min no intermission English surtitles 18:00 The Small Theatre Spring Awakening By Frank Wedekind Translated by: Victor Scoradeţ Adaptation, directing and set design by: Vlad Cristache Produced by: The Small Theatre, Bucharest Length: 3 h 30 min with intermission English surtitles Suitable for ages 16 and older. OFFICIAL OPENING 20:00 “I. L. Caragiale” National Theatre of Bucharest Big Hall Hamlet | Collage After William Shakespeare Translated by: Mikhail Lozinsky şi Boris Pasternak Adapted and directed by: Robert Lepage Set Design: Carl Fillion Costumes: François St-Aubin Produced by: Theatre of Nations, Moscow, Russia Length: 2 h 10 min no intermission 1 Str. George Enescu 2-4, Sector 1, cod 010305 Bucuresti Telefon: 021.315.36.36, 021.313.42.78, 021.311.32.14; Fax: 021.315.00.48 Mail: [email protected], www.fnt.ro BCR Sector 1 – Cod IBAN RO86RNCB0072049712860001 In Russian with Romanian and English surtitles 20:00 ACT Theatre An Intervention by Mike Bartlett Translated by: Ionuţ Grama Directed by: Radu Iacoban Set Design: Cezarina Iulia Popescu Produced by: ACT Theatre, Bucharest Length: 1 h 30 min no intermission English surtitles Suitable
    [Show full text]
  • Охридскихорскифестивал Ohridchoirfestival
    26-30АВГУСТAUGUST OHRIDMACEDONIA ОХРИДСКИХОРСКИФЕСТИВАЛ OHRIDCHOIRFESTIVAL ОФИЦИЈАЛНАПРОГРАМА2010 | OFFICIALPROGRAM2010 Competition Concert 1, Friday 27.08.2010 Pop Concert, Saturday 28.08.2010 10.00 Children’s Choir Omnes Latvia 18.00 Children Singers Divisi Spain 10.15 Vuk Karadžić Serbia 18.10 Mozaik Serbia 10.30 Smiltė Lithuania 18.20 Cantica Nova Italy PROGRAM 10.45 Break 18.30 Rozkvet Slovakia 11.00 Ave Musica Ukraine 18.30 Shtaslivetsa Bulgaria 11.15 Stellatus Hungary 11.30 Oriana Ukraine Folk Concert 3, Saturday 28.08.2010 Competition Concert 2, Friday 27.08.2010 19.00 Ave Musica Ukraine 19.10 Cantica Nova Italy 12.00 Girls’ Youth Choir Onmes Latvia 19.20 Mistika Bulgaria 12.15 April Russia 19.30 Warsaw School of Social 12.30 Warsaw School of Social Sciences and Humanities Choir Poland | ПРОГРАМА Sciences and Humanities Choir Poland 19.40 Cappela Polifonica Romania 12.45 Vox Humana Romania 19.50 Stefka Blagoeva Bulgaria 13.00 Break 13.15 Männerstimmen Basel Switzerland 13.30 Cantica Nova Italy 13.45 Oplenac Serbia Competition Concert 3, Saturday 28.08.2010 10.00 Chamber Choir of Pécs Hungary Concert od Sacred Music 1, Sunday 29.08.2010 10.15 Lviv State Music College Ukraine 10.30 Consonanza Poland 10.00 Consonanza Poland 10.45 Break 10.10 Children Singers Divisi Spain 11.00 Mistika Bulgaria 10.20 Dobri Hristov Bulgaria 11.15 Rozkvet Slovakia 10.30 Ave Musica Ukraine 11.30 Shtaslivetsa Bulgaria 10.40 Vox Humana Romania 10.50 Girls’ Youth Choir Onmes Latvia Competition Concert 4, Saturday 28.08.2010 Concert od Sacred Music 2, Sunday
    [Show full text]
  • ARTICOLE DIN Publicaţii PERIODICE Cultură Anul XVIII/Nr.9 2017
    BIBLIOTECA NAÕIONALÅ A ROMÂNIEI BIBLIOGRAFIA NAÕIONALÅ ROMÂNÅ ARTICOLE DIN PUBLICAţII PERIODICE CULTURă anul XVIII/nr.9 2017 EDITURA BIBLIOTECII NAÕIONALE A ROMÂNIEI BUCUREØTI BIBLIOTECA NAŢIONALĂ A ROMÂNIEI BIBLIOGRAFIA NA ŢIONALĂ ROMÂNĂ Articole din publicaţii periodice. Cultură Bibliografie elaborată pe baza publicaţiilor din Depozitul Legal Anul XVIII Nr. 9/2017 Editura Bibliotecii Naţionale a României BIBLIOGRAFIA NAŢIONALĂ ROMÂNĂ SERII ŞI PERIODICITATE Cărţi.Albume.Hărţi : bilunar Documente muzicale tipărite şi audiovizuale : anual Articole din publicaţii periodice. Cultură : lunar Publicaţii seriale: anual Românica: anual Teze de doctorat: semestrial Articole din bibliologie și știința informării: semestrial ©Copyright 2017 Toate drepturile sunt rezervate Editurii Bibliotecii Naţionale a României. Nicio parte din această lucrare nu poate fi reprodusă sub nicio formă, prin mijloc mecanic sau electronic sau stocat într-o bază de date, fără acordul prealabil, în scris, al redacţiei. Colectiv de redacţie: Roxana Pintilie Mihaela Vazzolla Anişoara Vlad Nicoleta Ştefan Florentina Cătuneanu Silvia Căpățână Corina Niculescu Coperta: Constantin Aurelian Popovici ARTICOLE DIN PUBLICAŢII PERIODICE. CULTURĂ 3 Cuprins 0 GENERALITĂȚI ............................................................................................... 6 004 Știința și tehnologia calculatoarelor. Calculatoare. Prelucrarea și procesarea datelor. Informatică aplicată. Internet. Web semantic. Inteligență artificială. Realitate virtuală .......................................
    [Show full text]
  • Música Y Cine Fabio Luisi Till Fellner Myung-Whun Chung Michel Camilo
    REVISTA DE MÚSICA Año XXII - Nº 218 - Abril 2007 - 6,30 € DOSIER Música y cine i m B o ENCUENTROS n Fabio Luisi e n a r e B v ACTUALIDAD D a n i e l h o e t Till Fellner B e e Myung-Whun Chung p r m Año XXII - Nº 218 Abril 2007 6,30 € DISCOS i e S Referencias: Una vida de héroe JAZZ Michel Camilo AÑO XXII - Nº 218 - Abril 2007 - 6,50 € 2 OPINIÓN Funciones musicales en el lenguaje cinematográfico CON NOMBRE Ana Vega Toscano 114 PROPIO Música en la frontera 6 Till Fellner Blas Matamoro 118 Rafael Banús Irusta John Williams y Jerry 8 Myung-Whun Chung Goldsmith: vidas paralelas Bruno Serrou Guzmán Urrero Peña 122 La música de cine en España 10 AGENDA David Rodríguez Cerdán 126 27, son 27 18 ACTUALIDAD José Luis Pérez de Arteaga 130 NACIONAL ENCUENTROS 46 ACTUALIDAD Fabio Luisi INTERNACIONAL Franco Soda 136 58 ENTREVISTA EDUCACIÓN Daniel Barenboim Pedro Sarmiento 140 Juan Antonio Llorente JAZZ Pablo Sanz 142 64 Discos del mes SCHERZO DISCOS LIBROS 144 65 Sumario LA GUÍA 138 DOSIER CONTRAPUNTO 113 Música y cine Norman Lebrecht 144 Colaboran en este número: Javier Alfaya, Julio Andrade Malde, Rafael Banús Irusta, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, Jacobo Cortines, Rafael Díaz Gómez, Pierre Elie Mamou, José Luis Fernández, Fernando Fraga, José Antonio García y García, Juan García-Rico, Mario Gerteis, Juan Antonio Gordón, José Guerrero Martín, Fernando Herrero, Bernd Hoppe, Alfonsina Janés, Norman Lebrecht, Juan Antonio Llorente, Fiona Maddocks, Santiago Martín Bermúdez, Leticia Martín Ruiz, Joaquín Martín de Sagarmínaga,
    [Show full text]
  • Deutsche Nationalbibliografie 2012 T 11
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2012 T 11 Stand: 21. November 2012 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2012 ISSN 1613-8945 urn:nbn:de:101-ReiheT11_2012-8 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
    [Show full text]
  • The St. Petersburg Times
    NO. 619 FRIDAY, NOVEMBER 10, 2000 WWW.SPTIMES.RU CENTRAL BANK RATE Of Nudity and Smirnov Versus Plagued by the 27.65 27.72 27.70 Severed Heads Smirnov ... Sanctions Curse 27.75 27.80 Mariinsky gets new version Rival brothers in feud for Irap sees an alarming rise in 27.85 27.90 of Strauss opera. Page 10. vodka company. Page 6. fatal diseases. Page 18. 11/01 11/02 11/03 11/09 11/10 U.S. Caught in Electoral Quagmire By David Royse tally by The Associated Press. The orig- In response to the Gore campaign’s risk doing so at the expense of our Buchanan said “ineptitude” in ballot THE ASSOCIATED PRESS inal “final” margin had been reported request for a manual recount, Palm democracy.” design may have caused many TALLAHASSEE, Florida — George at 1,784. Beach County agreed to hand-count More than a thousand Gore sup- Democrats to vote for him inadver- W. Bush’s lead over Al Gore in crucial The recount, required under state ballots in three precincts Saturday. porters demonstrated outside a govern- tently. Florida shrank to fewer than 400 votes law because of the close result, was still With the outcome of the presidential ment building in downtown West Palm James A. Baker III, the former sec- on Thursday, with allegations of irregu- in progress late Thursday, some 48 race in the balance, allegations on both Beach, demanding another election in retary of state brought in by Bush to larities swirling and several thousand hours after polls closed. sides became increasingly heated.
    [Show full text]
  • Shostakovich (1906-1975)
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Piano Concerto No. 1 in C minor with Trumpet and String Orchestra, Op. 35 (1933) Dmitri Alexeyev (piano)/Philip Jones (trumpet)/Jerzy Maksymiuk/English Chamber Orchestra ( + Piano Concerto No. 2, Unforgettable Year 1919, Gadfly: Suite, Tahiti Trot, Suites for Jazz Orchestra Nos. 1 and 2) CLASSICS FOR PLEASURE 382234-2 (2007) Victor Aller (piano)/Murray Klein (trumpet)/Felix Slatkin/Concert Arts Orchestra ( + Hindemith: The Four Temperaments) CAPITOL P 8230 (LP) (1953) Leif Ove Andsnes (piano)/Håkan Hardenberger (trumpet)/Paavo Järvi/City of Birmingham Symphony Orchestra ( + Britten: Piano Concerto and Enescu: Legende) EMI CLASSICS 56760-2 (1999) Annie d' Arco (piano)/Maurice André (trumpet)/Jean-François Paillard/Orchestre de Chambre Jean François Paillard (included in collection: "Maurice André Edition - Volume
    [Show full text]