The Ukrainian Weekly 1996, No.38
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“The Soul of Ukraine” International Support Foundation for Ukrainian Nation
“THE SOUL OF UKRAINE” INTERNATIONAL SUPPORT FOUNDATION FOR UKRAINIAN NATION Press release 3 June 2014 An International Foundation for the support of Ukrainian people, under the official patronage of His Holiness Patriarch of Kyiv and All Rus'-Ukraine Filaret, was organized by world celebrities. June 3, 2014 Ministry of Justice of Ukraine registered “The Soul of Ukraine” Foundation. The Chairman of the foundation's Board of Trustees is Borys Paton – Hero of Ukraine (first), President of the National Academy of Science of Ukraine. At the same time Academician Paton is the President of the International Association of Academies of Science. The Co-Chairmans of the foundation's Board of Trustees are Reverend Agapit – Bishop of Vyshgorod, Kyivan Patriarchate Administrator and Vicar of St. Michael's Monastery, and People's Artist of Ukraine Myroslav Vantuh – world legend of dance art, Hero of Ukraine, Academician, People's Artist of Ukraine and Russia, General Manager and Artistic Director of Pavlo Virsky Ukrainian National Folk Dance Ensemble. The Members of the foundation's Board of Trustees from Ukraine are known figures of Ukrainian culture. Hero of Ukraine and Academician Anatoliy Andrievskiy – is Manager and Artistic Director of H.Veryovka Ukrainian National Folk Chorus and President of the Ukrainian National Music Committee of UNESCO International Music Council. Academician Borys Olijnyk – Hero of Ukraine, Ukrainian Culture Fund Chairman. Hero of Ukraine, People's Artist of Ukraine, Corresponding Member of Ukrainian National Academy of Arts Evgen Savchuk – Artistic Director of National Academic Choir of Ukraine “Dumka”. Academician, Hero of Ukraine, People's Artist of Ukraine Eugene Stankovych – is Department Head of Tchaikovsky National Music Academy of Ukraine. -
Myroslav Skoryk (B
Myroslav SSKKOORRYYKK VViioolliinn CCoonncceerrttooss •• 22 NNooss.. 55––99 AAnnddrreejj BBiieellooww,, VViioolliinn NNaattiioonnaall SSyymmpphhoonnyy OOrrcchheessttrraa ooff UUkkrraaiinnee VVoollooddyymmyyrr SSiirreennkkoo Myroslav Skoryk (b. 1938) Violin Concertos • 2 2 4 numerous concertos, including nine for violin, three for Concerto No. 6 (2009) Concerto No . 8 ‘ Allusion to Chopin ’ (2011) piano, two for cello, one for viola and one for oboe, as well Moderato Andante as six partitas for various instrumental configurations. His output also includes solo instrumental works and music First performance: Kyiv; dedicated to the first performer First performance: Kyiv; dedicated to the first performer for films such as Shadows of Forgotten Ancestors and Andrej Bielow; conductor Mykola Dyadyura. Katharina Fejer; conductor Myroslav Skoryk. The High Pass , and numerous animated cartoons. Skoryk’s works are performed in the Ukraine and The two main themes of the concerto characterise the This work was written to mark the 200th anniversary of throughout the world, such as Canada, Australia, the US, composer’s craving for sensual, delicate and fragile Fryderyk Chopin’s birth and can be seen as homage to Japan, China, and in most European countries. moods. Yet they are contrasted by episodes that violate the Polish virtuoso. It uses ‘quotations’ from his various One of his most popular pieces is Melody in A minor , their lyrical mood: marching melodies, provocative piano works – Préludes , Mazurkas and Sonatas . These which he often performs as a conductor and pianist. dances, rapid expressive fugato based on the sonorous are combined with Skoryk’s own ‘voice’ in an imitation of 1 dialogue between the violin and other instruments in the Chopin's style. -
The Ukrainian Weekly 1993, No.23
www.ukrweekly.com INSIDE: • Ukraine's search for security by Dr. Roman Solchanyk — page 2. • Chornobyl victim needs bone marrow transplant ~ page 4 • Teaching English in Ukraine program is under way - page 1 1 Publishfd by the Ukrainian National Association inc., a fraternal non-prof it association rainianWee Vol. LXI No. 23 THE UKRAINIAN WEEKLY SUNDAY, JUNE 6, 1993 50 cents New York commemorates Tensions mount over Black Sea Fleet by Marta Kolomayets Sea Fleet until 1995. 60th anniversary of Famine Kyyiv Press Bureau More than half the fleet — 203 ships — has raised the ensign of St. Andrew, by Andrij Wynnyckyj inaccurate reports carried in the press," KYYIV — Ukrainian President the flag of the Russian Imperial Navy. ranging from those of New York Times Leonid Kravchuk has asked for a summit NEW YORK — On June 1, the New None of the fleet's Warships, however, reporter Walter Duranty written in the meeting with Russian leader Boris have raised the ensign. On Friday, May York area's Ukrainian Americans com 1930s, to recent Soviet denials and Yeltsin to try to resolve mounting ten memorated the 60th anniversary of the Western attempts to smear famine sions surrounding control of the Black (Continued on page 13) tragic Soviet-induced famine of І932- researchers. Sea Fleet. 1933 with a "Day of Remembrance," "Now the facts are on the table," Mr. In response, Russian Foreign Minister consisting of an afternoon symposium Oilman said. "The archives have been Andrei Kozyrev is scheduled to arrive in Parliament begins held at the Ukrainian Institute of opened in Moscow and in Kyyiv, and the Ukraine on Friday morning, June 4, to America, and an evening requiem for the Ukrainian Holocaust has been revealed arrange the meeting between the two debate on START victims held at St. -
The Ukrainian Weekly 1969
To Highlight UNA Anniversary Lakewood Park SBO CROWDS SEE PREMIERE OF "ANNA YAROSUVNA" IN NEW YORK, PHIUDELPHIA UNA OBSERVES 75TH DIAMOND JUBILEE ANNIVERSARY AS THOUSANDS GATHER IN NEW YORK, N.Y. - A dience which included many which were made available A group of 19 girl dancers SHAMOKIN, CRADLE OF LARGEST AND OLDEST UKRAINIAN FRATERNAL ASSOCIATION combined throng of some 5, leading figures of the Ukrain prior to the opening. Carne of the Roma Pryma-Boha- ian American community life. gie Hall also issued its pro chevsky Studio appeared ій COV. SBAFER OF PENNSYLVANIA PROCLAIMS JUNE 1 AS "UKRAINIAN NATIONAL ASSOCIATION DAY IN 000 persons witnessed the PENNSYLVANIA"; PROGRAMS AND EVENTS FILL TWO-DAY MEMORIAL WEEKEND premiere performance of the Seated in the first-tier boxes gram magazine which Con Act II of the opera. opera "Anna Yaroslavna" were the Ukrainian Catholic tained the synopsis and his The colorful costumes of JERSEY CITY. N.J. presented on consecutive and Orthodox prelates,' Met torical background notes. the performers were prepar Thousands of UNA members nights іц New. York and Phi ropolitan Ambrose Senysbyn, In the absence' of full set ed by Rosalia Kohut (wom and friends from several ladelphia last weekend. Both, from Philadelphia, Bishop decorations, only symbolic en), Maria Sokil-Rudnytsky states of the Union will ga New York's Carnegie Hall Joseph Schmondiuk, Msgr. pieces were placed on the (men) and Eugenia Omel- ther on Saturday, May 31, and Philadelphia's Town Hall, Emil Manastersky, chancellor stage of Carnegie Hall to chenko (Countess MonmoraM and Sunday, June 1, 1909, in were sold out twcr weeks in of the Stamford Diocese, convey the setlpig of the ao` cie). -
University of California UNIVERSITY of CALIFORNIA
UCLA UCLA Electronic Theses and Dissertations Title Ukrainian Identity in Modern Chamber Music: A Performer's Perspective on Valentyn Silvestrov's Violin Sonata "Post Scriptum" and its Interpretation in the Context of Ukrainian Chamber Works. Permalink https://escholarship.org/uc/item/8874s0pn Author Khomik, Myroslava Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Ukrainian Identity in Modern Chamber Music: A Performer’s Perspective on Valentyn Silvestrov’s Violin Sonata “Post Scriptum” and its Interpretation in the Context of Ukrainian Chamber Works A dissertation submitted in partial satisfaction Of the requirements for the degree Doctor of Musical Arts By Myroslava Khomik 2015 © Copyright by Myroslava Khomik 2015 ABSTRACT OF THE DISSERTATION Ukrainian Identity in Modern Chamber Music: A Performer’s Perspective on Valentyn Silvestrov’s Violin Sonata “Post Scriptum” and its Interpretation in the Context of Ukrainian Chamber Works. by Myroslava Khomik Doctor of Musical Arts University of California, Los Angeles, 2015 Professor Movses Pogossian, Chair Ukrainian cultural expression has gone through many years of inertia due to decades of Soviet repression and censorship. In the post-Soviet period, since the late 80s and early 90s, a number of composers have explored new directions in creative styles thanks to new political and cultural freedoms. This study focuses on Valentyn Silvestrov’s unique Sonata for Violin and Piano “Post Scriptum” (1990), investigating its musical details and their meaning in its post- Soviet compositional context. The purpose is to contribute to a broader overview of Ukraine’s classical music tradition, especially as it relates to national identity and the ii current cultural and political state of the country. -
38 September 21, 2003
INSIDE:• National Rukh of Ukraine marks anniversary — page 3. • Third Youth Leadership Program held in D.C. — page 9. • Ukrainian named top female wrestler — page 11. Published by the Ukrainian National Association Inc., a fraternal non-profit association Vol. LXXI HE No.KRAINIAN 38 THE UKRAINIAN WEEKLY SUNDAY, SEPTEMBER 21, 2003 EEKLY$1/$2 in Ukraine T U With reservations,W Cabinet and Rada approve Embassy of Russia works against Ukraine’s entry into common economic space SenateWASHINGTON resolution – The Embassy ofonUkraine Famine-Genocide of the 1930s.” by Roman Woronowycz ment’s decision on what it wants to do with Russia in the United States has voiced its He continued: “Many aspects of the Kyiv Press Bureau the united economic space, but I think there opposition to a Senate resolution that rec- realization of the policies of the Soviet needs to be a careful look at how this ognizes the Great Famine of 1932-1933 in leadership of that time headed by Stalin KYIV – Ukraine’s Cabinet of Ministers agreement fits in with the country’s aspira- Ukraine as genocide. were tragic for many peoples on the terri- and Verkhovna Rada pushed through sepa- tions to join the Euro-Atlantic community,” Radio Liberty reported last week that tory of the USSR, not only for Ukrainians, rate documents on September 17 in support explained Ambassador Herbst. “I believe it sources said Russian officials have con- but also for Russians, Estonians, of the country’s entry into a common mar- is in the interest of Ukraine not to take any tacted officials at the U.S. -
NEXTET the New Music Ensemble for the 21St Century Virko Baley, Music Director and Conductor Chris Arrell, Composer-In-Residence
Department of MUSIC College of Fine Arts presents NEXTET The New Music Ensemble for the 21st Century Virko Baley, music director and conductor Chris Arrell, composer-in-residence PROGRAM Maxwell R. Lafontant Healing Waters (2013) (b. 1990) r-Jextet Ensemble Britta Epling From dewy dreams (2013) (b. 1992) Britta Epling, soprano Virko Baley , piano Enzu Chang Sketch for unaccompanied oboe (2013) (b.1981) Ben Serna-Grey, oboe Chris Arrell Mutations (2013) for violoncello and computer (b. 1970) Andrew Smith, violoncello Chris Arrell, computer Boris Lyatoshynsky Sonata-Ballade, Op. 18 (1925) (1895-1968) Valentin Silvestrov Sonata No. 3 (1979/ rev.1999) (b. 1937) Preludio Fuga Postludio Timothy Haft, piano Virko Baley From Holodomor (Red Earth. Hunger) (b. 1938) "Black wounds, on the palm of the earth" Tod Fitzpatrick, baritone Virko Baley, piano Christopher Gainey The Selfish Giant for flute and storyteller (1988) (b.1981) (with text adapted from "The Selfish Giant" by Oscar Wilde) Expulsion from the Garden Dances of Eternal Winter The Return of Spring Anastasia Patanova, flute Tod Fitzpatrick, narrator Chris Arrell Of Three Minds (2013) for soprano, piano, and computer Texts from Thirteen Ways of Looking at a Blackbird by Wallace Stevens · Michelle Latour, soprano Timothy Haft, piano Chris Arrell, computer Tuesday,December10, 2013 7:30 p.m. Dr. Arturo Rando-Grillot Recital Hall Lee and Thomas Beam Music Center University of Nevada, Las Vegas PROGRAM NOTES AND BIOGRAPHIES Chris Arrell (b. 1970, Portland, Oregon) writes music for voices, instruments, and electronics. Praised for their unconventional beauty by The Boston Music Intelligencer and hailed as "sensuous" and "highly nuanced" by the Atlanta Journal Constitution, his compositions explore counterpoints of process woven from the interplay of color, line , and harmony. -
TOCC0463DIGIBKLT.Pdf
MYROSLAV SKORYK AND HIS ORCHESTRATION OF PAGANINI’S CAPRICES by Lyubov Kyjanovska Myroslav Skoryk is one of the most prominent composers in Ukraine. He is the author of a diverse body of works, which includes opera, ballets, cantatas, instrumental concertos, orchestral works and instrumental and vocal chamber compositions; he has also written incidental and flm music. He has a chair in composition at the Lysenko Music Academy in Lviv,1 teaches composition at the National Music Academy in Kyiv, and in spring 2011 he accepted the position of Artistic Director of the National Opera in Kyiv. Skoryk was born on 13 July 1938 in Lviv. His family was deeply connected with the intellectual life of western Ukraine. His parents were educators: his mother was a chemistry teacher and his father a director of the gymnasium in Sambir, a small town in western Ukraine. Skoryk’s grandfather was a well-known ethnographer, and his grandmother’s sister was the world-famous operatic soprano Solomija Krushelnytska.2 It was indeed Skoryk’s renowned great-aunt who recognised his musical talent at an early stage and encouraged him to study music. He began his musical education in the Music School at the Lviv Conservatoire, but it did not last long. Krushelnytska was unfortunate enough to be visiting her sisters in western Ukraine in September 1939 when the Soviet army invaded. She was never able to return to her home in Italy; she was then forced by the Soviet authorities to ‘sell’ all 1 Lviv (the name is sometimes transliterated as L’viv) is the most important city in western Ukraine (and eastern Galicia). -
Concert Program
Oksana Dyka, soprano Angelina Gadeliya, piano • Solomiya Ivakhiv, violin I. Bellini Vincenzo Bellini Casta Diva (1801-1835) from Norma (1831) Program Mozart Wolfgang Amadeus Mozart Porgi, amor, qualche ristoro (1756-1791) from The Marriage of Figaro (1786) Rossini Gioachino Rossini Selva opaca, Recitative and Aria (1792-1868) from Guglielmo Tell (William Tell, 1829) Ms. Dyka • Ms. Gadeliya II. Shchetynsky Alexander Shchetynsky An Episode in the Life of the Poet, (b. 1960) an afterword to the opera Interrupted Letter (2014) World Premiere Ms. Ivakhiv • Ms. Gadeliya III. From Poetry to Art Songs 1: Settings of poems by Taras Shevchenko Shtoharenko Andriy Shtoharenko Yakby meni cherevyky (1902-1992) (If I had a pair of shoes, 1939) Silvestrov Valentin Silvestrov Proshchai svite (b. 1937) (Farewell world, from Quiet Songs, 1976) Shamo Ihor Shamo Zakuvala zozulen’ka (1925-1982) (A cuckoo in a verdant grove, 1958) Skoryk Myroslav Skoryk Zatsvila v dolyni (b. 1938) (A guelder-rose burst into bloom, 1962) Mussorgsky Modest Mussorgsky Hopak (1839-1881) from the opera Sorochynsky Fair (1880) Ms. Dyka • Ms. Gadeliya 2 Program — INTERMISSION — I V. Beethoven Ludwig van Beethoven Allegro vivace (1770-1827) from Sonata in G Major, Op. 30 (1801-1802) Vieuxtemps Henri Vieuxtemps Désespoir (1820-1881) from Romances sans paroles, Op. 7, No. 2 (c.1845) Ms. Ivakhiv • Ms. Gadeliya V. From Poetry to Art Songs 2: Settings of poems by Taras Shevchenko Lysenko Mykola Lysenko Oy, odna ya odna (1842-1912) (I’m alone, so alone, 1882) Rachmaninov Sergei Rachmaninov Poliubila ya na pechal’ svoyu, (1873-1943) Op. 8, No. 4 (I have given my love, 1893) Stetsenko Kyrylo Stetsenko Plavai, plavai, lebedon’ko (1882-1922) (Swim on, swim on, dear swan, 1903) Dankevych Konstantyn Dankevych Halia’s Aria (1905-1984) from the opera Nazar Stodolia (1960) VI. -
Cornerstones of the Ukrainian Violin Repertoire 1870 – Present Day
Cornerstones of the Ukrainian violin repertoire 1870 – present day Carissa Klopoushak Schulich School of Music McGill University Montreal, Quebec January 2013 A doctoral paper submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Music in Performance Studies © Carissa Klopoushak 2013 i Abstract: The unique violin repertoire by Ukrainian composers is largely unknown to the rest of the world. Despite cultural and political oppression, Ukraine experienced periods of artistic flurry, notably in the 1920s and the post-Khrushchev “Thaw” of the 1960s. During these exciting and experimental times, a greater number of substantial works for violin began to appear. The purpose of the paper is one of recovery, showcasing the cornerstone works of the Ukrainian violin repertoire. An exhaustive history of this repertoire does not yet exist in any language; this is the first resource in English on the topic. This paper aims to fill a void in current scholarship by recovering this substantial but neglected body of works for the violin, through detailed discussion and analysis of selected foundational works of the Ukrainian violin repertoire. Focusing on Maxym Berezovs´kyj, Mykola Lysenko, Borys Lyatoshyns´kyj, Valentyn Sil´vestrov, and Myroslav Skoryk, I will discuss each composer's life, oeuvre at large, and influences, followed by an in-depth discussion of his specific cornerstone work or works. I will also include cultural, musicological, and political context when applicable. Each chapter will conclude with a discussion of the reception history of the work or works in question and the influence of the composer on the development of violin writing in Ukraine. -
HISTORY of UKRAINE and UKRAINIAN CULTURE Scientific and Methodical Complex for Foreign Students
Ministry of Education and Science of Ukraine Flight Academy of National Aviation University IRYNA ROMANKO HISTORY OF UKRAINE AND UKRAINIAN CULTURE Scientific and Methodical Complex for foreign students Part 3 GUIDELINES FOR SELF-STUDY Kropyvnytskyi 2019 ɍȾɄ 94(477):811.111 R e v i e w e r s: Chornyi Olexandr Vasylovych – the Head of the Department of History of Ukraine of Volodymyr Vynnychenko Central Ukrainian State Pedagogical University, Candidate of Historical Sciences, Associate professor. Herasymenko Liudmyla Serhiivna – associate professor of the Department of Foreign Languages of Flight Academy of National Aviation University, Candidate of Pedagogical Sciences, Associate professor. ɇɚɜɱɚɥɶɧɨɦɟɬɨɞɢɱɧɢɣɤɨɦɩɥɟɤɫɩɿɞɝɨɬɨɜɥɟɧɨɡɝɿɞɧɨɪɨɛɨɱɨʀɩɪɨɝɪɚɦɢɧɚɜɱɚɥɶɧɨʀɞɢɫɰɢɩɥɿɧɢ "ȱɫɬɨɪɿɹ ɍɤɪɚʀɧɢ ɬɚ ɭɤɪɚʀɧɫɶɤɨʀ ɤɭɥɶɬɭɪɢ" ɞɥɹ ɿɧɨɡɟɦɧɢɯ ɫɬɭɞɟɧɬɿɜ, ɡɚɬɜɟɪɞɠɟɧɨʀ ɧɚ ɡɚɫɿɞɚɧɧɿ ɤɚɮɟɞɪɢ ɩɪɨɮɟɫɿɣɧɨʀ ɩɟɞɚɝɨɝɿɤɢɬɚɫɨɰɿɚɥɶɧɨɝɭɦɚɧɿɬɚɪɧɢɯɧɚɭɤ (ɩɪɨɬɨɤɨɥʋ1 ɜɿɞ 31 ɫɟɪɩɧɹ 2018 ɪɨɤɭ) ɬɚɫɯɜɚɥɟɧɨʀɆɟɬɨɞɢɱɧɢɦɢ ɪɚɞɚɦɢɮɚɤɭɥɶɬɟɬɿɜɦɟɧɟɞɠɦɟɧɬɭ, ɥɶɨɬɧɨʀɟɤɫɩɥɭɚɬɚɰɿʀɬɚɨɛɫɥɭɝɨɜɭɜɚɧɧɹɩɨɜɿɬɪɹɧɨɝɨɪɭɯɭ. ɇɚɜɱɚɥɶɧɢɣ ɩɨɫɿɛɧɢɤ ɡɧɚɣɨɦɢɬɶ ɿɧɨɡɟɦɧɢɯ ɫɬɭɞɟɧɬɿɜ ɡ ɿɫɬɨɪɿɽɸ ɍɤɪɚʀɧɢ, ʀʀ ɛɚɝɚɬɨɸ ɤɭɥɶɬɭɪɨɸ, ɨɯɨɩɥɸɽ ɧɚɣɜɚɠɥɢɜɿɲɿɚɫɩɟɤɬɢ ɭɤɪɚʀɧɫɶɤɨʀɞɟɪɠɚɜɧɨɫɬɿ. ɋɜɿɬɭɤɪɚʀɧɫɶɤɢɯɧɚɰɿɨɧɚɥɶɧɢɯɬɪɚɞɢɰɿɣ ɭɧɿɤɚɥɶɧɢɣ. ɋɬɨɥɿɬɬɹɦɢ ɪɨɡɜɢɜɚɥɚɫɹ ɫɢɫɬɟɦɚ ɪɢɬɭɚɥɿɜ ɿ ɜɿɪɭɜɚɧɶ, ɹɤɿ ɧɚ ɫɭɱɚɫɧɨɦɭ ɟɬɚɩɿ ɧɚɛɭɜɚɸɬɶ ɧɨɜɨʀ ɩɨɩɭɥɹɪɧɨɫɬɿ. Ʉɧɢɝɚ ɪɨɡɩɨɜɿɞɚɽ ɩɪɨ ɤɚɥɟɧɞɚɪɧɿ ɫɜɹɬɚ ɜ ɍɤɪɚʀɧɿ: ɞɟɪɠɚɜɧɿ, ɪɟɥɿɝɿɣɧɿ, ɩɪɨɮɟɫɿɣɧɿ, ɧɚɪɨɞɧɿ, ɚ ɬɚɤɨɠ ɪɿɡɧɿ ɩɚɦ ɹɬɧɿ ɞɚɬɢ. ɍ ɩɨɫɿɛɧɢɤɭ ɩɪɟɞɫɬɚɜɥɟɧɿ ɪɿɡɧɨɦɚɧɿɬɧɿ ɞɚɧɿ ɩɪɨ ɮɥɨɪɭ ɿ ɮɚɭɧɭ ɤɥɿɦɚɬɢɱɧɢɯ -
EEFI 2020-2021 Moot Problem
The Lohengrin on the other side of the Carpathians1 The sacred power, the wonder of my order, the strength with which my secret arms me, I wished to dedicate to the service of that purest heart: Why did you wring that secret from me? Now, alas, I must be parted from you! **** Ut queant laxis Resonare fibris Mira gestorum Famuli tuorum, Solve polluti Labii reatum, Sancte Ioannes. The Prelude 1. In mid-1800’s, long before Ernest Hemingway labelled Paris ‘a moveable feast’, a German composer Richard Wagner moved to Paris in the hopes to better deal with his Germanness, which he for some reason felt as a somewhat inferior trait for a man of culture. Wagner wrote in French and generally believed Paris to be the “capital city of the nineteenth century”. He badly dreamed of recognition by the French cultural establishment and would not take anything else for success. Although Wagner’s younger friend, Friedrich Nietzsche, claimed Wagner’s only true home was Paris, Wagner’s relationship with Paris was ambivalent. 2. In 1845 Richard Wagner returned from Paris to Dresden, and, quite distressed at the move, worked as a Kapellmeister at the Royal Dresden Court. By then he gained support from King Ludwig II of Bavaria and was a successful composer. Wagner was working on several musical pieces, when someone left a book of German fairytales on his desk. Richard took the book with him to Marienbad in Karlovy Vary where he went for fashionable health treatment with his wife Cosima. Wagner got absorbed by old German stories and seemed to believe that history and myth were all the same, which may of course be true from the standpoint of culture, and that is all what mattered to Richard Wagner.