Complete List of Borodin's Chemical Works
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Russian Five Austin M
Masthead Logo Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2019 yS mposium Apr 3rd, 1:30 PM - 2:00 PM The Russian Five Austin M. Doub Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Art Practice Commons, Audio Arts and Acoustics Commons, and the Other Classics Commons Doub, Austin M., "The Russian Five" (2019). The Research and Scholarship Symposium. 7. https://digitalcommons.cedarville.edu/research_scholarship_symposium/2019/podium_presentations/7 This Podium Presentation is brought to you for free and open access by Footer Logo DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Austin Doub December 11, 2018 Senior Seminar Dr. Yang Abstract: This paper will explore Russian culture beginning in the mid nineteenth-century as the leading group of composers and musicians known as the Moguchaya Kuchka, or The Russian Five, sought to influence Russian culture and develop a pure school of Russian music. Comprised of César Cui, Aleksandr Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimksy-Korsakov, this group of inspired musicians, steeped in Russian society, worked to remove outside cultural influences and create a uniquely Russian sound in their compositions. As their nation became saturated with French and German cultures and other outside musical influences, these musicians composed with the intent of eradicating ideologies outside of Russia. In particular, German music, under the influence of Richard Wagner, Robert Schumann, and Johannes Brahms, reflected the pan-Western-European style and revolutionized the genre of opera. -
Songs of the Mighty Five: a Guide for Teachers and Performers
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks SONGS OF THE MIGHTY FIVE: A GUIDE FOR TEACHERS AND PERFORMERS BY SARAH STANKIEWICZ DAILEY Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Ayana Smith, Research Director __________________________________ Mary Ann Hart, Chairperson __________________________________ Marietta Simpson __________________________________ Patricia Stiles ii Copyright © 2013 Sarah Stankiewicz Dailey iii To Nathaniel iv ACKNOWLEDGMENTS I wish to express many thanks and appreciation to the members of my committee—Dr. Ayana Smith, Professor Mary Ann Hart, Professor Marietta Simpson, and Professor Patricia Stiles—for their support, patience, and generous assistance throughout the course of this project. My special appreciation goes to Professor Hart for her instruction and guidance throughout my years of private study and for endowing me with a love of song literature. I will always be grateful to Dr. Estelle Jorgensen for her role as a mentor in my educational development and her constant encouragement in the early years of my doctoral work. Thanks also to my longtime collaborator, Karina Avanesian, for first suggesting the idea for the project and my fellow doctoral students for ideas, advice, and inspiration. I am also extremely indebted to Dr. Craig M. Grayson, who graciously lent me sections of his dissertation before it was publically available. Finally, my deepest gratitude goes to my family for love and support over the years and especially my husband, Nathaniel, who has always believed in me. -
Zhenotdel, Russian Women and the Communist Party, 1919-1930
RED ‘TEASPOONS OF CHARITY’: ZHENOTDEL, RUSSIAN WOMEN AND THE COMMUNIST PARTY, 1919-1930 by Michelle Jane Patterson A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of History University of Toronto © Copyright by Michelle Jane Patterson 2011 Abstract “Red ‘Teaspoons of Charity’: Zhenotdel, the Communist Party and Russian Women, 1919-1930” Doctorate of Philosophy, 2011 Michelle Jane Patterson Department of History, University of Toronto After the Bolshevik assumption of power in 1917, the arguably much more difficult task of creating a revolutionary society began. In 1919, to ensure Russian women supported the Communist party, the Zhenotdel, or women’s department, was established. Its aim was propagating the Communist party’s message through local branches attached to party committees at every level of the hierarchy. This dissertation is an analysis of the Communist party’s Zhenotdel in Petrograd/ Leningrad during the 1920s. Most Western Zhenotdel histories were written in the pre-archival era, and this is the first study to extensively utilize material in the former Leningrad party archive, TsGAIPD SPb. Both the quality and quantity of Zhenotdel fonds is superior at St.Peterburg’s TsGAIPD SPb than Moscow’s RGASPI. While most scholars have used Moscow-centric journals like Kommunistka, Krest’ianka and Rabotnitsa, this study has thoroughly utilized the Leningrad Zhenotdel journal Rabotnitsa i krest’ianka and a rich and extensive collection of Zhenotdel questionnaires. Women’s speeches from Zhenotdel conferences, as well as factory and field reports, have also been folded into the dissertation’s five chapters on: organizational issues, the unemployed, housewives and prostitutes, peasants, and workers. -
A Tribute to the Mighty Handful the Russian Guitar Quartet
A Tribute to the Mighty Handful The Russian Guitar Quartet DE 3518 1 DELOS DE DELOS DE A Tribute to the Mighty Handful The Russian Guitar Quartet 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO THE MIGHTY HANDFUL 3518 A TRIBUTE TO César Cui: Cherkess Dances ♦ Cossack Dances Modest Mussorgsky: Potpourri from Boris Godunov Mily Balakirev: Mazurka No. 3 ♦ Polka ♦ “Balakireviana” Alexander Borodin: Polovtsian Dances Nikolay Rimsky-Korsakov: Scheherazade in Spain Total playing time: 64:38 ORIGINAL ORIGINAL DIGITAL DIGITAL A Tribute to the Mighty Handful The Russian Guitar Quartet Dan Caraway, Alexei Stepanov, Vladimir Sumin, Oleg Timofeyev CÉSAR CUI (arr. Oleg Timofeyev): 1. Cherkess Dances (5:53) 2. Cossack Dances (5:24) 3. MODEST MUSSORGSKY (arr. Timofeyev): Potpourri from Boris Godunov (13:25) MILY BALAKIREV (arr. Viktor Sobolenko): 4. Mazurka No. 3 (4:54) 5. Polka (3:17) 6. ALEXANDER BORODIN (arr. Timofeyev): Polovtsian Dances (14:02) MILY BALAKIREV (arr. Alexei Stepanov): “Balakireviana” 7. I – Along the meadow (1:19) 8. II – By my father’s gate (1:49) 9. III – I am tired of those nights (2:54) 10. IV – Under the green apple tree (1:24) 11. NIKOLAY RIMSKY-KORSAKOV (arr. Sobolenko): Scheherazade in Spain (10:12) Total playing time: 64:38 2 NOTES ON THE PROGRAM In a certain way, this album is an attempt to reinvent history. We took the alliance of clas- erious connoisseurs of classical music as sical Russian composers known as “The Mighty well as more superficial listeners usually Handful “ or “The Five” and built a musical trib- Shave a certain image of (if not a prejudice ute to them with our quartet of four Russian about) Russian music. -
Opera and Poison - a Secret and Enjoyable Approach to Teaching and Learning
Opera and Poison - A Secret and Enjoyable Approach to Teaching and Learning Chemistry João Paulo André Centro/Departamento de Química, Campus de Gualtar, Universidade do Minho, 4710- 057 Braga, Portugal Email: [email protected] Keywords: General Public, Continuing Education, History/Philosophy, Humor/Puzzles/ Games, Multimedia-Based Learning, Drugs/Pharmaceuticals, Forensic Chemistry, Toxicology, Interdisciplinary/Multidisciplinary, Public Understanding/Outreach Abstract The storyline of operas, with historical or fictional characters, often include potions and poisons. This has prompted a study of the chemistry behind some operatic plots. The results were originally presented as a lecture given at the University of Minho in Portugal, within the context of the International Year of Chemistry. The same lecture was subsequently repeated at other Universities as a invited lecture for science students, and in public theaters for wider audiences. The lecture included a multimedia and interactive content that allowed the audience to listen to arias and to watch video clips with selected scenes extracted from operas. The present paper, based on the lecture, not only demonstrates how chemistry and opera can be related, but may also serve as a source of motivation and inspiration for chemistry teachers looking for alternative pedagogical approaches. Moreover, the lecture constitutes a vehicle that transports chemistry knowledge to wider audiences through examples of molecules of everyday life, with particular emphasis on natural products. -
Download Full Text
www.ssoar.info The evolution of peasant economy in the industrial center of Russia at the end of the XIXth - beginning of the XXth century: (according to the Zemstvo statistical data) Ossokina, H.; Satarov, G. Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: GESIS - Leibniz-Institut für Sozialwissenschaften Empfohlene Zitierung / Suggested Citation: Ossokina, H., & Satarov, G. (1991). The evolution of peasant economy in the industrial center of Russia at the end of the XIXth - beginning of the XXth century: (according to the Zemstvo statistical data). Historical Social Research, 16(2), 74-89. https://doi.org/10.12759/hsr.16.1991.2.74-89 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY Lizenz (Namensnennung) zur This document is made available under a CC BY Licence Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden (Attribution). For more Information see: Sie hier: https://creativecommons.org/licenses/by/4.0 https://creativecommons.org/licenses/by/4.0/deed.de Diese Version ist zitierbar unter / This version is citable under: https://nbn-resolving.org/urn:nbn:de:0168-ssoar-33259 Historical Social Research, Vol. 16 — 1991 — No. 2, 74-89 The Evolution of Peasant Economy in the Industrial Center of Russia at the End of the XlXth - Beginning of the XXth Century (According to the Zemstvo Statistical Data) H. Ossokina, G. Satarov* Abstract: The dispute on Russian agrarian capitalism is a century old. The authors' aim is to reveal and to ana• lyse the factors which determined the evolution of pea• sant economy in the Industrial Center on the turn of the century. -
MODEST MUSSORGSKY Born March 21, 1839 in Karevo, Pskov District, Russia; Died March 28, 1881 in St
MODEST MUSSORGSKY Born March 21, 1839 in Karevo, Pskov District, Russia; died March 28, 1881 in St. Petersburg A Night on Bald Mountain (1867; arranged in 1886) Arranged by Nikolai Rimsky-Korsakov (1844-1908) PREMIERE OF WORK: St. Petersburg, October 15, 1886 Russian Symphony Orchestra Nikolai Rimsky-Korsakov, conductor APPROXIMATE DURATION: 12 minutes INSTRUMENTATION: woodwinds in pairs plus piccolo, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp and strings In the 1860s, Russian music was just beginning to find its distinctive voice. A number of composers — Balakirev, Cui, Borodin, Rimsky-Korsakov and Mussorgsky — explored native musical and folkloric sources as the basis of a national art, and became loosely confederated into a group known as “The Mighty Handful” in Russia and “The Five” in the West. Since their works took their inspiration largely from indigenous legends and folk music, Mussorgsky considered himself lucky to receive a commission in 1861 (when he was just 21) for a dramatic musical composition based on a specifically Russian subject. On January 7th, he wrote to his mentor, Balakirev, “I have received an extremely interesting commission [for music for a drama titled The Witch by his friend Baron Georgy Fyodorovitch Mengden], which I must prepare for next summer. It is this: a whole act to take place on Bald Mountain … a Witches’ Sabbath, separate episodes of sorcerers, a solemn march for all this nastiness, a finale — the glorification of the Sabbath into which is introduced the commander of the whole festival on the Bald Mountain. The libretto is very good. I already have some material for it; it may turn out to be a very good thing.” The mountain to which Mussorgsky referred, well known in Russian legend, is Mount Triglav, near Kiev, reputed to be the site of the annual witches’ sabbath that occurs on St. -
Otkhodnichestvo's Impact on Small Towns in Russia
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Zausaeva, Yana Conference Paper Otkhodnichestvo's impact on small towns in Russia 54th Congress of the European Regional Science Association: "Regional development & globalisation: Best practices", 26-29 August 2014, St. Petersburg, Russia Provided in Cooperation with: European Regional Science Association (ERSA) Suggested Citation: Zausaeva, Yana (2014) : Otkhodnichestvo's impact on small towns in Russia, 54th Congress of the European Regional Science Association: "Regional development & globalisation: Best practices", 26-29 August 2014, St. Petersburg, Russia, European Regional Science Association (ERSA), Louvain-la-Neuve This Version is available at: http://hdl.handle.net/10419/124426 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) -
An Afternoon on Broadway Marks the Beginning of the Band’S 33Rd Season
Purpose and History The Community Band of Brevard exists to educate its members, to entertain its audiences, and to serve its community. Our musical director is Mr. Marion Scott. Mr. Scott formed the Band in 1985 to provide a performance outlet for adult musicians in the area. Our membership, currently numbering about 80, includes people of all ages representing many occupations. Most of our concerts have a specific theme upon which the music focuses. Those themes have often led us to include exceedingly difficult works, which we willingly do, and to include special guest artists. The Band gives several concerts throughout the year. Our concerts include many diverse musical genres, composers, and often previously unpublished works for band. Each program is planned to please a variety of musical tastes. If you would like more information about the Band, or wish to join, send us a message to [email protected] or contact David Scarborough at (321) 338-6210. Like us on Facebook at Community Band of Brevard and visit our Web site at http://www.CommunityBandOfBrevard.com. CBOB’S FL DEPARTMENT OF AGRICULTURE & CONSUMER SERVICES REGISTRATION NUMBER IS CH35170. A COPY OF THE OFFICIAL REGISTRATION AND FINANCIAL INFORMATION MAY BE OBTAINED FROM THE DIVISION OF CONSUMER SERVICES BY CALLING TOLL-FREE (800- 435-7352) WITHIN THE STATE. REGISTRATION DOES NOT IMPLY ENDORSEMENT, APPROVAL, OR RECOMMENDATION BY THE STATE. Board of Directors Conductor .............................................................. Marion Scott Chairman ...................................................... -
Rimsky-Korsakov Romances
booklet-paginated:cover 11/09/2017 12:02 Page 1 5060192780772 RIMSKY-KORSAKOV ROMANCES Anush Hovhannisyan Yuriy Yurchuk Sergey Rybin 28 1 booklet-paginated:cover 11/09/2017 12:02 Page 3 Produced, engineered and edited by Spencer Cozens. Recorded 19-21 December 2016 at Steinway Recording, Fulbeck, Lincolnshire, U.K. Steinway technician: Peter Roscoe. Publisher: Moscow, Musyka. Booklet notes © 2017 Sergey Rybin. English translations of sung text © 2017 Sergey Rybin. Cover: Photograph © 2013 Anatoly Sokolov. Inside from cover: Photograph of Sergey Rybin, Anush Hovhannisyan and Yuriy Yurchuk © 2017 Inna Kostukovsky. Graphic design: Colour Blind Design. Printed in the E.U. 2 27 booklet-paginated:cover 11/09/2017 12:02 Page 5 24 Prorok Op.49, No.2 The Prophet Alexander Pushkin Dukhovnoï zhazhdoïu tomim Tormented by spiritual anguish V pustyne mrachnoï ïa vlachils’a, I dragged myself through a grim desert, I shestikrylyï serafim And a six-winged seraphim Na pereputïe mne ïavils’a; Appeared to me at a crossroads; RIMSKY-KORSAKOV Perstami l’ogkimi, kak son, With his fingers, light as a dream, Moikh zenits kosnuls’a on: He touched my eyes: ROMANCES Otverzlis’ vesh’iïe zenitsy, They burst open wide, all-seeing, Kak u ispugannoï orlitsy. Like those of a startled eagle. Moikh usheï kosnuls’a on, He touched my ears I ikh napolnil shum i zvon: And they were filled with clamour and ringing: I vn’al ïa neba sodroganïe, I heard the rumbling of the heavens, I gorniï angelov pol’ot, The high flight of the angels, I gad morskikh podvodnyï khod, The crawling of the underwater reptilians I dol’ney lozy proz’abanïe. -
Empire Brass
Houston Friends of Music PRESENT EMPIRE BRASS Rolf Smedvig, Trumpet Jeffrey Curnow, Trumpet Eric Ruske, French Horn Scott A. Hartman, Trombone J. Samuel Pilafian, Tuba Wednesday, December 5, 1990 8:00P.M. Hamman Hall Rice University FOURTH CONCERT H()LISt()Jl Fti(~tlds (>f~1usic PRESENT EMPIRE BRASS Procession of the Nobles, from Mlada . .... .. .......... ...... NIKOLAI RIMSKY-KORSAKOV Polovtsian Dance, from Prince Igor. .................................. ALEXANDER BORODIN Dance of the Comedians, from the Bartered Bride ........................... BED RICH SMETANA Nacht Poema (Night Poems) ............... .. ............................ PR. VAN EECHAUTE Prelude, Theme & Variations . ... .................................. ... GIOACCHINO ROSSINI Carmen Fantasy .......... ... .. ........ .... ........................... .. GEORGES BIZET Wedding Dance and Troika, from Lieutenant Kije ......................... SERGEI PROKOFIEV INTERMISSION Trio Sonata No.2 ..... ......................... ..... ..... ....... JOHANN SEBASTIAN BACH Allegro, Andante, Allegro Sabre Dance, from Gayane ...... ......... ................. ....... ARAM KHACHATURIAN Arabian Dance, from The Nutcracker. .......................... PIOTR IL YICH TCHAIKOVSKY Pavane, Op. 50 ........................................................... GABRIEL FAURE Boy Meets Horn ..... .. ....................... ... EDWARD KENNEDY "DUKE" ELLINGTON Jungle Nights ..... .... ....... ................... EDWARD KENNEDY "DUKE" ELLINGTON M-TV for Jerry (Jerome Robbins), from Dance Suite for Brass -
Herbert's Songs: Designed for Classical Singers A
HERBERT’S SONGS: DESIGNED FOR CLASSICAL SINGERS A CREATIVE PROJECT PAPER SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE MASTERS OF MUSIC BY LAURA R. KRELL DR. MEI ZHONG-ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA JULY, 2012 Herbert’s Songs: Designed for Classical Singers Introduction Victor Herbert has undoubtedly provided America some of its greatest, most tender, romantic, invigorating, and challenging songs for soprano. Today, Herbert’s masterworks appear simultaneously in both Musical Theater Anthologies and Operatic Collections. Many students encounter questions as to performance practice: can these songs be sung as “musical theater,” with young, immature voices, or should they be studied by classical singers? Despite the pool of speculation swirling around this issue, there has not been any significant research on this particular topic. This study will detail the vocal abilities of Herbert’s most prolific sopranos (Alice Nielsen, Fritzi Scheff, and Emma Trentini), and identify compositional elements of three of Herbert’s most famous arias (“The Song of the Danube,” “Kiss Me Again,” and “Italian Street Song”), using historical data to demonstrate that each composition was tailored specifically for the versatility and profound vocal ability of each opera singer, and is poorly mishandled by those without proper classical training. The writer will offer observations from three amateur online recordings of “Art Is Calling For Me.” The writer will use the recordings to highlight specific pitfalls untrained singers may encounter while singing Herbert, such as maneuvering coloratura passages, breath control, singing large intervallic leaps, and the repeated use of the upper tessitura.