DOCSLIB.ORG

Table of Contents Item Transcript

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

DIGITAL COLLECTIONS ITEM TRANSCRIPT Semeon Kazakevich. Diary, 1940 - 1941 ID MISC004.047 PERMALINK http://n2t.net/ark:/86084/b4c53f46b ITEM TYPE DIARY ORIGINAL LANGUAGE RUSSIAN TABLE OF CONTENTS ITEM TRANSCRIPT ENGLISH TRANSLATION 2 CITATION & RIGHTS 18 2021 © BLAVATNIK ARCHIVE FOUNDATION PG 1/19 BLAVATNIKARCHIVE.ORG DIGITAL COLLECTIONS ITEM TRANSCRIPT Semeon Kazakevich. Diary, 1940 - 1941 ID MISC004.047 PERMALINK http://n2t.net/ark:/86084/b4c53f46b ITEM TYPE DIARY ORIGINAL LANGUAGE RUSSIAN 2021 © BLAVATNIK ARCHIVE FOUNDATION PG 2/19 BLAVATNIKARCHIVE.ORG DIGITAL COLLECTIONS ITEM TRANSCRIPT Semeon Kazakevich. Diary, 1940 - 1941 ID MISC004.047 PERMALINK http://n2t.net/ark:/86084/b4c53f46b ITEM TYPE DIARY ORIGINAL LANGUAGE RUSSIAN TRANSCRIPT ENGLISH TRANSLATION July 15, 1940 I think, I’ve had enough of Romain Rolland’s verbocity. I don't see the point of so many words and empty musings. Was it really so difficult to reveal Jacques’s views sooner. I’ve swallowed about 600 pages and was consumed by an endless stream of equivocations. He overdid it. He said it himself that the guy had no formal education, but then he goes on musing as only Romain Rolland can. The writer has put into his mouth what he himself thinks and not his protagonist. Not only could this guy not have thought this way, but Rolland himself couldn’t have in his youth. (what a discovery . I write all sorts of nonsense when I’m bored). I do nothing except reading. When I get bored of reading, I just lounge around. Having nothing to do, I look out the window and check out a girl (I can't make out how old she is) in the opposite window. She glances back furtively. July 16, 1940. I wish it were 3pm already; I’d rather go to the library. An orchestra from Lahti sounds quietly (there is no antenna, so I receive just the input). I read from dawn till dusk. 20:24 I am just sitting here not knowing what else to do. They are broadcasting the opera "Troubadour" performed by the Milan Theater (!!!) and I am about to finish reading "Christophe". I would like to do both things, but I could never multitask. I am either completely absorbed in music and forget all else or read and hear not what is happening around. Perhaps it is better to read because as I listen to beautiful music I start musing and it is not good. It is better to immerse oneself in the book and experience another person’s life than reminisce about one’s own. I haven't heard these wonderful voices for a long time. I have often heard Italian masters being accused of singing without fervour, of having no feeling, while their voices are just a matter of training. In my opinion, it’s the other way around; it is our modern Russian singers in Lemeshev who don’t come even close . It is impossible not to listen to such voices. Ah, to hell with the book. I'm just sitting and listening. I can't imagine being in the Milan theater and hearing and seeing these artists live. They apparently acted no worse than they sang. July 19 2021 © BLAVATNIK ARCHIVE FOUNDATION PG 2/19 BLAVATNIKARCHIVE.ORG DIGITAL COLLECTIONS ITEM TRANSCRIPT Semeon Kazakevich. Diary, 1940 - 1941 ID MISC004.047 PERMALINK http://n2t.net/ark:/86084/b4c53f46b ITEM TYPE DIARY ORIGINAL LANGUAGE RUSSIAN I am terribly bored. On my own all the time. Too lazy to even get down to work. After entertainment, one is usually eager to work, but my days are filled with boredom, there is nothing interesting to do. I also lost my desire to construct. The heatwave is upon us, and there is nowhere to go. I am sick of reading the entire day. I'll go to the Letnii Sad. July 21 I’ve spent almost half a day up on the roof. I had to set up the antenna myself, put up poles, etc. (the old one had been cut off). Tired as hell, but didn't manage to finish everything. I'll just have to do it tomorrow. At the moment, there is nothing to do, so I am bored. I spent the entire day on my feet, so not going out in the evening. The day has passed. I didn't have time for anything else. July 24 What awful boredom. Forever alone. There is nowhere to go. All my friends (and there are only three of them: B, L, and V) have left. Anatoly, the swine, does not deign to visit. To hell with him! Usually we would take him down a peg, but now he has all the freedom to think of himself as a superior person. He is not going to stoop down to some former schoolmates (what the devil does he need them for?). He’s got a woman and hangs out with her. And to think how thick as thieves we used to be in school! It seemed that we would go on as close friends, but now I see what this penny friendship is worth. Admittedly, our lives after school have become different. Anatoly and Yurka are doing history and besides . I got distracted. August 3, 1940 It’s noon. I am alone; everybody's left. Lyuba left at half past midnight today. Excerpts from "Swan Lake" (generally ballet music) is on the radio. When I got down to writing, it was a scene from the Fourth Act, and now some substandard mazurka. If only I had some tape, I would have recorded this wonderful music. So, I didn’t manage to do anything for the whole month; one must have materials. As luck would have it, the turning work (I hadn’t managed to finish the microphone parts in the workshop) is suspended and I cannot assemble the microphone. Plus, there is nowhere to get the tape, so it figures why I am not doing anything. No wonder one turns into a pessimist. Will I never . Murderous melancholy. I want to howl like a wolf with hopelessness. All day I have been distracting myself with something, and now, in the evening, I don’t know what to do with myself. And I could do so much work. But . I’ve lost all 2021 © BLAVATNIK ARCHIVE FOUNDATION PG 3/19 BLAVATNIKARCHIVE.ORG DIGITAL COLLECTIONS ITEM TRANSCRIPT Semeon Kazakevich. Diary, 1940 - 1941 ID MISC004.047 PERMALINK http://n2t.net/ark:/86084/b4c53f46b ITEM TYPE DIARY ORIGINAL LANGUAGE RUSSIAN ambition. I am tormented by a living ghost, and inanimate nature ceases to interest me. How strong is this damn sex drive. Even reason is helpless. I fell in love and can’t do anything about it. One single thought haunts me like a thousand devils in a dream, on the street, in a tram, while talking to people. The only time I am free of it is when I am building something or studying. Then I forget and think not about this passion. Indeed, I have learnt the lesson of not tender passion but a hopeless one. If Tatiana asked me this question now, I would have an answer for her. I have experienced the steel grip of this “tender” science. Each entry begins with the words: "awful boredom", "boring", "I don't want to do anything" and the like. There is nothing worse than this monotony. Admittedly, I start writing just when I feel uncomfortable and I cannot do anything but sit and think about Tatiana and write. So, naturally, I start off with the word "boredom". August 10 I’ve been fiddling with the modular core of the recorder all day. Alas, the metal files I bought could not take on transformer iron, and I had to stop the work just as I was about to finish. There is nothing to cut the T-slot with. I spent half a day working at the lathe in vain. The softer rubber makes the frequency spectrum recorded on the tape narrower. There is less noise, but melodic nuances become imperceptible either. I tried to rerecord using the old hard rubber and it’s incomparable. Perfect. If I keep on recording this way, when the signal level is much higher than the interference signal, i.e. the hiss of the needle, it will be perfect. As before, the sore point is where to procure some tape???! Tomorrow, I will have to finish the core and wind low-resistance modulation coils (at the moment, I have high-resistance ones. The circuit is grounded through 4MF from +A 6L6 lamp. This means that the output transformer is not connected to an external load and the load resistance is only the first winding of the transformer. So, the lamp works in some stupid mode, which makes distortions possible. If there is a low-resistance input of the recorder, then the output transformer will be given the required load. It will be possible to have more power from the amplifier and therefore record (Now I am limited by power. Above a certain level, distortions begin. The reasons for them I have not yet figured out for sure. Most likely, it happens because of the afore- mentioned. But it is possible that the recorder's armature begins to resonate, but this is unlikely. Or its inertia with very strong armature vibrations does not allow it to follow the electrical vibrations of the incoming signal. It is hardly possible, because my armature is clamped tightly, and besides, I used to have recordings made with a recorder that had a low-resistance input. Then I got much stronger vibrations of the armature.
Recommended publications
  • Rachmaninoff Symphony No

    Rachmaninoff Symphony No

    RACHMANINOFF SYMPHONY NO. 3 10 SONGS (ARR. JUROWSKI) VLADIMIR JUROWSKI conductor VSEVOLOD GRIVNOV tenor LONDON PHILHARMONIC ORCHESTRA SERGE RACHMANINOFF SYMPHONY NO. 3 Sir Henry Wood, writing in his autobiography My Life and conductor. If the public in Russia, Europe and America of Music (1938), predicted that Rachmaninoff’s Third recognised his gifts in all three branches of the profession, Symphony would ‘prove as popular as Tchaikovsky’s Fifth’. he himself always regarded himself as a composer first If that has never really been the case, Wood’s further and foremost. If he also happened to be one of the finest assessment of the score does ring true: pianists the world has ever known, that was, to a certain extent, a bonus. In 1917, however, there came a seismic ‘The work impresses me as being of the true Russian change in his life. With the onset and aftermath of the Romantic school. One cannot get away from the October Revolution, Rachmaninoff and his family felt beauty and melodic line of the themes and their logical compelled to emigrate. ‘Everything around me makes it development. As did Tchaikovsky, Rachmaninoff uses the impossible for me to work’, he wrote to his cousin and fellow instruments of the orchestra to their fullest effect. Those pianist Alexander Ziloti, ‘and I am frightened of becoming lovely little phrases for solo violin, echoed on the four solo completely apathetic. Everybody around me advises me to woodwind instruments, have leave Russia for a while. But where to, and how? And is it a magical effect in the slow movement.
  • Network Notebook

    Network Notebook

    Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
  • Pavel Lisitsian Discography by Richard Kummins

    Pavel Lisitsian Discography by Richard Kummins

    Pavel Lisitsian Discography By Richard Kummins e-mail: [email protected] Rev - 17 June 2014 Composer Selection Other artists Date Lang Record # The capital city of the country (Stolitsa Agababov rodin) 1956 Rus 78 USSR 41366 (1956) LP Melodiya 14305/6 (1964) LP Melodiya M10 45467/8 (1984) CD Russian Disc 15022 (1994) MP3 RMG 1637 (2005 - Song Listen, maybe, Op 49 #2 (Paslushai, byt Anthology Vol 1) Arensky mozhet) Andrei Mitnik, piano 1951 Rus MP3 RMG 1766 (2006) 78 USSR 14626 (1947) LP Vocal Record Collector's Armenian (trad) Armenian girls (Hayotz akhchikner) Matvei Sakharov, piano 1947 Arm Society 1992 Armenian girls (Hayotz akhchikner) LP Melodiya 45465/6 (1984) Armenian (trad) (arranged by Aleksandr Dolukhanian) Matvei Sakharov, piano 1948 Arm MP3 RMG 1766 (2006) Armenian girls (Hayotz akhchikner) 1960 (San LP New York Records PL 101 Armenian (trad) (arranged by Aleksandr Dolukhanian) Maro Ajemian, piano Francisco) Arm (1960) Crane (Groong) 1960 (San LP New York Records PL 101 Armenian (trad) (arranged by Aleksandr Dolukhanian) Maro Ajemian, piano Francisco) Arm (1960) Russian Folk Instrument Orchestra - Crane (Groong) Central TV and All-Union Radio LP Melodiya 45465/6 (1984) Armenian (trad) (arranged by Aleksandr Dolukhanian) - Vladimir Fedoseyev 1968 Arm MP3 RMG 1766 (2006) LP DKS 6228 (1955) Armenian (trad) Dogwood forest (Lyut kizil usta tvoi) Matvei Sakharov, piano 1955 Arm MP3 RMG 1766 (2006) Dream (Yeraz) (arranged by Aleksandr LP Melodiya 45465/6 (1984) Armenian (trad) Dolukhanian) Matvei Sakharov, piano 1948 Arm MP3 RMG
  • Будућност Историје Музике the Future of Music History

    Будућност Историје Музике the Future of Music History

    Будућност историје музике The Future II/2019 of Music History 27 Реч уреднице Editor's Note ема броја 27 Будућност историје музике инспирисана је истоименим Тсеминаром, организованим у оквиру конференције одржане у Српској History академији наука и уметности септембра 2017. године. Организатор семинара био је Џим Самсон, један од најзначајнијих музиколога данашњице, емеритус професор колеџа Ројал Холовеј Универзитета у Лондону, редовни члан Британске Академије и аутор више од 100 Будућност публикација, међу којима је и прва обухватна историја музике на Балкану на енглеском језику (Music in the Balkans, Leiden: Brill, 2013). Проф. The Future Самсон је љубазно прихватио наш позив да буде гост-уредник овог броја часописа, у којем објављујемо радове четворо од петоро учесника панела историје Будућност историје музике (Рајнхарда Штрома, Мартина Лесера, Кетрин Елис и Марине Фролове-Вокер). Изражавамо велику захвалност овим еминентним музиколозима на исцрпном промишљању будућности музике музике наше дисциплине и настојањима да предмет изучавања постану географске регије, друштвени слојеви и слушалачке праксе који су досад били занемарени у музиколошким разматрањима. he theme of the issue No 27 The Future of Music History was inspired by the Teponymous seminar organised as part of a conference held at the Serbian The Future Academy of Sciences and Arts in September 2017. The seminar was prepared by Jim Samson, one of the most outstanding musicologists of our time, Emeritus Professor of Music, Royal Holloway (University of London), member of Music of the British Academy and author of more than 100 publications, including the first comprehensive history of music in the Balkans in English (Leiden: Brill, Будућност историје 2013). Professor Samson kindly accepted our invitation to be the guest editor History of this issue, in which we publish articles by four of the five panelists (Reinhard Strohm, Martin Loeser, Katharine Ellis and Marina Frolova-Walker).
  • KPFA Folio

    KPFA Folio

    KPFAFOLIO July 1%9 FM94.1 Ibnfcmt. vacaimt lit KPFA July Folio page 1 acDcfton, «r thcConfcquencct of Qo'^irrrin^ Troops .n h popuroui STt^tr^laTCd Town, taken f ., A KPFA 94.1 FM Listener Supported Radio 2207 Shattuck Avenue Berkeley, California 94704 -mil: Im Tel: (415) 848-6767 ^^^i station Manager Al Silbowitz Administrative Assistant . Marion Timofei Bookkeeper Erna Heims Assistant Bookkeeper .... Mariori Jansen Program Director . Elsa Knight Thompson Promotion Assistant Tom Green i Jean Jean Molyneaux News Director Lincoln Bergman Public Affairs Program Producer Denny Smithson Public Affairs Secretary .... Bobbie Harms Acting Drama & Literature Director Eleanor Sully Children's Programming Director Anne Hedley SKoAfS g«Lt>eHi'o»i Chief Engineer Ned Seagoon [ Engineering Assistants . Hercules Grytpype- thyne, Count Jim Moriarty Senior Production Assistant . Joe Agos . TVt^Hi ttoopj a*c4_ t'-vo-i-to-LS, Production Assistants . Bob Bergstresser Dana Cannon Traffic Clerk Janice Legnitto Subscription Lady Marcia Bartlett »,vJi u/fUyi^elM*^ e«j M"^ K/c> Receptionist Mildred Cheatham FOLIO Secretary Barbara Margolies ^k- »76I i^t^-c«4>v i-'},ooPi M.aAci.«<< The KPFA Folio Pt-lO«tO Hm.lr<^*'rSuLCjCJt4^\f*JL ' ' "a^ cLcC, u>*A C**t". JblooA. July, 1969 Volume20, No. 7 ®1969 Pacifica Foundation All Rights Reserved The KPFA FOLIO is published monthly and is dislributed free as a service to the subscribers of this listener-support- ed station. The FOLIO provides a detailed schedule of J^rx, Ojt-I itl- K«.A^ +Tajy4;^, UCfA programs broadcast A limited edition is published in braille. »J Dates after program listings indicate a repeat broadcast KPFA IS a non-commercial, educational radio station which broadcasts with 59.000 watts at 94 1 MH ly^onday through Fnday Broadcasting begins at 7:00 am, and on V livi tV.t«< weekends and holidays at 8 00 am Programming usually iV AA cUa«.>5 -rtvMUo WeJc.
  • Culture and Customs of Ukraine Ukraine

    Culture and Customs of Ukraine Ukraine

    Culture and Customs of Ukraine Ukraine. Courtesy of Bookcomp, Inc. Culture and Customs of Ukraine ADRIANA HELBIG, OKSANA BURANBAEVA, AND VANJA MLADINEO Culture and Customs of Europe GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data Helbig, Adriana. Culture and customs of Ukraine / Adriana Helbig, Oksana Buranbaeva and Vanja Mladineo. p. cm. — (Culture and customs of Europe) Includes bibliographical references and index. ISBN 978–0–313–34363–6 (alk. paper) 1. Ukraine—Civilization. 2. Ukraine—Social life and customs. I. Buranbaeva, Oksana. II. Mladineo, Vanja. III. Title. IV. Series. DK508.4.H45 2009 947.7—dc22 2008027463 British Library Cataloguing in Publication Data is available. Copyright © 2009 by Adriana Helbig, Oksana Buranbaeva, and Vanja Mladineo All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2008027463 ISBN: 978–0–313–34363–6 First published in 2009 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1 The authors dedicate this book to Marijka Stadnycka Helbig and to the memory of Omelan Helbig; to Rimma Buranbaeva, Christoph Merdes, and Ural Buranbaev; to Marko Pećarević. This page intentionally left blank Contents Series Foreword ix Preface xi Acknowledgments xiii Chronology xv 1 Context 1 2 Religion 30 3 Language 48 4 Gender 59 5 Education 71 6 Customs, Holidays, and Cuisine 90 7 Media 114 8 Literature 127 viii CONTENTS 9 Music 147 10 Theater and Cinema in the Twentieth Century 162 Glossary 173 Selected Bibliography 177 Index 187 Series Foreword The old world and the New World have maintained a fluid exchange of people, ideas, innovations, and styles.
  • 4932 Appendices Only for Online.Indd

    4932 Appendices Only for Online.Indd

    APPENDIX I MUSIC AWARDS IN COMPOSITION Key to award cycles: 1941 for works from 1934–40 1942 for works from 1941 1943 for works from 1942 1946a for works from 1943–44 1946b for works from 1945 1947 for works from 1946 1948 for works from 1947 1949 for works from 1948 1950 for works from 1949 1951 for works from 1950 1952 for works from 1951 Not included here: 1953 for works from 1952, no awards made 1954 for works from 1952–53, no awards made (see Appendix IV) Table 1. Awards in Composition by Genre Unusually high numbers are in boldface ’41 ’42 ’43 ’46a ’46b ’47 ’48 ’49 ’50 ’51 ’52 Opera2121117 2 Cantata 1 2 1 2 1 5 32 Symphony 2 1 1 4 1122 Symphonic poem 1 1 3 2 3 Suite 111216 3 Concerto 1 3 1 1 3 4 3 Ballet 1 1 21321 Chamber music 1 1 3 4 11131 Piano pieces 1 1 Film scores 21 2111 1 4 APPENDIX I MUSIC AWARDS IN COMPOSITION Songs 2121121 6 3 Art songs 1 2 Marches 1 Incidental music 1 Folk instruments 111 Table 2. Composers in Alphabetical Order Surnames are given in the most common transliteration (e.g. as in Wikipedia); first names are mostly given in the familiar anglicized form. Name Alternative Spellings/ Dates Class and Year Notes Transliterations of Awards 1. Afanasyev, Leonid 1921–1995 III, 1952 2. Aleksandrov, 1883–1946 I, 1942 see performers list Alexander for a further award (Appendix II) 3. Aleksandrov, 1888–1982 II, 1951 Anatoly 4.
  • C K’NAY C (To Her) C (Poem by A

    C K’NAY C (To Her) C (Poem by A

    K ney C k’NAY C (To Her) C (poem by A. Belïy [(A.) BAY-lee] set to music by Sergei Rachmaninoff [sehr-GAYEE rahk-MAH-nyih-nuff]) Kaan C JindÍich z Albestç Kàan C YINND-rshihk z’AHL-bess-too KAHAHN C (known also as Heinrich Kàan-Albest [H¦N-rihh KAHAHN-AHL-besst]) Kabaivanska C Raina Kabaivanska C rah-EE-nah kah-bahih-WAHN-skuh C (known also as Raina Yakimova [yah-KEE-muh-vuh] Kabaivanska) Kabalevsky C Dmitri Kabalevsky C d’MEE-tree kah-bah-LYEFF-skee C (known also as Dmitri Borisovich Kabalevsky [d’MEE-tree bah-REE-suh-vihch kah-bah-LYEFF-skee]) C (the first name is also transliterated as Dmitry) Kabasta C Oswald Kabasta C AWSS-vahlt kah-BAHSS-tah Kabelac C Miloslav Kabelá C MIH-law-slahf KAH-beh-lahahsh Kabos C Ilona Kabós C IH-law-nuh KAH-bohohsh Kacinskas C Jerome Ka inskas C juh-ROHM kah-CHINN-skuss C (known also as Jeronimas Ka inskas [yeh-raw-NEE-mahss kah-CHEEN-skahss]) Kaddish for terezin C Kaddish for Terezin C kahd-DIHSH (for) TEH-reh-zinn C (a Holocaust Requiem [{REH-kôôee-umm} REH-kôôih-emm] by Ronald Senator [RAH-nulld SEH-nuh-tur]) C (Kaddish is a Jewish mourner’s prayer, and Terezin is a Czechoslovakian town converted to a concentration camp by the Nazis during World War II, where more than 15,000 Jewish children perished) Kade C Otto Kade C AWT-toh KAH-duh Kadesh urchatz C Kadesh Ur'chatz C kah-DEHSH o-HAHTSS C (Bless and Wash — a prayer song) Kadosa C Pál Kadosa C PAHAHL KAH-daw-shah Kadosh sanctus C Kadosh, Sanctus C kah-DAWSH, SAHNGK-tawss C (section of the Holocaust Reqiem — Kaddish for Terezin [kahd-DIHSH (for) TEH-reh-zinn]
  • Kabalevsky Was Born in St Petersburg on 30 December 1904 and Died in Moscow on 14 February 1987 at the Age of 83

    Kabalevsky Was Born in St Petersburg on 30 December 1904 and Died in Moscow on 14 February 1987 at the Age of 83

    DMITRI KABALEVSKY SIKORSKI MUSIKVERLAGE HAMBURG SIK 4/5654 2 CONTENTS FOREWORD by Maria Kabalevskaya ...................... 4 VORWORT ....................................... 6 INTRODUCTION by Tatjana Frumkis .................... 8 EINFÜHRUNG .................................. 10 AWARDS AND PRIZES ............................ 13 CHRONOLOGICAL LIST OF WORKS .............. 15 SYSTEMATIC INDEX OF WORKS Stage Works ..................................... 114 Orchestral Works ................................. 114 Instrumental Soloist and Orchestra .................... 114 Wind Orchestra ................................... 114 Solo Voice(s) and Orchestra ......................... 115 Solo Voice(s), Choir and Orchestra .................... 115 Choir and Orchestra ............................... 115 Solo Voice(s), Choir and Piano ....................... 115 Choir and Piano .................................. 115 Voice(s) a cappella ................................ 117 Voice(s) and Instruments ............................ 117 Voice and Piano .................................. 117 Piano Solo ....................................... 118 Piano Four Hands ................................. 119 Instrumental Chamber Works ........................ 119 Incidental Music .................................. 120 Film Music ...................................... 120 Arrangements .................................... 121 INDEX Index of Opus Numbers ............................ 122 Works Without Opus Numbers ....................... 125 Alphabetic Index of Works .........................
  • Excerpt from Navidad Nuestra [Nah-Vee-THAD Nooayss-Trah]; Music by Ariel Ramírez [Ah-Reeell Rah-MEE-Rehth] and Text by F

    Excerpt from Navidad Nuestra [Nah-Vee-THAD Nooayss-Trah]; Music by Ariel Ramírez [Ah-Reeell Rah-MEE-Rehth] and Text by F

    La anunciacion C La anunciación C lah ah-noon-theeah-theeAWN C (excerpt from Navidad nuestra [nah-vee-THAD nooAYSS-trah]; music by Ariel Ramírez [ah-reeELL rah-MEE-rehth] and text by F. Luna [(F.) LOO-nah]) La barca C lah BAR-kah C (The Boat) C (excerpt from the suite Impresiones intimas [eem- prayss-YO-nayss een-TEE-mahss] — Intimate Impressions — by Federico Mompou [feh- theh-REE-ko mawm-POOO]) La barcheta C lah bar-KAY-tah C (The Little Boat) C (composition by Hahn [HAHN]) La bas dans le limousin C Là-bas dans le Limousin C lah-bah dah6 luh lee-môô-zeh6 C (excerpt from Chants d'Auvergne [shah6 doh-vehrny’] — Songs of the Auvergne [o-vehrny’], French folk songs collected by Joseph Canteloube [zho-zeff kah6-t’lôôb]) La bas vers leglise C Là-bas, vers l'église C lah-bah, vehr lay-gleez C (excerpt from Cinq mélodies populaires grecques [seh6k may-law-dee paw-pü-lehr greck] — Five Popular Greek Melodies — by Maurice Ravel [mo-reess rah-vell]) La belle helene C La belle Hélène C lah bell ay-lenn C (The Fair Helen) C (an opera, with music by Jacques Offenbach [ZHACK AWF-funn-bahk]; libretto by Henri Meilhac [ah6-ree meh-yack] and Ludovic Halévy [lü-daw-veek ah-lay-vee]) La belle isabeau conte pendant lorage C La belle Isabeau (Conte pendant l’orage) C lah bell ee- zah-bo (kaw6t pah6-dah6 law-rahzh) C (The Lovely Isabeau (Tale During a Storm)) C (poem by Alexandre Dumas [ah-leck-sah6-dr’ dü-mah] set to music by Hector Berlioz [eck-tawr behr-leeawz]) La belle se sied au pied de la tour C lah bell s’-seeeh o peeeh duh lah tôôr C (The Fair Maid
  • The Independent Turn in Soviet-Era Russian Poetry: How Dmitry Bobyshev, Joseph Brodsky, Anatoly Naiman and Evgeny Rein Became the ‘Avvakumites’ of Leningrad

    The Independent Turn in Soviet-Era Russian Poetry: How Dmitry Bobyshev, Joseph Brodsky, Anatoly Naiman and Evgeny Rein Became the ‘Avvakumites’ of Leningrad

    The Independent Turn in Soviet-Era Russian Poetry: How Dmitry Bobyshev, Joseph Brodsky, Anatoly Naiman and Evgeny Rein Became the ‘Avvakumites’ of Leningrad. Margo Shohl Rosen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 © 2011 Margo Shohl Rosen All rights reserved ABSTRACT The Independent Turn in Soviet-Era Russian Poetry: How Dmitry Bobyshev, Joseph Brodsky, Anatoly Naiman and Evgeny Rein Became the ‘Avvakumites’ of Leningrad Margo Shohl Rosen The first post-World War II generation of Soviet Russian writers was faced with a crisis of language even more pervasive and serious than the “Crisis of Symbolism” at the beginning of the 20th century: the level of abstraction and formulaic speech used in public venues had become such that words and phrases could only gesture helplessly in the direction of mysterious meaning. Due to the traditional status of poetry in Russian culture and to various other factors explored in this dissertation, the generation of poets coming of age in the mid-1950s was in a unique position to spearhead a renewal of language. Among those who took up the challenge was a group of four friends in Leningrad: Dmitry Bobyshev, Joseph Brodsky, Anatoly Naiman, and Evgeny Rein. Because of the extreme position this group adopted regarding the use of language, I refer to them in this work not as “Akhmatova’s Orphans”—a term commonly applied to the quartet—but as literary “Avvakumites,” a name Anna Akhmatova suggested that invokes the history of Archpriest Avvakum, who by rejecting reforms in church ritual founded the Orthodox sect now known as Old Believers.
  • PROGRAM NOTES Cup, a Slower Dance, Adagio, Which in by SUSAN HALPERN Its Second Part Becomes More Spirited, Animato

    PROGRAM NOTES Cup, a Slower Dance, Adagio, Which in by SUSAN HALPERN Its Second Part Becomes More Spirited, Animato

    CENTER FOR THE PERFORMING ARTS AT PENN STATE ONSTAGE © Elena Martunyuk Today’s performance is sponsored by Dotty and Paul Rigby Bob and Ruth Murray COMMUNITY ADVISORY COUNCIL The Community Advisory Council is dedicated to strengthening the relationship between the Center for the Performing Arts and the community. Council members participate in a range of activities in support of this objective. Nancy VanLandingham, chair Mary Ellen Litzinger Lam Hood, vice chair Bonnie Marshall Pieter Ouwehand William Asbury Melinda Stearns Patricia Best Susan Steinberg Lynn Sidehamer Brown Lillian Upcraft Philip Burlingame Pat Williams Alfred Jones Jr. Nina Woskob Deb Latta Eileen Leibowitz student representative Ellie Lewis Jesse Scott Christine Lichtig CENTER FOR THE PERFORMING ARTS AT PENN STATE Opus 3 Artists present Moscow State Symphony Orchestra Pavel Kogan, conductor Joshua Roman, cellist 7:30 p.m. Tuesday, November 11, 2014 Eisenhower Auditorium The performance includes one intermission. This presentation is a component of the Center for the Performing Arts Classical Music Project. With support from The Andrew W. Mellon Foundation, the project provides opportunities to engage students, faculty, and the community with classical music artists and programs. Marica Tacconi, Penn State professor of musicology, and Carrie Jackson, Penn State associate professor of German and linguistics, provide faculty leadership for the curriculum and academic components of the grant project. sponsors Dotty and Paul Rigby Bob and Ruth Murray media sponsor WPSU The Center for the Performing Arts at Penn State receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency.