(M)other Russia:Evolution or Revolution

Twenty Years since the Collapse of Communism

An inter-disciplinary conference and festival

26 – 27 April 2012Chancellor’s Hall, Senate House, Malet Street, London WC1E 7HUwww.music.sas.ac.uk £25 (£15 student)

Keynote speakers:Sir Rodric Braithwaite (former UK Ambassador to Russia)Vladimir Tarnopolski (Moscow Conservatoire)

Concerts including works by:Tarnopolski, Raskatov, Karaev, Firsova, Smirnov, Gubaidulina, Radvilovich and Pärt

Presented by The Centre for Russian Music, Goldsmiths and the Institute of Musical Research in association with the BBC Symphony Orchestra’s festival Total Immersion: Arvo Pärt

(M)other Russia A5 leaflet.indd 1 26/03/2012 12:41

Thursday 26 AprilThe Chancellor’s Hall

Session 1: Music, Art, Politics and Ideology in Post-Soviet PeriodChair: Arnold McMillin 10:00 Key-note address: Sir Rodric Braithwaite, a former UK Ambassador to Russia: Russia Today

Coffee

11:00 Irina Souch (University of Amsterdam): Double Thinking: the Tactics of Surviving (post– ) Soviet Ideology

11:30 Tatiana Tsaregradskaia (Russian Academy of Music, Moscow): Pärt and Khodorkovsky

Lunch (own arrangements)

13:30 Lunchtime Concert: Faradzh Karaev (1943 - ) “Monsieur Bee Line” – Eccentric, or Are You Still Alive, Mr. Minister???!!! (2005) for flute, bass clarinet and piano (introduced by the composer) Elena Firsova (1950 - ) A Triple Portrait (2011) for flute, cello and piano (introduced by the composer) Vladimir Tarnopolski (1955 - ) Eindruck-Ausdruck (1996) for flute, clarinet, violin, viola, cello & piano (introduced by the composer)

Performed by The Marsyas Trio: Helen Vidovich (flute); Fei Ren (piano) & Valerie Welbanks (cello),with the Goldsmiths Contemporary Music Ensemble, conducted by Alexander Ivashkin

CD Launch: Nikolai Korndorf (Toccata Classics) The Russian composer Nikolai Korndorf (1947-2001) was a larger-than-life character and wrote music that was similarly expansive and urgent. He was undoubtedly one of the most important Russian composers after Schnittke. His complete works for solo cello (recorded on the CD for the first time) illustrate his unwillingness to be governed by convention.

Session 2: Music: Post-Soviet TransformationsChair: Ivana Medic

14:30 Rebecca Turner (Goldsmiths): Nirvana and Physical Love as a Form Concept in ‘Habil Sayagi’, by Frangiz Ali- Zadeh: Mugham and European Traditions in Post-Soviet Times

15:00 Valerie Welbanks (Goldsmiths): Post-Soviet Gubaidulina

Tea

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Session 3: Opera, Theatre and FilmChair: Ildar Khannanov

15:45 Paolo Eustachi (Independent scholar, Rome, Italy): Evolution of Film-Soundtrack in the Post-Soviet Russia: Valentin Silvestrov and Leonid Desiatnikov

16:15 Ivana Medic (Open University, London): Idiots, Devils and Sinners: Alfred Schnittke's Post-Soviet Operas

Tea

[Session 3 continues]

16:45 Irina Snitkova (Russian Academy of Music, Moscow): Great Russia Myth and the Bolshoi Theatre: Russian History in the Opera Productions of the 2000s

17:15 Vladimir Marchenkov (Ohio University, USA): Abject Truth: Tarkovsky’s Boris in the Post-Soviet Context

Friday 27 AprilThe Chancellor’s Hall

Session 4: Post-Soviet MinimalismChair: Levon Hakobian

09:30 Film: After Bach (Russian Minimalists in Discussion)

10:00 Laila Woozeer (Royal Holloway): Russian Minimalism: Post-Soviet Period

10:30 Tara Wilson (Goldsmiths): Russian and (former) Soviet Post-Minimalist Music: Liberties, Developments and Paradoxes since 1991

Coffee

Session 5: Post-Soviet Literature and Visual ArtsChair: Vladimir Marchenkov

11:15 Arnold McMillin (SSEES, London): Post-Soviet Belarusian Literature Before and After Exile

11:45 Anna Zhurba (The Tretiakov Gallery, Moscow): Post-Soviet Russian Political Art – Evolution or Degradation of Soviet Tradition

Lunch (own arrangements)

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13:30 Lunchtime recital: New Piano Music from Post-Soviet Russia Introduced and performed by Kate Ryder (piano, toy piano) Faradzh Karaev ...“Monsieur Bee Line” - Eccentric (1997) (b.1943, Azerbaijan/Russia) (introduced by the composer) Elena Kats-Chernin Little Waltz for Kate (2010, from the opera "The (b. 1957, Uzbekistan/Australia) Rage of Life") Ekaterina Kulkova CHESS - A Game with White and Black (2009) (b. 1984, Russia)

Arvo Pärt Variations for the Healing of Arinushka (1977) (b. 1935, Estonia )

Vladimir Tarnopolski Eindruck-Ausdruck [Impression-Expression] (b. 1955, Russia) Hommage à Kandinsky (1986) (introduced by the composer) Dmitri Yanov-Yanovsky Allusions and Reminiscences (2000) (b. 1963, Uzbekistan/USA)

Iraida Yusupova Consolamentum (1994) (b. 1962, Turkmenistan/Russia)

‘During my two visits to Russia in 2011, I began researching the idea for a programme of new Russian piano music and was immediately struck not only by the richness and range of the music but the by difficulty of grasping the essence of what makes Russian music quintessentially “Russian”. With composers originating from such a diversity of countries and cultures within the Federation (Karaev, Yusupova) and the wide reaching influence of the diaspora as far away as Australia and America (Kats-Chernin, Yanov-Yanovsky) could there be a sense of a communality of language and a contemporary “Russian style”? Today’s programme seeks to address those questions…’

Kate Ryder

Session 6: Aesthetics and TheoryChair: Tatiana Tsaregradskaia

14:45 Levon Hakobian (Moscow Institute of Art Studies): A Mirror of the Post-Soviet Symphonic Culture

15:15 Ildar Khannanov (Peabody Conservatoire, Johns Hopkins University, USA): Yuri Kholopov’s Concept of Harmony on the Collision Course with Schenkerian Analysis: The Conditions of Russian Music Theory after 1991

15:45 Alexander Ivashkin (Goldsmiths): Songs My Mother Taught Me: Double-Recycling in the Post-Soviet Music

Tea

16:30 Vladimir Tarnopolski (Moscow Conservatoire): Chekhovian Images of Russia and Their Subsequent Deconstruction in my Opera “WhenTimeOverflowsitsMargins”

17:15 Round Table DiscussionChair: Alexander Ivashkin

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Saturday 28 April The Barbican Centre, 11am – 10pm

Total Immersion: Arvo PärtAdayofmusic,filmanddiscussioncelebratingthemusicofArvoPärt

Arvo Pärt creates a soundworld like no other, where the avant-garde comes face-to-face with early music to produce works of radiant beauty. Influenced by plainsong and Gregorian chant, his pared-down, bell-like, deeply contemplative music has made Pärt one of the most popular of today’s composers.

Join the BBC Symphony Orchestra and guests for a day-long exploration of the Estonian composer’s life and work through music, film and discussion. Highlights include exquisite choral music in the atmospheric setting of St Giles Cripplegate and an evening concert featuring Tabula Rasa, the First and Third Symphonies and the starkly beautiful choral work Berliner Messe.

To book tickets for this event, and more information, go to www.bbc.co.uk/orchestras/events/575

Sunday 29 AprilGreat Hall, Goldsmiths

13:30 Concert: Arvo Pärt (1935- ) L’Abbé Agathon, text by Isaac of Syria (for soprano and eight cellos, original version, 2004) Alexander Radvilovich (1955- ) Big Brother, Anti-utopia, texts by George Orwell, Aldous Huxley, Hermann Hesse and Evgeny Zamiatin (for baritone, invisible bass, narrators, women’s choir and ensemble, 2007) Alexander Raskatov (1953- ) Ritual, text by Velimir Khlebnikov (for soprano and percussion instruments, 1997) (introduced by the composer)A Special Guest of the Festival, Alexander Raskatov talks about his music and ideas and about his opera ‘A Dogs Heart’ staged in Amsterdam, London and to be shown in La Scala and in the Metropolitan Opera next season.

Sofia Gubaidulina (1931- ) Sonnengesang [Canticle of the Sun], text by St Francis of Assisi (for solo cello, chamber choir and percussion, 1997)

Performed by Goldsmiths Chamber Choir; Goldsmiths Contemporary Music Ensemble; The Trinity Gold Cello Ensemble (directed by Natalia Pavlutskaya), with Elena Vassilieva (soprano, percussion instruments); Minna Nygren (soprano); James Schouten (baritone); Valerie Welbanks (cello); Deborah King (narrator); Georgia Matthews (narrator); James Hurst (narrator)

Alexander Ivashkin (conductor)Mariano Nuñez-West (sound engineer)

notes on page 23

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14:30 Launch of the Archive of Post-Soviet Music at the Centre for Russian Music

15:00 Conclusion The leading Post-Soviet composers – Elena Firsova, Faradzh Karaev, Alexander Raskatov, Dmitri Smirnov and Vladimir Tarnopolski – in discussion with Alexander Ivashkin.

Meet the speakers, the composers, the performers (alphabetical order)

RODRIC BRAITHWAITE is a former diplomat and writer who has spent much of his career dealing with Russia, which he visits regularly.He was born in London in 1932, when his father Warwick was a conductor at Sadler’s Wells Opera. He was educated at Bedales, served as a sergeant in military intelligence in Vienna in 1951-2, studied French and Russian at Cambridge, and joined the Diplomatic Service in 1955. He had postings in Jakarta, Warsaw, Moscow, Rome, Brussels (European Union), and Washington. He was a member of the Sherpa team for the G7 Economic Summits from 1984-8. He was British ambassador in Moscow from 1988-1992. In 1992-3 he was Foreign Policy Adviser to Prime Minister Major and Chairman of the Joint Intelligence Committee.Since leaving government service, Rodric Braithwaite has been Governor of the English National Opera, Chairman of the Royal Academy of Music, Senior Adviser to Deutsche Bank, and has had a number of business and not-for-profit appointments.He is currently Chairman of the International Advisory Council of the Moscow School of Political Studies. He was a Visiting Fellow at All Souls College, Oxford in 1972-3, and a Visiting Fellow at the Wilson Center in Washington for April-June 2005. He is on the governing body of the Ditchley Foundation. He is an Honorary Fellow of Christ’s College Cambridge, and an Honorary Doctor and Professor of Birmingham University. He was knighted in 1988.Rodric Braithwaite published "Across the Moscow River: The World Turned Upside Down" in 2003. A Russian language edition followed two years later. In 2006 he published "Moscow 1941: A City and its People at War". US and Russian editions followed later in the year, and the British and US paperbacks came out in 2007. The book has been translated into fifteen other languages, including Chinese, Japanese, Hebrew and Indonesian. Rodric Braithwaite has also written “Russia in Europe” (London 1999) and (with Robert Blackwill and Akihiko Tanaka) “Engaging Russia: A Report to the Trilateral Commission” (1995). He writes book reviews and articles on Russian and international affairs, among others in the Financial Times, the Guardian, Prospect Magazine, the New Statesman, and the Moscow Times. He is often interviewed on the British and Russian media. His latest book, “Afgantsy: The Russians in Afghanistan, 1979-89”, was published by Profile Books in 2011.

PAOLO EUSTACHI was born in 1948 and grew up in Umbria.He graduated in Economics at the Luiss University in Rome. His professional activity has been mainly devoted to travel business. He is a freelance author with interests focused on cinema, contemporary music and film scores. He writes regularly for the web-magazine www.colonnesonore.net and the monthly cultural magazine Il Governo delle idee for which he has carried out various concert and CD reviews, interviews as well as surveys of Russian and European cinema and film scores. Paolo Eustachi has also lectured at the Architecture Faculty of the University of Siracusa, at the Sangallo Art Station in Florence, at the Tarkovsky Festival “L’immagine del tempo. Dialogo fra cinema e musica” in Florence and at the Elba Music Festival. In his book In volo fra suoni e immagini published in June 2008 by Edizioni della Meridiana in Florence, he assesses the soundtracks of some European and

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Russian silent and feature films. His latest book Visioni sonore nella Russia del XX secolo mainly focuses on film scores written by the most prominent soviet avant-garde composers like Gubaidulina and Schnittke.

ELENA FIRSOVA is the daughter of a distinguished atomic physicist. She began to compose at the age of eleven and she studied at the Moscow Conservatoire 1970-75 with Alexander Pirumov and Yuri Kholopov. She established contact of a crucial musical importance with Edison Denisov and Philip Herschkowitz. In August 1972, she married the composer Dmitri Smirnov and they have two children, Philip and Alissa. Since 1991, Firsova and her family have been resident in England. She has written more than a hundred compositions in many different genres and had many performances round the world. The premiere of her major work Requiem, set to an Akhmatova poem, took place in Berlin in 2003. Her most recent premiere was The Garden of Dreams in Concertgebouw, Amsterdam. Her music is available through Boosey & Hawkes, Hans Sikorski, and Meladina Press, St Albans.

LEVON HAKOBIAN, Dr. Sci., currently leads the Department of Contemporary Problems of Musicology at the Russian State Institute of Art Studies, Moscow. His publications include ‘Music of the Soviet Age, 1917–1987’ (Stockholm, 1998), the Russian version of ‘Grove’s Concise Dictionary of Music and Musicians’ (Moscow, 2001, 2/2007), a monograph on Shostakovich (St Petersburg, 2004), a concise encyclopaedia of the 20th century music (Moscow, 2010), as well as a number of texts dedicated to the medieval Armenian sacred chant, to topical problems of musical science and to little known 20th century composers.

JAMES HURST is an English and Drama student at Goldsmiths. He has recently finished appearing in the NYT’s production of Ghost Office at the Light House, Glasgow. He has also recently been involved in development workshops for Rory Mullarkeys new play The Grandfathers at the National Theatre. James has also been awarded Grade 8 in Speech and Drama by the London Academy of Music and Dramatic Art.

ALEXANDER IVASHKIN is a writer, cellist, and conductor, Professor of Music, and Director of the Centre for Russian Music at Goldsmiths, University of London. He has published eighteen books – on Penderecki, Ives, Schnittke and Rostropovich, performed in more than forty countries, and recorded the complete cello works by Rakhmaninov, Prokofiev, Shostakovich, Schnittke, Roslavets, A. Tcherepnine, Kancheli, Gubaidulina, Korndorf and Smirnov for Chandos, Naxos and BMG.

FARADZH KARAEV was born in Baku, Azerbaijan in 1943. In 1966 graduated with distinction from the Azerbaijan State Conservatoire, majoring in the composition class by professor Kara Karaev, his father, and from 1970-1971 he took the postgraduate course at the same class. From 1966 - 2003 he was professor of composition, orchestration, polyphony at The Azerbaijan State Conservatoire. He has also taught Music Theory at The Moscow Tchaikovsky Conservatoire, and from 2003-2005 he was of Composition at The Kazan State Conservatoire.He has been on many boards and societies - he was Vice-Chairman of the Association of Contemporary Music (ACM) in Moscow (1994-1996), and co-founder and president of Yeni Musiqi Society for contemporary music in Baku. Karaev was Artistic Director of the BaKaRA Ensemble (Baku) from 1980-1994, and composer-in-residence in Folkwang-Hochschule Essen, Germany in 1991. He was also Art Director during the 2007/08 season of the project "Face To Face With Time" ("Zamanla üz-üzə"), by the Ministry of Culture of Azerbaidzhan.His works have been performed in festivals and concerts throughout former USSR, Europe, USA, South America, and Japan.

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DEBBIE KENT is a writer and performer who is currently studying for an MA in Performance Making at Goldsmiths. She has strong interest in voice and spoken word performance, and has a qualification in Audio Description. She also studied Russian.

ILDAR KHANNANOV is Professor of Music Theory at Peabody Conservatoire, Johns Hopkins University and Vice-Chair of the Scientific Council of the Russian Society for Music Theory (OTM). Khannanov earned his Ph.D in music theory from UCSB (2003) with the dissertation “Russian Methodology of Music Theory and Analysis” under his supervisor: Pieter C. Van den Toorn. He studied music theory at Moscow Conservatoire (1982-1988) and completed his doctoral studies there (1990- 1993) with Yuri Kholopov and Valentina Kholopova. He has published several articles and a chapter in the book Sounding the Virtual. Gilles Deleuze and Philosophy and Theory of Music. He has participated in a number of conferences in the United States, Europe and Russia and is the Editor of the Russian journal Problemy Muzykal’noi Nauki.

EKATERINA KULKOVA was born in Ekaterinburg in 1984. She studied at the Ekaterinburg Musical College until 2003, and graduated from the Moscow P. I. Tchaikovsky Conservatoire (Composition Department) in 2008. Kulkova is a laureate of international and all-Russia composer’s competitions, including the International Composer’s Competition Choir and Organ (Great Britain, Birmingham, 2009, 1st Prize), the Third Open Siberian competition for young composers (Novosibirsk, 2003, 2nd Prize), the First South Ural Open S. Prokofiev competition for young composers (Chelyabinsk, 2002, 3rd Prize). Her piece Incognito, for solo tenor trombone, won 1st prize in the International Composer’s Competition for Woodwind, Brass and Percussion Instruments (Moscow, 2009). Ekaterina regularly takes part in International music festivals, including the Moscow International Music Festival (Moscow, 2007) and the Moscow Autumn (2009). She often takes a part at the concerts concerts as both the author and the performer (piano, organ).Kulkova has been a member of the Composer’s Union of Russia since 2009.

VLADIMIR L. MARCHENKOV is Associate Professor of Aesthetics and Theory at the Ohio University School of Interdisciplinary Arts in Athens, Ohio, U.S.A. His research interests include philosophy of music, theory of myth, Russian philosophy, and the aesthetic thought of South and Southeast Asia. He is the author of The Orpheus Myth and the Powers of Music (Pendragon, 2009) and translator of Aleksei Losev’s renowned 1930 opus The Dialectics of Myth (Routledge, 2003). His essays on the philosophy of music, literature, and painting have appeared in Philosophy in the Contemporary World, Muzykal’naia Akademiia, Analecta Husserliana: The Yearbook of Phenomenological Research, Hera’s Peacock, An International Thematic Interdisciplinary Journal and Studies in East European Thought. He served as a consulting editor on Russian philosophy for the Macmillan 2005 award –wining Encyclopedia of Philosophy. He is currently working on his second book Ontology, Reality, and Play: Art as Transfigurative Praxis.

GEORGIA MATTHEWS is a first year English and Drama student at Goldsmiths. She is a member of the National Youth Theatre of Great Britain and has performed in several productions with them including the environmental production 'S'warm' (London) and 2011 production ‘Slick’ (Sheffield). Georgia has also been an active member of a regional choir for seven years and has a strong passion for music, recently completing an Associate Diploma in Musical Theatre signing.

ARNOLD MCMILLIN was born in 1941. His principal publications include: The Vocabulary of the Byelorussian Literary Language in the Nineteenth Century, London, 1973; Belarusian Literature in the 1950s and 1960s: Release and Renewal, Cologne and Weimar, 1999; Belarusian Literature of the Diaspora,

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Birmingham, 2002; Writing in a Cold Climate: Belarusian Literature from the 1970s to the Present Day, 2010; Pushkin and Rimsky-Korsakov, New Zealand Slavonic Journal, 1999, 23-33; Russian Music in and around Chekhov, Australian Slavonic and East European Studies, 18, 1-2, 2004, 1-16.

IVANA MEDIC is an Associate Lecturer with the Open University, a Teaching Assistant at the University of Manchester, Research Fellow with the Centre for Russian Music, Goldsmiths, and a Convenor of the Study Group for Russian and East European Music with the British Association for Slavonic and East European Studies (REEM/BASEES). She received her PhD Music from the University of Manchester in 2010.

MINNA NYGREN is a Finnish soprano and she studied music from an early age, moving to the UK in 2009 to study with soprano Nan Christie at Goldsmiths, University of London. Since then she has performed as a soloist in Mozart's Requiem, in the OperaGold opera productions, and with the Goldsmiths Contemporary Music Ensemble.

NATALIA PAVLUTSKAYA is Professor of Cello at Trinity Laban Conservatoire of Music and Dance in London and at the specialist Purcell School. Natalia is a highly sought after teacher, in great demand for masterclasses internationally, with a large number of award winning students on several continents. She has been a judge at many international contests, including the Adam Cello Festival/Competition, the Tunbridge Wells International Competition and the Antonio Janigro Cello Competition, amongst others. Natalia performs in the UK, Russia, Europe, America, Australia, and New Zealand, and makes recordings on the Chandos label, including the world premiere recording of Sofia Gubaidulina’s Quaternion.

ALEXANDER RADVILOVICH was born in 1955. A graduate of St. Petersburg State Conservatoire in the composition class of professor Sergei Slonimsky, he also attended the composers workshops in Poland, Holland and Germany conducted by Lutoslawski, Boguslaw Schaeffer, and Brian Ferneyhough. He is the founder and the artistic director of the International Festival of New Music "Sound Ways" in St. Petersburg.Radvilovich teaches at the St. Petersburg Conservatoire and tours as a composer, solo pianist and the director of his ensemble of new music "Sound Ways". He also conducts international masterclasses in Europe, Asia and the USA. Alexander Radvilovich was the first ever Russian composer to give talks at the International Summer Courses in Darmstadt (1992). Among his compositions there are four symphonies, two symphonic poems, three instrumental concertos (for English horn, for harpsichord and violin), Chamber Symphony “Pushkin”; Sinfonia Sacra for Chorus and Ensemble, Chamber opera Hindrance (text by Daniil Kharms), anti-utopia Big Brother, and The Passion of Judas. His music has been performed and recorded by radio stations around the world and has been published by music publishing companies in Russia, Holland and the United States.

ALEXANDER RASKATOV was born in 1953 in Moscow. He graduated from Moscow Conservatoire in 1978, in the composition class of professor Albert Lehman. From 1979 to 1982 he continued his postgraduate studies at the Moscow Conservatoire, and became a member of Composer's Union of Russia in 1979, and a member of Association for Contemporary Music of Russia in 1990. Also in 1990, he was composer-in-residence at Stetson University, Deland; USA. He lived for a while in Germany and since 2007, he has lived in Paris. Raskatov has received commissions from such performers as Gidon Kremer and the Kremerata Baltica, Yuri Bashmet, Valeri Gergiev and Mariinsky Theatre,

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Borodin String Quartet and soprano Elena Vassilieva, The Hilliard Ensemble, Windenensemble, Sabine Meyer, Schoenberg/Asko Ensemble, Reinbert de Leeuw and Concertgebouw, Radio France, Netherland Wind Ensemble, Stuttgart Kammerorchester, Basel Symphony Orchestra, Dallas Symphony and Jap van Zweden among others. Raskatov worked with orchestras and conductors such as London Sinfonietta and Marcus Stenz, Bayerischer Rundfunk Orchestra and Mikhail Gielen, Philharmonic Orchestra of Radio France and Arturo Tamayo, Rotterdam Philharmonic, Mariinsky Theatre Orchestra and Valeri Gergiev. Raskatov’s works have been recorded for labels Chant du Monde, BIS, Megadisc, Nonesuch, EMI, Wergo and Claves. In 1998 Raskatov received the Main Compositin Prize of the Salzburg Easter Festival (with jury members Claudio Abbado and Gyorgy Kurtag). In 2002, the CD After Mozart, including a piece by Raskatov, played by Gidon Kremer and Kremerata Baltica received a Grammy award. In 2004, Dutch TV made a special film production dedicated to Raskatov’s Concerto for Viola and Orchestra PATH, played by Yuri Bashmet and Rotterdam Philharmonic under Valeri Gergiev. Recent commissions include Nunc Dimitis for voices and orchestra, for the Dresden Philharmonie, Bruckner Orchestra Linz and the New York Philharmonic, a violin concerto, In Excelcis, for the Dallas Symphony Orchestra, a symphony for Bass and Orchestra Alphabet of Death (with texts by Khlebnikov) for Holland Radio, and White Nights Dream for orchestra, commissioned by LPO /Vladimir Jurowski, Ferrara Musica Italie, and Ars Musica Bruxelles, premiered in 2011. His opera, A Dog's Heart (after M.Bulgakov) was premiered in Amsterdam, followed by performances in London (ENO), with forthcoming performances at La Scala (Milan), and the Metropolitan Opera in 2014. His latest commissions include a Cello Concerto for the Schoenberg Ensemble, to be premiered on 30 October in Amsterdam with David Geringas and Mysterium Magnum, for 2 soloists and orchestra, to be premiered on 25 October 2012 by the Basel Symphony Orchestra with soloists Vassilieva and Didenko. In 2012, Raskatov received a joint commission from the Residentie Orchestra in Den Hague and Seattle Symphony for a Piano Concerto, to be premiered in May 2013 with Tomoko Mukayama in Den Hague.As well as a composer, Raskatov is himself a pianist and often performs his own piano works .

KATE RYDER was born in Sydney, and now based in London. Ryder’s wide ranging experience as a pianist encompasses solo work & collaborations with leading ensembles in dance, film, live electronics and theatre where she has established herself as a versatile and engaging performer. She has had many works created especially for her by composers in the UK and abroad.She has a particular interest in extended techniques and unusual keyboard instruments – toy pianos, music boxes, antique keyboards, and prepared piano - incorporating them into her work, and commissioning, performing, recording and regularly giving workshops on these unique instruments. Her Toy Piano project is developing an authentic new keyboard repertoire using her growing collection of tiny vintage pianos (1904 -1960), which range from one to three octaves, mixing them with beats, electronics and images to create an entirely new sound worldShe has established several ensembles with other artists, most recently multi keyboard ensemble Keynote + with harpsichordist Jane Chapman, with whom she was invited to be Visiting Artist at UC Berkeley, California in 2007 and 2008. Their next London performance will be at Kings Place in June 2012. She has also held artistic residencies at Brunel University, the University of Bogotà, Colombia, and Goldsmiths, University of London. In 2011, she took her projects –and instruments- around the world to festivals in Australia, Sweden, and Russia. She has recently curated events for London’s South Bank Centre for their Massed Piano weekend, and for the Cornelius Cardew Festival Day in November 2011.

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JAMES SCHOUTEN (baritone) is the second year music student at Goldsmiths, studying with Nan Christie. He is equally at home in classical and popular repertoire; James has performed numerous contemporary works at various London venues. He is taking part in the OperaGold production of La Traviata, to be performed at Goldsmiths on 8 and 9 June 2012.

DMITRI SMIRNOV, the son of opera singers, entered the Moscow Conservatoire in 1967. He studied with Nikolai Sidelnikov, Edison Denisov, Yuri Kholopov and Philip Herschkowitz. Many of his works, including operas Tiriel and Thel, reflect his fascination with the drawings and paintings of William Blake. Since 1991, Smirnov and his wife, the composer Elena Firsova, have been resident in England, settling in St Albans. Commissions have come from the London Symphony Orchestra, L'Orchestre de la Suisse Romande, Leeds Festival Chorus, Brodsky Quartet, Karine Georgian and Mstislav Rostropovich. His book A Geometer of Sound Crystals was published by Verlag Ernst Kuhn, Berlin, 2003. His most recent premiere was in January 2012, with Space Odyssey in Chicago, with CSO conducted by Riccardo Muti. His music is available through Boosey & Hawkes, Sikorski, and Meladina Press, St Albans. He is currently teaching compositon at Goldsmiths.

IRINA SNITKOVA is a Doctor of Art Criticism and a professor of the Gnessins Academy of Music and the Moscow State Tchaikovsky Conservatoire, where she teaches courses in counterpoint and new methodologies of humanitarian research. The area of her research interests is the music of late 20th and 21st centuries, the aesthetics of post-modernism and the theory of contemporary musical composition. The main perspective of research during the last few years was formulated in the title of one of her works – The Picture of the World Imprinted within Musical Structure (The Conceptual Structural Paradigms of Contemporary Music). Her interests include musical cryptography (as shown in her article on Webern’s Symphony opus 21 and about the music of the group “Moscow cryptophonists”). Her doctoral dissertation was dedicated to the issues of texture in 20th century compositions. Since 1995 she has been a member of the organizing committee of the Moscow Forum International Festival of Avant-garde Music.

IRINA SOUCH has a background in Germanic Philology, Pedagogics and Literary Studies and she also works as a conference interpreter and translator.Irina is currently a PhD candidate at the Amsterdam School for Cultural Analysis (ASCA). Her work addresses the formation, assertion and representation of post-Soviet Russian identities through the analysis of popular television series and films. Other research interests include contemporary Russian social theory and philosophy.

VLADIMIR TARNOPOLSKI was born in 1955 and studied composition at the Moscow Tchaikovsky Conservatoire with Edison Denisov. His works have been regularly performed by numerous famous musicians, such as Mstislav Rostropovich, Valery Gergiev, Ingo Metzmacher, Vladimir Yurovsky, Reinbert de Leeuw, Alexander Lazarev, Natalia Gutman, Yuri Bashmet and many others.Tarnopolski is a frequent guest in many Western contemporary music festivals. He has had commissions from some of the world's leading orchestras, among them the Symphonieorchester des Bayerischen Rundfunks, Ensemble Modern, Ensemble InterContemporain, Musikfabrik, Schönberg Ensemble, Ensemble of Soloists of the Bolshoi Theatre, Klangforum Wien and others. His stage works have been premiered at the Münchener Biennale, Beethovenfest Bonn, Barbican Hall London, Rencontres Musicales d'Evian, Contemporary Dance Festival Netherlands amongstb others.Tarnopolski plays a significant role in the development of contemporary Russian musical life. He founded the Centre for Contemporary Music at the Moscow Conservatoire, the first of its kind in Russia, the Studio for New Music Ensemble, the Jurgenson International Competition for Young Composers, the Moscow Forum, an annual International Festival of Contemporary Music, the

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main focus of which is the integration of contemporary Russian music with Western European contemporary music. Since 1992 Tarnopolski has been a professor of composition at the Moscow Tchaikovsky Conservatoire where he founded the new department for contemporary music. He has held numerous composition seminars in Europe and USA. Tarnopolski's musical compositions have been awarded the Dmitri Shostakovich Prize (Russia) and the Paul Hindemith Prize (Germany). Tarnopolski is a member of the Saxon Academy of Arts.

TATIANA TSAREGRADSKAYA is a senior lecturer at the Gnessins Russian Academy of Music (Moscow, Russia) and professor of music theory. Her PhD topic Compositional techniques of Boulez, Stockhausen and Babbitt: structuralism in music of Europe and America (1988) was undertaken in Vilnius (Lithuania) and since that time she had published about 30 articles on the issues of contemporary music. At the Academy she lectures on the subjects of contemporary harmony as well as rhythmic techniques of the 20th century and postmodernism in music and musicology. In 2002 she published the book Rhythm and Time in Olivier Messiaen’s Music. Her current interest concerns musical gesture as a compositional category in the music of late 20th century (Berio, Feldman, Lachenmann, Xenakis and Ferneyhough).

REBECCA TURNER is a much sought after performer around London, North America, Asia and New Zealand, participating in numerous projects and gigs, ranging from classical symphonies, to film recordings and indie rock. In 2001, she was awarded a scholarship to study under Professor Mihaly Virizlay towards a Masters of Music degree at the Peabody Conservatoire of Music. Following this, Rebecca took up a fellowship to study at the University of Singapore and appeared as a guest with the Singapore Symphony. Rebecca’s journeys took her to London in 2004 to study with world-renowned cellist and pedagogue, Natalia Pavlutskaya, and then to Toronto in 2006, where she was under the tutorledge of the famous contemporary cellist, Shauna Rolston. Currently, Miss Turner is working towards her PhD in Modern Technique and Aesthetics in 20th Century Cello Music, at Goldsmiths, University of London.

ELENA VASSILIEVA (soprano) began her career very early. At age nine, she performed the role of Bastienne in Mozart’s opera on stage, and had made a series of recordings by the age of 16. Parallel to her very advanced studies in classical dance, the young diva took courses in solfege, harmony and piano to dedicate herself to singing and to the stage. Though she was interested in science, she later had to give up her studies in biology to enter the Paris Conservatoire in 1977.Vassilieva has recorded with Harmonia Mundi, Erato, Cascavelle, Le Chant du Monde, Bis, Wergo, Claves and ECM . Her predilection for recitals has led her to sing for such prestigious events as the Salzburg Festival, the Wigmore Hall series and BBC recitals in London, the Diaghilev Festival in St. Petersburg, the Warsaw Autumn, the Turin Autumn, the Festival Radio France, the Musical Seasons of Tchaikovsky Hall in Moscow, Salle Pleyel in Paris, Theatre Chatelet and the Opera Comique in Paris, Festwochen in Berlin, Hannover, Heidelberg and Badenweiler, the Ferrara Opera (Claudio Abbado’s Festival), Musikverein (Vienna), and Cité de la Musique (Paris). She performed with violinist Gidon Kremer in Kronberg, Riga and Lockenhaus in 1998, 2005 and 2006. Many contemporary composers write for Elena Vassilieva, such as Denisov, Huber, Gubaidulilina, Globockar, B.R Deutsch, Raskatov, Rihm and Henze. They consider her to be an accomplished musician with a unique vocal technique. She sang the Concerto for Voice by Kurtag with the pianist Aimard at many important festivals. She premiered Majatka‘s Concerto for Voice by with the Philharmonic Orchestra in Prague and Orchestra Radio France in Paris in 2009. She sang the virtuosic Concerto of Ph. Leroux in Copenhagen. She took the main role in Alexander Raskatov’s opera A Dog's Heart in Amsterdam Opera and at

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ENO in London in 2010. Recent engagements include a recital at the Schnittke Academy in Hamburg and concerts in Basel conducted by Dennis Russel Davies in 2011 and in 2012. Vassilieva will make her La Scala debut in March 2013, performing in Raskatov’s opera; and she has been invited to Ferrara, Italy to perform Schoenberg’s Pierrot Lunaire and works by Debussy in December 2012.

VALERIE WELBANKS, a Canadian cellist, plays with both the Ligeti Quartet, which specialises in 20th and 21st century music, and the Marsyas Trio, one of the most prolific flute, cello and piano trios in Europe. She graduated from the Royal Academy of Music in 2008 with a Masters of Music in Performance with distinction, and is currently in her 2nd year of the Mphil/PhD course at Goldsmiths, under the supervision of Alexander Ivashkin and the tutelage of Natalia Pavlutskaya.

TARA WILSON is a doctoral student at the Centre for Russian Music, Goldsmiths, University of London. She is currently completing a PhD on Russian post-minimalist music, focusing on the paradoxes between the musical text and meaning on the poietic, using post-structuralist analysis and the semiotic theories of Jean Molino and Jean-Jacques Nattiez as the basis for her work, under the supervision of Dr. Craig Ayrey.

LAILA WOOZEER graduated in Classical Music (BMus) from Goldsmiths, University of London in 2011 and is currently studying for an MMus in Advanced Musical Studies (focusing on Performance) at Royal Holloway, University of London as a first study bassoonist. Additional research interests include contemporary music performance (focusing on the bassoon), techniques involved in ethnomusicology and Russian music during the 20th Century. She is currently the composer and musician for Rhum And Clay theatre company and the director of WOLF PACK, a contemporary music collective based between Egham and London.

DMITRI YANOV-YANOVSKY was born in 1963 in Tashkent, Uzbekistan. In 1986 he graduated from the Tashkent State Conservatoire, where he took composition and instrumentation classes with his father, professor Felix Yanov-Yanovsky. He was a participant in masterclasses with P. Ruders and E. Denisov (1992) in Lerchenborg and he took part in Summer Academia at IRCAM in Paris (1993). Yanov-Yanovsky has won a number of awards for his musical compositions; among them, second prize at the 4th International Competition of Sacred Music (Fribourg, Switzerland, 1991) for his piece Lacrymosa for soprano and string quartet; ALEA III International Prize (Boston, 1992) for his work Presentment for chamber ensemble and tape; and Special Award of Nantes at the International Film Festival (France, 1992) for the musical score in the film Kammie. In 1993-94, Yanov-Yanovsky performed and recorded the chang part in his piece Chang Music V with the Kronos Quartet. In 2000, together with Elisabeth Chojnacka, he performed and recorded his Music of Dreams for harpsichord and chang. In 2002, Yanov-Yanovsky won a fellowship from Siemens Corporation USA and spent two months in New Jersey as composer in residence. Between 2002 and 2004, Yanov-Yanovsky was a composer in residence with the Belgian ensemble Musiques Nouvelles. In 2006 he was invited to join other composers in the Carnegie Hall’s Professional Training Workshops for Young Musicians. In 2008-09 he was a composer in residence at Harvard University.

IRAIDA YUSUPOVA (b. 1962) is a composer of half Russian - half Tatar ethnicity who currently lives in Moscow, Russia. Yusupova was born in Ashgabat, Turkmenistan, and graduated from Moscow Conservatoire with a degree in composition in 1987. She has written and composed 3 operas, 2 symphonies, 6 cantatas, 3 instrumental concerts, and a great deal of chamber music, electro-acoustic music, and music for cinema and Theatre spanning over the late eighties to the present day. Her various styles include minimalism, serialism, and several progressive new age styles. Her music has been performed in Germany, Austria, France, Italy, Sweden, Belgium, USA, Switzerland, Turkey and Hungary.

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ANNA ZHURBA completed the MA in Contemporary Art Theory at Goldsmiths, University of London. Currently she is working as contemporary art specialist in the auction house Phillips de Pury in Moscow and simultaneously working on independent curatorial projects dealing with the questions of social exclusion. Her main research interest lies in the sphere of ethics of the relations with the Other and reconceptualization of the very notion of the “other”.

GOLDSMITHS CHAMBER CHOIRStephanie ErnestineRebecca GrantSharon Allen-BurnettAnna-Maria DixonKimberley DevonshireRuth PuleChristina JohnsonHannah BishayLauren CrockattMarta ThorbjornsenTanya JacksonWilliam FrampronHywel JonesTom SargeauntGeoffrey EwenTim PatrickJames SchoutenDaniel Wright

TrinityGold Cello EnsembleGregory DugganDeniss JankovskisWei-Tsen LinThomas ShelleyLydia ShillingMatthew StroverRebecca TurnerMiriam Wakeling

TrinityGold Cello Ensemble is a group of students from Trinity Laban Conservatoire of Music and Dance and Goldsmiths, University of London. Under director Natalia Pavlutskaya it has performed at London's Wigmore Hall and Southbank Centre; The Queen's Hall in Edinburgh; and at various festivals in France.

GOLDSMITHS CONTEMPORARY MUSIC ENSEMBLETom Sargeaunt (flute)Craig Macartney (clarinet/bass clarinet)Rocco Franzoni (French horn)Alastair Taylor (trumpet)Hywel Jones (trombone)Maria Pratiwi (harp)Vanesa Santanach (piano)Ian Munro (percussion)Rosie Bergonzi (percussion)Thomas Greed (violin)Melanie Powell (viola)Wei Tsen Lin (cello)

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ABSTRACTS(in the order of the symposium)

IRINA SOUCH (University of Amsterdam)Double Thinking: the Tactics of Surviving (post-)Soviet Ideology

For many decades, individual subjects in Russia were forced into an utter compliance with the stringent requirements of the political and ideological machine, which conjured an idealized collective image of the Soviet people. Perceived as universal, the reigning system of norms and values had an intrinsically utilitarian significance: the claim that morality depended on the benefit of individual actions for “the working people” and “the communist case” was meant to conceal the fact that these actions in reality had to conform to the higher authorities’ decisions. According to the renowned Russian sociologist and founder of the Levada Analytical Center for public opinion and market research Yurii Levada (1930-2006) the impossibility to live up to the ideal, in combination with the high level of coercion and subjugation, produced in individuals an unquestionable readiness for “crafty adaptation.” This kind of adaptation strongly relied on the activation of the mechanism of double thinking, which came down to a capacity to unreflectively combine and simultaneously employ seemingly incompatible beliefs and practices in relation to the same context or situation. The concept of double thinking was first introduced by Levada in the 1990s and subsequently developed by Boris Dubin, Lev Gudkov and Igor Kon. Importantly, these theorists do not derive the present collective Russian identity from a deeply rooted traditional set of values and norms that was temporarily interrupted by the Soviet discourse, but rather see it as an effect of the continued operation of the demagogy, institutionalized oppression and forced equalization imposed on the Russian subjects by the totalitarian regime, in complete isolation from the Western socioeconomic and cultural reality. Thus, although the coexistence of public ideological indoctrination and the private, intersubjective reformulation of the imposed norms constituted the main characteristic of the Soviet everyday reality the traces of this duality can still be identified in the contemporary period of societal transformation. In Negative Identity (Negativnaia Identichnost, 2004) Gudkov argues that in the present situation the failure of social institutions to function according to the formally declared objectives of democratic society cannot lead to overt restrictions or constraints from the side of these institutions, as was the case under the Soviet regime. Therefore it results in what the author calls “unexpected coercion.” This can take the form of a deliberate deception, forcing the individuals to revert to the action modes that deviate from the conventional norms. In the absence of a possibility to make use of officially determined or formally agreed upon rights individuals seek alternative ways to achieve their goals through fraud, pretence, avoidance of commitments and the use of personal connections. Developing Levada’s thought, Gudkov asserts that the declared social organization and subversive individual behaviour are inseparable in real-life situations, establishing a powerful code of social coexistence and, through this, constituting the collective perception of the desirable and the actual order of things. This paper will focus on “double thinking” as a crucial tactics employed by social groups and individuals in the present-day Russia in order to cope with problematic situations and to offer resistance to structures that can be experienced as oppressive. By analyzing a popular television series The Enchanted District (Zakoldovannyi Uchastok, 2006, director Aleksandr Baranov) I will make an attempt to demonstrate how the double thinking nowadays continues to function as an approved mechanism of social adaptation and how the constellation of conflicting normative systems finds its manifestation in the everyday inconsistent and manipulative conduct of individuals and collectivities.

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TATIANA TSAREGRADSKAIA (Russian Academy of Music, Moscow)Pärt and Khodorkovsky (“hidden” text in the 4th symphony by Arvo Pärt)

Arvo Pärt dedicated his 4th Symphony to the prisoner of current Russian regime Mikhail Khodorkovsky, the former millionaire, accused of non-payment of taxes. This dedication puts a question about the link between the poetic of the composition, its inner resemblance to Orthodox prayer to Guardian Angel and both the name of the symphony (“Los Angeles”) and the dedication. Pärt’s 4th Symphony seems to be a crossing between genre development, poetics of dedications and new trends in Pärt`s musical language. Exploring different aspects of abovementioned relationships makes possible to propose what is the message of the 4th Symphony.

REBECCA TURNER (Goldsmiths, University of London)Habil Sayagi by Franghiz Ali-Zadeh: The Amalgamation of Mugham and European Traditions.

The collapse of the Soviet Union in 1991 saw the releasing of ideological control and political censorship that had been imposed on composers throughout their nation's history. For the first time, composers’ could choose almost any style or subject for their musical expression, and sought to express and symbolize their personal beliefs in the medium of essentially classical genres. Franghiz Ali-Zadeh’s post-communist contributions to the cello repertoire are emblematic of this newfound freedom. However, I propose in this paper, that rather than displaying a revolutionary reaction, Ali-Zadeh’s style of writing has instead continued on a evolutionary path, one that was firmly established in her 1979 work, Habil Sayagi for cello and prepared piano. This particular work presents one of the composer’s most successful works to date, and the foundation with which she has based much of her subsequent compositions around. Born in Baku in 1947, Ali-Zadeh is part of a generation of composers growing up in Azerbaijan during the second half of the twentieth century, who aimed to express the Azerbaijanian musical character by integrating the emotional, modal, melodic and structural content of their native classical folk music, mugham, with the European classical repertoire in which they received their formal training. In both Habil Sayagi and her later cello works, Ali-Zadeh draws deeply into her national and religious heritage, using the instrument to tell folk tales, express religious ideas and introduce Azeri Mugham traditions and techniques into the repertoire.

VALERIE WELBANKS (Goldsmiths, University of London)Post-Soviet Gubaidulina

This year celebrates Russian composer Sofia Gubaidulina's 80th birthday. Largely unknown to the west until Perestroika, Gubaidulina’s works have in the past two decades increasingly received the attention they deserve. Cellist Valerie Welbanks will be discussing various aspects of Gubaidulina's compositions for the cello, addressing the question of what elements define such an individualistic idiom and how performance practice can be approached in the execution of her works. Examples from her string quartets and solo cello music will be placed in parallel with her monumental Sonnengesang, a piece for solo cello, choir and percussion which Valerie will be performing on April 29th in the Great Hall at Goldsmiths. Gubaidulina's works will also be explored in the context of her life and compositional output, as well as the artistic and political climate of her homeland both before and after the collapse of the Soviet Union.

PAOLO EUSTACHI (Rome, Italy) Evolution of Film Soundtrack in the Post-Soviet Russia: Valentin Silvestrov and Leonid Desiatnikov

A striking feature of Soviet cinema used to be the frequent collaboration between prominent film directors and outstanding composers. This started in 1929 when the directors Grigori Kozintzev

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and Leonid Trauberg commissioned the music for the silent movie The New Babylon to Dmitri Shostakovich.In the course of the years the co-operation between cinema and music produced several important artistic collaborations such as Eisenstein and Prokoviev, Khachaturian and Romm, Schnittke and Klimov, Schnittke and Shepit’ko, Tarkovsky and Artem’ev, Daneliia and Kancheli. Shchedrin or Gubaidulina also occasionally wrote film scores. Writing film scores was often seen as a last resort in order to earn the living in the difficult time of soviet dictatorship, where the best artists were doomed to become the target of blind political persecution and consequently victims of boycott and censorship. The world of cinema, in particular the Mosfilm Studios in Moscow, used to enjoy a certain degree of freedom and became a platform where composers could experiment with new ideas which would not have been accepted in official concert performances.The paper discussed the post-soviet developments in the film music industry, with a particular reference to the music by Valentin Silvestrov and Leonid Desiatnikov.

IVANA MEDIC (Open University, London)Idiots, Devils and Sinners: Alfred Schnittke’s Post-Soviet Operas

In 1990, as the Soviet Union was dissolving and its political, cultural and economical foundations and institutions collapsing, Alfred Schnittke became one of the thousands of intellectuals, artists and professionals who left the country, making this "brain drain" second only to the one that had occurred immediately after the October Revolution. Being partially of German extraction, and feeling a strong kinship with German culture throughout his career, Schnittke settled in Hamburg and, although plagued by increasingly poor health, he continued to compose prolifically. In this paper I will focus on his late operas Life with an Idiot (1990-1991, libretto by Victor Erofeev; premiered in 1992 in Amsterdam, The History of Dr Johann Faustus (1991-94), libretto by Alfred Schnittke and Jürgen Köchel; premiered in 1995 in Hamburg, and Gesualdo (1993), libretto by Richard Bletschacher; premiered in 1995 in Vienna. I will try to determine to what extent these operas reflect Schnittke's status as a Russian composer in exile. Furthermore, I will discuss whether these works relate more to the Russian or German side of Schnittke's artistic personality, and to what extent is this duality of Schnittke's cultural identities reflected in his choice of subject matter. Finally, I will analyse in what ways these works provide Schnittke's commentary on the dissolution of his homeland. Although only Life with an Idiot deals explicitly (though metaphorically) with life under dictatorship and the "brainwashing" of people forced to live under an oppressive regime, I will argue that all three operas problematise the issues of political and cultural pressures and the protagonists' consequential loss of identity.

IRINA SNITKOVA (Russian Academy of Music, Moscow)Great Russia Myth and the Bolshoi Theatre: Russian History in the opera productions of the 2000s

The Bolshoi Theatre is one of the symbols of Russian statehood, its recognizable world “brand” (as President Dmitri Medvedev described it), one of the most important elements of contemporary national and cultural mythology. The Bolshoi Theatre presents not only its own name but also the synonym of the “grand style” generated by the 19th century Russian historical opera, which was continued in the “grand Stalin style” in the 20th century. The aesthetical goals of the Bolshoi Theatre present an indicator of the cultural and social processes taking place in Russia. In the contradictory political situation of the 2000s the revival of the Myth of Great Russia is accompanied by a number of new productions of the Bolshoi Theatre with the attempts of its artistic deconstruction. The latest premieres of the Theatre include The Golden Cockerel, directed by Kirill Serebrennikov, Ruslan and Ludmila, directed by Dmitri Cherniakov, as well as a number of other performances displaying the signs of disintegration of the “grand style”. In this presentation these productions are examined in the context of the present-day political situation and on the background of the country history.

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VLADIMIR MARCHENKOV (Ohio SU, USA )Abject Truth: Tarkovsky’s Boris in the Post-Soviet Context

Andrei Tarkovsky’s 1983 production of Modest Musorgsky’s opera Boris Godunov for the Royal Opera at Covent Garden has become a notable phenomenon in the post-Soviet Russian opera theatre. In 1990 it was revived at the Kirov Theatre by Valerii Gergiev and ran till 1994. Another attempt was made in 2006 in the same theatre, now renamed Mariinskii. Commentators also routinely view Tarkovsky’s production as a precursor of that by Alexander Sokurov, a disciple of the master, for the Bolshoi Theatre in 2007. Given Tarkovsky’s cult status in Russia and elsewhere, it is not surprising that his Boris is now an integral and acclaimed part of his legacy, as well as of operatic culture both in Russia and abroad. In this paper, I look at Tarkovsky’s production of the opera in a somewhat unusual light: I approach it as a meditation on the destiny of art in the modern world. Normally – and quite naturally – the spectator’s and the critic’s attention is focussed on the opera’s central character, Tsar Boris, and the entanglements of power and morality in his psychological drama. The critic’s attention is also often absorbed by the part played by the folk at a critical juncture in Russian history. But there is also another theme in the story, namely, the destiny of the truth-telling poet in modern history. In Pushkin’s drama several characters qualify as such a figure: Pimen, the Patriarch, the blind shepherd, and, of course, Nikolka the Holy Fool. Each of them serves as a conduit for the sacred, objective moral order whose pressure on the events in this world is ineluctable – even when it is ignored by everyone else. In Musorgsky’s opera the list of such characters is tellingly shortened, reflecting a different stage in Russian intelligentsia’s thinking about history. The atmosphere darkens, and the sacred world withdraws farther from human affairs, its light grows dimmer. The Patriarch, for example, is made to play the politic games of Shuiskii and his ilk, whereas the Holy Fool is considerably more prominent: he becomes, in fact, the only character who speaks the truth directly to power – at the price of even deeper abjection than in Pushkin’s text. Richard Taruskin wisely noted “the harsh and hopeless impression Musorgsky calculated his opera to produce.” Tarkovsky paid close attention to Musorgsky’s revisions of the original, and drew his own conclusions. Reading the opera against the grain, he saturated his production with symbols that invoke the constant, ineluctable presence of the other world where objective truth (and mystery) reign supreme. At the same time he emphasized even further Musorgsky’s theme of the truth-teller’s abjection as the rest of society is caught in a frenzy of violence. The move freed up that part of the opera’s content which had been heavily obscured by generations of pre-revolutionary nationalist and then Soviet ideological interpretations. The director’s hints are hard to miss in the post-Soviet context, heir as it is to the massive, historic violence of the Soviet period. But Pushkin, Musorgsky, and Tarkovsky’s target is larger than Russia’s destiny alone: their three respective Borises are successive critiques of the modern project in general and at the same time affirmations of genuine art as a conduit for truth. As Sokurov picks up the theme he ensures the continuation of this uneasy meditation on a history that has gone badly wrong and exposed the artist and his truth to the constant threat of abjection.

LAILA WOOZEER (Royal Holloway, University of London) Russian Minimalism: Post-Soviet Period

This talk aims to look briefly at the impact of American minimalist music on Russian composers, with specific interest in the works of three distinct composers. The work of composers such as Steve Reich and Terry Riley has had a large impact on many works during the twentieth century, but until now minimalist music in Russia has not been a widely documented subject. Numerous composers of Russian background have cited the American minimalist movement as an influence, and I will look specifically at the works of Vladimir Martynov and Nikolai Korndorf and, to a lesser extent, Arvo Pärt. These three composers will be examined as a miniature case study within my wider research on Russian composers who incorporate minimalist ideas and influences in their work.

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On the surface there is a conflict of interests over the core ideas of representation between these two branches of composers. The question arises as to whether these Russian composers have followed on from the American minimalists and adhered to a strict central notion to avoid representation of any kind in their music. Or have they re-appropriated American minimalist musical constructions and techniques to create a uniquely Russian format, centered around a core idea of representation in music?My research primarily involved a large amount of original analysis of works by the three composers I chose to focus on using rare scores held at the Centre for Russian Music in Goldsmiths. I will be looking specifically at the piano works of Nikolai Korndorf (such as Yarilo, Lullaby and A Letter To V Martynov and G Pelecis) as well as the ensemble works of Vladimir Martynov (such as Night In Galicia, Daily Routine and the full scale opera Vita Nuova).During the course of this research I identified a number of links between both the three Russian composers of focus, and on a broader scale, between these three composers in relation to American minimalist composers working abroad around the same time. I have also taken a brief look into ideas and issues with the often-used term "holy minimalism" as a seemingly related off-shoot of minimalism and typically associated with, amongst others, Arvo Pärt.Though there is not long enough to discuss the scope of this topic in much focused detail today, I will touch in a range of issues presented and reach a broad conclusion that there is an inherent difference between the works of the Russian composers and the American minimalists, as well as suggesting a tentative idea of a Russian “maximalist” idea as opposed to the American minimalist aesthetic.

TARA WILSON (Goldsmiths, University of London)Russian and (former) Soviet Post-Minimalist Music: Liberties, Developments and Paradoxes since 1991

Unprecedented change has taken place in Russia and the former Soviet Union since the fall of Communism in 1991, with this having a major impact on its music in a variety of ways. The removal of totalitarian restrictions, new and unparalleled access to resources and artistic influences as well as an increase in cross-cultural communication has undoubtedly had a significant effect on compositional development, with the mass exodus of Soviet composers and performers and the removal of state subsidy also having implications on both a practical and creative level. Those most affected have been the generation of composers formerly known as the ‘second generation Soviet Avant-garde’; those who, in the wake of Denisov, Schnittke, and Gubaidulina, have matured in style during the Eighties’ climate of Glasnost and Perestroika while being faced in the Nineties and beyond with liberty and momentous upheaval: this paradoxically causing a loss of direction and creativity in some cases, with the various compositional ‘movements’ each being affected differently by the changes, some to a greater extent than others.Russian (and former) Soviet post-minimalist music is, as its name suggests, a variant of American minimalist music which first emerged on Soviet soil during the mid-Seventies, propagated notably by composers such as Vladimir Martynov (b. 1946), Alexander Knaifel (b. 1943), Nikolai Korndorf (1947–2001), Alexandre Rabinovitch-Barakovsky (b. 1945) and Georgs Pelecis (b. 1947). Similar in practice to its American counterpart, but differing noticeably in aesthetic in that it no longer adheres to abstraction and non-referentiality, Russian and Soviet post-minimalist music aims, as a collective, to communicate a complex array of narrativic and esoteric meanings in direct contrast to the minimalist forms employed. What is significant however, is that the movement has remained almost unchanged in both aesthetic and practice from its inception until 1992 when it noticeably evolved in all known cases - this development being both surprising and paradoxical in that while it coincides with the socio-political changes mentioned above, the variant, historically, has never been influenced by socio-political events or any wider political context to any significant degree.

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Examining in light of this the post-Soviet, post-minimalist aesthetic and practices of a number of these composers, this paper aims to:Summarise the developments that have taken place within post-minimalist music between 1992 and 2011, both aesthetically and compositionally;Examine the likely reasons for these developments;Identify the extent to which the fall of Communism has played a part in these developments and the degree to which this music has or has not become influenced by its surrounding socio-political context.The use of visual and recorded examples will be included.

ARNOLD MCMILLIN (School of Slavonic and East European Studies, University of London)Post-Soviet Belarusian Literature Before and After Exile

As the 19th-century Russian poet Tiutchev observed, ‘Russia is a special case’. Unfortunately Belarus in the 21st century is also special, having failed more than any other post-Soviet state to free itself from the past. Despite the present authoritarian regime, however, Belarusians have not shown the same inclination to leave their country as, for example, Russians and Poles, although many members of the creative intelligentsia have thought and even talked about the possibility. Despite the difficult circumstances, Belarusian literature remains vibrant with many talented young writers, poets and playwrights. Those who have left the country in recent years did so for a variety of reasons, including rational fear, a desire for freedom of expression, an instinct for survival, marriage to a foreigner, and simply a heartfelt dislike of the country and its people. The outstanding prose writer of the 20th century, Vasil Bykaǔ, left his native land when Łukašenka came to power, convinced that he would be killed by the latter’s secret police. In exile Bykaǔ corresponded extensively with the poet Ryhor Baradulin, together producing a deeply moving book of poems, pictures and prose miniatures: a true monument to the tragedy of exile for those left behind. In his last years Bykaǔ turned away from unheroic war literature to parables reflecting acute political and existential problems. He also wrote several volumes of memoirs. Thus, Bykaǔ’s exile, though forced, undoubtedly led him to new and fruitful paths.Another writer whose name reached the British press is Uładzimier Niaklajeǔ. Having lived for several years in Poland and Finland, he returned to Belarus in 2010 as a candidate in the presidential elections. In modern times only Paderewski managed to combine art and politics successfully, and Niaklajeǔ’s chances were small, but not so small that he was not deemed dangerous enough to be nearly killed by the President’s security forces during demonstrations after the disputed elections. In Finland he had written an anonymous book entitled Łabuch (Jobbing Musician) that combined Eastern philosophy with pornography and bitter criticism of the Belarusian regime, thus making himself a natural target. Another victim of the post-election repression was the Belarusian Free Theatre, well known in Britain thanks to the strong advocacy of Tom Stoppard, Ian McKellan and other theatrical luminaries. This group has now been obliged to exchange dangerous clandestine performances in Belarus for work abroad.One brilliant young poet, Valžyna Mort, left Belarus with an American husband and now, regrettably (if one recalls Joseph Brodsky’s attempts), has begun to try writing verse in English. Her outstanding contemporaries have, however, for the most part remained in Belarus and are continuing to write and even publish their work. Another talented young writer Alhierd Bacharevič, who apparently despises Belarus, calling it Bydlandyja (Cattlestan), now lives in Hamburg and writes far more prolifically than previously.On the evidence of the writers and groups mentioned above, exile, whatever its causes, has provided far more stimulation than nostalgia for Belarusian creative artists in the 21st century.

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ANNA ZHURBA (The Tretiakov Gallery, Moscow)Post-Soviet Russian Political Art: Evolution or Degradation of Soviet Tradition.

This paper is going to examine the nature of contemporary Russian political art through the prism of its complex art history throughout the second part of the twentieth century and taking into consideration the fact that the very concept of political is highly problematic and speculative within the post-soviet space. This subject in itself touches upon the issue of freedom, especially freedom of speech and whether it is necessary or paradoxically harmful for the creativity dealing with subtle political questions within Russian context. In this research I’d like to follow the succession of Russian political art from dissident art of 1970s and 1980s when the artists could not speak directly about political issues, which resulted in transforming political art into the art of conceptual metaphors, through the transitional period of the 1990s that represent a unique moment in Russian art when artists were involved in real politics and many of them (artists Osmolovsky, Tistol and some others, gallery owner Guelman) were working as political consultants. I would like to focus on the art practice of Anatoly Osmolovsky and the art group RADEK which has formed around him. This period represents complete conjunction between political and artistic gesture, so that artists were preoccupied with the organization of performances that took the form of demonstrations. I would like to accomplish this research with the analysis of the latest phenomenon in Russian political art such as art group “War” and art group “Chto delat”. In case of recent developments in Russian political art one can observe the radicalization of form (extremely radical actions by “War” group verging on breach of law) which weakens the political message that they try to deliver. So one can say that prohibited political art in the Soviet period was actually more politically engaged that contemporary Russian political art.

LEVON HAKOBIAN (Moscow Institute of Arts Studies; Research Fellow, Goldsmiths, University of London)A Mirror of the Post-Soviet Symphonic Culture

I would like to discuss my experience as a member of the jury of the All-Russian composers competition organized by YouTube and Google in 2010. Some 200 orchestral scores were presented by composers of all ages and various stylistic orientations; no first prize was awarded, while the winners of all the three remaining prizes represented a rather small group of professionals who eschewed simplified compositional solutions. The internet audience conferred a special prize to an easily accessible score, which was neglected by the jury. The body of the scores presented to the jury, the distribution of the prizes, as well as the press coverage serve as a faithful reflection of the situation in post-soviet symphonic culture, which, though somewhat analogous to the situation in the West, has its specific traits.

ILDAR KHANNANOV (Peabody Conservatoire, Johns Hopkins University, USA)Yuri Kholopov’s Concept of Harmony on the Collision Course with Schenkerian Analysis: The Conditions of Russian Music Theory after 1991

The views on harmony, presented in a series of publications of late Yuri Kholopov, reveal the most fundamental aspects of Russian theory of harmony as the culmination of more than three centuries of the development from the times of Nikolai Diletsky. In his understanding of both harmony of tonal music and harmonic aspects of the twentieth-century techniques Kholopov indicated his strong adherence to the concept of harmonic function. He calls his field of reference “classical European music theory,” implying that Zarlino, Rameau and Riemann were its most valuable contributors. There had been a preliminary acquaintance with the West: Kholopov’s visits to UK and participation at one of the AMS meetings. There is a handwritten page: Kholopov’s unrealized plan for a lecture cycle on harmony in the United States. However, the unfortunate sequence of events, including his untimely death in 2003 and sudden demise of his successor, Dr.Valeria Tsenova, has left Kholopov’s

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position unsupported outside Russia. While his teaching legacy is carefully maintained by his students at the Moscow Conservatoire, his views are not being spread around the world. Whether Russia will continue along the lines of Kholopov’s teaching, or will effortlessly switch to Schenkerian concept, yielding to its overwhelming influence, will determine the direction of musical-theoretical discourse in Moscow and St. Petersburg for decades to come.

ALEXANDER IVASHKIN (Goldsmiths, University of London)Songs My Mother Taught Me: Double-Recycling in the Post-Soviet Music Crossover has been quite a fashionable idea in trendy art experiments of the 2000s. But Soviet composers did it much earlier. Dunaevsky made elements of European highbrow culture in Soviet mass song a reflection of the everyday anxiety of ordinary Russian people. Schnittke and Pärt attempted ‘double recycling’, squeezing the rich remaining resources out of Soviet propaganda tools. Recent music by Giia Kancheli , who started as a very successful film composer, is a perfect example of ‘double recycling’ which makes his style extremely expressive and modern. Vladimir Tarnopolski’s culturology ideas are rooted in same double recycling process of low– and high– brow culture elements. Finally, post-Soviet composers-minimalists, particularly Martynov and Desiatnikov – make their sophisticated operas and other serious compositions out of ‘old fashioned’ popular dances, rituals and entertainment clichés. Mass songs and film music from the 1930s to the 1970s were based on classical idioms and tunes. Serious post-soviet music is often based on elements of Soviet mass songs, film music, and so-called ‘Socialist Realism’ works, based on classical tunes. ‘Socialist Realism’ works and mass soviet tunes sound today just like ‘pure music’, modern classics, often with some very attractive absurdist features and narratives typical of popular music genres.The paper examines some lesser known features of Socialist Realism, the most successful attempt at early crossover. This style – one of the most important developments in the twentieth-century art and music – was a very complex combination of numerous components, including old Russian traditions and superstitions, and the specifics of the general and musical Soviet education system, among others.

VLADIMIR TARNOPOLSKI (Moscow Conservatoire)Chekhovian Images of Russia and Their Subsequent Deconstruction in My Opera “When Time OverflowsitsMargins”

The opera is based on the separate situations and motives of well-known Chekhov’s pieces – “Three Sisters,” “Seagull,”,“Uncle Vanya” and others. However, the libretto does not follow any of these pieces but makes a certain new METATEXT, like an extract from Chekhov. At the same time, the impulse for the development is not the plot, which would be typical for a literary opera, but a principle of confrontation of the same situation (party) in the three scenes of the opera. In the first scene the action happens in the times of Chekhov (at the turn of the XX century), in a Russian province; in the second scene – in our times, at the turn of the millennium, in a certain cultural centre; and in the third one – in an indefinite future, in a certain virtual space. According to the three different times (past – present – future) and three different mentalities (a Russian province – a world capital – an “above-the-planetness”) the topics of the talks change: love (1st scene) – art (2nd scene) – death (3rd scene). For all the contrast of the entourage it turns out that the existential problems of a man are the same in all times: this is the impossibility of communication and of mutual understanding, loneliness and absence of the sense of life. And these problems are not solved but are redoubled in the course of the development of civilization.The paper will be accompanied by the video fragments from the premiere of the opera at the Muenchener Biennale.

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CONCERT PROGRAMME NOTES

ARVO PÄRT L’Abbé Agathon, text by Isaac of Syria

Original text:L'abbé Agathon, se rendant un jour dans la ville pour vendre de menus objets, trouva le long de la route un lépreux qui lui demanda: «Où vas-tu ?» L'abbé Agathon lui dit: «A la ville vendre des objets.» Le lépreux lui dit: «Par charité, porte-moi là-bas.» L'ayant pris, le vieillard le porta à la ville. L'autre lui dit alors: «Dépose-moi à l'endroit où tu vends tes objets.» Et l'abbé Agathon fit ainsi. Quand il eut vendu un objet, le lépreux lui demanda: «Combien l'as-tu vendu ?» «Tant.» «Achète-moi un gâteau.» Il l'acheta. Quand il eut vendu un autre objet, l'autre lui dit: «Et celui-ci, combien l'as-tu vendu ?» «Tant.» «Achète-moi telle chose.» Le vieillard l'acheta encore. Quand il eut vendu tous ses objets et qu'il voulut partir, le lépreux lui dit: «Tu t'en vas ?» «Oui.» «Je t'en prie, par charité, reporte-moi à l'endroit où tu m'as trouvé.» Labbé Agathon prit le lépreux et le reporta à cet endroit. Celui-ci lui dit alors: «Béni es-tu, Agathon, par le Seigneur du ciel et de la terre.» Agathon leva les yeux mais il ne vit plus personne, car le lépreux était un ange du Seigneur venu le mettre à l'épreuve.

English translation by Benedicta Ward (edited by Monk Panteleimon of Hermitage of the Holy Cross):Going to town one day to sell some small articles, Abba Agathon met a cripple on the roadside, paralysed in his legs, who asked him where he was going. Abba Agathon replied, "To town to sell some things." The other said, "Do me the favor of carrying me there." So he carried him to the town. The cripple said, "Put me down where you sell your wares." He did so. When he had sold an article, the cripple asked, "What did you sell it for?" and he told him the price. The other said, "Buy me a cake," and he bought it. When Abba Agathon had sold a second article, the sick man asked, "How much did you sell it for?" And he told him the price of it. Then the other said, "Buy me this," and he bought it. When Agathon, having sold all his wares, wanted to go, he said to him, "Are you going back?" and he replied, "Yes." Then said he, "Do me the favour of carrying me back to the place where you found me." Once more picking him up, he carried him back to that place. Then the cripple said, "Agathon, you are filled with divine blessings, in heaven and on earth." Raising his eyes, Agathon saw no man; it was an angel of the Lord, come to try him.

ALEXANDER RADVILOVICH Big Brother (Anti-utopia for baritone, invisible bass, women’s choir, two narrators and ensemble, with texts by George Orwell Yevgeny Zamiatin, Hermann Hesse & Aldous Huxley

Choir: War is peace. Freedom is Slavery. Ignorance is Strength. Thoughtcrime is death. Peace, freedom and power!

Master: The past, starting from yesterday, has been actually abolished? Every record has been destroyed or falsified, every book has been rewritten, every picture has been repainted, every …street and building has been renamed, every date has been altered. …History has stopped.

(Orwell 1984 Part 2, Chapter V)

Radio. Male Voice: Comrades! Attention, comrades! This morning there were irrepressible spontaneous demonstrations when workers marched out of factories and offices and paraded through the streets with banners voicing their gratitude to Big Brother for the new, happy life which his wise leadership has bestowed upon us.

(Orwell 1984 Part 2, Chapter V)

Radio. Female Voice: We have glorious news for you. We have won the battle for production!

(Orwell 1984 Part 1, Chapter I) (Orwell 1984 Part 2, Chapter IX) (Orwell 1984 Part 2, Chapter II)

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Returns now completed of the output of all classes of consumption goods show that the standard of living has risen by no less than 20 per cent over the past year. Here are some of the completed figures. Foodstuffs – … (Orwell 1984 Part 2, Chapter V)

Master: At the end they will say that two and two made five, and you would have to believe it.(Orwell 1984 Part 1, Chapter VII)

Radio. Male Voice: Your heroic ancestors subdued the entire terrestrial globe to the power of the One State. Yours will be a still more glorious feat: you will integrate the infinite equation of the universe with the aid of the fire-breathing Integral. (Zamyatin We. 1st Entry)

Radio. Female Voice: From the age of uniformity, from the age of Big Brother, from the age of doublethink – greetings! (Orwell 1984 Part 1, Chapter II)

Choir: Greetings! Greetings! Greetings!

Master: The heresy of heresies was common sense. And what was terrifying was not that they would kill you for thinking otherwise, but that they might be right. For, after all, how do we know that two and two make four? Or that the force of gravity works? Or that the past is unchangeable? If both the past and the external world exist only in the mind, and if the mind itself is controllable what then?

Radio. Female Voice: According to reliable sources, new traces have been discovered of the elusive organization which aims at liberation from the beneficent yoke of the State.

(Zamiatin We. 7th Entry)

Master: Freedom is the freedom to say that two plus two make four. If that is granted, all else follows. If you can feel that staying human is worth while, even when it can't have any result whatever, you've beaten them. (Orwell 1984 Part 2, Chapter VII)

Choir: Thoughtcrime entail death, thoughtcrime entail death. (Orwell 1984 Part 2, Chapter II)

Big Brother: Thoughtcrime does not entail death: thoughtcrime IS death. (Orwell 1984 Part 2, Chapter II)

One does not establish a dictatorship in order to safeguard a revolution; one makes the revolution in order to establish the dictatorship.Power is not a means, it is an end. The object of persecution is persecution. The object of torture is torture. The object of power is power.Who controls the present also controls the future, …. and the past.The party is immortal.There will be no loyalty, except loyalty towards the Party. There will be no love, except the love of Big Brother. There will be no laughter, except the laugh of triumph over a defeated enemy. There will be no art, no literature, no science.There will be no distinction between beauty and ugliness. We will liquidate the variety of pleasures. There will be the intoxication of power, constantly increasing and constantly growing subtler.I can see, to realize what that world will be like. But in the end you will do more than understand it. You will accept it, welcome it, become part of it.And remember that it is forever. (Orwell 1984 Part 3, Chapter III)

Master: They’ll shoot me I don't care they’ll shoot me in the back of the neck I don’t care down with Big Brother they always shoot you in the back of the neck I don’t care down with Big Brother!

(Orwell 1984 Part 1, Chapter I)

Radio. Female Voice: Comrades! The great historic hour when the first Integral will soar into

24

(Orwell 1984 Part 1, Chapter VII)

cosmic space is drawing near. You will subjugate the unknown beings on other planets, who may still be living in the primitive condition of freedom, to the beneficent yoke of reason. If they fail to understand that we bring them mathematically infallible happiness, it will be our duty to compel them to be happy. (Zamyatin We. 1st Entry)

Radio. Male Voice: Long live the One State, long live the Benefactor! (Zamyatin We. 1st Entry)“Everyone” and “I” are a single “We.” (Zamyatin We. 24th Entry)Our slogan: COMMUNITY, IDENTITY, STABILITY ! (Huxley Brave New World, Chapter I)

Choir: War is peace. God is power. Freedom is Slavery. Ignorance is Strength.Two and two make five. Thoughtcrime is death. Two and two make five.

Master: But how can we save anything that does not have the desire to be saved? Nothing is harder, yet nothing is more necessary, than to speak of certain things whose existence is neither demonstrable nor probable. The very fact that serious and conscientious men treat them as existing...1 (Hesse Glass Bead Game) [A shot rings out in the ensemble. The Master grabs his head and stands like that until the end of the work]

Choir: Thoughtcrime is death. (Orwell 1984 Part 2, Chapter II)

Big Brother: Remember, Big Brother is always watching you. (Orwell 1984 Part 3, Chapter VI)

Choir: Always, always, always ... Two and two make five. Always, always, always ... Two and two make … (Orwell 1984 Part 1, Chapter VII)

1 After the words of the Master: Nothing is harder, yet nothing is more necessary, than to speak of certain things whose existence is neither demonstrable nor probable. The very fact that serious and conscientious men treat them as existing things brings them a step closer to existence and to the possibility of being born. (H. Hesse. The Glass Bead Game. A General Introduction to Its History for the Layman.) George Orwell. 1984 www.george-orwell.org/1984/1.htmlYevgeni Zamyatin. We www.epubbud.com/read.php?g=K3FGCN8Y&p=2Hermann Hesse. The Glass Bead Game www.ebook3000.com/Hermann-Hesse---Glassbead-Game_67168.htmlAldous Huxley. Brave New World www.openculture.com/2010/05/vintage_radio_huxley_narrates_brave_new_world

ALEXANDER RASKATOV Ritual On the text by Velimir Khlebnikov: ‘Voices and Songs of the Street’

Original Russian Text:Цари, цари дрожали,Цари, цари дрожат!На оНа обухГоспод,На о,На обухГоспод,На о,На обухЦарей,Царя,Царя,Народ,

25

English Translation:Voices and songs of the streetThe kings, the kings trembled, The kings, kings tremble! At aAt a blunt end Of the axe of the commandersOn a, On a blunt end of an axeOf the kingsOf the kingOf the kingPeo -People

Наро,Народ,Кузнец,Моло,Молотобоец.Наро,Народ,Берет,БереБеретГоспод,На о, на о царейБерет,КладетНарод,Моло,МолотобоецЦареЦарейНа обух,Пусть усСпокоятсяВ Сиби,В Сибирских су,Сугро,Сугробах белых.Господ, господ кладет,Кладет, кладетНарод,Кладет,КладетНарод,Кладет белого царя,Кладет белого царя! Белого царя!Белого царя!— Царя!А мы! — А мы глядим, а мы, а мы глядим!Цари, цари дрожат!

SOFIA GUBAIDULINA Canticle of the Sun

Original text in Umbrian dialect:Altissimu, onnipotente bon Signore,Tue so le laude, la gloria e l'honore et onne benedictione.Ad Te solo, Altissimo, se konfano,et nullu homo ène dignu te mentouare.Laudato sie, mi Signore cum tucte le Tue creature,spetialmente messor lo frate Sole,lo qual è iorno, et allumini noi per lui.

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PeopleBlacksmithHammer- HammererPeo-PeopleTakes, Puts CommandersPeople, On a On aKings TakePutPeopleHam-Hammerer KingKingsOn a blunt end of an axeLet them Calm down In Sib , In the Siberian dri- Drifts Drifts of white. Commanders, commanders are putPeople, people put Put, putting People, People, Put the white king, Put down! White king!White king! - King! And we are! - And we look, and we, and we look! Kings, kings tremble!

English Translation:Most high, all powerful, all good Lord!All praise is yours, all glory, all honor, and all blessing.To you, alone, Most High, do they belong. No mortal lips are worthy to pronounce your name.Be praised, my Lord, through all your creatures, especially through my lord Brother Sun, who brings the day; and you give light through him.

Et ellu è bellu e radiante cum grande splendore:de Te, Altissimo, porta significatione.Laudato si, mi Signore, per sora Luna e le stelle:in celu l'ài formate clarite et pretiose et belle. Laudato si, mi Signore, per frate Uentoet per aere et nubilo et sereno et onne tempo,per lo quale, a le Tue creature dài sustentamento.Laudato si, mi Signore, per sor'Acqua,la quale è multo utile et humile et pretiosa et casta.Laudato si, mi Signore, per frate Focu,per lo quale ennallumini la nocte:ed ello è bello et iucundo et robustoso et forte.

Laudato si, mi Signore, per sora nostra matre Terra, la quale ne sustenta et gouerna, et produce diuersi fructi con coloriti fior et herba.Laudato si, mi Signore, per quelli ke perdonano per lo Tuo amoreet sostengono infirmitate et tribulatione.Beati quelli ke 'l sosterranno in pace,ka da Te, Altissimo, sirano incoronati.Laudato si mi Signore, per sora nostra Morte corporale,da la quale nullu homo uiuente pò skappare:guai a quelli ke morrano ne le peccata mortali;beati quelli ke trouarà ne le Tue sanctissime uoluntati, ka la morte secunda no 'l farrà male.Laudate et benedicete mi Signore et rengratiatee seruiteli cum grande humilitate.

Enquires:

crm@gold.ac.ukTel. 020 7919 7645 (Imogen Burman) or

020 7919 7646 (Alexander Ivashkin)

For information on the Centre for Russian Music (including the Prokofiev and Schnittke archives), go to www.gold.ac.uk/crm

For more information on the Department of Music at Goldsmiths and the forthcoming PureGold Festival, go to www.gold.ac.uk/music

27

And he is beautiful and radiant in all his splendor!Of you, Most High, he bears the likeness.Be praised, my Lord, through Sister Moon and the stars; in the heavens you have made them bright, precious and beautiful.Be praised, my Lord, through Brothers Wind and Air, and clouds and storms, and all the weather, through which you give your creatures sustenance.Be praised, My Lord, through Sister Water;she is very useful, and humble, and precious, and pure.Be praised, my Lord, through Brother Fire,through whom you brighten the night.He is beautiful and cheerful, and powerful and strong.Be praised, my Lord, through our sister Mother Earth, who feeds us and rules us, and produces various fruits with colored flowers and herbs.Be praised, my Lord, through those who forgive for love of you;through those who endure sickness and trial.Happy those who endure in peace,for by you, Most High, they will be crowned.Be praised, my Lord, through our Sister Bodily Death,from whose embrace no living person can escape.Woe to those who die in mortal sin!Happy those she finds doing your most holy will.The second death can do no harm to them.Praise and bless my Lord, and give thanks,and serve him with great humility.

Friday 11 May 2012

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Friday 11 May 2012The Front Room and Purcell Room at Queen Elizabeth Hall 5.30 – 10.30pm

Admission freeFriday 11 May 2012The Front Room and Purcell Room at Queen Elizabeth Hall

5.30 – 10.30pm

Admission free

New Cross’s finest come to the South Bank – the launch of the Goldsmiths PureGold season, featuring music spanning genres from baroque, Romantic opera and contemporary premieres, to singer-songwriters, electronica and installation. In a packed showcase, artists will be performing throughout the evening across two stages, culminating in DJ sets. With special guests.

www.gold.ac.uk/puregold www.twitter.com/goldsmithsmusic

DP

S10

111457

Celebrating musical talent from Goldsmiths: all genres, all live, all welcome

LAUNCH

EVENT

Friday 11 May 2012The Front Room and Purcell Room at Queen Elizabeth Hall 5.30 – 10.30pm

Admission freeFriday 11 May 2012The Front Room and Purcell Room at Queen Elizabeth Hall

5.30 – 10.30pm

Admission free

New Cross’s finest come to the South Bank – the launch of the Goldsmiths PureGold season, featuring music spanning genres from baroque, Romantic opera and contemporary premieres, to singer-songwriters, electronica and installation. In a packed showcase, artists will be performing throughout the evening across two stages, culminating in DJ sets. With special guests.

www.gold.ac.uk/puregold www.twitter.com/goldsmithsmusic

DP

S10

111457

Friday 11 May 2012The Front Room and Purcell Room at Queen Elizabeth Hall 5.30 – 10.30pm

Admission freeFriday 11 May 2012The Front Room and Purcell Room at Queen Elizabeth Hall

5.30 – 10.30pm

Admission free

New Cross’s finest come to the South Bank – the launch of the Goldsmiths PureGold season, featuring music spanning genres from baroque, Romantic opera and contemporary premieres, to singer-songwriters, electronica and installation. In a packed showcase, artists will be performing throughout the evening across two stages, culminating in DJ sets. With special guests.

www.gold.ac.uk/puregold www.twitter.com/goldsmithsmusic

DP

S10

111457

Friday 11 May 2012The Front Room and Purcell Room at Queen Elizabeth Hall 5.30 – 10.30pm

Admission freeFriday 11 May 2012The Front Room and Purcell Room at Queen Elizabeth Hall

5.30 – 10.30pm

Admission free

New Cross’s finest come to the South Bank – the launch of the Goldsmiths PureGold season, featuring music spanning genres from baroque, Romantic opera and contemporary premieres, to singer-songwriters, electronica and installation. In a packed showcase, artists will be performing throughout the evening across two stages, culminating in DJ sets. With special guests.

www.gold.ac.uk/puregold www.twitter.com/goldsmithsmusic

DP

S10

111457

Friday 11 May 2012

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DPS10111457

Friday 11 May 2012

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5.3

0 – 10

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pm

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ay 2012T

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5.3

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Ad

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DPS10111457