Leonardo

The Annual Bryansk Nicolai Roslavets and Naum Gabo FestivalAuthor(s): Mark Efimovich BelodubrovskySource: Leonardo, Vol. 29, No. 4 (1996), pp. 326-327Published by: The MIT PressStable URL: http://www.jstor.org/stable/1576324 .

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The Annual Bryansk Nicolai Roslavets and Naum Gabo Festival

Mark Efimovich Belodubrovsky

Known far beyond the limits of Bryansk as a peculiar phenomenon bearing wit- ness to the existence of the avant-garde in the provincial towns of Russia, the Nicolai Roslavets and Naum Gabo Festi- val is named after two natives of the

Bryansk region who were also promi- nent representatives of twentieth-cen-

tury Russian art. This return of these names to

Bryansk soil is associated with the year 1984. On 28 May of that year in the

Bryansk Music School hall, one could hear the music of Roslavets and see re-

productions of Gabo paintings at a soiree dedicated to the creative work of these artists. For ideological reasons, Gabo was taken out of the list of partici- pants in the next festival (delayed until 1986), which was named after com-

poser Roslavets (1880/1881-1944). Roslavets was a key figure of the Rus- sian avant-garde of the 1920s, the archi- tect of a new system of organizing sound. Composer of symphonic, choir and chamber music, he was one of the initiators of "new music."

The group of enthusiasts that initi- ated the Roslavets festivals had orga- nized musical-literacy, theatrical and artistic soirees in Bryansk for many years and stimulated the creation of an art club known as "Apodion," established in 1978. In 1985 the club was closed by au- thorities, who later allowed it to con- tinue functioning under the condition that its name be changed to "Conso- nance Musical Club." It was under the

aegis of this club that the first festival held in Roslavets's name took place.

Apodion's traditions defined many aspects of the festival, including the ori- entation of its repertory and the atmo-

sphere and character of the concerts. The goal of the festival became the

popularization of long- or lately forgot- ten music. Works not only by Roslavets but also by other avant-garde compos-

Mark Efimovich Belodubrovsky (musician, composer), ul. Uritzkogo 71, Bryansk, 241001 Russia.

ers such as Golishev, Deshevov, Lourie, Mosolov and Protopopov were per- formed at the Roslavets festivals in

Bryansk, at other venues in Russia and even around the world.

Held every year in February, these festivals presented from four to six con- certs. Among the works by Roslavets

performed at the first festivals were the Third and Fifth String Quartets, the First Sonata, 24 Preludes, "The Leg- end" and "The Poem" for violin and pi- ano and several piano miniatures and vocal compositions. These composi- tions were often recreated from manu-

scripts taken from the State Glinka Museum of musical culture. These and other compositions were interpreted by musicians from Bryansk. Along with the other members (V. Fish, I. Kaplun and E. Tereshin) of the string quartet to which I belong, I was among the per- formers who took an active part in the

popularization of Roslavets's music. Also involved were soloist N. Yaromenok and pianists E. Kozlovskaia, I. Romashova and L. Severina.

The programs also contained music

by other Russians (Stravinsky, Prokofiev, Shostakovich) and foreign classics of the twentieth century (by Ives, Schoenberg, Webern, Bart6k, Hindemith and Messiaen). The theme of these concerts was "Roslavets and His

Epoch." At the concerts presenting clas- sical and modern compositions of the twentieth century, music by composers such as Denisov, Schnittke, Slonimsky, Tishchenko, Gubaidulina, Part and

Volkonsky was heard. The participation of poet and philosopher Arcadi Rouner (of New York) and his son, composer Anthones Rouner (a graduate of Juillard) enriched our knowledge of American culture and also expanded the spectrum of compositions per- formed at the festival to include more modern American and Western Euro-

pean music. So, for the first time in Russia some compositions by Milton

Babbitt,Jacques Charpentier, Giselher Klebe and others were heard.

The playbills of these festivals, which at first included only the names of per- formers from Bryansk, were progres- sively enriched by the participation of musicians from other cities, including students and teachers from the Voronez and Riga Conservatories and soloists from Tbilisi, Moscow, St. Peters-

burg, Petrosavodsk, Nizni and

Novgorod, as well as the Mark Pekarski drum band (Moscow), the Association of Modern Music (of Moscow, con- ducted byJ. Kasparov) and the Moscow Trio (R. F. Bonduranski, V. Ivanov and M. Utkin). Many Roslavets composi- tions, such as the Chamber Symphony, the Third Sonata, the Meditations for Cello and the Third Piano Trio, be- came well known due to performances by musicians from Moscow.

In 1994, the name of the festival

changed to include that of sculptor and constructivist Naum Gabo (1890-1977). Since then, the festival has taken on the official status of a festival of the arts.

The ninth festival-a turning point in this sense-was distinguished by a di-

versity of artistic forms, in keeping with its name. There were three exhibitions: one showed work by V. P. Malakhova, alias Victor Mall (1901-1989), an American of Russian origin; another

presented work by representatives of the 1960s-1980s; a third focused on the

light stereography of kineticist V.

Koleychuk (Moscow). The idea of a syn- thesis of the arts came to life in the

composition "An UnexpectedJoy" (mu- sic by V. Scherbachev, verses by A. Block). The SmokingJoke by Arthur Lourie, a composer and one of the ide-

ologists of the Russian futurism of the 1920s who immigrated to the West, ap- peared on stage for the first time. A

performance of Mistress Lenin by the

Bryansk Puppet Theatre (directed by Jakov Mer) was distinguished by the

unity of its absorption in the spirit and creation of the form of Velimir Khlebnikov's original drama, while it may have also sometimes differed from the author's understanding of the text.

326 LEONARDO, Vol. 29, No. 4, pp. 326-332, 1996 ? 1996 ISAST

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Thus, the scope of genres at the Festi- val was considerably enlarged. Among the participants, American pianist Marion Lee drew attention. Her diverse

program, including compositions from Russian, American and Austrian music, was performed with finesse and under-

standing. St. Petersburg pianist and

composer Sergei Oscolkov, who has be- come a traditional guest at the Bryansk festivals, performed his second piano so- nata written specially for the festival. The modern-music palette of the Festi- val also became more colorful. For the first time in Bryansk, compositions by one of the initiators of musical

Thus, the scope of genres at the Festi- val was considerably enlarged. Among the participants, American pianist Marion Lee drew attention. Her diverse

program, including compositions from Russian, American and Austrian music, was performed with finesse and under-

standing. St. Petersburg pianist and

composer Sergei Oscolkov, who has be- come a traditional guest at the Bryansk festivals, performed his second piano so- nata written specially for the festival. The modern-music palette of the Festi- val also became more colorful. For the first time in Bryansk, compositions by one of the initiators of musical

minimalism, Steve Reich, were heard, along with a whole block of works by Latvian composer P. Vasks. The tradition of worldwide premieres of Roslavets's works continued with the a cappella per- formance of Metialshitza by the chamber choir of the Bryansk music school.

The festival concluded with rare per- formances of large-scale quartets by Hindemith and Messiaen, including Messiaen's Quartet for the End of Time.

Among the supporters of the festival are the Bryansk Music School, the re-

gional minister of culture, the cultural section of the Bryansk town executive committee, the local union of concert

minimalism, Steve Reich, were heard, along with a whole block of works by Latvian composer P. Vasks. The tradition of worldwide premieres of Roslavets's works continued with the a cappella per- formance of Metialshitza by the chamber choir of the Bryansk music school.

The festival concluded with rare per- formances of large-scale quartets by Hindemith and Messiaen, including Messiaen's Quartet for the End of Time.

Among the supporters of the festival are the Bryansk Music School, the re-

gional minister of culture, the cultural section of the Bryansk town executive committee, the local union of concert

activists, the Artistic Fund and the "Au-

tograph" association. The organization committee continues its work in hopes of hearing performed the symphonic and cantata-oratorial music of Roslavets and his contemporaries; seeing exhibi- tions of original works by Gabo; enlarg- ing the spectrum of arts presented in the festival; creating ajuvenile competi- tion for the best work in music, art and science involving the problems raised

by Russian art of the 1910s and 1920s; and possibly creating a center examin-

ing the art of that period.

Manuscript received 27 February 1995.

activists, the Artistic Fund and the "Au-

tograph" association. The organization committee continues its work in hopes of hearing performed the symphonic and cantata-oratorial music of Roslavets and his contemporaries; seeing exhibi- tions of original works by Gabo; enlarg- ing the spectrum of arts presented in the festival; creating ajuvenile competi- tion for the best work in music, art and science involving the problems raised

by Russian art of the 1910s and 1920s; and possibly creating a center examin-

ing the art of that period.

Manuscript received 27 February 1995.

The 1995 Shearwater Foundation Holography Grants

Posy Jackson Smith

The 1995 Shearwater Foundation Holography Grants

Posy Jackson Smith

The Shearwater Foundation has awarded a total of $135,500 (US) in

grants for its Holography Program in 1995. The Foundation's 9-year-old Ho-

lography Program provides funding to institutions and associations that con- tribute to the understanding and ap- preciation of art holography worldwide. The Foundation also recognizes indi- vidual creative excellence within the field with an annual Holography Award. The 1995 award is shared by three artists: Claudette Abrams of Canada, Eduardo Kac of Brazil (now working in Kentucky, U.S.A.) and Shu Min Lin of Taiwan (now working in New York). Each of these artists re- ceived a $10,000 prize.

The International Symposium for Art in Holography received a 2-year $50,000 grant for a conference that will take place in Europe in 1996. An inter- national advisory committee is working with Andrew Pepper, Director of the

Symposium, to bring together artists, critics and commentators for the sev- eral day event. Pepper is the editor and

publisher of "The Creative Holography Index."

A 2-year grant of $35,000 was

PosyJackson Smith, Box 29287, George Town, Great Exuma, Bahamas.

The Shearwater Foundation does not accept applications for its Holography Award Program. Nor does it accept un- solicited resumes, slides or proposals. The foundation does not fund projects outside of its stated areas of interest.

The Shearwater Foundation has awarded a total of $135,500 (US) in

grants for its Holography Program in 1995. The Foundation's 9-year-old Ho-

lography Program provides funding to institutions and associations that con- tribute to the understanding and ap- preciation of art holography worldwide. The Foundation also recognizes indi- vidual creative excellence within the field with an annual Holography Award. The 1995 award is shared by three artists: Claudette Abrams of Canada, Eduardo Kac of Brazil (now working in Kentucky, U.S.A.) and Shu Min Lin of Taiwan (now working in New York). Each of these artists re- ceived a $10,000 prize.

The International Symposium for Art in Holography received a 2-year $50,000 grant for a conference that will take place in Europe in 1996. An inter- national advisory committee is working with Andrew Pepper, Director of the

Symposium, to bring together artists, critics and commentators for the sev- eral day event. Pepper is the editor and

publisher of "The Creative Holography Index."

A 2-year grant of $35,000 was

PosyJackson Smith, Box 29287, George Town, Great Exuma, Bahamas.

The Shearwater Foundation does not accept applications for its Holography Award Program. Nor does it accept un- solicited resumes, slides or proposals. The foundation does not fund projects outside of its stated areas of interest.

awarded to Urs Fries of Basel, Switzer- land, to produce an Information Sys- tem on the World Wide Web that will include the history, technology and ap- plications of holography. It will feature a complete collection of data on artists, artwork and art criticism from the past three decades. Fries is co-founder of the multimedia server at the Academy of Media Arts in Cologne, Germany, and conservator for the holography col- lection of the Zentrum ffr Kunst und

Medientechnologie in Karlsruhe, Ger-

many. The Massachusetts Institute of Tech-

nology (MIT) Museum in Cambridge, Massachusetts, U.S.A., received a grant of $20,000 towards its traveling exhibit "Generations in Holography: Expand- ing a Collection." The exhibition will focus on the first generation of holo-

graphic artists, juxtaposing their early work from the museum's collection with more recent pieces on loan from artists and collectors. Rene Paul Barilleaux, Chief Curator at the Missis-

sippi Museum of Art in Jackson, Missis-

sippi, U.S.A., is guest curator. "Generations in Holography: Ex-

panding a Collection" is scheduled to

open in late 1996 or early 1997. After a 6-month run at the MIT Museum, the show will travel to university art galler- ies, museums, regional art centers and alternative spaces for 2 years. The MIT Museum plans to purchase several new

awarded to Urs Fries of Basel, Switzer- land, to produce an Information Sys- tem on the World Wide Web that will include the history, technology and ap- plications of holography. It will feature a complete collection of data on artists, artwork and art criticism from the past three decades. Fries is co-founder of the multimedia server at the Academy of Media Arts in Cologne, Germany, and conservator for the holography col- lection of the Zentrum ffr Kunst und

Medientechnologie in Karlsruhe, Ger-

many. The Massachusetts Institute of Tech-

nology (MIT) Museum in Cambridge, Massachusetts, U.S.A., received a grant of $20,000 towards its traveling exhibit "Generations in Holography: Expand- ing a Collection." The exhibition will focus on the first generation of holo-

graphic artists, juxtaposing their early work from the museum's collection with more recent pieces on loan from artists and collectors. Rene Paul Barilleaux, Chief Curator at the Missis-

sippi Museum of Art in Jackson, Missis-

sippi, U.S.A., is guest curator. "Generations in Holography: Ex-

panding a Collection" is scheduled to

open in late 1996 or early 1997. After a 6-month run at the MIT Museum, the show will travel to university art galler- ies, museums, regional art centers and alternative spaces for 2 years. The MIT Museum plans to purchase several new

works from the exhibition for its per- manent collection.

Holographic artist Sharon McCormack of White Salmon, Washing- ton, U.S.A., received a grant of $10,000 towards the traveling exhibition "Shar-

ing the Magic: Tribal Holograms of the Warm Springs People." The exhibition of 15 holographic movies records tribal members of the Warm Springs Reserva- tion in central Oregon in their native dress. The exhibition will travel to sci- ence and art museums as well as Ameri- can Indian cultural centers in the Pacific Northwest. McCormack has cre- ated holographic moving portraits of

many famous sports and music person- alities, notably Michael Jordan and Prince.

Holographic artist Sally Weber of Los

Angeles, California, U.S.A., and

videographer and holographic artist Al Razutis of Vancouver, British Columbia, Canada, received a grant of $6,500 to add computerized graphics, music and narration to their 60-min video West Coast Artists in Light. This documentary showcases 10 California-based holo-

graphic artists and their work. Initial

funding for the production was pro- vided by the Shearwater Foundation in 1994. The current grant will enable We- ber and Razutis to complete a broad-

cast-quality video. L.A.S.E.R. NEWS, a San Francisco-

based publication, received a grant of

works from the exhibition for its per- manent collection.

Holographic artist Sharon McCormack of White Salmon, Washing- ton, U.S.A., received a grant of $10,000 towards the traveling exhibition "Shar-

ing the Magic: Tribal Holograms of the Warm Springs People." The exhibition of 15 holographic movies records tribal members of the Warm Springs Reserva- tion in central Oregon in their native dress. The exhibition will travel to sci- ence and art museums as well as Ameri- can Indian cultural centers in the Pacific Northwest. McCormack has cre- ated holographic moving portraits of

many famous sports and music person- alities, notably Michael Jordan and Prince.

Holographic artist Sally Weber of Los

Angeles, California, U.S.A., and

videographer and holographic artist Al Razutis of Vancouver, British Columbia, Canada, received a grant of $6,500 to add computerized graphics, music and narration to their 60-min video West Coast Artists in Light. This documentary showcases 10 California-based holo-

graphic artists and their work. Initial

funding for the production was pro- vided by the Shearwater Foundation in 1994. The current grant will enable We- ber and Razutis to complete a broad-

cast-quality video. L.A.S.E.R. NEWS, a San Francisco-

based publication, received a grant of

Art/Science Forum 327 Art/Science Forum 327

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