A Life in Music from the Soviet Union to Canada: Memoirs of a Madrigal Ensemble Singer - Sound Files
Notice bibliographique
Résumé
The musical career of Alexander Tumanov extends from Stalinist and Soviet Russia through contemporary Canada, and as such provides an inspiring portrait of one person’s devotion to his art under trying circumstances. Tumanov was a founding member of Moscow’s Madrigal Ensemble of early music, which introduced Renaissance and Baroque music to the Soviet Union. The Ensemble enjoyed tremendous popularity in the 1960s and 1970s, despite occasional official disapproval by the Soviet bureaucracy. At times the compositions of the group’s founder, Andrei Volkonsky, were banned. Volkonsky eventually emigrated to escape the oppressive conditions, followed soon after, in 1974, by Tumanov, and the Madrigal Ensemble continued in a changed form under new leaders. The story of the author's subsequent life and career in Canada provides a poignant point of contrast with his Soviet period — at the musical, academic, and political levels. These 7 sound files are located in different pages of the book: 1. p. 169: after “an explosion of applause” Title of piece: О страстях (Bicinium De Passione) Performers: Karina Lisitsian (contralto) and Ruzanna Lisitsian (soprano) Composer: Erhard Bodenschatz Year: 1968 LP title (translation from Russian): Thousand Years of Music (Vol. 3): Madrigal – Germany. Renaissance and Early Baroque. LP title in the original Russian: Тысяча лет музыки (Выпуск 3): Мадригал – Германия. Эпоха Возрождения и раннее Барокко. 2. p. 179: between “Of course we did not have mimes” and the photo of Madrigal Title of piece: Сцена Из Мистерии Представление Души И Тела” (Rappresentatione di Anima e di Corpo) Performers: entire ensemble Composer: Emilio de’ Cavalieri Year: 1966 LP title (translation from Russian): Thousand Years of Music (Vol. 2): Madrigal – Italy. Early Baroque 16-17 c. LP title in the original Russian: Тысяча лет музыки (Выпуск 2): Мадригал – Италия. Раннее Барокко XVI-XVII ВВ. 3. p. 189 bottom: below “even while on tour” Title of piece: Duelete de mi, senora Performer: Alexander Tumanov – soloist Composer: M. de Fuenllana Year: 1968 LP title (translation from Russian): Thousand Years of Music (Vol. 4): Madrigal – Spain. Renaissance. LP title in the original Russian: Тысяча лет музыки (Выпуск 4): Мадригал – Испания. Эпоха Возрождения. 4. p. 200 bottom: after “filled with the music of Madrigal!” Title of piece: Песнь Адвенты (Adventslied) Performers: entire ensemble Composer: : Johannes Eccard Year: 1968 LP title (translation from Russian): Thousand Years of Music (Vol. 3): Madrigal – Germany. Renaissance and Early Baroque. LP title in the original Russian: Тысяча лет музыки (Выпуск 3): Мадригал – Германия. Эпоха Возрождения и раннее Барокко. 5. p. 210 bottom: between “However, the film never ap¬peared in movie theaters” and photo Title of piece: E La Don Don Performers: Alexander Tumanov – soloist with entire ensemble Composer: Unknown Artist Year: 1968 LP title (translation from Russian): Thousand Years of Music (Vol. 4): Madrigal – Spain. Renaissance. LP title in the original Russian: Тысяча лет музыки (Выпуск 4): Мадригал – Испания. Эпоха Возрождения. 6. p. 246: below “flashes of genius.” Title of piece: Токката № 7 (Toccata Settima) Performers: Andrei Volkonsky, harpsichord Composer: Michelangelo Rossi Year: 1966 LP title (translation from Russian): Thousand Years of Music (Vol. 2): Madrigal – Italy. Early Baroque 16-17 c. LP title in the original Russian: Тысяча лет музыки (Выпуск 2): Мадригал – Италия. Раннее Барокко XVI-XVII ВВ. 7. p. 409 top: after „performers were referred to as “well-formed singers“ Title of Piece: Nun last uns den Leib begraben Performers: Cantilena Consort, Alexander Tumanov – artistic director Composer: Franz Schubert Concert date: Nov. 5, 1999 Recording location (live performance): Knox Evangelical Free Church, Edmonton Canada
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,002 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».