A Life in Music from the Soviet Union to Canada: Memoirs of a Madrigal Ensemble Singer - Sound Files
Bibliographic record
Abstract
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
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.003 |
| Science and technology studies | 0.044 | 0.011 |
| Scholarly communication | 0.010 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.005 |
| Insufficient payload (model declined to judge) | 0.006 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".