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7. Juli 2014

Marina Zwetajewa (1893-1941) – Gedicht gesprochen von Ilja Ehrenburg

Poem, 1913, 1'51"
Voice – Ilya Ehrenburg
Recording – unknown date

Marina Ivanova Tsvetaeva (b. Moscow 1893 - d. Yelabuga 1941) was a poet. As a child she studied music, but as an adolescent she was already interested in French and German romantic poetry - by 1910 she had published her first book. Her work always maintained an independence, and was never subsumed into any literary group, although she assimilated the innovations of the symbolists and the acmeists, maintaining a close emotional relationship with some of them, including [[Osip Mandelshtam]] and Anna Akhmatova. She employed direct language, archaisms and colloquialisms in her poetry, as well as assonant rhymes and free verse. She said, "I live and consequently I write too - by ear, that is, in confidence; this has never deceived me". An opponent of the October Revolution she said "Passion for each specific country and for what is concrete - that is my international. Not the third but the eternal." This sentiment led her into seventeen years of emigration after 1922; in Berlin, Prague and Paris. In Berlin she published several books of poems, with the help of her friend Ilya Ehrenburg (b. 1891 - d. 1967) a Soviet revolutionary writer and journalist. Ehrenburg reads Marina Tsvetaeva's poem here, since no sound recordings of her voice exist. Marina Tsvetaeva went back to the USSR in 1941, at the height of the Nazi invasion, where she was completely ignored. After her husband had been shot and her son was sent to work in a mining camp, she was sent to Yelabuga, where she committed suicide by hanging herself. Her poetry, in vision and style, is now amongst the most valued in contemporary Russian literature; as she herself said, "I can only be understood in terms of contrast, that is, in a simultaneous presence... I am many poets and as I have managed to harmonize all of them, that is my secret".

You walk, resembling me...

You walk, and look like me,
Your eyes directed down.
I also used to lower mine!
Hey you, passer by, stop!

Read-when you've gathered
A bouquet of buttercups and poppies,
That I was called Marina
And how old I was.

Don't think that this is a grave,
That I will appear, scary...
I myself loved too much
To laugh, when I shouldn't have!

And the blood would come to my face
And my hair was curly...
You passer by, I also was!
You passer by, stop!

Break yourself off a wild stem
And after it a berry,
No wild strawberry is larger or sweeter
Than one from a graveyard.

Only don't stand gloomily,
Dropping your head on your chest,
Think about me easily,
As easily then forget!

How the sun's ray shines upon you!
You're all covered in golden dust...
Don't let it disturb you, ]
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7. Juli 2014

Gedicht gesprochen von Boris Pasternak (1890-1960)

Gedicht gesprochen von Boris Pasternak (1890-1960)

Gedicht, 2'10".
Stimme – Boris Pasternak
Recording – 1958


Boris Leonidovich Pasternak (b. Moscow 1890 - d. Peredelkino 1960), was a writer and musician. Between 1903 -1909 he studied with Scriabin, composing several pieces for piano. With poets Bobrov and Aseyev he was part of the futurist group Centrifuge [Tsentri fuga] founded in 1913, influenced by Russian symbolism. He entered this circle as a musician but soon started to write poetry, though maintaining a musica l influence in some of his patterns, such as the "juxtaposition of contrasting images or things that grow and develop" (Vladimir Markov). This use of transitions typical of music is also found in this poem recited by the author, where he destroys the hierarchy of objects and ideas, and puts on the same plane the Milky Way, the airplane, stars, coal men, infinite spaces... in order to give a view of the Universe. His poetry is formed following a contrapuntal method (taking the same subject from different points of view, or different subjects treated as one). Concepts are approached through family phonetic relationships. He makes associations of sounds and analogies of words in unexpected ways, like the futurists and surrealists, mixing logic and fantasy in the same expression.This poem, written in 1956, is the first recording of Pasternak and was made in 1958 by two Swedes who visited him, but there were a lot of faults in the recording, and it was only later, in 1965, that the first Soviet record, "The writers speak", appeared, with the recording of Pasternak's voice included here. Pasternak won the Nobel Prize for literature in 1958 but was obliged by the Soviet authorities not to accept it. His novel Dr. Zhivago (1955) became very popular outside the Soviet Union, but ran into serious difficulties from the Soviet censors. Pasternak decided then to maintain an internal exile.
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7. Juli 2014

Die Muse Gedicht von 1924 gesprochen von Anna Achmatowa (1890-1966)

Poem, 1924, 0'41"
Stimme – Anna Achmatowa
Recording – ca. 1963-65

Anna Achmatowa, real name Anna Andrejewna Gorenko (b. Bolshoy Fontan in Odessa 1889 - d. Moscow 1966), is one of the most representative poets of the Silver Age of Russian literature. In her early years she was linked to the artistic world of the avant-garde in St. Petersburg, where she formed part of the literary movement known as Acmeism (1912), promoted by Nikolai Gumilev, her first husband, and Ossip Mandelstam, who wanted to break with the metaphoric nature of symbolism and re-establish the semantic value of words. After the Revolution, her poems were banned and she was accused of treason and deported. She returned to St. Petersburg in 1944 where she was obliged to earn her living translating Leopardi and publishing essays. Many of her relatives and friends were executed, repressed or forced to emigrate.


To the Muse

When, in the night, I wait for her, impatient,
Life seems to me, as hanging by a thread.
What just means liberty, or youth, or approbation,
When compared with the gentle piper's tread?

And she came in, threw out the mantle's edges,
Declined to me with a sincere heed.
I say to her, "Did you dictate the Pages
Of Hell to Dante?" She answers, "Yes, I did."

[Translated by Yevgeny Bonver]
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7. Juli 2014

Zigeunermädchen – gesprochen von Ossip Mandelstam

Zigeunermädchen - gesprochen von Ossip Mandelstam

Gedicht, 1925, 1'40". MP3
Stimme – Ossip Mandelstam
Recording – ca. 1927

Ossip Mandelstam (b. Warsaw/Poland 1891 - d. Vladivostok/Russia 1938) was a poet and essayist; one of the three great poets of the avant-garde Acmeist movement, which he defined as "nostalgia for a world culture". His verses have been described as showing "classical restraint, majestic conciseness, and sonority" (Dimitri Obolensky). His literary position of being "a poet against an empire" was defined in 1923 when his name was erased from the list of collaborators on all literary journals and he was forced to live from income from translation work. In November 1933 he wrote a series of verses in which he satirised Stalin: "His fat fingers seem like greasy worms / A rabble of scrawny necked chiefs surround him / inferior men with whom he has fun and plays / One whistles, another miaows, another moans / Only he prattles and passes judgement." In 1934 he was arrested for writing these verses, accused of creating counterrevolutionary works and sentenced to three years banishment. He was arrested again in 1938, sentenced to five years in a re- education camp and deported to Siberia. He died on the way there under strange circumstances. When his wife was told of his death, someone said to her: "What are you complaining about? This is the only country that respects poetry: they kill for it. That happens in no other country." In his poems, Mandelstam used perfectly regular lines, as in symbolism, but their musicality doesn't lie in the "sonority of the words" but in the "ingenuity of the concepts". He did this using the essence of his own language, believing that writing was like sculpting in stone - taking out what is unnecessary and emphasising the revolutionary character of a pure poetry that remains always alive. He said: "Classic poetry is the poetry of the revolution".
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23. Juni 2014

Asia Woman On The Telephone – IVAN (euro edition)

Ivan

White Russ is yellow actually like Ivan's hair, like wheaten bread, like Karakumi sand. Koala shows three fingers: me and two mother's little helpers. Spikes are dancing in field, birches whisper and further sea-ocean, fishes are there silenced. Spring flows with water, summer flows with oil. Day - parubok is running down farting, sun is playing his hair. Night - young doughter medovaya flows near univermag. Plyuh-plyuh - thawed armpit squishes. Hlop-hlop - buttocks is rebeling between one another. Bzh-bzh - wind is walking in the windows of my house. Koala shows four fingers and the fifth one will be shown later.mehr


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Anas Shoqar – Abchasische Musik
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Kemanî Amâ Recep, der blinde Meisterviolinist – Çiftetelli Taksim – rec. 1939
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Kostas Gadini – Aebali der Clarinetten Meister aus West Mazedonien Griechenland
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Parush Parushev – Nazko – trad. bulgarische Straßenmusik am Harmonium aus Plowdiw rec. 1928
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Karlo Ensemble – Lukovitsko Horo trad. bulgarische Roma Brass Musik
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Sgrehua Mahmudi – Z. Kjuj Pora Fieri – Trad. Albanische Tosk Musik rec. 1928
Audio

Zhusupbek Elebekov – Adaskak – Traditioneller Kasachischer Gesang und Dombra
Audio

Super Onze S6 Takamba Gao AFCP
Audio

Komiljon Otaniyozov and I. Abdullaev – Yashi – Usbekistan
Audio

SNAILS – NU-MI PASA Rockmusik aus Moldawien
Audio

Radio nEUROPA Sendeschwerpunkt Nagorny Karabach
Audio

Radio nEUROPA – Sendeschwerpunkt Ukraine
Audio

Radio nEUROPA – Interview mit Lena Kruglova aus Simferopol von der Krim
Audio

Radio nEUROPA Sendungsschwerpunkt Russland
Foto

Galerie Neue Osten 2012 – Movements
Galerie Neue Osten – EXPECTATIONS – Photographien aus dem Land der Huzulen
Foto

Yuri Mechitov entdeckt die Orangen Zwerge in Dresden
Galerie Neue Osten – “MACEDONIAN PHOTO CLUB” 2013
Galerie Neue Osten 2011 Georgien – Die Summe der einzelnen Teile
Galerie Neue Osten – “MELTING POT Berlin/Minsk/Moskau” 2013
Galerie Neue Osten – Aserbaidschan 2013
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