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Tchaikovsky dedicated his original and emotionally vibrant Fourth Symphony to his newly found correspondent Nadezhda von Meck. This correspondence started at the end of 1876, when Tchaikovsky was in need of funds. On the recommendation of Nikoli Rubinstein, Director of the Moscow Conservatoire where Tchaikovsky was a professor, Nadezhda before the other, Nadezhda von Meck sincerely and increasingly gushingly, Tchaikovsky less sincerely to begin with, but much more so before the elapse of many months. Each was determined never to meet the other in the flesh for fear of destroying their very special relationship. The years covered by the present book are by far the most important in the correspondence. They cover the period of Tchaikovsky's tempestuously abortive marriage, about which he is surprisingly candid; in addition to the Fourth Symphony, the compositions of the period include his finest and most sensitive opera, Eugene Onegin, and the ever popular Violin Concerto, as well as numerous other smaller works. Their views on many musical, literary, philosophical, and other matters are stated frankly and, though they are often in accord, they are not afraid to agree to differ either. Not only giving a unique insight into Tchaikovsky the composer, these letters are perhaps as fascinating as any ever printed. Many are published in English for the first time. The translations, by a native-born Russian who lived the latter part of her life in England, and edited by a music scholar who reads Russian and a Slavist who is qualified in music, are as close to the letter and spirit of the original as it is possible to get. The correspondence will be of interest both to musicians and music lovers, and to all who are interested in the arts and culture of the nineteenth century.

Pages: 400 Language: Russian. V zalitom solntsem italjanskom gorodke, na rodine prosekko, vse vstrevozheny: pokonchil s soboj blistatelnyj graf-vinodel, direktora tsementnogo zavoda zastrelili, a molodaja naslednitsa legendarnykh vinogradnikov grozit ikh vyrubit, chtoby posadit banany. Inspektor Stuki, khot i ne vypuskaet iz ruk bokala, reshitelno nastroen pojmat prestupnikov i vernut spokojstvie gorozhanam, chtoby vse, kak i ranshe, mogli naslazhdatsja kazhdym dnjom i kazhdym puzyrkom igristogo. Atmosfernyj detektiv populjarnogo italjanskogo pisatelja Fulvio Ervasa ocharovyvaet volshebstvom unikalnogo regiona Italii Veneto, napominaet o krasote i tsennosti kazhdogo ugolka zemli, navodit na mysli o vechnom konflikte mezhdu zhadnostju i uvazheniem k zemle, progressom i traditsijami. "Ervas virtuozno vystraivaet klassicheskij kriminalnyj sjuzhet". La Repubblica Perevodchik: Rogoza Oksana 9785907784000

Tchaikovsky dedicated his original and emotionally vibrant Fourth Symphony to his newly found correspondent Nadezhda von Meck. This correspondence started at the end of 1876, when Tchaikovsky was in need of funds. On the recommendation of Nikoli Rubinstein, Director of the Moscow Conservatoire where Tchaikovsky was a professor, Nadezhda before the other, Nadezhda von Meck sincerely and increasingly gushingly, Tchaikovsky less sincerely to begin with, but much more so before the elapse of many months. Each was determined never to meet the other in the flesh for fear of destroying their very special relationship. The years covered by the present book are by far the most important in the correspondence. They cover the period of Tchaikovsky's tempestuously abortive marriage, about which he is surprisingly candid; in addition to the Fourth Symphony, the compositions of the period include his finest and most sensitive opera, Eugene Onegin, and the ever popular Violin Concerto, as well as numerous other smaller works. Their views on many musical, literary, philosophical, and other matters are stated frankly and, though they are often in accord, they are not afraid to agree to differ either. Not only giving a unique insight into Tchaikovsky the composer, these letters are perhaps as fascinating as any ever printed. Many are published in English for the first time. The translations, by a native-born Russian who lived the latter part of her life in England, and edited by a music scholar who reads Russian and a Slavist who is qualified in music, are as close to the letter and spirit of the original as it is possible to get. The correspondence will be of interest both to musicians and music lovers, and to all who are interested in the arts and culture of the nineteenth century.

Legendary Voices of the Past Nadezhda Obukhova - CD 717281896566

A thrilling collection of legendary ballerinas in performances 1954-1992. Alicia Alonso, Nina Ananiashvili, Margot Fonteyn, Ekaterina Maximova, Maya Plisetskaya, Raisa Struchkova, Nadezhda Pavlova, Maria Tallchief, Galina Ulanova, Violette Verdy, and more. Color/B&W, Stereo/Mono, 1.33:1, NTSC (Playable all regions), 76 minutes.

The reminiscences in this volume cover the period 1894 to 1917. Nadezhda Konstantinovna Krupskaya (1869-1939) was the wife of V. I. Lenin, was an old member of the Communist Party, a Soviet statesman and a distinguished educator. She was born in St. Petersburg, where she began her revolutionary career. Krupskaya is the author of a number of books on questions of education and pedagogics. Her Reminiscences of Lenin were written over a number of years and published in parts at different times. The present volume is the most complete of all her reminiscences of Lenin hitherto published.

Orlin Anastassov, Alessandra Marianelli, Pavel Zubov, Ian Storey, Vladimir Vaneev, Peter Bronder, Vasily Ladjuk, Vladimir Matorin, Luca Casalin, Nadezhda Serdjuk, Evgeny Akimov, Elena Sommer, John Paul Huckle, Oliviero Giorgiutti, and Stier Matthias.

Svetlana Iosifovna Alliluyeva (1926-2011), later known as Lana Peters, was the youngest child and only daughter of Joseph Stalin and Nadezhda Alliluyeva, Stalin's second wife. In 1967, she defected and became a naturalized citizen of the United States until 1984 when she returned to the Soviet Union. Her first book, Twenty Letters to a Friend, caused a sensation. In it, she remembers her father and describes growing up amongst the highest ranks of the Communist Party.

Hope Abandoned by Mandelstam, Nadezhda. 8vo. 1st ed.

Nadezhda Konstantinovna Krupskaya was a founding member of the Russian Bolshevik Party and the wife of Vladimir Lenin from 1898 until his death in 1924. As both his closest political collaborator and personal confidant, Krupskaya offers invaluable insights into the life and thought of the most important leader of the Russian Revolution. The portrait of Lenin that emerges is of a man unwavering in his convictions, but also—contrary to the mythology later woven around him—quick to laugh and tender in his affections.

For years, Nadezhda and Vera, two Ukrainian sisters, raised in England by their refugee parents, have had as little as possible to do with each other - and they have their reasons. But now they find they'd better learn how to get along, because since their mother's death their aging father has been sliding into his second childhood, and an alarming new woman has just entered his life. Valentina, a bosomy young synthetic blonde from the Ukraine, seems to think their father is much richer than he is, and she is keen that he leave this world with as little money to his name as possible. If Nadazhda and Vera don't stop her, no one will. But separating their addled and annoyingly lecherous dad from his new love will prove to be no easy feat - Valentina is a ruthless pro and the two sisters swiftly realize that they are mere amateurs when it comes to ruthlessness. As Hurricane Valentina turns the family house upside down, old secrets come falling out, including the most deeply buried one of them all, from the War, the one that explains much about why Nadazhda and Vera are so different. In the meantime, oblivious to it all, their father carries on with the great work of his dotage, a grand history of the tractor.

Hope Abandoned by Mandelstam, Nadezhda. 8vo. 1st ed.

Teffi was one of twentieth century Russia's most celebrated authors. Born Nadezhda Lokhvitskaya in 1872, she came to be admired by an impressive range of people – from Tsar Nicholas II to Lenin – and her popularity was such that sweets and perfume were named after her. She visited Tolstoy when she was 13 to haggle with him about the ending of War and Peace and Rasputin tried (and utterly failed) to seduce her. After the Bolshevik Revolution of 1917 she was exiled and lived out her days in the lively Russian émigré community of Paris, where she continued writing – and enjoying comparable fame – until her death in 1952. Teffi's best stories effortlessly shift from light humour and satire to pathos and even tragedy – ever more so when depicting the daunting hardships she and her fellow émigrés suffered in exile. While best known for her stories and feuilletons, she also moved over to other genres, from serious poetry to theatrical miniatures and even music, and inhabited an extraordinary range of spheres connected to both high and popular culture.In the first biography of her in any language, Edythe Haber here brings Teffi – who has recently been 'rediscovered' in the West to resounding acclaim – to life. Teffi's life and works afford a unique panoramic view of the cultural world of early twentieth century Russia, from the debauchery of the Silver Age to the terror and euphoria of revolution, and of interwar Russian emigration. But they also offer fresh insights into the seismic events – from the 1905 Russian Revolution and World War II to life as a refugee – that she experienced first-hand and recreated in her vivid, penetrating, moving and witty writing.

Although the names Mandel'shtam and Nijinsky more commonly evoke the Russian poet and the ballet dancer, their wives, Nadezhda and Romola are also beginning to attract attention. Similarly, the lives and works of Simone de Beauvoir, Lou Andreas-Salome, Asja Lacis, and Maitreyi Devi all have been represented as having been dominated by their association with some of the most important men of Western letters, but they too are coming into their own. These six women all wrote the stories of their own lives, creating powerful narratives that channelled cultural forces at the same time as parrying them. Susan Ingram analyzes the literary, cultural, and ethical effects of these writers whose lives were intertwined with the cultural vibrations of their time, and who heralded the postmodern in having to negotiate their subject positions in the form of a relational autonomy, an ethical sense of alterity, and a strong desire to make an intervention in the cultures of their times. Interdisciplinary in approach, this study brings together scholarship on auto/biography, post/modernity, ethics, identity, and relationality, and makes available material from a variety of languages, some of which appears in English for the first time. In relating the life-stories of six remarkable women to the increasingly popular genre of academic personal criticism, Ingram concludes that the ambiguous, problematic way these women represent their autonomy encourages us to read such academic criticism with attention to the way it represents and often blurs personal and collective identity.

Exhibition Catalogue for the Guggenheim Museum exhibiition in 1999-2000 entitled Amazons of the Avant-Garde featuring the prominent female artists of the Russian Avante-Garde. Included in volume Alexandra Exter, Natalia Goncharova, Luibov Popova, Olga Rozanova, Varva Stepanova, and Nadezhda Udaltsova. Volume includes text and color plates.

Some four years after the wedding of Nicholas and Alexandra Romanov in the splendor of the Kremlin, two obscure political convicts—Vladimir Ulyanov (Lenin) and Nadezhda Krupskaya--were married in Siberia. Twenty years later Lenin and Krupskaya were themselves living in the Kremlin, and the royal Romanovs had been shot by Lenin's police. This book re-creates for the first time the full story of the devoted and determined woman who married the greatest among European revolutionary leaders. Krupskaya's marriage was remarkable in many ways. It began with Lenin's ambiguous proposal smuggled into her jail cell, and ended in the intrigue of succession as Lenin lay dying. From close political collaboration during the early emigrant years of the Bolshevik Party, to her role in the long-suppressed story of Lenin's affair with Inessa Armand, Krupskaya proved herself a loyal bride of the revolution. Yet Krupskaya in her own right comes alive in these pages—as a youthful Tolstoyan; as an advocate of progressive education and the liberation of women; as chief cryptologist, secretary, and paymaster for the tiny network of revolutionaries; as an ultimately tragic figure, struggling to defend her husband's legacy against the machinations of Joseph Stalin. Nadezhda Krupskaya has long been revered in Russia as the greatest woman of the Communist era, yet no Soviet writer has dared to write frankly of her fascinating and turbulent life. In this book—based on extensive research in Soviet publications as well as Tsarist and Trotskyan archive materials—the author has succeeded in unraveling many of the enigmas of Krupskaya's biography, and has provided often intimate and very human glimpses of her famous relationship with Lenin. Here, for the first time, Krupskaya at last takes her place as a great figure of the modern age.

In this text, Bruce Chatwin writes of his father, of his friend Howard Hodgkin, and of his talks with Andre Malraux and Nadezhda Mandelstram. He also follows unholy grails on his travels, such as the rumour of a "wolf-boy" in India, or the idea of looking for a Yeti.

The reminiscences in this volume cover the period 1894 to 1917. Nadezhda Konstantinovna Krupskaya (1869-1939) was the wife of V. I. Lenin, was an old member of the Communist Party, a Soviet statesman and a distinguished educator. She was born in St. Petersburg, where she began her revolutionary career. Krupskaya is the author of a number of books on questions of education and pedagogics. Her Reminiscences of Lenin were written over a number of years and published in parts at different times. The present volume is the most complete of all her reminiscences of Lenin hitherto published.

Hope Against Hope recounted the last four years in the life of the great Russian poet, Osip Mandelstaum, and gave a hair-raising account of Stalin's terror. Hope Abandoned complements that earlier masterpiece, and in it Nadezhda Mandelstam describes their life together from 1919, and her own after Mandelstam's death in a labour camp in 1938. She also sets out his system of values and beliefs, and provides striking portraits of many of their contemporaries including Boris Pasternak and their champion till his own downfall, Nikolai Bukharin, as well as an astonishingly candid picture of Anna Akhmatova.

Utopias fail. Utopias of one do not. They are perfect worlds. Yet their success comes at a cost. They are radically singular―and thus exclusive and inimitable.Utopias of One is a major new account of utopian writing. Joshua Kotin examines how eight writers―Henry David Thoreau, W. E. B. Du Bois, Osip and Nadezhda Mandel’shtam, Anna Akhmatova, Wallace Stevens, Ezra Pound, and J. H. Prynne―construct utopias of one within and against modernity’s two large-scale attempts to harmonize individual and collective interests: liberalism and communism. The book begins in the United States between the buildup to the Civil War and the end of Jim Crow; continues in the Soviet Union between Stalinism and the late Soviet period; and concludes in England and the United States between World War I and the end of the Cold War. The book, in this way, captures how writers from disparate geopolitical contexts resist state and normative power to construct perfect worlds―for themselves alone.Utopias of One makes a vital contribution to debates about literature and politics, presenting innovative arguments about aesthetic difficulty, personal autonomy, and complicity and dissent. The book also models a new approach to transnational and comparative scholarship, combining original research in English and Russian to illuminate more than a century and a half of literary and political history.