texts:
 fishing for trout. Many of <mask>'s fishing stories were written in a self-deprecating manner and he often spoke of how embarrassingly bad he was at it.In 1956, one of <mask>’s columns earned him the second Grantland Rice Memorial for outstanding sportswriting. He wrote in a journalistic style and avoided the flowery language and cliches of many sportswriters. During his time with The New York Times, <mask> garnered many awards. In 1976, he was the second sportswriter to win the Pulitzer Prize for Commentary, citing "his commentary on sports in 1975 and for many other years". <mask> was honored (along with Harold Kaese) with the J. G. Taylor Spink Award by the Baseball Writers' Association of America (BBWAA) in December 1976, bestowed during  ceremonies at the National Baseball Hall of Fame and Museum in Cooperstown, New York. Additionally, the Associated Press awarded him the first Red Smith Award for "outstanding contributions to sports journalism". <mask>'s writing abilities and command of the English language made him much sought after as an editor or adviser by dictionary and thesaurus publishers."Open a vein and bleed"
<mask> is best known for his famous quotation, "Writing is easy. You just open a vein and bleed." In 1946, sportswriter Paul Gallico wrote, "It is only when you open your veins and bleed onto the page a little that you establish contact with your reader." In April 1949, columnist Walter Winchell wrote, "<mask> was asked if turning out a daily column wasn't quite a chore. ... 'Why, no', dead-panned <mask>. 'You simply sit down at the typewriter, open your veins, and bleed.'" Criticism of Muhammad Ali
<mask> was a strong critic of former world heavyweight boxing champion Muhammad Ali until late in Ali's career.This was because when Ali refused to serve during the Vietnam War, claiming his case as a conscientious objector, <mask>, who had never served in uniform himself, wrote: "Squealing over the possibility that the military may call

masks:
Smith
Smith
Smith
Smith
Smith
Smith
Red Smith
Red
Smith
Smith


type: original

texts:
 him up, Cassius makes himself as sorry a spectacle as those unwashed punks who picket and demonstrate against the war", and berated Ali for being a "draft dodger" and a "slacker". Later <mask> famously commented on Ali's first professional defeat in 32 bouts, against Joe Frazier: "If they fought a dozen times, Joe Frazier would whip Muhammad Ali a dozen times; and it would get easier as it went along". Ali went on to fight Frazier twice more, winning both times, once by unanimous decision and once by TKO. Before their final match, the 1975 Thrilla in Manila, <mask> admitted Ali was both a great fighter and a great man. Later life and family
<mask> was married twice. His first wife, Catherine, died in 1967. <mask> then married Phyllis Warner Weiss in 1968.The couple lived in New Canaan, Connecticut, and in Martha’s Vineyard, Massachusetts. At the time of his death, <mask> had two children, five stepchildren, six grandchildren, and two great-grandchildren. <mask>'s son, <mask>, went on to be a journalist at The New York Times, CBS News, PBS, The Huffington Post,  and NPR. The younger <mask> went on to win two Emmy Awards. His first Emmy Award was in  1989 for his coverage of people who lived near nuclear power plants; his second Emmy was for his coverage of Hurricane Hugo in 1990. During The New York Times years, <mask>'s writing style became shorter, drier, and more concise. He believed that his columns in earlier years had rambled too much and took forever to get to the point.He also became more cynical in his beliefs ("I used to go too far in holding up athletes as flawless gods") and in the last years started increasingly criticizing the treatment of players by team owners and management, no doubt motivated by past criticism that he had gone out of his way to justify owners' behavior. He also denounced the International Olympic Committee as a 19th-century relic. <mask>'s January 4, 1980, column called for the boycott by the US of the Summer Olympics

masks:
Smith
Smith
Smith
Smith
Smith
Red
Terence Smith
Smith
Smith
Smith


texts:
 in Moscow, making him the first sportswriter to do so. President Jimmy Carter announced a few weeks later that the US would not attend the games that summer, in protest of the Soviet invasion of Afghanistan. <mask> lived the last years of his life in New Canaan, Connecticut. On January 11, 1982, <mask> announced that he would cut down to three columns a week, stating that "We shall see whether the quality improves." Four days later, he died of heart failure in Stamford, Connecticut.<mask> is buried in Stamford's Long Ridge Union Cemetery. <mask> Smith School (4K through 8th grades) in Green Bay, Wisconsin, is named in his honor. Also named in his honor is the Red Smith Handicap, a Thoroughbred horse race annually run at Aqueduct Racetrack in Queens, New York. <mask> realized the significance of sports in the American culture. He once stated the following: “Sports is not really a play world. I think it’s the real world. The people we’re writing about in professional sports, they’re suffering and living and dying and loving, and trying to make their way through life just as the bricklayers and politicians are.” He also said "It is no coincidence that the largest surviving monument of the ancient Greeks and Romans is the Coliseum in Rome, the Yankees Stadium of its time."Selected works

 The Best of Red Smith
 Red <mask>'s Sports Annual
 Views of Sport
 Out of the Red
 "Absent Friends"
 " Strawberries in Winter"

References

External links

 Baseball Hall of Fame J. G. Taylor Spink Award winner

1905 births
1982 deaths
Angling writers
Boxing writers
BBWAA Career Excellence Award recipients
George Polk Award recipients
New York Herald Tribune people
The New York Times columnists
The New York Times sportswriters
Writers from Green Bay, Wisconsin
Pulitzer Prize for Commentary winners
<mask> Smith Award recipients
University of Notre Dame alumni
20th-century American non-fiction writers
Sportswriters from New York (state)
Green Bay East High School

masks: Smith Smith Smith Red Smith Smith Red


texts:
Sir <mask> (d.1351) was a medieval knight who led the Montfortist faction during the Combat of the Thirty. This was an arranged battle between thirty knights from both sides during the Breton War of Succession, a struggle for control of the duchy between the House of Montfort and the House of Blois. <mask> was killed in the battle. The battle was greatly renowned. <mask> was subsequently depicted by chroniclers as a model of chivalry. Background
<mask> led the Montfortist faction which controlled Ploërmel. The Montfortists were supported predominantly by English knights.He was challenged to single combat by Jean de Beaumanoir, the captain of Josselin, the nearest stronghold controlled by the French-supported Blois faction. According to the chronicler Jean Froissart, this purely personal duel between the two leaders became a larger struggle when <mask> suggested a combat between twenty or thirty knights on each side, a proposal that was enthusiastically accepted by de Beaumanoir. They agreed to an arranged fight at a field marked by an oak tree midway between the two fortresses. <mask> is supposed to have said,

And let us right there try ourselves and do so much that people will speak of it in future times in halls, in palaces, in public places and elsewhere throughout the world. The words are recorded by Froissart: "the saying may not be authentic", Johan Huizinga remarks, "but it teaches us what Froissart thought". Identity
It is unclear whether <mask> was English or German. His identity is something of a mystery and his name is spelled in many variant forms.It is given as

masks:
Robert Bemborough
Bemborough
Bemborough
Bemborough
Bemborough
Bemborough
Bemborough


texts:
 "Brandebourch" by Froissart, and also appears as "Bembro" and "Brembo". His first name is sometimes given as <mask>, sometimes as Richard. The chroniclers Jean Le Bel and Froissart say he was a German knight, but historians have doubted this. The 19th-century writer Harrison Ainsworth, taking his cue from the Breton language version of the name, "Pennbrock", concluded that his actual name was the English "Pembroke". In Breton "Penn-brock", sounds like the phrase "badger-head", which became a derogatory nickname for him. Henry Raymond Brush also argued that he was probably English. The Dictionary of National Biography noted the possibility that he was Sir Richard Greenacre of Merley, and he may have derived the name by which he is known from Bromborough in Cheshire.The name Bembro appears in chronicles of the war associated with English knights, suggesting that a family of the name served in Brittany. Brush also takes the view that he was probably from Bromborough, as a family using that name appears in local records for the period. Death

At the battle itself <mask> was killed. After several hours of fighting there were four dead on the French side and two on the English side. Both sides were exhausted and agreed to a break for refreshments and bandaging of injuries. After the battle resumed, <mask> was wounded and then killed. Leadership was taken by German warrior called Croquart, but the Anglo-Breton faction was defeated.The 19th-century Breton historian Arthur de La Borderie gives a highly dramatic account of <mask>'s death, derived from earlier narratives. In this version he died

masks: Robert Bemborough Bemborough Bemborough


texts:
 at the hands of a squire, Alain de Keranrais, and Beaumanoir's loyal friend Geoffroy du Bois, who are defending Beaumanoir from the arrogant "Bembro", who has just vowed to capture him:

At the same time, indignant at Bembro's taunts, a Breton squire, Alain de Keranrais, shouted: "How vile glutton, you imagine you can capture a man like Beaumanoir! Well, I challenge you in his name, you'll soon feel the tip of my spear". He thrust at the same time a blow to the face; the spear penetrates under the skull, Bembro falls heavily. While his companions belabour de Keranrais, the English leader makes a desperate effort to rise and seek his opponent; he finds before him Geoffroy du Bois, who in turn launches his axe into his chest. Bembro falls dead. Du Bois triumphantly exclaims: "Beaumanoir, my dear cousin whom God preserves!Where are you? Art thou Avenged!". Cultural image
Froissart portrays both <mask> and his opponent Beaumanoir as ideal representatives of chivalry, who fight for honour and glory rather than personal gain. However, a popular ballad of the period, La Bataille de Trente Anglois et de Trente Bretons, depicts <mask> as the leader of a band of foreign brigands despoiling the local population, and Beaumanoir as a heroic defender of the people. This version passed into Breton popular culture. It later became the French nationalist version of the Combat, with <mask> as chief villain. Pierre Le Baud standardised this version in his History of the Bretons (1480), in which <mask> (called 'Richard Bambro') is portrayed as a soldier animated by a vicious desire to avenge the death of

masks: Bemborough Bemborough Bemborough Bemborough


texts:
 English leader Thomas Dagworth.It reaches its apogee in de La Borderie's Histoire de Bretagne, according to which his control of Ploërmel is distinguished by "rapacity and cruelty" and a "brutality, a ferocity all his own". His virtuous opponent de Beaumanoir challenges him after receiving desperate victims of his brutality into Josselin. The arrogant <mask> taunts him, but gets his just deserts at the hands of Beaumanoir's men at the Combat. An alternative point of view is portrayed in Arthur Conan Doyle's historical novel Sir Nigel, in which <mask> (called Richard of Bambro in the novel) is a hardy knight who accepts the combat as an honourable means to continue the fight after a truce has been declared. Conan Doyle's Bambro is an "old soldier", described as a "rugged Northumbrian" (his name being a reference to Bamburgh) schooled in the tough Anglo-Scots border wars: "a dry, hard, wizened man, small and fierce, with beady black eyes and quick furtive ways." Doyle says that he was "hated in the country where he raised money for the Montfort cause by putting every parish to ransom and maltreating those who refused to pay", but that he approached the battle in a purely chivalrous spirit. He and Beaumanoir heartily shook hands before the battle.He was killed after failing to close his visor properly, allowing Alain de Keranrais to thrust his spear through the gap; he was then finished off by Du Bois. References

1351 deaths
English military personnel killed in action
Medieval English knights
Military history of Brittany
People of the Hundred Years' War
Year of birth unknown
People from

masks: Bemborough Bemborough


texts:
<mask> (born 20 March 1982) is a New Zealand former professional footballer who played predominantly as a forward. He previously played for Barnsley, Shrewsbury Town, Swindon Town, Swansea City, Plymouth Argyle, Ipswich Town, Yeovil Town, Aberdeen, St Johnstone, Bristol Rovers, Scunthorpe United, Dorchester Town. He was also capped by New Zealand a total of 24 times, scoring 6 goals. He represented his country at both the 2010 FIFA World Cup and 2016 Nations Cup. He was born and raised in Gisborne. His father Kevin managed New Zealand over a four-year period in the 1980s. He retired from professional football in November 2017.Playing career

Club career
Born in Gisborne, <mask> started his career at Barnsley, becoming a professional in 1999 after moving up through their trainee programme. He had just begun to cement his place in the first-team when he suffered a stress fracture of his foot, which saw him struggle to regain his place. <mask> was signed for an undisclosed fee by Swindon Town in November 2003 after a number of impressive performances against them with Barnsley, which caught the eye of manager Andy King. After breaking into the team he scored a number of important goals in the 2003–04 campaign; including an overhead kick from the edge of the box to secure a point against Bristol City. Despite the departure of Tommy Mooney, <mask> found himself regularly on the bench in the 2004–05 season. He was loaned out to Yeovil Town to increase his confidence and he scored on his debut against Scunthorpe United. He failed to score in the remainder of the season, but a red card for kicking Huddersfield Town defender David Mirfin in the face meant he missed the opening two games of the following season.After Sam Parkin was sold in summer 2005, <mask> was given greater opportunities to play at Swindon, scoring on his return to action against Nottingham Forest. He

masks:
Rory Michael Fallon
Fallon
Fallon
Fallon
Fallon


texts: signed for League One team Swansea City in January 2006 for a fee believed to be £300,000, the second highest fee ever paid by the Welsh club. A productive year followed for the striker, scoring 13 goals in all competitions from 48 appearances. This prompted interest from Championship side Plymouth Argyle and they paid £300,000 for <mask> on 19 January 2007. <mask> had only started a handful of games for Plymouth Argyle, and had struggled to get into the team. He went without a competitive goal at Home Park until 19 January 2008, exactly one-year after he signed for the club, when he scored a second half equaliser against Southampton. It was only his fourth goal for the Pilgrims.The 2007–2008 campaign saw <mask> continue to be a regular bench warmer, but he continued with his optimistic attitude that he can become a first team regular, and even rejected a £250,000 move to League One side Southend United, in January 2008. On 29 September 2009, <mask> scored the winning goal for Plymouth against Peterborough United earning the Pilgrims their first win of the season after seven straight defeats, lifting them off the bottom of the table. <mask> then scored the opening goal in Argyle's next game against Scunthorpe United which they also won 2–1. On the opening day of the 2010–11 season, <mask> played the full 90 minutes and was the provider for Luke Summerfield's winning goal in Plymouth's 1–0 win over pre-season promotion favourites Southampton. In November, he joined Ipswich Town on short loan, returning to Plymouth in January. In August 2011, <mask> signed a one-month contract with Yeovil Town after a short trial and featured in all five of Yeovil's games during that period. In September 2011, he signed a two-year deal with Scottish Premier League club Aberdeen.<mask>'s time at Aberdeen was notable for his performances in the 2011–12 Scottish Cup. After scoring in

masks: Fallon Fallon Fallon Fallon Fallon Fallon Fallon Fallon


texts:
 Aberdeen's 4–0, 4th round victory over Forfar Athletic, he set up Aberdeen's opener in the 5th round 2–1 win over Queen of the South. <mask> then scored both goals in the 2–1 quarter final win against Motherwell to become the Player of the Round. Although Aberdeen lost the semi-final at Hampden Park 2–1 against Hibernian, <mask>'s second half equaliser went on to be voted the PFA Goal of the Season. On 13 May 2013 <mask> was released by Aberdeen having scored three league goals in 35 appearances. <mask> joined Scottish Premier League side St Johnstone in July 2013 on a free transfer, the deal was completed in time for <mask> to play a part, if called upon, in St Johnstone's UEFA Europa League second qualifying round tie against Norwegian Tippeligaen side Rosenborg. On 31 January 2014, <mask> left St Johnstone by mutual consent.In February 2014, <mask> joined Crawley Town until the end of the 2013–14 season. In September 2014, <mask> joined Scunthorpe United on a short-term deal. <mask> scored on his Scunthorpe début in a 3–2 loss to Oldham Athletic on 27
September 2014. In January 2016, <mask> joined Bristol Rovers on non-contract terms until the end of the season. He made his debut as a 76th-minute substitute, in a 1–0 loss to Accrington Stanley F.C. In the summer of 2016, he Joined National League South club, Truro City F.C. as a player-coach but had his contract cancelled by mutual consent in December 2016.On 26 July 2017, <mask> joined National League side Torquay United, on non-contract terms, ahead of the 2017–18 season. He played one match for Dorchester Town. International career
Despite being born in New Zealand and having a father who coached New Zealand at the 1982 World Cup, <mask> chose to represent England at junior level. He played international football for England at U16, U17, U18, U19 and U20 levels and switched when FIFA changed the eligibility

masks: Fallon Fallon Fallon Fallon Fallon Fallon Fallon Fallon Fallon Fallon Fallon Fallon


texts: rules. He did, however, represent New Zealand in an unofficial U-16 World Cup in France in 1998 where Wynton Rufer was the coach. Shortly after, he departed for England to be an apprentice at Barnsley. In January 2006, New Zealand coach Ricki Herbert suggested that <mask> might still get a chance to represent New Zealand at senior level.Herbert claimed that the only reason why <mask> wasn't picked was due to lack of correspondence from FIFA regarding this matter. <mask> had until he was 21 years old to get clearance from FIFA to change nationalities. It found, however, that <mask> did not apply in the 2004 window to change allegiance for over-21s players. This year-long window was made available by FIFA upon introduction of a rule which allows players with dual nationality to switch their allegiance before their 21st birthday. Under this criterion <mask> could not be available for New Zealand. On 3 June 2009, FIFA Congress passed a motion removing the age limit for changing associations for players who had already played for a country's national team at youth level under article 18 of the Regulations Governing the Application of the FIFA Statutes. This allowed for the possibility of <mask> again representing New Zealand.In August 2009, <mask> was called up to the New Zealand squad for a friendly against Jordan the following month and the crucial two-legged World Cup play-off matches against Bahrain later in the year. <mask> scored on debut in the match against Jordan, which New Zealand won 3–1. On 14 November 2009, <mask> headed home the only goal just before half-time in the second leg of New Zealand's World Cup qualifier against Bahrain, to send New Zealand to the FIFA World Cup in South Africa, their first appearance at the finals in 28 years. <mask> played in all three of New Zealand's finals games. He recalled into the New Zealand camp for their World Cup

masks: Fallon Fallon Fallon Fallon Fallon Fallon Fallon Fallon Fallon Fallon


texts:
 play-off loss to Peru. In November 2017, following the matches, he announced his international retirement. Coaching career
After retiring, <mask> worked with Plymouth Argyle's under-14 players.In mid-October 2019, <mask> was appointed assistant manager for the New Zealand national football team under manager Danny Hay. Career statistics

Club
Reference

International goals
New Zealand score listed first, score column indicates score after each <mask> goal. Honours
IFFHS Oceania Men's Team of All Time: 2021

Personal life
<mask>'s mother, Mere, is of Māori descent. He has a brother called Sean and a sister called Bianca. <mask> owns a business selling ice cream for businesses and events across Yorkshire and Devon. References

External links

1982 births
Living people
Sportspeople from Gisborne, New Zealand
New Zealand association footballers
New Zealand international footballers
English footballers
England youth international footballers
Association football forwards
Barnsley F.C. players
Shrewsbury Town F.C.players
Swindon Town F.C. players
Yeovil Town F.C. players
Swansea City A.F.C. players
Plymouth Argyle F.C. players
Aberdeen F.C. players
Ipswich Town F.C. players
St Johnstone F.C.players
Crawley Town F.C. players
Scunthorpe United F.C. players
Bristol Rovers F.C. players
Truro City F.C. players
Torquay United F.C. players
Dorchester Town F.C. players
Scottish Professional Football League players
English Football League players
Scottish Premier League players
National League (English football) players
Southern Football League players
New Zealand expatriate association footballers
2010 FIFA World Cup players
2012 OFC Nations Cup players
2016 OFC Nations Cup players
People educated at Mount Albert Grammar School
New Zealand Māori sportspeople
New Zealand people of English descent
New Zealand people of Irish descent
New Zealand Christians
English people of New

masks: Fallon Fallon Fallon Fallon Fallon


texts:
<mask>n (born October 2, 1964) is Professor of Anthropology at Lyndon State College, Vermont, United States. She specializes in gender dynamics in Mormon fundamentalist communities which practice polygamy. Bennion is one of the world's leading ethnographers of North American plural marriage. She has raised the question of decriminalization of plural marriage in a variety of radio and television forums and several international scholar venues at Brandeis University and the European University Institute in Florence, Italy. Early life and education
Born in Vernon, Utah, Bennion received her B.A. in Anthropology at the Utah State University, an M.A. in Social Organization at Portland State University, and her Ph.D. in Cultural Anthropology at the University of Utah.She splits her time between her home in Vermont and a cabin in the Beartooth Mountains of Montana. In 1994, Bennion received a Dean's Scholarship Award for her ethnography, published by Oxford University Press, Women of Principle: Female Networking in Contemporary Mormon Polygyny. At the time of book's publication, Bennion was an assistant professor of anthropology at the Utah Valley University. With her appointment to Lyndon State College, in Northeast Vermont, she received the Vermont Women in Higher Education Scholarship and the Carol E. Moore Merit Award. Most recently, she was recognized as an individual of distinction for her latest comprehensive look at polygamy, Polygamy in Primetime, published in 2012 with Brandeis University Press. The book covers twenty years of ethnographic work, examining the variability within fundamentalist polygamist societies in the Intermountain West. Professional


texts:
 work

Until the last decade, North American polygamy was seriously examined by only a handful of scholars, including Bennion.In her first book, Women of Principle, she recorded the experiences of female converts in the Montana Allredite order, finding that many women are attracted to polygamy because of the socioeconomic support it offers, replacing a rather difficult life in the mainstream where their status as divorcees, single mothers, widows, and "unmarriageables" limited their access to good men and the economic and spiritual affirmation that comes from a community of worship. In addition to using polygamy as a tool for marginalized women to marry and improve their social standing, she found that women in some communities hold positions of religious or political power in the community, often exercising considerable independent power. They can raise their children with minimal oversight by their husband, manage their household, and work in the all-important female support networks. Finally, Mormon fundamentalism balances the deprivations and difficulties of the lives of polygamous wives with a promise of an afterlife as queens and priestesses. In Desert Patriarchy, Bennion examines the lives of women in the LeBaron polygamous group, located in northern Mexico, where she finds an interplay of the desert and the unique social traditions and gender dynamics embedded in Anglo patriarchal fundamentalism. Bennion identifies the variability in all four major polygamous movements in the West in her latest volume, Polygamy in Primetime (2012), finding that some Mormon women experience more individual satisfaction within the dynamics of a polygamous family than they


texts:
 could in any other marital form. Polygamy in Primetime responds to [polygamy's] new visibility [in the media] with an overview of the subject that, despite occasional academic language, will appeal to general readers seeking more details than the soap operatics of Big Love can provide.In her early work, she produced the first ethnography of modern-day Mormon polygyny in her masters' thesis. For her dissertation, she explored the factors contributing to female conversion patterns and investigating the intimacies between co-wives in the holy wedding ceremony which bonds women to each other and to one man. She also contributed to several chapters in books. Her examination of the atrocities following the Texas raid on the YFZ Ranch, where 460 children were removed from their homes is found in Cardell Jacobson's anthology and in her Mellen book. Her analysis of O'Dea's shortcomings in evaluating the experiences of women can be found in another of Cardell Jacobson's works. Bennion also evaluating the factors causing sexual molestation among Mormon polygynists in an Oxford work. Works

 The Polygamy Question (with Lisa Fishbayn Joffe), 2016, Utah State University Press.Polygamy on Primetime: Gender, Media, and Politics in Mormon Fundamentalism, 2012, University Press of New England. Desert Patriarchy: Gender Dynamics in the Chihuahua Valley, 2004, University of Arizona Press. Women of Principle: Female Networking in Contemporary Mormon Polygyny, 1998, Oxford University Press. "History, Culture, and Variability of Mormon Schismatic Groups" and "The Many Faces of Polygamy: An Analysis of the Variability in Modern Mormon Fundamentalism in the Intermountain West", in


texts:
 Modern Polygamy in the United States: Historical, Cultural, and Legal Issues Surrounding the Raid on the FLDS in Texas, ed. Cardell Jacobson, 2011, Oxford University Press. "Mormon Women in the 21st Century: A Critical Analysis of O’Dea’s Work", in Revisiting Thomas O’Dea’s The Mormons, eds. Jacobson et al., 2008, University of Utah Press."Female Networking as a Factor of Female Status in Mormon Polygyny", in Mixed Blessings: A Study of Women in Fundamentalism, ed., Judy Brink, 1996, Routledge Press. "Abbas Raptus: Exploring Factors Contributing to the Sexual Abuse of Females in Rural Mormon Fundamentalist Communities," Fall 2007, The Forum on Public Policy: A Journal of the Oxford Round Table. As <mask>: "My Sister, My Wife: An Examination of Sororal Polygyny in a Contemporary Mormon Fundamentalist Commune", 1992, Syzygy: Journal of Alternative Religion and Culture. See also
Mormonism and polygamy

Notes

References

External links
 <mask>n at Lyndon State College

1964 births
American anthropologists
American women anthropologists
Cultural anthropologists
Living people
People from Tooele County, Utah
Social anthropologists
Lyndon State College
Utah State University alumni
Portland State University alumni
University of Utah alumni
21st-century American

masks:
Janet Cannon
Janet Bennio


texts:
<mask> is an American author of young adult fiction best known for her best-selling series The Vampire Diaries, which has been turned into a successful television show. Her books, particularly The Vampire Diaries and Night World, have been in the New York Times Best Seller list and have been nominated for five awards. Early life and education
<mask> was born in Orange County, California. Her reported date of birth varies, with sources noting as early as 1958 or 1959 or as late as 1965. As a child, she grew up in Villa Park, California and attended Villa Park High School. It was here that her high school English teacher, Zoe Gibbs, gave <mask> the confidence to write. <mask> studied experimental psychology at the University of California, Santa Barbara.She later attended San Francisco State University to obtain teaching credentials. Career
<mask> began her career as an elementary school teacher, but left in 1989 after three years to pursue writing. <mask> has said that she realized she wanted to be a writer sometime between kindergarten and first grade, "when a teacher praised a horrible poem I'd written", and she began writing in earnest in elementary school. Her first book, The Night of the Solstice, written during high school and college, was published by MacMillan in 1987, followed by Heart of Valor in 1990. They sold poorly, as they were labeled for 9 to 11-year-olds and not for young adults, as <mask> wanted. The Vampire Diaries series was commissioned by Elise Donner, editor of Alloy Entertainment in 1990: <mask> immediately wrote the scene when Elena, Bonnie and Meredith are decorating the gym and the heroine meets Damon (scene later included in the first novel), while, as for the other characters, she adapted those of The Garden of Earthly Delights, an adult book she was writing. She chose the setting of The Vampire Diaries in Virginia because she has family there and was inspired by the small towns and lifestyles.Three trilogies followed: The Secret Circle (1992),

masks:
Lisa Jane Smith
Smith
Smith
Smith
Smith
Smith
Smith
Smith


texts:
 The Forbidden Game (1994) and Dark Visions (1995). The first installment of Night World series was published in 1996, followed by eight more over the next two years. In 1998, <mask> began a decade-long hiatus from writing, returning in 2008 with a new website and a series of new short stories. The Vampire Diaries series was reissued in 2007, followed by reprintings of The Secret Circle trilogy and Night World series in 2008–2009. The Night of the Solstice and Heart of Valor were also reissued in 2008. Three new Vampire Diaries installments were published in 2009 and 2010. The series was later adapted into a TV series (The Vampire Diaries) in 2009, as well as The Secret Circle, which became a TV series of the same name in 2011.The final volume of The Vampire Diaries written entirely by <mask> (The Return: Midnight) was released in March 2011. <mask> submitted a draft of the next installment (The Hunters: Phantom), but after a dispute regarding a pivotal plot twist, her involvement was terminated by the publisher and the episode was revised by a ghostwriter. Subsequent Vampire Diaries installments have also been ghostwritten. She was also replaced on The Secret Circle series, by ghostwriter Aubrey Clark. Personal life
<mask> previously resided in Concord, California in 1991 and still resides in Northern California with her dog. In 1998, <mask> took a decade-long hiatus from writing to take care of her sister's children when her brother-in-law was diagnosed with metastatic melanoma. During this time, her mother died from lung cancer.In late 2015, <mask> was diagnosed with granulomatosis with polyangiitis. Bibliography

Night World Series
Secret Vampire (1996)
Daughters of Darkness (1996)
Spellbinder (1996)  (called Enchantress in the UK and Australia versions)
Dark Angel (1996)
The Chosen (1997)
Soulmate (1997)
Huntress (1997)
Black Dawn (1997)
Witchlight (1998)
Strange Fate (TBA)

Omnibuses
Night World: Secret Vampire, Daughters of Darkness, Spellbinder (Enchantress)"

masks: Smith Smith Smith Smith Smith Smith


texts:
 (2008) Night World: Dark Angel, The Chosen, Soulmate (2008) Night World: Huntress, Black Dawn, Witchlight (2009)

 Short Stories
Published on <mask> <mask> official website. Thicker Than Water – Featuring Keller, Rashel, Galen and Quinn Ash and <mask>ette: Those Who Favor Fire Jez and Morgead's Night Out The Vampire Diaries Universe

 The Vampire Diaries Series The Awakening: Volume I (1991) The Struggle: Volume II (1991)  The Fury: Volume III (1991) Dark Reunion: Volume IV (1992)  (The Reunion in the UK and Australia version)

 The Vampire Diaries: The Return Trilogy The Return: Nightfall (2009) The Return: Shadow Souls (2010)  The Return: Midnight (2011)

 The Vampire Diaries: The Hunters Trilogy The Hunters: Phantom (2011) (Written by a ghostwriter)The Hunters: Moonsong (2012) (Written by a ghostwriter)The Hunters: Destiny Rising (2012) (Written by a ghostwriter)

 The Vampire Diaries: The Salvation Trilogy The Salvation: Unseen (2013) (Written by Aubrey Clark)The Salvation: Unspoken (2013) (Written by Aubrey Clark)The Salvation: Unmasked (2014) (Written by Aubrey Clark)

 Omnibuses The Awakening and The Struggle (2007) The Fury and Dark Reunion (2007)

 Short Stories
Published on Lisa Jane Smith's official website. "Matt and Elena – First Date" (2010)
 "Matt and Elena – Tenth Date: On Wickery Pond" (2010)
 "Bonnie and Damon: After Hours" (2011)
 "An Untold Tale: Blood Will Tell" (2010)
 "An Untold Tale: Elena's Christmas" (2010)

 Cuts from The Return: Shadow Souls
Published on Lisa Jane Smith's official website. Damon and Elena: Tumbleweeds (2011)
 Dinner Disaster (2010)

 The Vampire Diaries: Evensong Note: These books were published as fanfiction on Kindle Worlds after Smith's publisher hired other authors to continue the series after The Return: Midnight. They pick up after the ending of said book. And while they do represent the original author's intended continuation, they are not considered official canon to the main Vampire Diaries series due to their

masks:
Lisa Jane
Smith
Mary Lynn


texts:
<mask> (née Craig; 17 October 1831 – 23 December 1903) was a Scottish poet, novelist, editor, and writer. She was secretary to the National Association for the Promotion of Social Science, and one of the first staff members of the English Woman's Journal. Biography

Early life
<mask> was the only child of John Craig, hosier and glover, and Ann Braick Craig, born on 17 October 1831 in Saint Cuthbert's, Edinburgh. In childhood she lost both parents, and was reared by her grandmother. Due to financial hardship, she was forced to leave school in her tenth year; consequently, from a young age, her literary abilities were largely self-taught. A close study of standard English authors such as Gibbon, Addison and his contemporaries, Shakespeare, Milton, Cowper and Burns were major influences and developed her literary tastes, which influenced her subsequent attempts at writing. After contributing verses to The Scotsman with the signature <mask>, she was regularly employed on the paper starting in 1853.Marriage and family
Several years after relocating to London to pursue a writing and activism career, on 17 May 1866, Craig married her cousin, <mask>, a London iron merchant, at St. John's Church, Deptford in Lewisham. It has been described as an "easy marriage." The couple had a daughter named Margaret, who was born in the same parish in which they were married. On 25 July 1869, <mask> and her husband had their daughter baptized at St Peter's Brockley, Lewisham. In

masks:
Isa Knox
Isa Craig Knox
Isa
John Knox
Isabella


texts:
 the 1881 United Kingdom census, the family, along with John's older brother William, a book-keeper also working in the iron trade, and a servant is listed as living at 13 South Hill Park, in Hempstead, Kent. Ten years later, in the 1881 United Kingdom census, the same household is listed as having moved to 86 Breakspears Rd in Deptford, London. By the time of the 1901 United Kingdom census, the family had moved to No.88 on the same street and had taken on an additional servant. Early career and activism
After coming to London in 1857, Craig was appointed to be the first female secretary to the National Association for the Promotion of Social Science, and held the position, despite enduring public scorn for several years due to her sex. Craig was one of the first staff members of the English Woman's Journal which routinely questioned customs such as opportunities for employment and the division of labour between men and women; actions for the women of the time were often restrained by notions of what was proper conduct for a "lady." A friend and comrade was another major feminist figure, Elizabeth "Bessie" Rayner Parkes, whom Craig had met through her work with The Waverley Journal, an Edinburgh women's magazine. During her early career, Craig also faced discrimination due to her obscure origins and Scottish identity. In her 1910 memoir Recollections of What I Saw, What I Lived Through, and What I Learned, during More than Fifty Years of Social and Literary


texts:
 Experience, the Scottish poet <mask> Mayo describes hearing a well-connected, literary Englishwoman, Miss Y- , who detested "gutter blood," cast aspersions on the lowly work <mask> had taken in Edinburgh to "secure independence before she had made her mark in literature," even bringing it up to her face at a public gathering. To Mayo's admiration, <mask> "gently refrained" from offering a retort.<mask> contributed to the advancement of women during the Victorian period, publishing many works specifically to promote the education of women and joining many organizations striving towards that same goal, such as the newly formed Langham Place circle, a group of privileged women who hoped to open up more professions to women, besides those of nurses and teachers. Besides working as a trailblazer for the advancement of women's suffrage in England, <mask> also was an anti-slavery advocate. She published many poems on the subject of slavery and treated the subject in other prose works, including The Essence of Slavery, Extracted from "A Journal of a Residence on a Georgian Plantation," by Frances Ann Kemble (1863) and Easy History for Upper Standards (1884). Prize-winning Ode

In 1858 <mask> wrote and submitted a resonant ode entitled "On the Centenary of Burns: An Ode" as her entry for a prize of £50 offered at the Crystal Palace for a centenary poem on Scottish poet Robert Burns. Out of 621 candidates, among them such literary figures as Frederic William Henry

masks:
Isabella Fyvie
Isa
Isa Craig
Isa
Knox
Isa


texts:
 Myers, Gerald Massey, and Arthur Joseph Munby, <mask> won the prize. As Burns was regarded as the national poet of Scotland, to win this contest in England as a woman, was quite an achievement for <mask>. Unaware that she had won the contest, <mask> was absent, so her poem was read aloud in her stead before a cheering crowd of thousands in the Crystal Palace who responded to the poem with a standing ovation and cries for the author to appear; her name was mistakenly pronounced "Esau," since the awarders assumed the winner must be male.This poem remains her most cited and praised work, one stanza of which appears below: The land he trod

Hath now become a place of pilgrimage;

  Where dearer are the daisies of the sod

That could his song engage. The hoary hawthorn, wreathed

Above the bank on which his limbs he flung

  While some sweet plaint he breathed;

  The streams he wandered near;

The maidens whom he loved; the songs he sung;—

    All, all are dear! Later career
In 1863, cotton exports in Lancashire were significantly decreased due to the American Civil War, causing great financial hardship to mill workers, so <mask> edited a volume by poets to dedicate to the town for their hardships and raise money. Among the contributors was the poet Christina Rossetti; the published volume was named Poems: An Offering to Lancashire. In 1863, she contributed along with the likes of Charles Kingsley, W. Holman Hunt, Elizabeth Gaskell, and Thomas Hughes to The

masks: Isa Isa Isa Knox


texts:
 Reader, a weekly review of literature, art, and science, newly published in London. After her marriage, <mask> published pieces occasionally in Fraser's Magazine, Good Words, and the Quiver, edited the Argosy, a travel and tales magazine, for a short time, and published some volumes of poems and juvenile histories. She completed many poems, newspaper articles and reviews in the later half of her career, most of whom are little known.Many of <mask>'s works were never attributed to her. Partial lists of her work can be found in various scholarly works on British literature, but some of her novels, such as her first, Mark Warren, are more obscure. Death and legacy
<mask> died at 88 Breakspears Road, Brockley, on 23 December 1903. Her burial took place 30 December 1903 in Lewisham, London, England. At the time of her death, she was beloved by many, as her numerous writings and activities had contributed to awareness of the need for social and political reform. Her questioning of the gender roles and class standards of the Victorian Era made her controversial, yet memorable for her time. The 1911 United Kingdom census reveals that her unmarried daughter Margaret, widowed husband, and his brother continued to live at the same address, with two domestic servants.It appears that on 27 May 1922, Margaret, aged 52 and giving her race as "Scotch," arrived in Quebec on the ocean liner RMS Victorian. She had travelled to Canada to visit a friend, the Rev. Arthur Garlick,

masks:
Knox
Knox
Isa Knox


texts:
 incumbent of the Diocese of Caledonia. There is no record of <mask>'s daughter ever marrying or having children. Literary analysis
Not only did <mask> face contemporary criticism of her writings, but also faced public scorn for her views, especially as expressed in the English Women's Journal. One critic wrote to the editor of the Daily News of their concern regarding <mask>'s expressions, stating, "women's cause is man's" and "women never can, or ought to compete with man." While <mask>'s poems and writings have been regarded as "successful" in her own era, she has been praised for possessing and exerting great "intellectual powers."According to the Dictionary of National Biography, in verse <mask> produced nothing that was considered to have surpassed the excellency of the Burns ode. Her first volume, Poems by <mask> (1866), showed some promise, and some lyric quality appeared in Poems: an Offering to Lancashire (1863), an anthology edited by <mask>, as well as in Duchess Agnes, a Drama and other Poems (1864) and Songs of Consolation (1874). Dr. A. H. Japp edited a Selection from Mrs. <mask>'s Poems in 1892. Of Mrs. <mask>'s prose work, The Essence of Slavery (1863) summarized Fanny Kemble's Journal of a Residence on a Georgian Plantation, and Esther West (1870; 6th edit. 1884) was a well-constructed story. Mrs. <mask>'s Little Folk's History of England (1872) reached its 30th thousand in 1899, and the author adapted from it a successful Easy History for

masks:
Isa
Isa Knox
Knox
Knox
Knox
Isa
Knox
Knox
Knox
Knox


texts:
 Upper Standards (1884). Tales on the Parables, two series, appeared in 1872–7.<mask>'s poems focused on themes such as nature and its changes, the Earth as the Lord's gift, and passing time. In her sonnet "Spring" appears the following memorable lines:  I love the spring-time for the lengthening light, And coming beauty. 'Tis like childhood's hours,When life is all before is stretching bright,And full with promise of its summer flowers,-When tears are soonest shed and soonest dried,And love hath no disguise, and beauty hath no pride. Other notable poems include "The Incarnation," "Never to Know," and "Wind and Stars." Works

 Poems: an Offering to Lancashire (as editor) (1863)
Poems by <mask> (1866)
The Essence of Slavery (1863)
Duchess Agnes, a Drama and other Poems (1864)
Songs of Consolation (1874)
Esther West (1870; 6th edit. 1884)
Little Folk's History of England (1872)
The Good Samaritan (1872)
The Cumberer of the Ground (1872)
Tales on the Parables (two series, 1872-7)
Peggy Ogilvie's Inheritance (1880)
The Half-Sisters (1881)
In Duty Bound (1881)
Deepdale Vicarage (1884)
Easy History for Upper Standards (1884)
Our Summer Home (1888)
Hold Fast by Your Sundays (1889)
Selection from Mrs. <mask>'s Poems (edited by Alexander Hay Japp) (1892)

References

Source

"Craig, <mask> m. <mask>."Biographical Dictionary of Scottish Women. Edited by Elizabeth L. Ewan, Sue Innes, Sian Reynolds, Rose Pipes. Edinburgh University Press, 2007, pg. 82. “MRS. ISA

masks:
Isa Knox
Isa
Knox
Isa
Knox


texts:
 CRAIG-KNOX.” <mask> (Mrs. Craig-Knox)., gerald-massey.org.uk/craig/index.htm.“The Langham Place Group.” First 100 Years The Langham Place Group Comments, 3 Aug. 2016, first100years.org.uk/the-langham-place-group/. Royle, Trevor. "<mask>, [née Craig], <mask> 1831-1903." The Mainstream Companion to Scottish Literature. Random House, 2012. External links
Works by or about <mask> <mask> at HathiTrust
Works by or about <mask>/<mask> at Internet Archive
Works by or about <mask> at Google Books
Works by or about <mask> <mask> at Google Books
Works by or about <mask> <mask> at Gerald Massey.org.uk

1831 births
1903 deaths
19th-century Scottish poets
Writers from Edinburgh
Scottish women poets
19th-century British women writers
19th-century British

masks:
Isa Craig
Knox
Isa
Isa Craig
Knox
Isa Craig
Craig Knox
Isa Craig
Isa Craig
Knox
Isa Craig
Knox


texts:
<mask> (born in Jerusalem in 1977) is a composer, multimedia artist and guitarist known for his creations for large-scale compositions for numerous performers, multimedia contemporary operas involving indigenous cultures and collaborations with scientific institute such as NASA. In 2016 his icon-sonic opera Fuga Perpetua received the sponsorship of the UNHCR. Biography
Born in Jerusalem in 1977 and living in Milan, composer, multimedia artist and guitar player <mask> develops his works in a variety of spaces, including public venues, industrial archaeological sites, theatres and museums, challenging the traditional crystallized categories that separate the arts. His wide-ranging career includes the realization of monographic exhibitions, massive sonic works, sound and video installations of vast dimensions, collective performances involving sound masses in the creation of contemporary rituals, icon-sonic operas and artworks, complex multimedia frameworks, technological projects with the participation of scientists and usage of artificial intelligence, and compositions for soloists, choirs, orchestras and ensembles involving, sometimes, traditional masters of ancient cultures, dancers, performers and non-musicians. Works

Avital’s sound and visual artworks have been presented in museums, art foundations, venues and art events such as MANIFESTA Biennial, GAM - Torino, MACRO Museum of Contemporary Art Rome; OSTRALE Dresden Biennial, La Fabbrica del Cioccolato Foundation in

masks:
Yuval Avital
Yuval Avital


texts: Switzerland, Saint Antoine Church Istanbul, Marino Marini Museum in Florence; National Science and Technology Museum “Leonardo da Vinci” in Milan. He is the author of large-scale Installations such as ALMA MATER - the largest sound installation in Italian history, the artwork covers an area of 1200 sqm with a “forest” of 140 loudspeakers, projections and light (Fabbrica del Vapore, Milan 2015); permanent Sound Sculptures such as THE RATTLES GARDEN - composed of fifty wrought-iron wheat-like sculptures and olive trees on which are hanged 180 bells and rattles from every part of the Mediterranean (Mulinum San Floro, Calabria) and OPEN FENCE - a massive Sound-Sculpture (biggest in Italy), of 320 tubular bells, 64 meters long and 4 meters high, playable by 80 visitors simultaneously (East End Studios, Milan). Different works of Avital are dedicated to humanitarian issues such as his Opera Fuga Perpetua (2016) whose protagonists are refugees, which is endorsed by United Nations UNHCR; and his Opera Giobbe [Job, 2018 ] (איוב), commissioned by the Italian Government and the Italian the chairmanship of the IHRA (International Holocaust Remembrance Alliance) in occasion of the 80th anniversary of the promulgation of the racial laws, In which he connected the holocaust to the genocides which followed afterwards till today.His latest sound and visual artwork is HUMAN SIGNS, a Global participatory online dance and voice artwork, conceived in time of COVID-19, with the participation of over


texts:
 180 artists from over 47 countries presented digitally in MANIFESTA 13 Marseille as a part of Real Utopias exhibition. Monographic Exhibitions
 THREE GRADES OF FOREIGNNESS (22/04/2017 - 30/09/2017) - exhibition of three installations with a video polyptych of 7 parallel video projections, a land installation, a sonic camera obscura and visual artworks. Extended over the 2300sqm of the Fabbrica del Cioccolato Foundation in Switzerland, the exhibition explores the difficult relationship between man and nature, more specifically how they are alienated from one another, in conflict and then reunited. VARIATIONS ON HARMONIC TREMOR: ICON-SONIC ETNA (09/11/2017 - 30/11/2017) - exhibition of two installations with a video polyptych, a sound sculpture and hundreds of icon-sonic postcards. Hosted by the National Museum of Science and Technology "Leonardo da Vinci" in Milan, this exhibition is a tribute to the multifaceted beauty of the territory around the Etna volcano, and to the people that have learnt how to co-exist with this tumultuous and incredible land. NEPHILIM, a solo exhibition of 60 Singing Masks sound sculptures created in dialogue with 24 Tuscan master artisans. Marino Marini Museum, Florence; October 10, 2019 - December 31, 2019; opening event of Ostrale Biennial of Contemporary Art in 2019, two large-scale multimedia installations and a photographic section.Massive Sonic Works
 MISE EN ABÎME - massive sonic work n.1. For a crowd of 100 people, 34 accordions, 2 bass tuba,


texts: bass clarinet, soprano, percussions, didgeridoo & four conductors (2011). Premiere: March 2011 | Recording in RAI (Italian National Broadcast Network) studios in Milan, Italy. Conductors: Sandro Gorli, Pilar Bravo, Nicola Scaldaferri, Dario Garegnani. Duration: 70 minutes. GARON - massive sonic work n.2. For 40 tubas, 5 contrabass tuba soloists, 6 percussions, choir, extended vocal technique soloists & live electronics.(2012), a dialogue between instruments that amplify spectator's experience, dedicated to Anish Kapoor. Duration - 57 minutes approx. Premiere : 26/01/2012 | Closing concert Dirty corner by Anish Kapoor | La Fabbrica del Vapore | Milan, Italy. Conductors: Sandro Gorli, Dario Garegnani, Elena Casella. KARAGATAN - massive sonic work n.3. For 100 traditional gong & bamboo performers. Premiere: 21/01/2013 | Closing concert of Tunog Tugan Festival| Dipolog City| Mindanao, Philippines.Conductor: Chino Toledo. Duration: 30–40 minutes. REKA - massive sonic work n.4. For six traditional singers, two percussions and a crowd of hundreds of people. Commissioned by Warsaw Autumn Festival. Premiere: September 2014 | MITO SettembreMusica & Warsaw Autumn Festivals | Milan, Italy & Warsaw, Poland. Duration: 70–75 minutes.REQUIEM MONUMENTALE: PART I - two parallel compositions: choir of 14 voices and marching brass band of 100 elements. Commissioned by Amici del Monumentale. Premiere: 14 May 2017, Monumental Cemetery of Milan. OPEN FENCE - sound sculpture: 12 tons of weight, 64


texts:
 metres of length, 4 metres of height, over 320 tubular bells. Inauguration: 21 June 2017 at the East End Studios of Milan. Installations
 ALMA MATER - in dialogue with “Il Terzo Paradiso” by Michelangelo Pistoletto: massive sonic work consisting of a forest of 140 loudspeakers, legendary étoiles of Teatro alla Scala and lacemakers. First edition under the patronage of EXPO 2015 and the city of Milan, July 8 - August 29, La Fabbrica del Vapore, Milan, Italy.Duration: unlimited. FOREIGN BODIES - video polyptych of 7 parallel projections, 14 loudspeakers & visuals. The major installation in <mask>'s Three Grades of Foreignness at the Fabbrica del Cioccolato Foundation, this work was realised in collaboration with 7 ballet étoiles. LANDS - ring of loudspeakers and soil. The second installation of <mask>'s Three Grades of Foreignness. REH'EM - sonic camera obscura. Third installation of <mask>'s Three Grades of Foreignness, it was realised in an old elevator shaft, filled with sounds of the heartbeats of Avital's newborn and seismic vibrations of the earth.ICON-SONIC POSTCARDS: TRIPTYCH N.1 (15/10/2017 - 05/11/2017) - video polyptych on 3 flat panel displays and 6 loudspeakers. Commissioned by Festival Aperto in Reggio Emilia. Icon-Sonic Operas
 KOLOT: icon/sonic opera N.1, for 12 traditional singers, soloists ensemble, video & electronics. Premiere: Opening event of REC festival, Cavalerizza reale, Reggio Emilia, Italy; Teatro dal Verme, Milan, Italy; opening event of the XXVI

masks: Avital Avital Avital


texts: edition of the European Theatre Festival, Teatro Due, Parma, Spazio Grande Teatro 2 Parma, Italy 2008. Conductors: <mask> <mask>, Nori Jacoby. Duration: 70 minutes. SAMARITANS: icon/sonic opera N.2, for a soloists ensemble, Samaritans choir, video & electronics.Conductor: Massimo Mazza. Premiere: MiTo SettembreMusica Festival, Teatro Nuovo, Milan, Italy, September 2010. LEILIT: nocturno icon/sonic opera N.3 for a recorders consort: contrabass in F, bass in C, bass in F, tenor, soprano & 2 sopranino; accordion consort (7 elements); piano; bowed piano; guitar soloist; 2 Keis cantors & Video (2011). Duration: 40 minutes. Noise for Syd: icon/sonic opera N.4 for 7 musicians, light designer, visual artist, 2 dancers, video & electronics. Premiere: Festival Aperto, Cavalerizza reale, Reggio Emilia, Italy, 2013. Duration: 30 minutes.RIVERS:  performance for a vocal crowd of refugees and loudspeakers. Premiere: Opening of Terzo Paradiso Center by Michelangelo Pistoletto, Biella, Italy 26 September 2015; Museo Marino Marini, Florence, Italy 04 May 2019; GAM - Torino and Barriera di Milano, Tourin, Italy 29 - 30 September 2020. Duration: unlimited. Fuga Perpetua: icon-sonic Opera for an ensemble, visuals, mobile sound theater and a vocal crowd. Performing: Meitar Ensemble, with the sponsorship of UNHCR and of the International Theatre Institute, UNESCO. Duration: 82 minutes. Premiere: Teatro Comunale “L.Pavarotti” Modena, Italy 12 March 2016. UK Premieres: Brighton Festival, Brighton, May

masks: Yuval Avital


texts:
 2016 and NEAT Festival, Nottingham, May 2016. SILENT QUARTET: icon-sonic opera for a string quartet and video art. Performing: Quartetto Lyskamm. Duration: 60 minutes. Premiere: Anteo spazioCinema, 31 May 2016, Milan, Italy. Compositions for indigenous ensemble
Works for indigenous ensembles involve contemporary music and ancient traditions, they are a big part of Avital’s creations and researches.These projects seek a dialogue between cultures that seem distant in the common perception and the enhancement of unknown traditions. They enrich the contemporary musical language by presenting exciting sonorities, diverse esthetics, new instruments and vocal styles. Hence, contemporary works with ancient traditions or indigenous ensembles bring with them a meaningful value from a social, ethical, cultural and musical point of view. Slow Horizons: music for 12 Kazakh indigenous players, storyteller, 2 dancers, Almaty, Kazakhstan, "Nauryz 21" Central Asia 21 century music in May 2006. After the darkness: closing event for the 2nd International Rondalla Festival, Bogio, Philippines, February 2007. <mask> <mask> - composition, direction, Yizhar Karshon - harpsichord; male choir, indigenous gongs & bamboo ensemble from the town of Bogio. Lefkara Moirai: for traditionals ensemble, 2 singers, guitar, 12 craftsmen, video, narrator, and live electronics.Premiere: Lefkara Festival, Lefkara, Cyprus 2009. Chamber/Orchestra/Soloists

His Operas, symphonic and chamber works were performed by


texts:
 numerous soloists and ensembles, presented in concert halls and festivals such as London Design Festival, Brighton Festival, Warsaw Autumn Festival, MiTo SettembreMusica Milan, Tel Aviv Museum, Opera House L.Pavarotti, Musiktheater im Revier Gelsenkirchen, RomaEuropa, National Conservatory of China, Centre Pompidou, Palazzo Reale of Milan, and Quinta da Regaleira Palace (Portugal). Orchestra
 OTOT: icon-sonic symphony for extended chamber orchestra, 5 percussions, 3 accordions, visuals & live electronics. World premiere: opening of the symphonic season of Teatro Sociale di Como, Italy, January 2013. Duration: 55–65 minutes. Soloist with orchestra
 Hope studies
 Concert for viola & orchestra (2010-2012)

Chamber music
 Music for 7 N.1 - "Cycles" for seven tenor recorders ensemble. In memory of Jose Monserrat Maceda.Premiere: RomaEuropa Festival, Teatro Palladium, Rome, Italy, October 2011. Performing: The Running Seven Recorders Ensemble. Duration: 17 minutes. Music for 7 N.2 - "Modus benedictus" for seven cellos. In memory of Nusrat Fateh Ali Khan, 2009. Unperformed works. Duration: 22 minutes approx.Music for 7 N.3 - "Un porto griggio" for seven contrabass tuba. Dedicated to Bjork (2009/2014). Conductor: Antonio Macciomei. Premiere: 4° Italian Low Brass Festival, Auditorium G.Verdi, Segrate, Italy, April 2014. Duration: 30 minutes. Music for 7 N.4 - "Al mishkavi" for 7 copper plates and seven voices. Dedicated to Shlomo <mask> (2008 - 2009).Unperformed works. Duration: 27


texts:
 minutes approx. Music for 7 N.5 - "Sunset" for 7 violins. In memory of Abel Ehrlich (2010). Unperformed works. Duration: 22 minutes approx. Music for 7 N.6 - "Horror vacui" for seven accordions.Dedicated to Pauline Oliveros (2011). Premiere: RomaEuropa Festival, Teatro Palladium, Roma, Italy, October 2011. Performing: Sergio Scappini, Michele Bracciali, Nadio Marenco, Giancarlo Calabria, Augusto Comminesi, Paolo Vignani. Duration: 15.30 minutes. Seven demons of drought for piano and percussions, 2010. HORIZON & SIREN for alto sax & viola. Premiere: Cantiere Internazionale d'Arte, Montepulciano, Italy July 2015.Duration: 25 minutes. Kolà (her voice) for violin and piano. Duration: 18 minutes. Solo works
 BDIDUT for scordatura guitar. Premiere. Toronto Performing Arts Center, George Washington hall, Canada, October, 2007. Duration: 12 minutes.ENVIRONMENTS EXPLORATION solo performance. Premiere Miami Art Basel, Casa Fendi, Miami, USA, December 2007. DIMDUM for bass flute (2010). Premiere: Frazione Saliana, Pianello del Lario, Como, 2011. Soloist: Gianluigi Nuccini. Duration: 17 minutes. "Dream, shadows and passages", piano sonata (2010-2011).Premiere: RomaEuropa Festival, Teatro Palladium, Roma, Ottobre 2011. Performing: Maria Grazia Bellocchio. Duration: 21 minutes. Utopie N.1 for percussions, video & Tape. Premiere: Conservatorio G. Verdi, Milan, Italy. 04/09/2013. Performing: Lorenzo Colombo.Duration: 27 minutes. KANAF for Bass clarinet, tape & live electronics (2011–13).


texts:
 Premiere: Spain 2015. Performing: Paolo de Gaspari. Duration: 21 minutes. Electro-acoustic & multimedia works

Electro-acoustic composition
“Theatrum Mundi” by Daniel Libeskind and “Meditations on Theatrum Mundi” by <mask> <mask>, London Design Festival, MSCTY EXPO, 12 - 20 September 2020. Global Multimedia Participatory artwork
HUMAN SIGNS - Global Multimedia Participatory artwork of voice and gesture - with over 180 artists from over 46 countries, presented online through audiovisual ensembles on different formats and platforms, March 2020 - Ongoing.Opening at MANIFESTA 13 Biennial, Real Utopias exhibition as “A Door to Human Signs” (2020, Marseille). Installations & live performance
 “Background” for ensemble and tape, Biella, 2006. Cariatidi Sonore Premiere: special production for the Notte Bianca festival, Stazione Ostiense, Roma, Italy, 2007. Masà for Tape, live electronics, guitar, and various electro-acoustic instruments. Premiere: Sala Puccini, Milan 2008, in collaboration with Riccardo Sinigaglia. Kanaf for elaborated bass clarinet & taper. Clarinet: Paolo de Gasperi (2011).Alpha - Uniform infinite sonic tree for 8 speakers and artificial intelligence system in collaboration with Giovanni Cospito, 2012. Spaces Unfolded for infinite sonic tree for 8 speakers (in collaboration with Giovanni Cospito). Premiere: Bergamo science festival, December 2012. Duration: unlimited. Unfolding Space: Concerto for electric & classic guitar, live electronics, video and sonic


texts:
 translations of the cosmic space. In collaboration with NASA & ESA scientists. Duration 60 minutes.Premiere BergamoScienza, Italy, October 2012. Duration 60 minutes. Utopie N.1 for percussions, video & Tape. Soloist: Lorenzo Colombo. Premiere: Conservatorio G. Verdi, Milan, Italy, September 2013. Silent Quartet: Icon-sonic chamber work for string quartet, video, tape & live electronics. Performers: Xenia Ensemble.Premiere: Est-Ovest Festival (commission), Turin & Genoa, Italy, October 2014. FIELDS - installation for tape. Premiere: I Maestri del Paesaggio, Piazza Vecchia & Giardino Tresoldi, Bergamo, Italy 05-20 September 2015. MULTIPLICATIONS N.1 for viola, Saxophone, Percussions, analogue synthesizer & live mixing. Commission: Tempo Reale Premiere: Closing event of Tempo Reale Festival, Florence, Italy 10 October 2015. Duration: 21+ minutes. FOREIGN BODIES ICONS - Opening performance at Woolbridge Gallery with Accademia Teatro alla Scala dancers 2020, Dresden Biennial Ostrale 2019.Electronic works
 Yom (2007)
 Ensof (2007)
 Caves of Winds (2008)
 Voices never-ending (2008)
 Shir leShlomo (2014)

Music for Dance/Theater
 Bdidut: with choreographer & Dancer Chiara Rosenthal, Insoliti International Festival and the XXVII International Review of Integrated Arts and Dance “Il gesto e l'anima”, Teatro nuovo, Turin, Italy 2004. Hamesh: for two actors, guitar, percussions, winds and electronic music (composed by Y.A, texts curated by A. Mazzolotti), World Premiere: 4 September 2005,


texts:
 Vercelli, Italy. PACKMAN VS. ESCHER for 16 dancers. Performances at Biarteca festival, Biella, Italy, 2006, 2007. Music for choreography of Cave Canem by Avi kaisere and Sergio Antonino, for guitar, electronics and dancer choir. Germany, 2007. Music for the theater show "L’ultimo viaggio di Sinbad" by Erri De Luca, Italy, 2009.Live electronics. Director: Marcello Zagaria. Premiere “Festa del teatro 2009” - IV edition, Spazio MIL, Milan, Italy. Corpo: installation for two dancers, video & live electronics, Fondazione A. Pomodoro, Milan, Italy, 2010. Music for the theater show "Una notte in Tunisia" by Vitaliano Trevisan. Director: Andrée Ruth Shammah. Italy, 2011.Guitar
Graduated in the Jerusalem music Academy and later a part of Angelo Gilardino soloists class, under the tutorship of M° Angelo Gilardino & M° Luigi Biscaldi, Avital performed around the world for several years. After that he has focused on creating his own original compositions and on collaborations with masters and soloists of both creative and traditional music. Avital uses elements from the tradition of stringed instruments in the Middle East, Central Asia and Far East, combined with extended techniques for classical guitar. Collaborations
<mask> <mask>’s work is focused on the research of intercultural relations, based on dialogue as a way to show hidden symmetries and complementarity inherent in the culture. <mask>’s operas try to unite, through an ideal “bridge”, non-western musical cultures, traditional

masks: Yuval Avital Avital


texts:
 artists and custodians of ancient cultures around the world. His research of new forms of musical expressions through dialogue gave birth, in 2006, to Trialogo Festival, where masters of ancient traditions, dance, jazz, classical and electric music and many other discipline meet to create a new opera or a common project. References

Bibliography

 C. Cupchik, Gerald (2016), "Creative Practices of Contemporary Artists: <mask> <mask>", The Aesthetics of Emotion: Up the Down Staircase of the Mind-Body, Cambridge University Press,

External links
 Youtube Official Channel
 <mask> Avital Official Site
 Magà Global Arts Official Site
 Vimeo Official Channel

Experimental musicians
Israeli guitarists
Israeli composers
1977 births
Living people
Multimedia artists
21st-century

masks: Yuval Avital Yuval


texts:
<mask>v (; born June 29, 1940 in Moscow) is a Russian and Soviet composer. Biography
Artyomov was preparing to become physicist, studying music at the same time. He finished the musical college affiliated to the Moscow Conservatory (composition class of A. Pirumov), then graduated from the Moscow Conservatory in 1968 where he studied composition with Nikolai Sidelnikov and piano with Tovi Logovinsky. He became a member of the Union of Soviet Composers and Association for Contemporary Music (ACM). He was active as an editor at the Moscow publishers "Musyka" for several years. In 1975, he joined the improvisation group "Astreya" together with the composers Sofia Gubaidulina and Viktor Suslin. In 1979, he was blacklisted as one of the Khrennikov's Seven at the Sixth Congress of the Union of Soviet Composers for unapproved participation in some festivals of Soviet music in the West.His music was performed by M.Rostropovich, G.Rozhdestvensky, D.Kytaenko, V.Fedoseyev, M.Pletnyov, V.Spivakov, T.Currentzis, Virko Baley, D.Alexeev, S.Bunin, F.Kopachevsky, L.Isakadze, T.Grindenko, Yo-Yo Ma, A.Rudin, O.Yanchenko, L. Petrova. Music

Artyomov's compositions show his interest in the archaic ("Incantations", "Totem") and Christian motifs ("Requiem", "Ave, Maria") as well as Eastern meditation ("Awakening", "A Symphony of Elegies", "Moonlight Dreams"). As a young composer, he developed a profound interest, successively, in Russian folklore, traditional music of the East, works of Prokofiev, Stravinsky, Messiaen, and the Polish


texts:
 avant-garde. But it was Arthur Honegger's Symphonie Liturgique, as well as the works of Edgar Varèse and Sinfonia by Luciano Berio that made the greatest and most lasting impression on him. Artyomov considers music a science – concentration of soul experience – and, side by side with astrophysics, – one of two main fundamental sciences: astrophysics broaden the horizon of knowledge of the universe, and music exposes the profundity and strength of human's spirit, his interconnection with the World's Soul (Anima Mundi). Music is "a mediator between God and man", "a concentrate of spiritual energy, which should awaken man's ethical understanding and purify his soul" (Foundation of the Philosophy of Music). "Artyomov would appear to be just the sort of composer whose appearance is especially timely at this point in the life of his country ... His music and his artistic outlook in general reflect the questing for a new order of spiritual values as well as a new regard for individuality."(Richard Freed. Kennedy Center Stagebill, September 1990)

"What we are witnessing is music that dares simply to exist, shining like the sun, allowing us to bask in its warmth ... The first part of the tetralogy, the Way to Olympus, is stunning ... Artyomov's On the Threshold of a Bright World is even more rare – it is a work of genius" (Octavio Roca. The Washington Times, September 24, 1990)

"What cannot be emphasized too strongly is the nobility and sincerity of genuine spirituality which informs so much of Artyomov's art. It is an


texts:
 astounding creation, occupying a unique place for its composer and for Russian music in the last quarter of the 20th century." (Robert Matthew-Walker. "Elegies" CD by Olympia, 1993)."In the age of minimalism and abstraction Artyomov stands apart – his music is created to serve a greater purpose, much in the same way as the later works of Scriabin and the music of Messiaen." (Stephen A. Whealton. Way to Olympus CD by Mobile Fidelity, 1989)

"<mask> Artyomov is considered by many to be Russia's greatest living composer ... His music is deep, ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition colored by Mahler, Honegger and Messiaen to name a few – but melded into a unique voice." (Kathryn Marshall. "Divine Art", 2016)

"Artyomov writes big, ambitious tunes; listening to his music — and also on this Way to Olympus CD – we always feel small; Artyomov is a being who understands and has mastery of the universe while we are merely hairless monkeys on a speck of dust on the distant tip of the Sagittarius arm of the Milky Way." (JMC. The Chronicle, 13 September 2018. www.chronicleseries.co.uk)

Digest of press reviews on Artyomov’s ten CDs released by Divine Art during last three years (see “Quotations” below).For the first time in recent decades, enthusiastic assessments of contemporary Russian culture have appeared in the foreign press. The reason was a series of ten CDs with recording of works by the Russian composer <mask> Artyomov, which was released by the

masks: Vyacheslav Vyacheslav


texts: English-American company Divine Art as a tribute to the composer on the occasion of his 80th anniversary. The series has provoked great public resonance to Artyomov’s music and the avalanche of reviews in popular music editions like Gramophone, American Record Guide, Pizzicato, Musical Opinion, Fanfare, The Classical Reviewer, etc. They often contain expressions such as «the most unusual talent today», «a work of exceptional beauty», «new order of spiritual values», «masterpiece», «unforgettable and touching», «magnificent», «bravo». Some consider Artyomov as “one of the greatest living composers” (MusicWebInternational), “one of the most individual and distinctive composers not just in the music of his native Russia but in Western Classical music as a whole!” (Musical Opinion), for others “The series of issues and re-issues of the music of <mask> Artyomov on Divine Art is one of the primary revival events of the past decade… It is time we celebrate his music—as the most bracing and original music of our times”(Classical Modern Music). Some reviewers recall that Mstislav Rostropovich, who ordered and performed three Artyomov’s symphonies (two of them performed by Teodor Currentzis and Vladimir Ashkenazi were included in the present series), was absolutely visionary saying: “Artyomov has absolutely clear and unique composer’s image... Artyomov brings glory to our country and to Russian art”. The French edition Classica had remembered even the former persecutor of Artyomov—Tikhon Khrennikov, who “by the irony of


texts:
 history (like A.Salieri who after listening to Mozart’s Requiem in Amadeus said: «Forgive your assassin!Mozart!») also eventually recognized the greatness of his enemy” and after the performance of Artyomov’s Requiem told journalists: “Artyomov is outstanding composer. His Requiem has raised Russian music to the unattainable previously height. I’m sure it is due to Artyomov that we have not only reached the European level in this genre, but surpassed its acmes—Requiems by Mozart and Verdi”. Christian edition The Christian Review writes: “The profound, spiritual nature of <mask> Petrovich Artyomov’s music led the conductor Teodor Currentzis to liken the Russian composer, who was born in 1940 in Moscow and is considered Russia’s greatest living composer, to Anton Bruckner”. Due to the great interest in Artyomov’s work, Divine Art decided to supplement the series by releasing new discs. Disc Astraea containing joint improvisations on non-orchestral instruments of composers V.Artyomov, S.Gubaidulina and V.Suslin was released in January 2020 (re-release of the 1994 disc). The Artyomov‘s eleventh CD (Album XI), which includes mostly unreleased chamber works by the composer, is expected in May 2020.(R.Gruzdkov. Way Up, 3, 2020)

Works

Symphony of the Way (tetralogy):
 Way to Olympus, a symphony 1978–1984
 On the Threshold of a Bright World, a symphony 1990, 2002, rev.2013
 Gentle Emanation, a symphony 1991, 2008
 The Morning Star Arises, a symphony 1993

The Star of Exodus (trilogy):
 In Memoriam, a symphony with


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 violin solo 1968, 1984
 In Spe, a symphony with violin and cello solos 1995–2014
 In Gloriam, a symphony with two piano solos, choir and soloists 2020-

 Requiem, 1985–1988
 Gurian Hymn, 1986
 A Symphony of Elegies, 1977
 A Garland of Recitations, 1975–1981
 Tristia I, 1983
 Pietà, 1992, 1996
 Tristia II, 1997, 1998, rev. This is a fully developed voice in new music, someone who has carried over the mysterious cosmos of late Scriabin and Messiaen and made something new out of the unrealized potentials that lurked behind those composers' most prescient creations. Artyomov speaks to me, in elegant and vivid eloquence. The Russian National Orchestra under conductors Teodor Currentzis and Vladimir Ponkin bring this complex and very personal music into vivid relief against the seeming silence of the universe. Artyomov travels in the wake of those before and manages to say something new and different. That is a remarkable achievement and he most certainly deserves a hearing.All you modernists and seekers of the new look no further, at least today. Give a listen to <mask> Artyomov on this very moving sample of his work. It gives us another way to thread the futurist needle." – Grego Applegate Edwards (Gapplegate Classical Modern Music, February 16, 2017)

"This on a macro [scale], it making the listener think of the vastness of space. Both [symphonies] are monumental in ambition, and in sound, making any review a little trite. Both CDs certainly make an impression. The sleeve notes explain some of what's going on but


texts:
 <mask> Artyomov demands (in all senses of the word) the listener to make an effort.It's compulsive listening. They're both out on Divine Art, which lives up to its mission statement." (Innovative, Eclectic, Fascinating, Inspirational) with these CDs. Jeremy Condliffe (The Chronicle) – joint review with dda 25143)

"<mask> Artyomov is a distinctive and important voice in Russian music. These impressive symphonies are like momentous journeys, full of incident and emotion and the most wonderful ideas. The performances are all that you could wish for making these two discs valuable releases." – Bruce Reader (The Classical Reviewer)

"Two of those symphonies make welcome appearances here in characterful performances, vividly recorded.There is an unmistakable sense of a journey travelled and of emotional states transfigured into spirit. All the performances here are terrific and Robert Matthew-Walker's booklet-notes argue at passionate length for Artyomov's uniqueness and importance." – David Fanning (Gramophone) – joint review with dda 25144

"[The Symphony] is an engaging work that makes a considerable impact. Predominantly underpinned by low, resonant sound from the basses and organ, one senses the work is depicting the aspects of the universe. Ave atque vale is a gratifying work that can engage the listener with reasonable concentration. Ave Crux Alba is weighty and highly dramatic. Under the baton of Vladimir Ashkenazy the National Philharmonic Orchestra of Russia has full measure of the work conveying a sense of


texts:
 mystery and an impressive overall grasp.This album of works by <mask> Artyomov, one of Russia's unsung composers, make a substantial impression with his unique soundworld." – Michael Cookson (MusicWeb)

"World premiere recordings of two major works by Russian composer <mask> Artyomov, completed by the short transcription of the Maltese Hymn in excellent performances conducted by Vladimir Ashkenazy. The expressive music is good for an interesting discovery." (award 4/5 stars) – Norbert Tischer (Pizzicato, Luxembourg)

"These two symphonies (parts of a tetralogy) are unlike The Planets, unless you think of them as uber-Holst: they cause a visceral reaction and suggest a metaphysical cri de coeur ... they embody mystery and the unknown. They are both accessible" – Vanessa Wells (The Whole Note) – joint review with dda 25144

"The Symphony On the Threshold of a Bright World is in 18 continuous episodes, separately tracked. A surreal and even psychedelic ambience is the order of the day. It is like a Dali dreamscape in constant and meltingly waxy motion.There is some glorious writing. The short Ave, Crux Alba – The Order of Malta Hymn – is sensationally grand and strides – never struts. It makes a huge sound accentuated by a lively acoustic. The sound is good and carries the whispers and grand climactics with satisfying fidelity. There is certainly plenty to intrigue and enthral." – Rob Barnett (MusicWeb)

"Gentle Emanation is in 28 continuous episodes and three sections. The music flickers and pounds like a huge


texts:
 metal stamping machine.There's more than a touch of Messiaen's wildness about this and those shivering Scriabinisms, already commented on in the symphony On the Threshold of a Bright World, are also present. Tristia II was written to mark the sixtieth birthday of Vladimir Ashkenazy. It's highly unconventional and the first and last tracks incorporate Nikolai Gogol's supplicatory prayer to some angel-custodian, here voiced at quarters close and warm by Mikhail Philippov. Very knowledgeable notes." – Rob Barnett (MusicWeb)

"With Currentzis the [Symphony] is interpreted by a conductor who sees Artyomov as the 21 st century's Bruckner. Correspondingly he develops the piece with intensity and effectiveness for its whole duration. The emphasis of this composition {Tristia II] however, is on the piano part, which blends naturally in the orchestral movement.The Russian national orchestra is an established, successful body which devotes itself expertly to Artyomov's work. With Ponkin and even more so with Currentzis they found conductors, who are able to shape the large forms and create tension which persists. Pianist Kopachevsky mastered the piano part with excellence." (awarded 5 stars) – Uwe Krusch (Pizzicato)

"Impressively annotated, impeccably produced, neatly packaged.. The music in both these CD's and the composer deserve wider exposure outside Russia. Artyomov's music is mystical, Russian at the core. He is a master of orchestral writing and of unusual instrumentation.Many of his melodies have their roots in


texts:
 old Slavonic chant. A most unusual talent whose day has yet to come insofar as the American concert-going audience is concerned." – Rafael de Acha (Rafael Music Notes)

"This large-scale work—with its huge dynamic range, its bouts of gnarled Bergian harmonies, its vehement percussion outbursts, its anguished strivings, its Messiaenic bird-chattering in the woodwinds, its Schoenbergian flutter-tonguing—is far closer to neo-Expressionism than it is to anything by the so-called New Spiritualists. Tristia II ... is shorter, gentler, and more hypnotic, a piece that's apt to whisper as often as Gentle Emanations is to scream. Both works get what sound like committed performances—and the sound is no obstacle." – Peter J. Rabinowitz (Fanfare)

"This symphony (Gentle Emanation) is unmistakably serious and spiritual, and its many colorful or even exotic details (for example, the almost Middle Eastern wind writing in Episode 5, and elsewhere, and a variety of bird calls—including a cuckoo— in Episode 13) prevent the music from seeming grim, even though there are no smiles here. The remaining four episodes ( On the Threshold) seem to serve as a conciliatory postlude, and here, Artyomov's writing becomes increasingly beautiful.The closing minutes of the symphony are very moving. Ave, Crux Alba is the most immediately impressive work on these two CDs. <mask> has created a strong and noble melody for the chorus, and dressed it in splendid orchestral garb. "Wrong" notes and harmonies intensify the emotional impact. In concert,


texts:
 this would get a standing ovation. ovation. It wouldn't be bad at the end of the Hollywood movie, either.The chorus is solid as a rock." — Raymond Tuttle (Fanfare)

"Way to Olympus is a complex, thoughtful and ultimately satisfying symphony. If it had a chance, I believe it could be one of the ‘great' examples of this genre for our time. Gurian Hymn is a gorgeous work that is both inspiring and thoughtful. The concept of the four disparate layers working out their own destiny is memorable and moving. <mask> <mask>'s music parallels the beauty of the sonnets, with its emphasis on the everlasting cycle of life and death. Preludes to Sonnets remind me of late Scriabin; truly stunning."– John France (MusicWeb International, 2018)

"A Symphony of Elegies – this profound and essentially unique work can equally be seen as a musical equivalent of Eastern meditation, in its mostly un-rhythmic flow in which time and movement seem to lose meaning, the two solo violins in their highest register creating a vision of observation from above. It is an astounding creation, occupying a unique place for its composer and for Russian music from the last quarter of the 20th century. Artyomov is undoubtedly a successor to Scriabin: inhabiting a mystical world, certainly, but one founded upon natural, basic principles, which at its most compelling illuminates aspects of human existence in a way not approached by any other composer." – Robert Mathew-Walker (notes for A Symphony of Elegies CD, 2018)

"Symphony: The Way to Olympus. It is

masks: Vyacheslav Artyomov


texts:
 a beautifully paced, sprawling and highly evocative sound poem for orchestra, here recorded some time ago but sounding gloriously well ... I hear a penetrating inwardness and a contrastingly outward skyrocketing elation to the music. The work is very dramatic, moving, original ... Artyomov on the basis of this volume and the others comes before us as a tragically underappreciated Modern master, a Russian Ives in terms of creating beautifully advanced music in spite of social neglect and isolation.His time has come. He is a Russian master that has suffered neglect for far too long. It is time we celebrate his music. It is High Modern in a very evocative way. It is not easily forgotten once you give it your full attention! Bravo! ☆☆☆☆☆" – Grego Applegate Edwards (Classical Modern Music.18 July 2018)

"Music that is by turns riotously colourful, knowingly confrontational and profoundly moving ... This fascinating disc (Way to Olympus) provides a decent starting point for listeners keen to investigate the strangely diffuse but parallel worlds of a Russian composer whose oeuvre seems consistently unpredictable. While the riotous Symphony gets the top billing, I would actually dare to suggest that the deeply impressive Gurian Hymn is well worth the disc's asking price on its own." – Richard Hanlon (MusicWeb International, July, 2018)

"This recording of the two suites, in particular, served as an excellent introduction to the work of Artyomov and encouraged me to seek out of his Requiem and his symphony On the


texts:
 Threshold of a Bright World. Having heard these I shall certainly be on the lookout for further recordings of works by this composer who is the only composer now creating serious monumental compositions of tremendous strength and beauty. He is Bruckner of the 21st century." (Teodor Currentzis, conductor).editor@iclassical.co.uk (iClassical rating *****, July 31, 2018)

"It is always interesting to encounter works by composers with whom one is unfamiliar and on this occasion it was truly stimulating and has set me on the road to exploring further treasures by Artyomov. There seems to be a genuine spirituality and sense of dignity underlying his works and if you are prepared to listen attentively you will find this music communicates with you in a most direct manner. A revelation!" – editor@iclassical.co.uk (iClassical rating *****, July 31, 2018)

"<mask> Artyomov's one-movement symphony (Way to Olympus) is the atmospheric centrepiece of this disc – the layering of sounds is hypnotic and the effect is powerful!" – Freya Parr (BBC Music Magazine, September,2018)

"(Artyomov) has certainly written a good deal, notably two cycles of symphonies: Symphony of the Way, which is a tetralogy consisting of Way to Olympus, On the Threshold of a Bright World, Gentle Emanation and The Morning Star Arises, and The Star of Exodus, a trilogy with soloists consisting of In Memoriam, In Spe and In Gloriam (the last possibly unfinished). Some parts of these have been recorded, along with other works, and the enterprising Divine Art


texts:
 label is in the process of reissuing them. There is also a Requiem, apparently the first to be written in Russia since the 1917 revolution, which has been much praised.I look forward to exploring more Artyomov." – (from: Stephen Barber, MWI, 13 November 2018)

"Artyomov writes big, ambitious tunes; listening to his music — and also on this (Way to Olympus) the fourth CD – we always feel small; Artyomov is a being who understands and has mastery of the universe while we are merely hairless monkeys on a speck of dust on the distant tip of the Sagittarius arm of the Milky Way." – (from: Jeremy Condliffe. The Congleton Chronicle, 13 September 2018)

"The profound, spiritual nature of <mask> Petrovich Artyomov's music has led the conductor Teodor Currentzis to liken the Russian composer, who was born in 1940 in Moscow and is considered Russia's greatest living composer, to Anton Bruckner. For admirers of Artyomov's works the release of these recordings of two of his finest symphonies (each is quite arresting and beautiful), along with the additional works that are included and the excellence of the conductors and musicians, surely will be welcome and perhaps will lead to new insights and appreciation. For those new to Artyomov's works, they are an excellent introduction to a composer of genius. Majestic and dramatic at times, reflective and interior at others, and some times playful, On the Threshold of a Bright World and Gentle Emanation seeks to depict the awe-inspiring mystery of God.This is not the music of a


texts:
 Russian Orthodox Divine Liturgy. It is, however, music that captures a sense of God as the mysterious, uncontainable, uncreated light, and human beings as creatures struggling to meet their God, music that has at its core a clear understanding of the Orthodox faith." – (from: Rev. Kevin Bezner. Music for the Soul by <mask> Artyomov, Russia's Greatest Living Composer, January 22, 2017)

"Both of Artyomov's records (symphonies) are retrospective collections of orchestral music, from as early as 1990 and revised as recently as 2011. The Russian composer writes in a range of styles, from the straightforward and neoclassical to atmospheric and aggressively modern. With this flexibility of approach his music never sounds quite stable or steady.Even short works threaten to rupture and swerve from the expected. What may start off sounding like Ligetian density and volume can quickly revert to the bizarre playfulness of a Mahler scherzo. This stylistic cosmopolitanism is a strength that keeps the music afloat, even through a couple of hours. It also presents something of a challenge, in that there is little that is predictable or that can be taken for granted in any of the works recorded here. This constant demand for attention can be tiring, but is usually rewarding. I must admit that I'd never heard of Artyomov before getting these records, but I certainly find myself wanting to hear more!" – (from: George Adams.American Record Guide. April 2017)

"(Requiem) Here is a great masterpiece, and no mistake. The first-ever


texts:
 setting of the Roman liturgy by a Russian composer, this great work appeared in the final days of the Soviet Union, which caused something of a sensation at its Moscow premiere – not only for the fact of its existence, but also for the originality and masterly quality of the composer's invention. Artyomov is without question one of the greatest living composers." – (from: Robert Matthew-Walker. Musical Opinion Magazine, October–December 2018)

"Listening to this music (Requiem) again after a few years really brings home what a sensitive ear Artyomov has, and amplifies how carefully and tellingly he deploys his huge resources, especially piano and percussion, in this work. His vocal writing is also expert, both for soloists and chorus.Often there is a sense of note spinning in this kind of repertoire, but in its very different way this work reveals Artyomov's adeptness in writing for voices ...
His goal was nothing short of a large scale work which would act as a vehicle for national expiation. For all the terror, catastrophe and violence implied in this piece, its extremity is somehow reined in. It never gets too much, and there is a profound formal elegance at play ... I have known it (Requiem) for not far short of twenty years and it still grips, moves, and surprises at every turn." – (from: Richard Hanlon. Music Web International. 2019)

"(Requiem) It is world's apart from the Mozart and Fauré requiems for example, and instead has the same sense of 'finality' as do the Berlioz and Verdi scores, but with a


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 much more universal overtone to it, and has a way of lingering in your mind long after audition.It was written for the millions of Russians who suffered and died by the hands of tyranny, but still resounds today for all of those killed due to greed and intolerance." – (from: Jean-Yves Duperron – October 2018, classicalmusicsentinel.com)

"For the past half-century, <mask> Artyomov (b1940) has proved himself again and again to be one of the most individual and distinctive composers not just in the music of his native Russia but in Western Classical music as a whole ...
Artyomov's harmonic and rhythmic patterns, and its underlying pulse, while almost glacially slow at times are more varied and never static. Rather, the music seems at some stratospheric height, its invention stretched out over an entirely different timeframe, or timeframe of reference. Its three movements are captivating, mesmerising, utterly compelling. Superb." – (from: Guy Rickards, Musical Opinion, January – March, 2019)

"In keeping with expectations associated with Requiem this work is a grand statement. Its subject matter is as much about Russia, its people and their tragic history as about Christianity and Eternity.Artyomov's musical language is hard-hitting but not avant-garde in any West Coast or London Round House sense. Artyomov has made a renewed impact in the last two years and this is largely due to the recording label, Divine Art. I say 'renewed' because in previous decades his music has been available thorough Olympia, Melodiya,


texts:
 Gramzapis, Boheme and Mobile Fidelity. If you need to orientate yourself with this composer then try the site's reviews of The Way to Olympus (review review), Sola Fide and the symphonies (review ~ review). Robert Matthew-Walker's now very rarely-found book on Artyomov was published in 1997 y DGR Books of St Austell." – (from: Rob Barnett. Music Web International, 15 November 2018)

"Artyomov chooses to play the card of monumental pathos: his Requiem is a vast cry that alternates revolt and elegy, vehemence and lamentation.The mass of the choruses is combined with a powerful orchestra that is further strengthened by the organ and the bells. From the dissonance of the most tense moments (Dies Irae, Tuba Mirum), to the plaints of feminine voices rising in calmness, everything is done to upset the listener, to force him to face the suffering of the Russia. In an irony of history, Khrennikov, who had organized the boycott of Artyomov, also ends up recognizing the greatness of his enemy in his hearing of this work ... We would almost think of Salieri faced with the Requiem of Mozart in Amadeus." – (from: Sarah Léon (Classica, France) – translation by Stephen Sutton, 4 March 2019)

"Many consider <mask> Artyomov Russia's greatest living composer. Sola Fide underwent a lengthy gestation. It began in the early 1980s with a suggestion from Nikita Dolgushin, a Leningrad-based dancer and choreographer, that Artyomov compose a ballet based on Aleksey Tolstoy's trilogy Road to Calvary. A libretto was initially mooted 'after


texts:
 the novel' from Valeriya Lyubetskaya.This turned out not to be feasible. The composer thus adapted the subject, retaining the novel's principal characters, especially that of the Poet, who symbolizes Culture – the creation and dissemination of which justifies humanity. The death of the Poet signifies the collapse of Humankind. Artyomov decided on a ballet-requiem, employing a full choir and soloists. Due to pressures of work the ballet was put on hold, but a Requiem emerged dedicated to the 'Martyrs of long-suffering Russia'. It was premiered in 1988. It was not until 2016 that Sola Fide was finally completed.It consists of 30 episodes in 3 acts, 10 of which are shared with the Requiem. The episodes are forged into five suites: Katia, Dasha, Poet, The Terrible Days and Catastrophe. This recording includes Katia and The Terrible Days, two suites shared with the Requiem. Once again the composer dedicated the ballet to the 'Martyrs of long-suffering Russia' ... This captivating release will no doubt stir me on to explore more of this composer's strikingly potent music." – (from: Stephen Greenbank. MWI, June 2018)

"As the author, over 20 years ago now, of the first book ever to be published on the music of <mask> Artyomov (born 1940), it has been a singular pleasure for me to have witnessed his slow but growing acceptance by many to become Russia's greatest living composer.As Divine Art has rightly claimed, after the fall of the Soviet regime his music has travelled the world to great acclaim. It is deep,


texts:
 ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition coloured by Mahler, Scriabin, Honegger and Messiaen to name a few — but melded into a unique voice! The tradition Artyomov follows on much of the CD here is that of Russian ballet, and this new release contains two further suites drawn from his ballet 'Sola Fide' ('Only by Faith'), based on Tolstoi's novel The Road to Calvary, and therefore naturally sharing the ethos and music of Artyomov's Requiem — the first Requiem (1985–88) to be written by a Russian, let alone a Soviet, composer." – (from: Robert Matthew-Walker. Musical Opinion, April – June 2018)

"<mask> Artyomov prefers not to call his music 'contemporary', but uses a special term to denote its inclusion in the Tradition – 'musica perennis' ('eternal music'). A distinctive feature of the composer's works is their spirituality and loftiness, deep religiousness. According to the author 'Music is the greatest achievement of human genius.And it is the only cultural phenomenon that promotes the development of high moral qualities in people.' " – (from: iskusstvo.pro 2018/03/01)

"<mask> Artyomov is regarded as Russia's greatest living composer. Artyomov's warm, expressive compositions reflect his interest in the archaic, Christian motifs and Eastern meditation. He prefers not to call his music 'contemporary', using instead a specific term for including it into the Tradition 'musica perennis' (eternal music). As he says, 'music is the only way for the cognition


texts:
 of the sense of existence'. Since the fall of the Soviet regime his deep, spiritual and brilliantly crafted music has travelled the world to great acclaim." – (from: John Pitt.New Classics. new-classics.co.uk)

"The Symphony (In Spe) is superb, wonderful. But Latin Hymns is divine truly: it is the best choral work I have heard since Mahler's 8th Symphony." – (Stephen Sutton, CEO, Divine Art Recordings Group, 24 January 2019)

Bibliography
Artëmov, Vjačeslav; V. Mud'jugina (2004): Vjačeslav Artëmov. Muzyka, Moskau. . [Booklet, Russian and English]

Notes

Sources
Gerard McBurney, "<mask> Artyomov" in Contemporary Composers (Chicago & London: St. James Press, 1992)

Further reading
The New Grove Dictionary of Music and Musicians. Vol. 2.London 2001
The International Who's Who in Classical Music 2003. Europa Publications. London 2003
Andreas Kloth (2009): Der russische Komponist Vjačeslav Artëmov: Ein Beispiel für die politisch und gesellschaftlich bedingte Rezeption nonkonformistischer sowjetischer Komponisten. Die Blaue Eule, Essen. M. John. Auf dem Wege zu einer neuen Geistigkeit. Verlag Ernst Kuhn.Berlin 1996
M. Lobanova. <mask> Artyomov: Tempo costante. Konzert fǖr Orchester. In Das Orchester, December 1993. Robert Matthew-Walker (1997): The music of <mask> Artyomov: an introduction. St Austell. M. Tarakanov.<mask> Artyomov in search of artistic truth. In: Tsenova, Valeria. Underground Music from the USSR. Harwood Academic Publishers. Amsterdam. 1997
O.Nesterenko. A Requiem for the USSR: From Atheism to

masks: Vyacheslav Vyacheslav Vyacheslav Vyacheslav


texts:
 Secularity.The Yale Journal of Music & Religion. Vol. 6: No. 2, Article 4. External links
"<mask> Artyomov", chat.ru
"Temenos presents: <mask> Artyomov", temenos.info (in Russian)

1940 births
Living people
People from Moscow
Russian male classical composers
Soviet male composers
Moscow Conservatory alumni
21st-century classical composers
20th-century classical composers
20th-century Russian male musicians
21st-century Russian male