Cultural Historians, Composers, And Music Critics Descend On Nation's Capital In Critical Days For Capital And Nation ... Or At Least A Few Do

First, an important appeal for information:

Garth,

Hi, I came across your name and link in conducting research on the Ukrainian Bandurist Chorus. I am producing a documentary on this history of the group - notably from 1918 when they first formed in Kyiv Ukraine, through the 20's and 30's surviving soviet persecution, and their subsequent reformation in Kyiv in 1941. I have read through much of andy gregorovich's work on the ukrainian ostarbeiter work force in germany during WW2.

the bandurist chorus (known to the germans then as the 'bandura band') were themselves sent as ostarbeiters to hamburg germany in august 1942 - to a location on the outskirts of hamburg on the river, known as 'schuppen 43'. from there they were signed up by the german organization 'kraft durch freude' to perform through the armament factories throughout the cities and towns across germany from the period 1942-1945.

would you know some specific locations i might locate archives - film, print, audio or otherwise that would encompass this topic?

also, would you know how i might be able to reach andrew gregorovitch? have you contact info - email for him?

many thanks,
orest sushko

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Please join the contemporary music forum/VERGE ensemble in presenting the World Première of Sanctuary by Roger Reynolds, performed by Steven Schick and red fish blue fish at the National Gallery of Art, East Building Atrium on November 18, 2007 at 6:30 PM.


"about sanctuary

Sanctuary – as refuge, as asylum, as shelter from violence or the
penalties of law – has deep roots in many cultures. In classical Greece,
all temples offered sanctuary, and the Temple of Apollo at Delphi – with
its oracle – was known throughout the Mediterranean world. Sanctuary
continued as a right through the Western tradition in the Roman
Empire and into the Christian era. It is occasionally invoked today
around the globe, with recent examples in areas of sectarian strife and
immigration law challenges.

However, there is another powerful dimension of sanctuary beyond
protection: sanctuary as a place of tolerance and privilege. In this
sense, sanctuary is a place safe for expression, for experimentation, for
revelation. Privilege also involves license: license to define boundaries,
to test them. This is the powerful dimension explored in The
Sanctuary Project.

In today’s fractured world, sanctuary is elusive. My project intends to
create a place of refuge for the quartet, technicians and audience, and
to invite them to act on the privilege and the license so created - to
reveal themselves and, in turn, be revealed, perhaps transformed."

– Roger Reynolds with David Curry
October 2007

for more information - http://sanctuaryproject.net and http://www.nga.gov/programs/music.shtm

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Alex Ross, author of The Rest Is Noise, to Politics and Prose Bookstore and Coffeehouse, in Northwest, Washington, D.C.
November 20, 2007 at 7 PM.

For more Politics and Prose Bookstore and Coffeehouse "Music News" email András Goldinger at books@politics-prose.com,
call (202) 364-1919, or stop by the store.














"Kozak Mamai, the minstrel of Zaporizhian legend, was a common character portrayed in folklore paintings of eastern and central Ukraine popular in the seventeenth and eighteenth centuries. Shown to be a freedom lover, never painted in battle or charging on a horse. Rather, he is depicted in a peaceful, thoughtful pose playing a bandura."

Caption and photo credits: www.brama.com and www.infoukes.com. [Click for further information on Ukrainian Museum resources for this important style of folklore painting.]