Dub N Sladkov

Manchester Et Liverpool 5.Aio.how is Media search engine and does not host any files. Write a comment. Dub N Sladkov ».

Biography Kirill Kondrashin & Alexander Sladkovsky

Kirill Kondrashin
one of the most distinguished domestic conductors of the 20th century, was born in 1914, in Moscow, to a family of musicians (his father was a self- taught violinist and later played in the orchestra of the State Jewish Theatre, and his mother played in the orchestra of the Bolshoi Theatre). He started to learn piano when he was six years old, and later was tutored in music theory by Nikolai Zhilyayev, an out- standing educator and a pupil of Taneyev’s, who influenced his creative development in many ways.
In 1931, Kondrashin entered the Moscow Conservatory to study operatic and symphonic conducting with Boris Khaikin. When a student, he was an assistant conductor at the music studio of the Moscow Art Theatre led by Vladimir Nemirovich-Danchenko.
Upon graduation in 1936, Kondrashin moved to Leningrad where he took the post of conductor at the Maly Opera and Ballet Theatre. He was awarded an honorary diploma at the 1st All-Union Conducting Competition in 1938.
In 1943, Kondrashin was invited to the Bolshoi Theatre, the company of which had just returned after evacuation. His direct contact with a constellation of the Bolshoi’s prominent conductors (Nikolai Golovanov, Samuil Samosud, Ary Pazovsky, Alexander Melik-Pashayev) had a strong influence on the formation of his artistic individuality. At the same time, Kondrashin was an active concert conductor, performing with various orchestras of Moscow and other cities (in 1949, the Moscow Youth Symphony Orchestra conducted by him received the Grand Prix of the Festival of Democratic Youth in Budapest).
In 1956, Kirill Kondrashin decided to devote his life to symphonic conducting only. He performed with a series of outstanding soloists such as David Oistrakh, Leonid Kogan, Mstislav Rostropovich, Sviatoslav Richter and Emil Gilels. In 1958, he was entrusted with the accompaniment to the participants of the third round of the 1st International Tchaikovsky Competition. Kondrashin and Van Cliburn, the winner of the competition, performed together in Great Britain and the United States of America (it is worthy of note that he was the first Soviet conductor to cross the Atlantic).
In 1960, Kondrashin became chief conductor of the Moscow Philharmonic Orchestra. During fifteen years of his leadership, he managed to make his orchestra one of the leading music collectives of the Soviet Union. He was the first conductor in this country to perform all symphonies by Mahler (except the Eighth) and Shostakovich. The conductor’s repertoire included symphonies and concertos by Mozart, Beethoven, Tchaikovsky, Rimsky-Korsakov, Brahms, Rachmaninoff, Myaskovsky and Proko ev. The conductor received the State Glinka Prize in 1969 and the title of People’s Artist of the USSR in 1972. One year later, the Moscow Philharmonic Orchestra received the honorary status “academic.”
In 1978, when Kondrashin was on tour in the Netherlands, he decided to stay in the West and took the post of Permanent Guest Conductor of Amsterdam’s Concertgebouw Orchestra. In 1981, the conductor was supposed to take the lead of the Bavarian Radio Symphony Orchestra, but died suddenly of a heart attack on 7th March 1981.
Alexander Sladkovsky
was born in 1965, in Taganrog to a family of musicians. He graduated from the department of military conducting of the Moscow Conservatory and the department of operatic and symphonic conducting of the St. Petersburg Conservatory where he studied with professor Vladislav Chernushenko. In 1999, he won the 3rd All-Union Proko ev Conducting Competition.
His conducting debut took place in 1997 at the St. Petersburg Conservatory Opera and Ballet Theatre (he was chief conductor there between 2001 and 2003). In 2001, Sladkovsky conducted at the concert in honour of Her Majesty Queen Beatrix of the Netherlands at the Hermitage Theatre. As an assistant conductor, he was invited by Mariss Jansons to take part in the production of Bizet’s Carmen and by Mstislav Rostropovich in the concert programme “Unknown Mussorgsky.”
Between 2004 and 2006, Alexander Sladkovsky was a chief conductor of the orchestra of the State Academic Capella of St. Petersburg, and between 2006 and 2010, he was a conductor of the State Symphony Orchestra Novaya Rossiya led by Yuri Bashmet. As a conductor, he performed with the leading symphony orchestras of Moscow and other cities of Russia, as well as orchestras of Dresden, Budapest and Belgrade.
Sladkovsky has been an artistic director and chief conductor of the State Symphony Orchestra of the Republic of Tatarstan since 2010. During a six-year period with the orchestra he managed to increase its status in musical and social life of the Republic of Tatarstan and the entire country, expanding the palette of the orchestra’s creative capabilities and taking it to a new, international level. The orchestra has become Russia’s first regional collective to appear on Medici.tv and Mezzo. In April 2014, the orchestra conducted by Sladkovsky performed at UNESCO Headquarters in Paris during the ceremony of designating Denis Matsuev as “UNESCO Goodwill Ambassador.” In May of the same year, the musicians from the Middle Volga Region appeared for the first time at the concert hall of the Tokyo International Forum. In the season of 2014/2015, Alexander Sladkovsky and his orchestra performed at the Bolshoi Theatre of Russia at the concert dedicated to the 10th anniversary of Crescendo Festival and in St. Petersburg, where they played their first seasonal series of three concerts on the stage of the Mariinsky Concert Hall.Alexander Sladkovsky has been a Sony Music Entertainment Russia artist since 2013. In 2016, he received the title of People’s Artist of Russia.
Mahler’s symphonies performed by Kirill Kondrashin with the Moscow Philharmonic Orchestra half a century ago were a genuine revelation to the Soviet public. The Mahler LPs he managed to record instantly became collectable items. Kondrashin not just revived the tradition of “Russian Mahleriana” that was artifcially interrupted for three decades (until the mid-1930s, the name of Mahler was a regular feature on the concert bills of Moscow and Leningrad, but then actually forbidden), he performed Mahler in a completely new way. His interpretations marked with nobility of artistic taste, a subtle knowledge of Mahler’s style and an expressive individual reading were not inferior to the interpretations realized by the greatest Mahlerian conductors of the 20th century. Moreover, they do not pale in comparison even today. Many domestic conductors attempted to follow Kondrashin’s example, but none of them has ventured such an integral coverage of Mahler’s legacy. The more so because most of Kondrashin’s recordings were consigned to oblivion after he left the country, and so was until the 2000s when they were released by Melodiya already on CD.
For someone, this Kirill Kondrashin/Alexander Sladkovsky parallel may seem too bold. And yet, many musicians of the older generation are con dent that despite this 50-year difference, the famous Russian maestro and his distinguished predecessor have invisible artistic ties between them. This fact is even more surprising, knowing that Sladkovsky never happened to hear Kondrashin live in concert and is only familiar with his recordings. It recon rms that such bridges in time do exist regardless of temporal and spatial borders.
Coming from the so-called Moscow School (a pupil of Khaikin and Zhilyayev), Kirill Kondrashin matured as a conductor at Leningrad’s Maly Opera Theatre. Alexander Sladkovsky’s professional path also lay between the two capitals (it is only fair to say that Leningrad played a much bigger role in his life, – as the conductor admits, his acquaintance with Yuri Temirkanov’s inspired art predetermined his further course of life).
Before Kondrashin completely focused on symphonic conducting, he underwent a long practice as an operatic conductor; for Sladkovsky, that was the period of his work at the music theatre of the St. Petersburg Conservatory, where he had a chance to work with Rostropovich and Jansons.
A recognized interpreter of Russian and foreign classical music, Kondrashin dis- played an interest in contemporary music conducting works by Béla Bartók, Paul Hindemith, Maurice Ravel and Richard Strauss, as well as Aram Khachaturian, Georgy Sviridov, Moisey Weinberg, Boris Tchaikovsky, Rodion Shchedrin and other Soviet composers. Sladkovsky also has a gift of understanding the music world of his contemporaries. His repertoire includes works by Shchedrin, who honoured the conductor with a very high appraisal, So a Gubaidulina, Giya Kancheli, Roman Ledenyov, Sergei Slonimsky, Alexander Tchaikovsky, Alexei Rybnikov, Boris Tishchenko and young composers of Moscow and St. Petersburg. At the post of chief conductor of the Tatarstan orchestra, he not only conducted monographic cycles of Beethoven, Tchaikovsky, Brahms and Shostakovich, but also recorded the Anthology of Music by Tatarstan Composers in 2012. Finally, the parallel between the two orchestras is obvious as both of them succeeded owing to the will of their leaders. Today, the State Symphony Orchestra of the Republic of Tatarstan has won domestic and international recognition and is as much a cultural brand of this country as the Moscow Philharmonic Orchestra was fty years ago.Mahler, along with Shostakovich, was possibly a major accomplishment of Kondrashin as a symphonic conductor. The names of these two composers have an incredible pulling force for Alexander Sladkovsky as well. “I believe that Shostakovich is a continuation of Mahler,” the conductor says. “Shostakovich’s music has been something formative ever since I was little..” As for Mahler’s symphonies, he sees them as a “necessary stage, without which Shostakovich is impossible.” Now working on complete sets of Shostakovich’s concertos and symphonies, Alexander Sladkovsky could not go past Mahler’s symphonies. While his reading follows on from Kondrashin’s tradition, it is addressed to the modern listener. The synthesis of academic chastity of taste and emotional impulsivity only emphasizes the tragic greatness of Mahler’s spirit.

Abnormal uterine bleeding (AUB) is bleeding from the uterus that is longer than usual or that occurs at an irregular time. Bleeding may be heavier or lighter than usual and occur often or randomly.

TOP books.Book by Amanda Meuwissen, 230 pages, published March 5th 2019 by Dreamspinner Press.Book by Michelle Gross, 332 pages, published December 29th 2018 by Independently Published.Book by Tempi Lark.Book by Tim Parks, 304 pages, published October 1st 2013 by Arcade.Book by Fallyn Briggs, 226 pages, published December 30th 2018.Book by Ta-Nehisi Coates, 24 pages, published November 28th 2018 by Marvel.Book by Haruki Murakami, 414 pages, published by Vintage International.Book by DarkAngel, published January 11th 2019 by House of DarkAngel Publishers. Doppio sogno arthur schnitzler pdf.

AUB can occur:

• As spotting or bleeding between your periods
• After sex
• For longer days than normal
• Heavier than normal
• After menopause

It does NOT occur during pregnancy. Bleeding during pregnancy has different causes. If you have any bleeding when you are pregnant, be sure to call your health care provider.

Every woman's period (menstrual cycle) is different.

• On average, a woman's period occurs every 28 days.
• Most women have cycles between 24 and 34 days apart. It usually lasts 4 to 7 days.
• Young girls may get their periods anywhere from 21 to 45 days or more apart.
• Women in their 40s may start to have their period less often or have the interval between their periods decrease.

For most women, female hormone levels change every month. The hormones estrogen and progesterone are released as part of the process of ovulation. When a woman ovulates, an egg is released.

AUB can occur when the ovaries do not release an egg. Changes in hormone levels cause your period to be later or earlier. Your period may sometimes be heavier than normal.

AUB is more common in teenagers or in premenopausal women. Women who are overweight also may be more likely to have AUB.

In many women, AUB is caused by a hormone imbalance. It can also occur due to following causes:

• Cancers of ovaries, uterus, cervix, or vagina
• Bleeding disorders or problems with blood clotting
• Severe weight loss
• Hormonal birth control, such as birth control pills or intrauterine devices (IUD)
• Excessive weight gain or loss (more than 10 pounds or 4.5 kilograms)
• Infection of the uterus or cervix

AUB is unpredictable. The bleeding may be very heavy or light, and can occur often or randomly.

Symptoms of AUB may include:

• Bleeding or spotting from the vagina between periods
• Periods that occur less than 28 days apart (more common) or more than 35 days apart
• Time between periods changes each month
• Heavier bleeding (such as passing large clots, needing to change protection during the night, soaking through a sanitary pad or tampon every hour for 2 to 3 hours in a row)
• Bleeding that lasts for more days than normal or for more than 7 days

Other symptoms caused by changes in hormone levels may include:

• Excessive growth of body hair in a male pattern (hirsutism)
• Hot flashes
• Mood swings
• Tenderness and dryness of the vagina

A woman may feel tired or fatigued if she loses too much blood over time. This is a symptom of anemia.

Your provider will rule out other possible causes of irregular bleeding. You will likely have a pelvic exam and Pap/HPV test. Other tests that may be done include:

• Complete blood count (CBC)
• Blood clotting profile
• Liver function tests (LFT)
• Fasting blood glucose
• Hormone tests, for FSH, LH, male hormone (androgen) levels, prolactin, and progesterone

Your provider may recommend the following:

• Culture to look for infection
• Biopsy to check for precancer, cancer, or to help decide on hormone treatment
• Hysteroscopy, performed in your provider's office to look into the uterus through the vagina
• Ultrasound to look for problems in the uterus or pelvis

Treatment may include one or more of the following:

• Low-dose birth control pills
• Hormone therapy
• High-dose estrogen therapy for women with very heavy bleeding
• Intrauterine device (IUD) that releases the hormone progestin
• Nonsteroidal anti-inflammatory drugs (NSAIDs) taken just before the period starts
• Surgery, if the cause of the bleeding is a polyp or fibroid

Your provider may put you on iron supplements if you have anemia.

If you want to get pregnant, you may be given medicine to stimulate ovulation.

Women with severe symptoms that don't improve or who have a cancerous or precancerous diagnosis may require other procedures such as:

• Surgical procedure to destroy or remove the lining of the uterus
• Hysterectomy to remove the uterus

Hormone therapy often relieves symptoms. Treatment may not be needed if you do not develop anemia due to blood loss. A treatment focused on the cause of the bleeding is often immediately effective. That is why it's important to understand the cause.

Complications that may occur:

• Infertility (inability to get pregnant)
• Severe anemia due to a lot of blood loss over time
• Increased risk for endometrial cancer

Call your provider if you have unusual vaginal bleeding.

Anovulatory bleeding; Abnormal uterine bleeding - hormonal; Polymenorrhea - dysfunctional uterine bleeding

American College of Obstetricians and Gynecologists website. ACOG committee opinion no. 557: Management of acute abnormal uterine bleeding in nonpregnant reproductive-aged women. Reaffirmed 2017. www.acog.org/Clinical-Guidance-and-Publications/Committee-Opinions/Committee-on-Gynecologic-Practice/Management-of-Acute-Abnormal-Uterine-Bleeding-in-Nonpregnant-Reproductive-Aged-Women. Accessed October 27, 2018.

Bahamondes L, Ali M. Recent advances in managing and understanding menstrual disorders. F1000Prime Rep. 2015;7:33. PMID: 25926984 www.ncbi.nlm.nih.gov/pubmed/25926984.

Ryntz T, Lobo RA. Abnormal uterine bleeding: etiology and management of acute and chronic excessive bleeding. In: Lobo RA, Gershenson DM, Lentz GM, Valea FA, eds. Comprehensive Gynecology. 7th ed. Philadelphia, PA: Elsevier; 2017:chap 26.

Schrager S. Abnormal uterine bleeding. In: Kellerman RD, Bope ET, eds. Conn's Current Therapy 2018. Philadelphia, PA: Elsevier; 2018:1073-1074.

Updated by: John D. Jacobson, MD, Professor of Obstetrics and Gynecology, Loma Linda University School of Medicine, Loma Linda Center for Fertility, Loma Linda, CA. Also reviewed by David Zieve, MD, MHA, Medical Director, Brenda Conaway, Editorial Director, and the A.D.A.M. Editorial team.