A feature by Esther Kinsky
In Romanian Orthodox churches there are two separate spaces for believers to light candles in: one space is for the candles lit for the living, the other one for the candles lit for the dead. The one for the living is always on the left, the one for the dead on the right. When a person dies for whom a candle is still burning in the section of the living, this candle has to be moved from the left to the right. From the vii to the morţi.
A feature by Taylor Davis-Van Atta
In the late 1990s, Ukrainian Victoria Polevá abandoned her own successful career as an avant-garde composer of polyphonic music in pursuit of the “absoluteness of renunciation, the pureness of an experiment.” Interweaving sacred and secular texts and musical traditions from a wide variety of eras, Polevá has since defined herself as one of Eastern Europe’s most original composers whose works are routinely performed by leading ensembles and soloists around the globe. In 2005, the world-famous violinist Gidon Kremer included Polevá’s “Warm Wind” in his concert cycle Sempre Primavera. Speaking here “completely unarmed, impoverished, down to zero” from amid the burning tumult of Kiev, Victoria Polevá addresses her daring evolution as a composer, the origins of her passion, the nature of collaborating with Kremer, and sorrow as a creative act. Music & Literature is honored to present the first English-language interview with Ukrainian composer Victoria Polevá . . .