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Shipwreck Library, New York
BORGES MUSIC
ARNAOUDOV: PHANTASMAGORIAS I
By Allen B. Ruch
Posted on August 08 2024
The final movement is named after The Book of Imaginary Beings. Arnaoudov was not the first composer inspired by Borges’ whimsical catalog, and he wasn’t the last—Robert Parris drew from the work in 1972 and 1983 for his Book of Imaginary Beings, and Mason Bates flipped through its pages in 2015 for his Anthology of Fantastic Zoology. But while these Americans tapped individual creatures for musical portraits—their names stamping the movements and their descriptions informing the compositional process—Arnaoudov seems inspired by the very notion of the book itself, and only in program notes does he reveal his favorite entries: the phoenix, the unicorn, the King of Fire and His Steeds, a handful of angels; and most curiously, Animals in the Forms of Spheres. There’s a processional feel to the movement: the curtain opens suspensefully, the cages are unlocked; and a parade of figures dance across the stage, the violin moving fluidly between musical forms. While it’s easy to interpret the exotic sounds of the harpsichord and celesta as representing the antiquated and the mystical, there’s no one moment where the listener thinks, “Ah, clearly that’s a unicorn!” (Or perhaps, “How easy it it would be not to think of a tiger!”) Arnaoudov’s bestiary feels more like a tapestry than individual portraits, a joyous celebration of the imagination that weaves disparate styles into a cohesive texture. The concerto ends triumphantly, a processional of playful figures tumbling from sight as the curtain falls.
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Decrescendo
CHAMBER SPACETIMES
By Ekatherina Dotcheva
Posted on June 15 2024
"Badgir" (2023) is the title of the magnificent piece by Georgi Arnaudov, in which both Krastev and Ilieva fully immersed themselves. The music itself tempts, entices, demands, and dominates—you cannot help but surrender completely. The intrigue begins with the title—Badgir literally means "windcatcher"—a tower with eight sides where all winds meet in its apertures. What else does the author tell us: "They (the winds) cool the waters of the Abanbar and observe the world by day and night. They contemplate the movements of the stars and the rising of the moon, the stillness of the stones, the slow movements of the trees, the splash of the waves, the flight of the birds, the wild games of the animals. The winds hear human speech and begin to touch the strings of the cello and sing in their own way, creating sounds that describe what they have seen in their continuous flight."
Indeed, this is an ideal subject, this image of a windcatcher, for the wild, unrestrained timbral and sonic imagination of the composer. Of course, only such imagination can define the sounding aura of a phenomenon like this, created through extreme register distances, through challenging timbral suggestions, through the latent tension in the musical text offered to the performers, created by adding and subtracting sonic density, by accumulating and subtracting multiple timbral ideas in both instruments, by thickening and thinning the breaths in the being of the form... Otherworldly, metaphysical! This is music that truly floats in space, approaches only to retreat, you feel its closeness intimately, and in the next moment, like a mystery, it darts away, almost disappearing, only to choose you again as its next refuge.
Krastev and Ilieva played it superbly, perfectly sensing the rare nature of this creation, the visible and invisible layers it hides.
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Bulgarian National Radio
GHEORGHI ARNAOUDOV WITH A
WORLD PREMIERE AT THE
VIENNA MUSIKVEREIN
By Boriana Jossifova
Posted on May 17 2024
On May 10, the audience in the "Brahms" hall of the Musikverein concert complex enthusiastically applauded the brilliant performances of the "Paganini Ensemble."
The ensemble was founded by the internationally recognized virtuoso violinist Mario Hossen, and the group includes established instrumentalists Marta Potulska (viola), Lilyana Kehayova (cello), and Alexander Swete (guitar).
As a concert artist, Mario Hossen has soloed with numerous renowned world orchestras, has won prestigious international awards, and is known as a researcher of the complete works of Niccol? Paganini. The idea behind the "Paganini Ensemble," created by Mario Hossen, is to present lesser-known chamber works for violin, viola, cello, and guitar by the Italian composer, who, besides being a virtuoso violinist, was also an accomplished guitarist.
On May 10, art enthusiasts in the "Brahms" hall of the Musikverein were impressed by the elegant sound expression of the "Paganini Ensemble." The evening's program presented an original concept: alongside works by Niccol? Paganini, the concert also featured compositions by two well-known contemporary authors - Austrian composer Rainer Bischof and Bulgarian composer Gheorghi Arnaoudov.
The second part of the concert featured "La Campanella" and Quartet No. 14 by Niccol? Paganini, as well as the world premiere of the impressive piece "Canzoni Oscure" by renowned Bulgarian composer Gheorghi Arnaoudov, which was duly appreciated by the audience with emotional applause.
Prof. Gheorghi Arnaoudov was personally present as a guest at the concert. For the listeners of the "Allegro Vivace" program, he shared his excitement about the successful premiere of his work performed by the "Paganini Ensemble" on the stage of one of the most prestigious concert halls in the world.
Listen to the correspondence from Vienna and the shared insights from Mario Hossen, Rainer Bischof, and Georgi Arnaudov in the audio file.
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Decrescendo
THE LATEST SOUND CATALOG
BY GHEORGHI ARNAOUDOV
By Ekatherina Dotcheva
Posted on June 10 2023
The utterance describes a carefully structured sonic space with various semantic connotations, where the melodic progression is designed within individual instruments, creating an imitative motion. It is tranquilized by finely drawn-out sustained tones, which add additional layers to the sound aura and create an impression of continuity in the tonal narrative, despite the ephemeral endings in the phrasing that only allow for very brief pauses, thinning the density of the musical discourse. The sound combinations are exceptionally refined, significant in themselves, but also shaping a sliding temporal space where laden tonal signs settle. Each listener can interpret them as they wish. Even for the author himself, I believe that some of these signs still remain enigmatic or add to their enigmatic essence in the unfolding of the process named "Catalog...". It is a process that can continue endlessly ("we are at any point..." - Borges). This mode of thinking is given to us by the author himself. By slightly lifting the veil in the third part of the composition, with the inexorable forging of the heavy ostinato movement in the piano, accompanied by the cello that adorns it with repeating motives in the clarinet and both violins. It concludes by momentarily ceasing the motion, and if you don't look at the performers, you might think it will resume again in the next direction.
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Shipwreck Library, New York
JOYCE MUSIC
ARNAOUDOV: FOOTNOTE
By Allen B. Ruch
Posted on June 26 2022
Bearing the improbably long title FOOTNOTE (…und Isolde/ns Winkfall lassen…)–an imaginary interlude to the second act of “Tristan und Isolde” after the text of James Joyce, this 15-minute work is scored for cello, chamber ensemble, and soprano Sprechstimme. As its name suggests, the piece is intended as an “imaginary interlude” for Act II of Wagner’s opera Tristan und Isolde, connecting the scene where Isolde parts from her maid, Brang?ne, and awaits a rendezvous with her lover Tristan. (The German in the title is partially invented, combining an archaic possessive with a word coined from semiotics. It may be translated as “…and Isolde’s episode of falling through all signs and significations.”) While adding a “Joycean interlude” to Wagner’s masterpiece might be considered an act of reckless arrogance, Arnaoudov pulls it off smartly, avoiding parody and pastiche and maintaining his own distinct voice. FOOTNOTE may be rooted in Wagner’s dense Romanticism, but it’s nourished and shaped by Arnaoudov’s twentieth-century idioms.
The text of FOOTNOTE is drawn from James Joyce’s poem “A Prayer,” an anguished cry for erotic obliteration written in 1924 and published in Pomes Penyeach. Sensitive to the melodrama of the poem, Arnaoudov places Joyce’s florid words in the mouth of a woman confiding her deepest desires and fears, a nocturnal monodrama reminiscent of Sch?nberg’s Erwartung. However, unlike Erwartung, there are no operatic fireworks to brighten the Sprechstimme—Isolde’s “prayer” is moaned, whispered, breathed into the night. This hothouse atmosphere is made even more exotic by a fragment of Latin inserted between Joyce’s stanzas: “Sanguis natura calidus et humidus est, colore ruber, qualitate dulcis.” From Hippocrates, it can be translated as: “Blood by nature is hot and moist, red in color and sweet in quality.”
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Portal "Kultura"
IDEOLOGIES OF ECSTASY
by Mihail Nedelchev
Posted on 27 May 2022
Whichever composition by Gheorghi Arnaoudov we choose, we will almost always encounter manifestations of ecstasy, expressions of ecstasy. Whether it is "Blachernae. The Veil of Our Lady" for symphony orchestra or "Un pan de ciel aux millieu du sillence" ("A Piece of Heaven in the Midst of Silence") for solo piano (performed by Angela Tosheva), or "Incarnation dans la lumiere (Ritual II)" - again for piano, played by Boyan Vodenicharov, or "The Way of the Birds" and "The Highest Point of Interiority" (two of the sound poems following the trajectory of creation, the result of collaborative work with choreographer Mila Iskrenova; works that overcome the idea of gravity, and "The Highest Point of Interiority" is defined as a "gigantic acousmatic collage of sounds, acoustic, concrete, electronic [...] processed music intended for a dance theater performance"). Here we will also include the series of works by Prof. Gheorghi Arnaoudov, influenced by the traditions of Central Chinese music - arising from an exciting creative practice in the Tianxia.
Regarding "Blachernae. The Veil of Our Lady" and the impact of the legends heard and seen in Constantinople, the composer himself testifies: "I was truly amazed, shaken. I sat down and started saying prayers, and as crazy as it may sound, I heard music. My consciousness was filled with sounds. [...] But to be honest, I wrote with help from above." According to Prof. Elisaveta Valchinova-Chendova: "The work is built upon a fundamental sound complex of 5 tones... According to the composer, these are the sounds that can still be heard in the drops of the sacred spring on the southern side of the church. Tears that, as if praying for our salvation, are also the tears of the Virgin Mary (a sound image in descending thirds)."
An astonishing monograph by Prof. Iliya Gramatikov is dedicated to Gheorghi Arnaoudov's magical opus as a whole, both in terms of its artistic form and its musicological concept. The individual works of Gheorghi Arnaoudov are analyzed within grand cultural and artistic-musical contexts (from early Renaissance examples to Arvo Pärt). This opportunity itself is an incredibly high assessment of what Gheorghi Arnaoudov has created.
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BULGARIAN CONCERT EVENINGS
IN NEW YORK CONTINUES WITH
A BULGARIAN-AMERICAN PROGRAMME
World premiere of a work by Gheorghi Arnaoudov
Bulgarian National Radio - "Radio Bulgaria"
15 December 2021
On December 15, in the hall of the Bulgarian Consulate in New York, the trio Aram will present works by Bulgarian and American composers. Emmalie Tello – clarinet, Grace Coolidge – violin, and Lora Al-Ahmad – piano will perform works by George Gershwin, Florence Price, Samuel Barber, Peter Hristoskov, Lora Al-Ahmad.
“Bulgarian Concert Evenings” in New York is a festival presenting classical and contemporary chamber music performed by famous Bulgarian and foreign artists. Due to the pandemic, some of the recent concerts were online, but the tradition has been revived since the end of October.
The festival was created by Pavlina Dokovska who initially was in charge of the organization. In recent years, the organization has been carried out by Lora Chekoratova, in collaboration with Anna Stoycheva and several other Bulgarian expats.
Over the years, dozens of Bulgarian musicians have participated in the festival, including the radio quartet MusicAnts, which opened the festival’s 5th season with a concert at Carnegie’s Weill Recital Hall.The upcoming event is organized by Lora Al-Ahmad in honour of Pavlina Dokovska. And the programme will also include the world premiere of "Seven and one Nights" by Bulgarian composer Gheorghi Arnaoudov. The work is inspired by Jorge Luis Borges' "Seven Nights", says the composer. Some time ago, Lora Al-Ahmad, a Bulgarian pianist and composer in New York, told Gheorghi Arnaoudov that they were organizing a concert by Bulgarian and American authors.
Watch the concert...
FUTURE UNFORGETTABLE
PHASE VI
World premiere of "…down and up…" by
Gheorghi Arnaoudov
Plovdiv, November - December 2021
Future Unforgettable Phase VI will commence with its main exhibition – Rudi Ninov’s solo show Colour Words in Prologue (Sarieva, Plovdiv, November 19 – December 30, 2021); at the same place and in the same period of time, it will organize an exhibition gesture entitled Hand-woven kozyak, 2.40õ1.70 cm. and realized as situation, experiment and proposal for future “meeting places”; it will also include a proposition for a mind map with Luchezar Boyadjiev’s artwork The Mad Carpetmaker = Ëóäèÿò êèëèìàð, 2021, serving as a complementary example of the aforementioned logic. The event Collectors’ Forum, lecture and discussion with Peruvian collector Carlos Marsano, will open up a different perspective on art collecting as a process of interconnecting different types of logic and ensuring an artwork’s continuity. The concluding project Phase VI will announce and publish the newly composed Manifesto of Happiness, 2021 by the ULTRAFUTURO collective (Boryana Rossa and Oleg Mavromatti). Furthermore, Phase VI of Future Unforgettable will develop yet another possibility for outpouring its visual, textual and social potentiality with the “sound mural” of Prof. Gheorghi Arnaoudov – Bulgarian composer of symphonic, chamber, film and theater music, lecturer at New Bulgarian University. In its forthcoming manifestations, Phase VI will feature a collaboration with the artist Rada Boukova.
Watch Artists Interviews: Prof.Gheorghi Arnaoudov / FUTURE UNFORGETTABLE - PHASE VI / ...down and up...
National Gallery
"Kvadrat 500"
YASSEN PANOV:
IMAG(IN)ED MUSIC STORIES
8 June 2021 - 8 August 2021
Order the book HERE
Vernissage on Tuesday, 8 June, from 5:00 to 7:00 p. m., in compliance with all anti-epidemic measures and with controlled access.
The exhibition presents over 250 works from the latest graphic art by Yassen Panov. All of them are illustrations, created in the period February–June 2020 for the first deluxe edition of Iliya Gramatikoff’s new musicological research, The Instrumental Concertos by Gheorghi Arnaoudov: Surrealistic Rereadings of Musical History (IAS – BAS, 2020).
The illustrations take the form of digital collages, integrating original drawings and various other graphic material from diverse historical epochs and styles, ultimately creating an entirely new and distinctly phantasmagorical visual narrative that seemingly drifts beyond the course of time and at the same time roams around layers of history.
Although conceived as a whimsical figurative accompaniment to a text, musicological as genre and musical in structure and verbal expression, Panov’s collages go beyond an illustration’s conventional decorative function as they are placed in a situation of constructive and creative dialogue with Gramatikoff’s text. Some interpret the ideas presented in the text through pictorial means, others add new layers of meaning through intertextual correlations encoded in the graphic elements; yet others express in images the spirit of Arnaoudov’s music that is being analysed.
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CONCERTI BY INTERNATIONALLY ACCLAIMED COMPOSER GHEORGHI ARNAOUDOV
COLLECTED IN A MONOGRAPH
Gheorghi Arnaoudov’s Concerti: Surrealistic Reinterpretations of Musical History by Assoc. Prof. Ilia Gramatikov is a musicological study on the oeuvre of internationally acclaimed Bulgarian composer Gheorghi Arnaoudov, whose works are performed across the world, from Canada to China.
This is the first of its kind complex research problematising Arnaoudov’s compositional solutions in the concerto genre, focusing on his mature concerti composed after 2007. The subjects studied in the book are placed within a maximally broad historical horizon, ranging from the time of the emergence of the concerto type of compositional thinking (a transitional period on the threshold of the early baroque) to the present, seeking to bring forth the specific characteristics of Arnaoudov’s interpretation of the genre. The analysed opuses are placed in a relevant cultural context through providing semantic references to of the greatest artworks, writings and creative practices typical of other arts. The monograph offers a research strategy and a musicological approach relevant to the creative intentions of the composer as well as to the specifics of his pieces. An overall concept is formulated of the author’s mature style based both on the main subjects of research and other his works, analysed at different levels and adduced as supplementary argument about the offered assumptions. A critical apparatus is added to typologise and characterise the author’s mature style, the specifics of his compositional technique and the texture of his compositions.
The book was written under a three-year research project, Contemporary Music Composition, Theory and Philosophy, funded by the Bulgarian National Science Fund, Ministry of Education and Science, and published by the Institute of Art Studies, BAS.
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Relevant Tones
# 277 MUSICAL LEGACIES:
JORGE LUIS BORGES
Posted on July 29, 2020 in Themed Shows
The great Argentinian writer Jorge Luis Borges has had an enormous influence on artists, writers, philosophers and thinkers of all kinds, and composers are no exception. We spoke with renowned Borges scholar Daniel Balderston about the life and times of Borges and with composers Carla Kihlstedt, Diego Vega and Gheorghi Arnaoudov about how his work inspired their musical creations.
MUSIC
hlor u fang axaxaxas mlo – mvmt 3 (excerpt) and hlor u fang axaxaxas mlo – mvmt 2 by Diego Vega
The Squonk. The Ink Monkey by Carla Kihlstedt
Borges Fragment (Ritual III) by Gheorghi Arnaoudov
Marching to Carcassonne by Alexander Goehr
Hochigan by Carla Kihlstedt
Relevant Tones. A podcast about the most fascinating time in classical music history: right now. Hosted by composer Seth Boustead, Relevant Tones features interviews with and music by some of the most creative figures in contemporary classical music, themed shows exploring new trends in classical music and frequent live streamed shows featuring conversations and music performances.
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Iliya Gramatikoff
THE INSTRUMENTAL CONCERTS
OF GHEORGHI ARNAOUDOV
A Surrealist re-readings
of Musical History
Institute of Art Studies - Bulgarian Academy of Science,
First edition with illustrations of Yassen Panov, Sofia 2020.
400 pages, ISBN 978-954-8594-92-9
What is it that makes Arnaoudov’s artistic world so recognisable, while mystifying
at first with its seeming eclecticism, as if mirroring and if not resounding
the very diversity of contemporaneity?
How might I depict in words his musical language, so abundantly infl uenced
by Borges, referred to as the alchemist of words himself, whose texts Arnaoudov
admires for their exhilarating, intoxicating power, as he has often admitted
in interviews and writing?
Isn’t Arnaoudov’s tonal world precisely that musical equivalent to Borges’s
universe and his library of Babel winding into eternity composed of an indefi -
nite and perhaps infi nite number of hexagonal galleries, with vast air shafts
between, uncountable volumes in a multitude of languages and versions, and
a spiral stairway, sinking abysmally downwards and soaring upwards to remote
distances?
Might he not be the librarian and reader in one, and the writer as well,
rearranging, rereading, rewriting volume upon volume of stories born by his
imagination as a result of encountered texts, images, sounds, places, events
or anything else he has experienced up and down the fl oors of the winding
stairway or across the vast shelves of the library of the universe?
In this act of rewriting interpretations further fl exed through his personal attitude
and individual expression, would a surreal meeting of personalities of different
ages not be possible, a homogeneous blend of tonally narrated texts and
timbrically depicted images, as well as matching with ultimate precision technological
devices from diverse artistic practices into effective artistic mechanisms?
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Friday, 10 July 2020
Saturday, 11 July 2020
Plovdiv Roman Theatre
OPERA OPEN 2020:
THE GATES OF DREAM
Gala opening
Multimedia performance with works by Bach, Vivaldi, Moore, Gluck, Mozart, Beethoven, Verdi, Bellini, Chilea, Messian, Orff, Arnaoudov
Space gives birth to ideas, acoustics, experiences, memories and prophecies. Space has its dreams. We tried to hear and perceive them - and to interpret them with the means of music, dance, visual arts, through specific locations and masterings of the Ancient Theater. What is the world we dream, and what is the dream we live? The Theater of Dreams will open its gates and invite us ...
Conductor – Dian Tchobanov, Director – Nina Naydenova, Choreography –
Mariana Krancheva, Staga Design – Petko Tanchev,
Choir, Orchestra and Balett of State opera Plovdiv
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Saturday, 7 December 2019
Kultura, by Mitko Novkov
ON THE EDGE OF SILENCE, CROSSING TIMES
Of course, anyone familiar with the history of contemporary classical music will immediately think of John Cage and his famous play "4.33", also called "Play of Silence". However, it seems to me that the difference between John Cage's "4.33" and Gheorghi Arnaoudov's FOOTNOTE (… und Isolde / ns Winkfall lassen…) is radical: Cage insists on coincidence, his favorite book is "I Jin", "Book of Changes" ", And his play becomes a container for this coincidence - a listener will cough, a chair will creak here, a program will rustle there; "4.33" is filled with different sounds, I would even call them noises, which actually make up its content.
While in FOOTNOTE (… und Isolde / ns Winkfall lassen…) we have an organized, loud, deliberate, and even, if you will, forced, insistent, disciplining silence, which is so obligatory, so imperative, that not only the orchestra or the singer, but also the audience itself does not dare to joke. Cage lets the sounds invade the silence, Arnaoudov forces the sounds to sink (or rise) into the silence; It is no coincidence that Natalia Ilieva writes about his music ("Red Scrolls"): "In fact, only the work of Gheorghi Arnaoudov fit into the idea of silence - with the indescribable beauty of natural sound, the clear line in the air and sound ?, in the idea of ??heaven."
- Mitko Novkov, Cultura, Sofia.
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Monday, September 8, 2019
SHIPWRECK LIBRARY, New York
by Allen Ruch in BORGES
BORGES MUSIC
GHEORGHI ARNAOUDOV
Borges was fascinated by the tango, and published several “milongas”—Argentine folk songs filled with passion, honor, and vengeance. There have been numerous works of music inspired by Borges, from lyrical settings of his poetry to surreal fragments of avant-garde classical inspired by his fabulist prose. This section of the Garden collects notes on these pieces and their composers.
Gheorghi Arnaoudov is a Bulgarian minimalist who writes unabashedly spiritual music designed to create “mystical spaces.” While secular music aspiring to religiosity is too-often riddled with clich?s, from “new age” music to “inspirational” film scores—even John Tavener occasionally indulges in sentimentality—the restlessly searching music of Gheorghi Arnaoudov avoids these pitfalls unerringly. Embracing dissonance and finding beauty in the strange, his music remains rooted in the avant-garde, but its elegance and poignancy feel entirely relevant and accessible. Difficult to categorize and impossible to predict, the music of Gheorghi Arnaoudov truly warrants the much-abused description of “unique.”
- Allen B. Ruch, Shipwreck Library, New York.
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Saturday, June 22, 2019
ANNEX Theatre, Vancouver
BEFORE AND BEYOND TIME
Music on the boundary of two Millennia.
“Bulgarian composer Gheorghi Arnaoudov speaks a musical language that combines the traditions of European modernism – Western and Eastern – with a spiritualism and aesthetic mysticism that comes from Eastern traditions. This is music of stasis, a kind of intense minimalism that tells no conventional stories but rather meditates on an idea.
His vital use of a variety of literary sources, aesthetic ideas, and collaborations with other art forms distinguish his music in today’s European concert culture. These works, from Bulgaria’s most cosmopolitan compositional voice at the height of his powers, musically capture the freedom of flight and engage in timeless conversations with poets, philosophers, and folk traditions across the ages.”
Eric Salzman, New York
Featured on the program:
FOOTNOTE, (…und Isolde/ns Winkfall lassen…) : an imaginary interlude to the second act of Tristan und Isolde based on the poem A prayer by James Joyce : for Sprechstimme and chamber ensemble.
Also, on the program – Way of the Birds – I, II, III; Gates of Dream and other chamber works.
Conductor: Lesley Dala, Soprano Heather Pawsey
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June, 2018
Bulgarian Musicology, 2/2018
SOUND AS A RITUAL IN COMPOSER
GHEORGHI ARNAOUDOV’S WORK
Thinking of music as of a new sound space develops (constructs) a ‘New Sound Sensuousness’. A series of articles by the author deals with the cognitive processes underway in musicians’ minds – composers, performers, audiences, researchers themselves in their touch with the sound reality (musical material and sound structures), as well as with the central to the present time creative problems: the quest for new aesthetics and a new musical language within Art Music. Identification, objectification and terminologisation of composers’ theoretical and autoreflective aspirations and creative findings are included at the level of contemporary music-theoretical tools. With composer Gheorghi Arnaoudov (b. 1957), his attitude towards sound underpins his ideas of developing a musical construction. Using various compositional techniques and their substantial reframing, a new musical sensuous field is achieved. Various models of work with sound are highlighted that are, more often than not, successive stages in Gheorghi Arnaoudov’s compositional expression. In terms of aesthetics and style, these are well-reasoned in his theoretical and other texts and can be traced in their visualisation in the score. Ritual I (1988) and Ritual II – Incarnation dans la lumiere for piano (1993); Ritual III – Borges Fragment (1993) and Ritual IV – Kells for violoncello (1999) are a subject matter of analysis.
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© 2020 - 2024, Gheorghi Arnaoudov
© 2020 - 2024, Photos: Alexander Nishkov
© 2020 - 2024, Paintings: Yassen Panov
Contact e-mail: garnaoudov(at)gmail.com
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