Simurgh

Sassanid silk twill textile of a simurgh in a beaded surround, 6-7th c. CE
Mythology	Middle Eastern
Grouping	Mythology
Sub-grouping	Bird
Habitat	Air
Similar creatures	Griffin, Roc, Sphinx, Phoenix

Simurgh, Sassanian Royal Symbol

Simurgh (Persian: سیمرغ‎), also spelled simorgh, simurg, simoorg or simourv, also known as Angha (Persian: عنقا‎), is the modern Persian name for a benevolent, mythical flying creature. The figure can be found in all periods of Greater Iranian art and literature, and is evident also in the iconography of medieval Armenia^[1], the Byzantine empire,^[2] and other regions that were within the sphere of Persian cultural influence^{[clarification needed]}. The mythical bird is also found in the mythology of the Turkic peoples of Central Asia and is called Kerkés, Semrug, Semurg, Samran and Samruk.^[3][4]

The name simurgh derives from Middle Persian Pahlavi sēnmurw^[5][6] (and earlier sēnmuruγ), also attested in Middle Persian Pāzand as sīna-mrū. The Middle Persian term derives in turn from Avestan mərəγō Saēnō "the bird Saēna", originally a raptor, likely an eagle, falcon or sparrowhawk, as can be deduced from the etymological cognate Sanskrit śyenaḥ "raptor, eagle, bird of prey" that also appears as a divine figure. Saēna is also a personal name which is root of the name.

The most prestigious award given by Fajr International Film Festival, Iran's major annual film festival is called the Crystal Simorgh, after the mythical creature.

Mythology[link]

Form and function[link]

Sassanid silver plate of a simurgh (Sēnmurw), 7-8th c. CE

The simurgh is depicted in Iranian art as a winged creature in the shape of a bird, gigantic enough to carry off an elephant or a whale. It appears as a kind of peacock with the head of a dog and the claws of a lion; sometimes however also with a human face. The simurgh is inherently benevolent and unambiguously female^{[citation needed]}. Being part mammal, she suckles her young^{[citation needed]}. The simurgh has teeth^{[citation needed]}. It has an enmity towards snakes and its natural habitat is a place with plenty of water. Its feathers are said to be the colour of copper, and though it was originally described as being a Dog-Bird, later it was shown with either the head of a man or a dog^{[citation needed]}.

"Si-", the first element in the name, has been connected in folk etymology to Modern Persian si "thirty". Although this prefix is not historically related to the origin of the name simurgh, "thirty" has nonetheless been the basis for legends incorporating that number, for instance, that the simurgh was as large as thirty birds or had thirty colours (siræng).

Iranian legends consider the bird so old that it had seen the destruction of the World three times over. The simurgh learned so much by living so long that it is thought to possess the knowledge of all the Ages. In one legend, the simurgh was said to live 1,700 years before plunging itself into flames (much like the phoenix).

The simurgh was considered to purify the land and waters and hence bestow fertility. The creature represented the union between the earth and the sky, serving as mediator and messenger between the two. The simurgh roosted in Gaokerena, the Hōm (Avestan: Haoma) Tree of Life, which stands in the middle of the world sea Vourukhasa. The plant is potent medicine, is called all-healing, and the seeds of all plants are deposited on it. When the simurgh took flight, the leaves of the tree of life shook making all the seeds of every plant to fall out. These seeds floated around the world on the winds of Vayu-Vata and the rains of Tishtrya, in cosmology taking root to become every type of plant that ever lived, and curing all the illnesses of mankind.

The relationship between the simurgh and Hōm is extremely close. Like the simurgh, Hōm is represented as a bird, a messenger and as the essence of purity that can heal any illness or wound. Hōm - appointed as the first priest - is the essence of divinity, a property it shares with the simurgh. The Hōm is in addition the vehicle of farr(ah) (MP: khwarrah, Avestan: khvarenah, kavaēm kharēno) "[divine] glory" or "fortune". Farrah in turn represents the divine mandate that was the foundation of a king's authority.

It appears as a bird resting on the head or shoulder of would-be kings and clerics, so indicating Ormuzd's acceptance of that individual as His divine representative on earth. For the commoner, Bahram wraps fortune/glory "around the house of the worshipper, for wealth in cattle, like the great bird Saena, and as the watery clouds cover the great mountains" (Yasht 14.41, cf. the rains of Tishtrya above). Like the simurgh, farrah is also associated with the waters of Vourukasha (Yasht 19.51,.56-57). In Yašt 12.17 Simorgh's (Saēna’s) tree stands in the middle of the sea Vourukaša, it has good and potent medicine, is called all-healing, and the seeds of all plants are deposited on it.

[edit] In the Shahnameh

The Simurgh made its most famous appearance in the Ferdowsi's epic Shahname (Book of Kings), where its involvement with the Prince Zal is described. According to the Shahname, Zal, the son of Saam, was born albino. When Saam saw his albino son, he assumed that the child was the spawn of devils, and abandoned the infant on the mountain Alborz.

The child's cries were heard by the tender-hearted Simurgh, who lived atop this peak, and she retrieved the child and raised him as her own. Zal was taught much wisdom from the loving Simurgh, who has all knowledge, but the time came when he grew into a man and yearned to rejoin the world of men. Though the Simurgh was terribly saddened, she gifted him with three golden feathers which he was to burn if he ever needed her assistance.

Upon returning to his kingdom, Zal fell in love and married the beautiful Rudaba. When it came time for their son to be born, the labor was prolonged and terrible; Zal was certain that his wife would die in labour. Rudabah was near death when Zal decided to summon the simurgh. The simurgh appeared and instructed him upon how to perform a cesarean section thus saving Rudabah and the child, who became one of the greatest Persian heroes, Rostam. Simurgh also shows up in the story of the Seven Trials of Rostam and the story of Rostam and Esfandiar.

In Azeri folklore[link]

Simurgh also goes by the name of Zumrud (emerald). It was an ancient tale about Malik Mammad, the son of one of the wealthiest kings of Azerbaijan. That king had a big garden. In the center of this garden is a magical apple tree which yields apples every day. One ugly giant called Div decides to steal all the apples every night. The king sends Malik Mammad and his elder brothers fight the giant. In the middle of this tale Malik Mammad saves Simurgh's babies from a dragon. Simurgh takes pleasure of Malik Mammad and decides to help him. When Malik Mammad wants to pass from The Dark world into the Light world Simurgh asks him to provide 40 half carcasses of meat and 40 wineskin filled with water. When Simurgh puts water on its left wing and meat on its right wing Malik Mammad is able to enter the Light world.

In Sufi poetry[link]

Decoration outside of Nadir Divan-Beghi madrasah, Bukhara

In classical and modern Persian literature the Simorḡ is frequently mentioned, particularly as a metaphor for God in Sufi mysticism. In the 12th century Conference of the Birds, Iranian Sufi poet Farid ud-Din Attar wrote of a band of pilgrim birds in search of the Simurgh. According to the poet's tale, the Simurgh has thirty holes in her beak and drew the wind through them whenever she was hungry. Animals heard a pretty music and gathered at the peak of a mountain where they were eaten by the Simurgh.

Through cultural assimilation the Simurgh was introduced to the Arabic-speaking world, where the concept was conflated with other Arabic mythical birds such as the Ghoghnus, a bird having some mythical relation with the date palm,^[7] and further developed as the Rukh (the origin of the English word "Roc").

In Kurdish folklore[link]

Simurgh is shortened to "Sīmīr" in the Kurdish language.^[6] The scholar Trever quotes two Kurdish folktales about the bird.^[6] These versions go back to the common stock of Iranian Simorḡ stories.^[6] In one of the folk tales, a hero rescues Simurgh's offspring by killing a snake that was crawling up the tree to feed upon them. As a reward, the Simurgh gives him three of her feathers which the hero can use to call her for help by burning them. Later the hero uses the feathers, and the Simurgh carries him to a distant land. In the other tale, the Simurgh carries the hero out of the netherworld; here the Simurgh feeds its young with its teats, a trait which agrees with the description of the Simurgh in the Middle Persian book of Zdspram. In another tale, Simurgh feeds the hero on the journey while the hero feeds Simirugh with pieces of sheep’s fat.

See also[link]

Notes[link]

References[link]

• Schmidt, Hanns-Peter (2003). "Simorgh". Encyclopedia Iranica. Costa Mesa: Mazda Pub. http://www.iranicaonline.org/articles/simorg. 
• Ghahremani, Homa A. (1984). "Simorgh: An Old Persian Fairy Tale". Sunrise magazine (Pasadena: Theosophical University Press) (June/July). http://www.theosophy-nw.org/theosnw/world/mideast/mi-homa.htm. 

External links[link]

• Simorq: A Music Project.
• A short section of the Simorq Opera, video-recorded during a rehearsal in Tehran, December 2009: [1] (5 min 32 sec).
• Bahār Navāi, Simourgh from Shahnameh to Opera, in Persian, Jadid Online, 9 November 2009, [2].
  • Simorgh Reborn in Music, in English (an abridged version of the above article), Jadid Online, 26 November 2009, [3].
  • An audio slideshow of the composer of the Simourgh Opera, Hamid Motebassem, speaking (with English subtitles): [4].
• Victoria Poleva "Simurgh-quintet" (chamber music) (2000-2010) for 2 violins, viola, violoncello and piano

v t e National symbols of Iran Emblems Flag and colors  · Lion and Sun · Derafsh Kaviani · I.R.I Emblem Anthems Well-being of the Shah · Imperial Anthem of Iran · Oh Iran · A Lasting Iran · I.R.I Anthem Cultural Nowruz · Shahnameh · Faravahar · Damavand · Persian calendar · Persian carpet · Varzesh-e Bastani · Huma bird · Simurgh Related Persepolis · Sadeh  · Mehregan  · Imperial Standards of Iran Category

Victoria Poleva

Victoria Poleva (also spelled: Polyeva, Polevaya, Polieva; Ukrainian: Вікторія Валеріївна Польова; Russian: Виктория Валерьевна Полевая) is a Ukrainian composer.

Biography[link]

Born on September 11, 1962 in Kiev, Ukraine, daughter of composer Valery Polevoy (1927–1986). Graduate of Kiev State P.I. Tchaikovsky Conservatoire (class of composition with Prof. Ivan Karabyts) 1989. Post-graduate studies completed there in 1995 under Prof. Levko Kolodub. 1990-1998 - lecturer in the faculty of composition, 2000-2005 – at the Music Information Technologies Department of the P.I. Tchaikovsky Ukrainian National Music Academy. Since 2005 – freelance composer.

A genre range of her compositions includes symphonic, choral, chamber music. Early works of Victoria Poleva were related to the aesthetics of the avant-garde and polystylistics (ballet "Gagaku", "Transform" for symphony orchestra, "Anthem" for chamber orchestra, "Еpiphany" for chamber ensemble, cantatas "Horace’s ode", "Gentle light"). From the late 1990s her music became identified stylistically with "sacred minimalism" (A. Pärt, P. Vasks, J. Tavener, H. Gorecki). An important period in Victoria Poleva’s creative work is related to intensive studies and embodiment of texts from divine services in the music.

Works of Victoria Poleva are performed at Beethovenfest Bonn (Germany), Lockenhaus Chamber Music Festival (Austria), Yuri Bashmet’ Festival in Minsk (Belarus), Valery Gergiev’ Easter Festival in Moscow (Russia), Chamber Music Connects the World (Kronberg, Germany), Dresdner Musikfestspiele, Philharmonie Berlin, Köln Philharmonie (Germany), Theatre de Chatelet Paris (France), Rudolfinum-Dvorak Hall (Prague, Czech Republic), Concert Auditorio Nacional de Espana (Madrid, Spain), George Weston Recital Hall (Toronto, Kanada), Yerba Buena Theater San Francisco (USA), Oriental Art Center Shanghai (China), Seoul Art Center (Korea), Esplanade Concert Hall Singapore, festivals of the new music in Ukraine, Sweden, Finland, Switzerland, Italy, Poland, UAE, Peru and Chile.

In 2010, among such composers as Giya Kancheli, Valentin Silvestrov, Leonid Desyatnikov, Aleksander Raskatov, Alexander Wustin, Victor Kissine and Georgs Pelecis, Victoria Poleva has taken part in Gidon Kremer's international project «The Art of Instrumentation», devoted to Johann Sebastian Bach and Glenn Gould.

In 2011 Victoria Poleva was invited by Gidon Kremer as composer-in-residence at the XXX Lockenhaus Chamber Music Festival (Austria).

Among the performers of her works are:

• Gidon Kremer (violin), Andrei Pushkarev (vibraphone), Aleksei Ogrintchouk (oboe), Elsbeth Moser (accordion), Chamber orchestra "Kremerata Baltica", Chamber trio "CAT", ensembles "New music in Ukraine", "Ricochet", strings quartets "Harmony of the world", "Archi", duet "Violoncellissimo" (Ukraine), Moscow Contemporary Music Ensemble (Russia), "Atros-trio", "Avalon-trio", "Zurich’ Ensemble of New Music" (Switzerland), "Accroche note" (France)
• conductors Volodymyr Sirenko, Roman Kofman, Arild Remmereit, Valery Matyukhin, Bohodar Kotorovych, Viktor Ploskina, Volodymyr Runchak, Petro Tovstukha, Ihor Andriivskiy, Natalia Ponomarchuk, Simon Camartin;
• choral conductors Iryna Sablina, Marianna Sablina, Halyna Horbatenko, Mykola Hobdych, Volodymyr Syvohip, Dmytro Radyk, Larysa Bouhonska, Natalia Krechko, Oksana Mykytiuk, Olena Radko, Bohdan Plish, Alena Slovey, Boris Alvarado.

Victoria Poleva is a winner of «Spherical Music» international competition (USA, 2008), a Laureate of the Prize of the Ministry of Culture and Tourism of Ukraine instituted in honour of Borys Lyatoshynsky (2005), a Winner of the All-Ukrainian Competition "Psalms of the Third Millennium" (2001, 1st prize), a Laureate of the Prize of the Ministry of Culture and Arts of Ukraine instituted in honour of Levko Revutsky (1995).

Since 2006 the Swiss agency "Sordino Ediziuns Musicalas" has been publishing her works.

Works[link]

Stage[link]

• 1994 "Gagaku", ballet on the story "Hell Screen" by Ryūnosuke Akutagawa for chamber orchestra: 38'

Symphony orchestra[link]

• 2006 "Null" for symphony orchestra: 18'
• 2004 "Nenia" for violin and symphony orchestra: 13'
• 2004 "ONO" for symphony orchestra: 17'
• 2003 Symphony №3 ("White interment"), version for symphony orchestra: 14'
• 1993 "Transform", diptych for ensemble of soloists and symphony orchestra: 31'
• 1992 Langsam for symphony orchestra (edit. 2009): 18'
• 1990 Symphony №2 ("Offertory to Anton Bruckner") for symphony orchestra: 20'
• 1988 Symphony №1 (edit. 2008): 20'

Choir (voice) and orchestra[link]

• 2009 «Ode an die Freude», cantata on the verses by F. Schiller for soprano, mixed choir and symphony orchestra: 12'
• 2009 "Credo" on canonical text, version for mixed choir and symphony orchestra: 10'
• 2008 "Summer music", chamber cantata on the verses by J. Brodsky for violin solo, children choir and Strings: 12'
• 2006 "No man is an Island", chamber cantata on the text by J. Donne for mezzo (women's choir), piano and Strings: 14'
• 2002 "Word" on the text by Symeon the New Theologian for soprano, mixed choir and symphony orchestra: 16'
• 2002 "Of Thee rejoice" on canonical text for mixed choir and chamber orchestra: 8'
• 1995 "Gentle light", chamber cantata on canonical text for soprano, mixed choir and chamber orchestra: 12'
• 1994 "Horace’s ode", chamber cantata on the text by Quintus Horatius Flaccus for contratenor (alto), chamber choir and chamber orchestra: 12'
• 1994 "Eleven lines from Glanvill", chamber cantata on the text by J. Glanvill for voice, mixed choir and chamber ensemble: 11'
• 1991 "Klage II", chamber cantata on the verses by R.M. Rilke for soprano and chamber orchestra: 5'
• 1986-1993 "Missa-simphonia" on canonical texts for children’s choir and chamber orchestra (edit. 2009): 35'

Mixed choir a cappella[link]

• 2010 "Offering to reverend Alipy of the Caves on canonical text: 3'
• 2010 "God's chosen regiment" on canonical text: 4'
• 2009 "Christ is risen", сycle on canonical text: 10'
• 2009 "Christmas Kontakion II" ("Today the Virgin") on the text by Romanos the Melodist: 2'
• 2008 "Credo" on canonical text for 2 mixed choirs: 7'
• 2007 "Dio laudemo" on the verses by Dante Alighieri: 8'
• 2006 Troparion of the "Life-giving Spring" Church: 2'
• 2005 "St.Ephrem the Syrian’s prayer" on the text by Ephrem the Syrian: 3'
• 2004 "Christmas Kontakion I" ("Today the Virgin")for alto and mixed choir on the text by Romanos the Melodist: 4'
• 2003 "In the river the abyss" on canonical text: 5'
• 2003 "Mother of Light", triptych on canonical texts: 8'
• 2003 "Beatitudes" on canonical text: 6'
• 2003 "Offertory to Arvo Pärt", triptych on canonical texts for soloists and mixed choir: 20'
• 2001 "Hymn to the Theotokos" ("The Angel Cried") on canonical texts for soprano and mixed choir: 5'
• 2000 "Psalm 50" of David: 12'
• 2000 "Lucid canticles II", cycle on canonical text for soloists and mixed choir: 25'
• 2000 "Lucid canticles I", cycle on canonical texts for soloists, children and mixed choirs: 25'
• 1997 "Prayers for the alive" on canonical text: 6'
• 1985 "Wind with forest talks" on the verses by T. Shevchenko: 7'

Women’s choir a cappella[link]

• 2008 "Song of silence" on the text by O. Chysta: 1'
• 2007 "Resurrection Stikhere" on canonical text for soprano and women’s choir: 2'
• 2007 "Magnification of Christmas" on canonical text: 3'
• 2007 "Christmas Troparion" on canonical text: 4'
• 2007 "O fervent prayer" on canonical text for soprano and women’s choir: 4'
• 2005 "Silouan’s prayer" on the text by Silouan the Athonite for soprano and women’s choir: 3'
• 2005 "All-Holy Trinity" on canonical text for soprano and women’s choir: 3'
• 2002 "Solfeggio": 1'
• 2001 "Psalm 22" of David for soprano and women’s choir: 7'
• 2001 "Theotokos’ canticles", triptych on canonical texts for soprano and women’s choir: 8'
• 1998 "Canticles", cycle on canonical texts for soprano and women’s choir: 20'
• 1996 "Sugrevushka" оn folk text for soprano and women’s choir: 8'

Men’s choir a cappella[link]

• 2001 "Simeon's word" on the text by Symeon the New Theologian (version for men’s choir): 10'
• 1999 "Men’s canticles", cycle on canonical texts for tenor and men’s choir: 14'

Children’s choir a cappella[link]

• 2002 "Evening singing", diptych on canonical texts for boy’s choir: 3'
• 2000 "Gold from the sky" on the verses by A. Fet: 1'
• 1999 "Cherubic chant", triptych on canonical texts: 6'
• 1991 "Little lullabies", triptych оn folk texts: 6'

Chamber orchestra[link]

• 2010 "Marginalia", version for String orchestra: 8'
• 2009 "Metta" for flute (violin), vibraphone and Strings: 6'
• 2008 "Сapriccio per Gion Balzer" for bassoon and Strings: 13'
• 2006 "Circle" for Strings: 12'
• 2006 "Lullaby for the sleeping" for vibraphone (piano) and Strings (edit. 2010): 7'
• 2006 "Nenia" (version for violin and Strings): 15'
• 2005-2006 "Cricket in the darkness" for flute, clarinet and Strings: 9'
• 2005 "Warm wind" for violin (violin, vibraphone) and Strings: 3'
• 2002 "White interment" for oboe and Strings: 14'
• 1994 "Langsam" (version for Strings): 16'
• 1991 "Anthem" for Strings, piano and bells: 7'
• 1986 Music for flute, Strings and percussion: 11'

Chamber ensemble[link]

• 2011 "Liebesbotschaft" ( Offertory to Franz Schubert) for violin and piano: 9’
• 2010 "Gulfstream" for violin and violoncello (2 violoncellos): 4'
• 2008 "Ditty never ends" for 2 harpsichords: 4'
• 2007 "Magic square" for flute, clarinet, violin, viola, cello and piano: 3'
• 2006 "Blind hand" for flute and guitar: 8'
• 2005 "Voice" for 2 violoncellos: 8'
• 2005 "Here", song cycle on the verses by G. Aygi for soprano, violin and piano: 4'
• 2004 "Underground birds", suite on an own text for soprano, corno inglese and theorbo: 10'
• 2002 "Songs of Innocence and of Experience", song cycle on the verses by W. Blake for soprano, clarinet, accordion: 13'
• 2000 "Simurgh-quintet" for 2 violins, viola, violoncello and piano: 15'
• 1999 "Echos" ("ἦχος"), cheerful drama with music on an own text for soprano, violin, piano and accordion: 6'
• 1998 "Mystery" for piano, trombone, double bass and vibraphone: 9'
• 1995 "Еpiphany" on an own text for soprano and chamber ensemble: 10'
• 1995 "Magic doggy Petit-Kru" for free formation of performers and tape: 7'
• 1994 "Klage III" on the verses by R.M. Rilke for soprano, flute and piano quintet: 4'
• 1994 Music for a Scene from "Hamlet" on the text by W. Shakespeare (version for soprano, violin, trombone and piano): 5'
• 1993 "Walking in emptiness" for flute, clarinet, violin, cello, piano and percussion: 15'
• 1989 Trio "5×3" for flute, violin and piano: 7'

Voice and piano (another instrument)[link]

• 1983-2012 "Ars moriendi" , 22 monologues about death for soprano and piano: 35'
• 2008 "No Man Is an Island" on the text by J. Donne (version for soprano and piano): 14'
• 2007 "The Sea of Faith" on the verses by M. Arnold for soprano and piano: 8'
• 2003 "Slouan’s psalm" on the text by Silouan the Athonite for soprano and violoncello (piano): 11'
• 2000 "Simeon's word" on the text by Symeon the New Theologian for soprano and organ: 10'
• 1998 "It was radiated night" on the verses by A. Fet for voice and piano: 8'
• 1995 "Green grass bunnies" on verses by M. Vorobjov for reciter and piano: 10'
• 1991 "Song" on the verses by J. Brodsky for voice and violoncello (piano): 6'
• 1989 "Scene from "Hamlet" on the text by W. Shakespeare for soprano and piano: 5'
• 1988 "Klage I" on the verses by R.M. Rilke for soprano and piano: 4'
• 1983 "Silentium" on the verses by O. Mandelstam for voice and piano: 8'
• 1982 "Bestiary", suite on the verses by B. Zakhoder for soprano (children's choir) and piano: 4'
• 1981 "Canticle of the tree" on the verses by H. Poświatowska for voice and piano: 8'

Piano[link]

• 2011 Sonata №2 «Quasi una Fantasia»: 10’
• 2008-1998 "Marginalia", cycle for piano: 20'
• 1999 "Serene-sonata": 18'
• 1996 "Numbers", cycle for piano: 22'
• 1993 «Trivium»: 9'
• 1990 "Tremolo": 7'
• 1982 "Passacaglia": 4'

Instrument solo[link]

• 2008 "Warm wind" (version for marimba): 3'
• 2005 "Null" for button accordion (organ): 9'

Electroacoustics[link]

• 2004 "Rooms of the Turbin’s house", electroacoustic installation: 37'

Transcriptions[link]

• 2012 J.S. Bach. Goldberg Variations for violin, marimba, vibraphone, cembalo and violoncello
• 2012 L.Revutsky String quartet N1 reconstruction and orchestration for 2 violins, viola and violoncello
• 2011 H.Vieuxtemps op.39 Duo brillant reconstruction and orchestration for violin, violoncello and chamber orchestra
• 2010 J.S. Bach. Prelude and Fugue №14 fis-moll, WТC II for violin, marimba, cembalo and String orchestra (ensemble): 7'
• 2005 H.I.F Biber Sonata-Representativa for violin and Strings: 14'

References[link]

• Page on the web-site of Ukrainian National Composer’s Union
• KREMERATA BALTICA by Stanley Fefferman
• Victoria Poleva, Kiev-Ucrania (portrait)
• Interview for newspaper «Day» (2009)
• Interview for newspaper «Capital news» (2004)
• Interview for newspaper «Day» (2002)
• Виктория Полевая. «Доверься тишине... Восемь мгновений с Валентином Сильвестровым»
• Дмитрий Десятерик. «Безупречный вечер»
• Виталий Сидоркин. «Богородицу и Матерь Света в песнях возвеличим»

E.via (born January 15, 1986), real name Lee Ok Joo, is a South Korean rapper, lyricist, composer, and pianist represented by Dline Art Media (디라인 아트 미디어). She is known for being Korea's fastest female rapper.^[2][3][4] Her first EP “E.via a.k.a. Happy Evil” was released on the 18 May 2009. This included a collaboration with singer Sori (소리) which earned her significant media attention and popularity. Controversy erupted when "Oppa! na Haedodwae?", the lead single from E.Via's debut album, was banned from being performed on Music Bank due to the lyrics of the song containing lascivious content and various slang words.^[5] E.Via was later banned from performing any of her songs from her debut album on other music programs due to the lyrics being deemed suggestive and provocative.^[6] Despite the ban, E.Via's album and "Oppa! na Haedodwae?" received overwhelming responses on online music sites.

The next song she performed was "Shake" from her Must Have Mini Album.^[7] The music video was released on April 29, 2010.^[8]

E.via also previously went under the stage name of Napper.

Discography[link]

References[link]

1. ^ http://www.last.fm/music/e.via/+wiki
2. ^ http://www.soompi.com/forums/topic/296553-new-rapper-evia/ Soompi.com. June 12, 2009. (English)
3. ^ http://www.hankyung.com/news/app/newsview.php?type=2&aid=2010050177457&nid=910&sid=83 Hankyung.com. May 1, 2010. (Korean)
4. ^ http://article.joinsmsn.com/news/article/article.asp?ctg=15&Total_ID=4158767 Joins.com. May 8, 2010. (Korean)
5. ^ http://sportsworldi.segye.com/Articles/EntCulture/Article.asp?aid=20090628002331&subctg1=05&subctg2=00 SportsWorld. June 29, 2009. (Korean)
6. ^ http://www.asiatoday.co.kr/news/view.asp?seq=260845 AsiaToday.co.kr. June 25, 2009. (Korean)
7. ^ http://www.sportsseoul.com/news2/sunday/girls/2010/0625/20100625101110100000000_8456413513.html Sportsseoul. June 25, 2910. (Korean)
8. ^ http://www.newdaily.co.kr/news/article.html?no=46169 NewDaily. April 29, 2010.(Korean)
9. ^ http://www.hiphopplaya.com/playa/view.html?pid=11047
10. ^ http://www.maniadb.com/artist.asp?p=203147&o=d

External links[link]

• E.via on Twitter

Ezequiel Viñao (born July 21, 1960 in Buenos Aires) is an Argentine-American composer. He emigrated to the United States in 1980 and studied at the Juilliard School. His compositions include La Noche de las Noches (1989) for string quartet and electronics, which won First Prize at UNESCO's Latin-American Rostrum of Composers in 1993; six Études (1993) for piano solo, which were awarded a Kennedy Center Friedheim Award in 1995; a second string quartet The Loss and the Silence (2004), commissioned by the Juilliard String Quartet; The Wanderer (2005) for a cappella voices, commissioned by Chanticleer and Chicago a cappella, and Sirocco Dust (2009), commissioned by the Library of Congress for the St. Lawrence String Quartet. He currently resides in New York.

External links[link]

• Ezequiel Viñao, Official Web Site
• Ezequiel Viñao: An Interview
• Ezequiel Viñao at BIS Records AB
• Ezequiel Viñao at New York University

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