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  1. 1. East-West ReviewJournal of the Great Britain-Russia Society Winter Edition 2014 ISSN 1759-863X Vol. 13, no. 3 ISSUE 37
  2. 2. 2 Great Britain–Russia Society Patron: His Royal Highness Prince Michael of Kent, GCVO Honorary President: Dr Ekaterina Genieva, OBE (Director General of the Library for Foreign Literature, Moscow) Honorary Vice Presidents: The Rt Revd and Rt Hon Lord Williams of Oystermouth PC FBA FRSL FLSW Professor Geoffrey Hosking, FBA, F.R.Hist.S Sir Roderic Lyne, KBE, CMG The Rt. Hon. Sir Malcolm Rifkind, KCMG, QC, MP The Rt. Hon. Lord Robertson of Port Ellen, GCMG The Rt. Hon. Baroness Williams of Crosby The Great Britain–Russia Society’s aim is to advance the education of the public in particular but not exclusively in the following: the historical background, culture, the economic, political, social conditions and trends in the Russian Federation and its near neighbours. This is done through lectures and members’ meetings and this Journal, as well as by encouraging as wide a range of people as possible to become members. Prospectivemembersubscribersshouldsendachequefor£20infavourof GreatBritain–RussiaSocietytotheHon.Treasurer: by standing order, however, the membership costs only £17. Chairman Stuart Thom Phone/Fax: 0207 924 2081 chairman@gbrussia.org Vice–Chairman and Contact for liaison with the Russian Community Dr Elisabeth Robson (via gbrussia.org) Hon. Secretary Andrew Baptista 6 Dairyman Close London NW2 1EP Tel: 020 8208 2953 secretary@gbrussia.org Hon. Treasurer Anna Bennigsen 24 Maida Avenue London W2 1ST treasurer@gbrussia.org Hon. Membership and Meetings Secretary Ute Chatterjee Mobile: 07884 464461 membership@gbrussia.org Journal Editor Andrew Sheppard 22 Millway Chudleigh Newton Abbot Devon. TQ13 0JN journal@gbrussia.org Talks Organizer Dr David Holohan Tel: 020 8404 1379 talks@gbrussia.org Further Education Liaison Professor Andreas Schönle Youth Officer Nicholas Cobb youthofficer@gbrussia.org Russian Kruzhok Olga Selivanova meadolga@hotmail.com East–West Review The journal of the Great Britain–Russia Society, registered charity no. 1148802. Editor: Andrew Sheppard Sub-Editor: Martin Dewhirst The views expressed by contributors to East–West Review should not be taken as representing those of the Great–Britain Russia Society itself.
  3. 3. 3 Contents Semyon Romanovich and Mikhail Semyonovich Vorontsov By Ian W Roberts 5 An Expedition to the White Sea By Barbara Forrai 10 Did the Beatles Rock the Kremlin? By Tony Cash 13 The Fentons of Hampstead By Frank O’Reilly 17 Summer Showers The moral art of Marlen Khutsiev By Mark Le Fanu 21 Russia and Britain Cultural Interactions in the 20th Century A Workshop held at the British Academy Rapporteur: Andrew Sheppard 25 Pushkin in Crimea By Roger Clarke 27 Love Poems by Alexander Pushkin (edited and translated by Roger Clarke, with translations by James Falen, Jill Higgs, R H Morrison and seven others) Reviewed by Andrew Sheppard 30 Fyodor Tyutchev: Selected Poems Translated, introduced and edited by John Dewey Reviewed by Michael Pursglove 31 June 1868 By Fyodor Ivanovich Tyutchev 32 Political Order and Political Decay by Frances Fukuyama Reviewed by Martin McCauley 33 Crime and Punishment by Fyodor Dostoevsky (translated by Oliver Ready) Reviewed by Margo Shohl Rosen 37 Belkin’s Stories & A History of Goryukhino Village by Alexander Pushkin (translated by Roger Clarke) Reviewed by Michael Pursglove 40 The Captain’s Daughter by Alexander Pushkin (translated by Robert and Elizabeth Chandler) Reviewed by Andrew Sheppard 42 The Killing of Anna Karenina by Richard Freeborn Reviewed by David Holohan 43 Russian Films at the London Film Festival The Colour of Pomegranates; Leviathan; Maidan; Hard to be a God Reviewed by Mark Le Fanu 45 Another Year Reviewed by Martin Dewhirst 48 Russian Avant-Garde Theatre: War, Revolution and Design, 1913-1933 An Exhibition at the Victoria and Albert Museum Reviewed by Vera Liber 49 Cover illustration: Alexander Pushkin in the palace at Bakhchisaray; Grigory Chernetsov 1837. New translations of Pushkin’s work are reviewed on pages 30, 40 and 42 of this issue of East-West Review, and on page 27 Roger Clarke offers a Poem Cycle ‘Pushkin in Crimea’, so reproduction of Chernetsov’s painting on the cover seems well justified.
  4. 4. 4 Tony Cash spent forty years in radio and TV production, including a spell broadcasting Russian language musical and cultural programmes to the Soviet Union. He was a founder Producer/Director of the South Bank Show and is, with Mike Gerrard, the author of The Coder Special Archive: the untold story of naval national service men learning and using Russian during the Cold War (Hodgson Press, 2012). He is currently researching the 1957 Moscow International Youth Festival. Roger Clarke is Series Editor of Alma Classics’ Pushkin in English series, which includes Belkin’s Stories, the translation of which he wrote about in the Summer 2014 East-West Review, and a number of other Pushkin titles translated and edited by him; they include Ruslan and Lyudmila, Boris Godunov and The Little Tragedies, Eugene Onegin, and a selection of Pushkin’s Love Poems. Barabara Forrai enjoys travelling to remote places and worked with the Russian charity ‘Helping Hands’ for the Street Children in Chita, E Siberia, for a month in 2002. She runs the Croydon branch of the British Heart Foundation and supports ‘Helping Hands’ through her travel lectures. Martin Dewhirst had a long and distinguished career as a lecturer in Russian in the Department of Slavonic Studies, Glasgow University, where he is now an Honorary Fellow. He has written and published widely on contemporary Russian literature and the arts, and especially on cinema. Dr David Holohan was head of the Russian Section at the University of Surrey. He has written on and translated contemporary Russian literature – particularly the writer Boris Mozhaev. He has also translated works by the French philosopher d’Holbach. Mark Le Fanu is a critic and film historian who lived in Denmark for many years, where he taught at the European Film College. He is the author of book-length studies of Tarkovsky and Mizoguchi and from 1982 to 2011 he was General Secretary of the Society of Authors. Vera Liber is a free-lance writer, theatre and dance critic, and a member of the Society of Authors. She also translates for the theatre, cinema and literary publications. Dr Martin McCauley was formerly Senior Lecturer in Politics and Chair of the Social Sciences Department at the School of Slavonic and East European Studies (University College, London). Frank O’Reilly is a geographer with a special interest in development studies, agricultural geography and energy matters and a regional interest in the Baltic region. He has served as a visiting lecturer in the Forestry and Social Policy Departments of the University of Joensuu, Finland. Ian W Roberts joined the Foreign Office in 1951; his postings abroad included Austria, Germany, Hungary, Rwanda & Burundi, Argentina and Norway. After retirement, he was awarded a Leverhulme Research Grant to write a book on the Russian intervention in Hungary in 1849 (Macmillan, 1990). This was followed by A History of SEES, 1915-1990, published in 1991 to mark the School’s 75th anniversary. An updated edition to include details of the School’s merger with UCL was published in 2009. Michael Pursglove is a former Senior Lecturer in Russian Language and Literature and is now a freelance translator and researcher. Margo Shohl Rosen’s poetry, translations and literary discoveries can be found in leading journals and presses, including (forthcoming: 26th February 2015) the Penguin Book of Russian Poetry, edited by Robert Chandler. With F D Reeve, she produced the first English collection of Anatoly Naiman’s poetry, Lions and Acrobats (Zephyr Press). She has taught Russian and Literature Humanities at Columbia University. Andrew Sheppard is the Editor of East-West Review. Fyodor Ivanovich Tyutchev, ‘the last of three great Romantic poets of Russia, following Alexander Pushkin and Mikhail Lermontov’, lived from 1803 to 1873. List of Contributors The Khan’s Palace at Bakhchisaray, Crimea, 1830. Pushkin visited in 1820: see page 27.
  5. 5. 13 ‘The Moscow girls make me sing and shout... Back in the US, Back in the US, Back in the USSR’ Did the Beatles Rock the Kremlin? By Tony Cash Working for the BBC’s World Service in the mid-1960s, I used to broadcast a weekly pop programme in Russian, aimed at Soviet listeners. Countless people have asked me: ‘Weren’t the shows jammed; was it safe to listen; did you get any feedback; what did they think of the Beatles?’ Some of the answers are to be found in two recent publications. One is Leslie Woodhead’s How the Beatles Rocked the Kremlin (Bloomsbury, 2013, in this article referred to as LW), the other, a lengthy two-volume monograph in Russian, by Vladimir Bokarev and Yury Mitrofanov, entitled History of the Beatles in the USSR 1964-1970 (Roliks, 2014, hereafter VB/YM). Leslie Woodhead is a former RAF national service student of the Joint Services School for Linguists, where he acquired more than enough Russian to carry out his later duties in Berlin monitoring Soviet military radio traffic for analysis at GCHQ in Cheltenham. His autobiographical memoir, My Life as a Spy (Pan Macmillan, 2006), is as entertaining as convincing, especially for someone like me whose northern provenance and national service trajectory, albeit in the Navy, were similar to Leslie’s. For several decades now, he has been considered, with justification, one of the most distinguished and fearless of British TV programme makers. He is the winner of several international awards and a pioneering producer of drama documentaries, several of which dealt even-handedly with Cold War controversies. Working as he did at Granada TV in Manchester gave him the opportunity in 1962 to direct the first ever film with the Beatles, shot at the Cavern Club in nearby Liverpool. He has remained a staunch devotee ever since. Unsurprisingly, Leslie’s latest publication is as engaging and lively a read as you would expect from someone with those credentials, to which should be added his many filming trips to the USSR, where he was able to meet people as dedicated as fans as he. His version of the Beatles’ reception in the former Soviet Union is based very largely on testimony from those encounters. Anyone involved in the Cold War (as both Leslie and I can claim to have been, however peripherally) has a natural inclination to sympathise with those dissidents brave enough to confront Soviet power – Alexander Solzhenitsyn, Andrei Sakharov and Joseph Brodsky spring to mind. There were many others, all, regardless of talent, hostile to the Communist regime. But were these rebels, however just their cause, necessarily the best source of information about what was actually happening in the USSR? Effectively, all Leslie’s Russian interlocutors were, to varying extents, dissident. It’s their recollections which prompt him to state (p. 16) that: ‘… the Communist leadership were determined to block the Beatles virus. Every hint of … seditious music was to be stifled. Radios were jammed, censors were equipped with record scratchers, sneering anti- Beatles campaigns were mounted.’ Abundant evidence adduced by VB/YM over 600 and more pages (plus three times that number of footnotes) shows that only some of those claims are true, and that Leslie’s thesis is seriously one- sided. Between July 1963 and August 1968, the years of my employment with the BBC’s Russian Section, my colleagues and I must have played every Beatles single, plus many tracks from their LPs. Throughout that period there was no jamming of our programmes by the Soviets. Of course, BBC broadcasts had been jammed, and the practice restarted some half an hour before Soviet tanks crossed the border into Czechoslovakia, very shortly after I left Bush House to work in TV. However, Leslie offers no proof that the music of the Beatles was ever the censors’ target. I have no doubt that individual Communist leaders were hostile to all kinds of emanations from the West, including the Fab Four, but if the Soviet leadership was as united and monolithic on this issue as Leslie suggests, they certainly didn’t make it clear to one of their most noteworthy cultural icons, the actor Innokenty Smoktunovsky. Internationally renowned for his role as Hamlet in Grigory Kozintsev’s 1964 film, Smoktunovsky was invited to our World Service studios that year to give a lengthy interview and take part in a Desert Island Discs programme, both in Russian. On each occasion he talked in ecstatic terms about the Beatles and Tony Cash broadcasting in 1965 to Soviet listeners of the BBC’s Russian language transmissions. Picture Credit: The Scarborough Mercury.
  6. 6. 14 ‘The Moscow girls make me sing and shout... Back in the US, Back in the US, Back in the USSR’ chose one of their records (sadly, I no longer recall which). These were programmes, it needs to be stressed, which he knew were being beamed to Soviet listeners back home. Maybethecelebratedactorwassimplybeingcourageous, or foolhardy. He must have been aware of hostility to the Beatles in the Soviet establishment, especially during the first two or three years they were in the public eye. But wasn’t he much more likely to get it in the neck for participating in a BBC Russian language programme than for praising a British pop group? Yet we know his subsequent career was not harmed by this episode. Although neither LW nor VB/YM cite any instance of individuals being punished for listening to or performing Beatles material, they both relate stories which indicate a climate of fear. The historian Mikhail Safonov told Leslie about a Leningrad school staging a show trial against the group, echoing the Stalinist show trials of the 1930s: ‘… the school kids had to denounce “the Bugs” as the Beatles were called. They were found guilty of anti-social behaviour.’ (p. 179). In similar vein, p. 81 of the first tome of VB/YM describes an Estonian group, Elektra, performing Back in the USSR on a 1970 tour of the Far East of the Soviet Union. They sang the song in English on TV and fans later asked them – weren’t they afraid to perform Beatles songs? If the local cultural commissar had challenged the performers they would have had what VB/YM call a ‘reliable alibi’. They knew the Beatles’ version of the song had been heard the previous year on all-Union radio. Furthermore, three editions of the sheet music for the song, totalling 665,000 copies, were printed in 1970, accompanied by a Russian translation of the lyric. VB/YM is chock-full with such statistics. Vladimir Bokarev and Yuri Mitrofanov are academics. The former has a doctorate in history for his thesis entitled John Lennon’s Social Views, Political and Creative Activity during the ‘Youth Revolution’ in the West (1966-1973). He is the author of many articles on musical and historical themes. Mitrofanov is an archivist, bibliographer and has worked as a journalist covering press conferences and concerts of foreign artists visiting Russia. The principal aim of their book is to lay to rest the ‘myths’ enshrouding the Beatles and the USSR. They show that by the end of the 1960s rock ‘n‘ roll music in general, and the Liverpudlian Four’s songs in particular, were being played by literally tens of thousands of young Soviet citizens across however many time zones of that vast land. Leslie himself (p. 245) refers to Russian rock star Alexander Gradsky being able to list more than two hundred unofficial rock bands playing in Moscow alone during the late 1960s. The Beatles disbanded in 1970, by which time, according to VB/YM, they had won over a good deal of Soviet critical opinion. With citations from publications and other media outlets, their book traces and explains the reasons for this evolution in official judgements, from largely negative to mostly encouraging. The first Soviet publication to mention the Beatles seems to have been Smena, the literary, socio-political organ of the Central Committee of the Komsomol, the young Communist movement. Illustrated with photos of screaming girls and of the four mop tops leaping in the air in mid-chorus, the January 1964 edition carried an anonymous article entitled Poprygunchiki, (Jack in the Boxes). This was also, as VB/ VM point out (p. 217, Vol. 1), the name of a criminal gang who wore special springs on their shoes, used stilts and went around hooded as they robbed people in Petrograd in the years 1918-20. For Smena, denigration was the name of the game - the group’s performance was not art and couldn’t anyway be heard because of the noise from the audience: music and mania were equally worthless - ‘these two theses dominated the Soviet critique of the Beatles in the years 1964-5’. VB/YM make no bones about the derogatory nature of many of the earliest articles on the Beatles in the Soviet press. On page 220 of Volume 1 they recall how in February 1964 the journal Ukraina carried a piece entitled Guitars, Drums and Acrobatics. It delineated the group’s output as a wild roar thundering over the British Isles, ‘drowning out people’s consciousness as well as the enchanting melodies of the composer geniuses of the past’. We’re told (p. 223-4, Vol. 1) that in April 1964 Paul Johnson’s notorious rubbishing of the group in the New
  7. 7. 15 ‘The Moscow girls make me sing and shout... Back in the US, Back in the US, Back in the USSR’ Statesman was published in translation in the weekly digest of the foreign press, Za Rubezhom (Abroad). The following month, Muzykal’naya Zhizn’ (Musical Life) called the Beatles’ music ‘bourgeois false art’ (p. 254-5, Vol. 1). In October that year the popular illustrated magazine Ogonyok (Sparkle) sold nearly two million copies with a photo purporting to be of the Beatles on a publicity stunt sailing in a boat shaped to resemble a guitar. VB/YM comment (p. 227, Vol. 1): ‘The author of the note, just like the editorial staff of Ogonyok, didn’t even know what the Beatles looked like.’ The first Soviet media outlet to examine reasons for the Beatles’ huge success was the March 1964 edition of the satirical journal Krokodil (Crocodile) (p. 222, Vol. 1). The lads are said to have no merit, but five million fly posters all over the USA announcing ‘The Beatles are Coming’ must have helped their visit. (‘If Christ himself were to visit, he wouldn’t have a tenth of the advertising.’) A cartoon depicts Republican Presidential hopeful Barry Goldwater being advised to play a guitar and have a Beatles haircut. Krokodil claims that neither the Liverpool Four nor the far-right politician will have lasting success. George Harrison’s facetious, self-deprecating remarks to journalists about the group’s musical abilities are taken at face value as evidence that they were actually talentless. According to VB/YM, this piece had a powerful influence on subsequent Soviet articles about the Beatles. Within a year, however, Krokodil seems to have changed its tune radically (p. 242-3, Vol. 1). S Khalipov’s January 1965 article, ‘Trans-Atlantic Psychosis’, distinguished the performers from the hullabaloo surrounding them. It referred to ‘jolly songs played fervently and enthusiastically’, leaving an ‘indelible impression’ in the hearts of young American fans. The first Soviet periodical to offer a detailed, positive evaluation of the Beatles’ work was Sovetskaya Estrada i Tsirk (Soviet Stage and Circus), in April 1966. Director A P Konnikov was a recognised authority on music hall and variety shows, ‘a representative of the Soviet musical establishment’ (p. 244, Vol. 1). A year earlier he had made an ‘official’ visit to Paris to hear the Beatles, evidence that the cultural authorities were looking for a ‘more objective take on the Beatles phenomenon’. His article, ‘Idols and Idolaters,’ rated highly their musicality, instrumental ability and enthusiasm – ‘they give it their all’. He even praised their outfits, neat hair dos, and denied there was any ‘jumping around’. Bokarev and Mitrofanov (p. 248, Vol. 1) write of the ‘revolutionary significance’ for the development of Soviet Beatleography of Konnikov’s article, thanks to which the Beatles went on to have a ‘complete musical rehabilitation’ in the USSR. By September 1966, Pravda itself had got in on the act, thanks to an article by Oleg Orestov entitled ‘Thoughts and Anxieties of English Youngsters’. According to VB/YM (p. 310, Vol. 1), the daily’s London correspondent wrote of ‘the tawdry hype fading away to reveal that the best young pop singers are fine lads, often with progressive views’. John Lennon is quoted as saying that he liked the Soviet Union. George Harrison’s rejection of American involvement in the Vietnam War is mentioned. There is also reference to the Beatles’ refusal to sing for segregated audiences in the American south. Where before the Beatles had been accused of being ‘accomplices of American imperialism’, they’re now being seen as potential allies in the campaign to turn world opinion against what was termed the ‘American Vietnam venture’. Significantly, this policy had been announced only months earlier at the 23rd Congress of the Soviet Communist Party (VB/YM, p. 311, Vol. 1). Once the Beatles ceased to be perceived as politically alien, it was perhaps inevitable that they would become culturally acceptable. By February 1968 Muzykal’naya zhizn’ was beginning to recant. Where four years earlier they had dismissed the Beatles oeuvre as ‘false art’, in an article called ‘New Tendencies’ they were now reporting the Beatles as moving on to ‘more serious forms of creativity, performance and diverse expressive means’. The Sgt. Pepper’s Lonely Hearts Club Band album, released eight m o n t h s before, was said to contain a majority of songs distinguished by their ‘melodic flair, poetical lyrics and at times sharp parody’ (pp. 254-5, Vol. 1). Only three months later, the May edition of the same periodical printed the musicologist L B Pereverzev’s thoughtful piece ‘The Beatles – Appearance and Reality in
  8. 8. 16 ‘The Moscow girls make me sing and shout... Back in the US, Back in the US, Back in the USSR’ Pop Music’ (p. 256ff, Vol. 1). He cited American composer Leonard Bernstein’s comparison of Beatles songs with Schumann’s. On page 272, VB/YM emphasise the political significance of this article. Muzykal’naya zhizn’ was the official journal of the Union of USSR Composers and the Ministry of Culture: all their publications needed to pass the Ideological Department of the Central Committee of the Communist Party of the USSR. The authors conclude that this article must therefore have been approved by the Soviet establishment. On page two of his book, LW says that the Beatles were ‘never allowed to play’ in the USSR. ‘Never invited’ would be nearer the mark, for their music was made available in considerable quantities whether in the form of musical score, a few original recordings, cover versions by Soviet and western artists, even a handful of radio and TV broadcasts. Of the latter, the most striking is the transmission on 31st Dec 1966 of Paul McCartney’s Yesterday rendered by Tiiu Varik in her native Estonian (VB/YM, p. 192, Vol. 2). The black and white studio performance recorded in a Tallin studio can still be seen on YouTube http://www.youtube. com/watch?v=-x0XJHojI8Y. Between 1967 and 1970, the Soviet record company Melodiya issued 26 Soviet and foreign disc versions of 12 Beatles’ compositions (VB/YM, p. 43, Vol. 2). The first to be released was John Lennon’s Girl, classed as an English folk song. In 1968 they followed up with A Hard Day’s Night sung in Russian by Emile Gorovets, this time with the correct attribution to Lennon and McCartney (VB/YM, p. 56, Vol. 2). Lady Madonna appears to have come next, again sung by Gorovets. The youth journal Rovyesnik (Peer, as in ‘same age’) in July 1969 published 550,000 copies of the Russian text of his vocal (VB/YM, p. 324, Vol. 1). It also brought out Russian and English lyrics of A Hard Day’s Night, Yesterday,GirlandBackintheUSSR,thelatter only in Russian (VB/YM, p. 32, Vol. 2). The authors explain that the many mistakes in transcription and translation arise from English texts being written down by ear. According to Bokarev and Mitrofanov’s calculations (p. 133, Vol. 2), in 1970 alone, Soviet musical journals published more than two and a quarter million copies of ten Beatles’ songs – musical notation plus Russian and English lyrics. That year, they remind the reader, was the 100th anniversary of Lenin’s birth. During the last three years of the Beatles’ existence as a group (1968-1970), more than three million copies of their songs with music and translations by Mark Podberyozsky were made available to Soviet customers. Between 1969 and the collapse of the USSR in 1991, in excess of two million copies of Girl alone were printed in Kiev, Moscow, Leningrad and Alma-Ata (VB/YM, p. 233, Vol. 2). One Soviet vocal-instrumental ensemble, Vesyolye Rebyata (Jolly Lads), sold nearly 16 million recorded cover versions of Beatles’ songs between 1970 and 1991 (VB/YM, p. 63, Vol. 2). In the period 1965-1970, 22 Soviet films for the cinema incorporate 22 Beatles’ songs, either originals or Soviet or foreign versions. ‘No one Western or Eastern European artist’, the authors assert, ‘was featured so prominently’ (VB/YM, p. 226, Vol. 2). Bokarev and Mitrofanov boldly describe the Soviet establishment’s later approach to the Liverpool Four as ‘official popularising’, and it ‘didn’t stop in 1970 but continued in 1971 and in all the following years of the existence of the Soviet Union’ (p. 132, Vol. 2).’ Historians and commentators may disagree about what brought the Soviet Union to an end. I for one would certainly like to believe that the Beatles played a part, even though there was no subversive intent when I played their records on my Friday night pop programme all those decades ago. Bokarev and Mitrofanov have persuaded me that Soviet fulminations against the Fab Four were too isolated, ill-co- ordinated, so much at variance with Russian youngsters’ experiences and, above all, simply too short-lived for John, Paul, George and Ringo to be considered serious contributors to the demise of the Red Empire. ☐
  9. 9. Winter/Spring 2015 Talks Programme The first talk of the Winter/Spring programme will be:- Putin, Ukraine and the Eurasian Union Dr Peter Duncan Wednesday, 21st January 2015 at 7 pm in Pushkin House See www.gbrussia.org for the full programme for the session and to book places at the talks for yourself and your guests. Please note that a printed programme for the session is NOT being distributed with this issue of East-West Review. Great Britain-Russia Society members for whom the Society holds an e-mail address will be notified of all talks by e-mail. Those for whom the Society does not have an e-mail address will receive a single notification of the full programme by post. E Great Britain-Russia Society Traditional Russian Christmas Party There is still time to book for the Society’s Traditional Russian Christmas Party at the Civil Service Club, 13-15 Great Scotland Yard, SW1A 2HJ on Friday 9th January 2015, 6.30pm for 7.00pm. The cost is £19.50 per person. There will be an a la carte menu, wine at £11.50 a bottle and live music. This is an event not to be missed. Book on: www.gbrussia.org Tel: 020 8898 2638 Fax: 020 8893 8855 ahall@hallbooks.co.uk 30 Staines Road Twickenham TW2 5AH Great Britain–Russia Society