Ullrich Böhme
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IN FO R M a TIO N to U SERS This Manuscript Has Been Reproduced from the Microfilm Master. UMI Films the Text Directly From
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed through, substandard margin*, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Ben A Howeii Information Company 300 North Zeeb Road Ann Arbor. Ml 48106-1346 USA 313.761-4700 800.521-0600 RENDERING TO CAESAR: SECULAR OBEDIENCE AND CONFESSIONAL LOYALTY IN MORITZ OF SAXONY'S DIPLOMACY ON THE EVE OF THE SCMALKALDIC WAR DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James E. -
Quellenangaben Musik
Quellenangaben Musik: Agnus Dei: Capella Gregoriana, Der Gregorianische Kalender, LASERLIGHT CLASSICS, 2009 Alkan, Charles-Valentin: Choral de Luther „Un fort rempart est Notre Dieu“, Op. 69, Coldstone and Clemmow, piano duo, TOCCATA CLASSICS,2011 Altenburg, Michael: Angst der Hellen und Friede der Seelen, Alsfelder Vokalensemble, Wolfgang Helbich, CPO, 1994 Bach, Johann Sebastian: Canonische Veränderungen über „Vom Himmel hoch“, BWV 769, Holm Vogel, Triosonaten, Naxos, 2000 Bach, Johann Sebastian: Choralvorspiel „Ein feste Burg“, BWV 720, Heinz Lohmann, JUBALmusic, 2011 Bach, Johann Sebastian: Christ lag in Todesbanden, Kantate BWV 4, The Amsterdam Baroque Orchestra & Choir, Ton Koopman, Cantatas Vol. 1, Challenge Class, 2003 Bach, Johann Sebastian: Ein feste Burg ist unser Gott, Kantate BWV 4, The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner, Bach Cantatas, Harmonia Mundi, 2005 Bach, Johann Sebastian: Erhalt uns, Herr, bei deinem Wort, Kantate BWV 126, Bach Collegium Japan, Masaaki Suzuki, BIS, 2007 Bach, Johann Sebastian: Magnificat BWV 243a: Rheinische Kantorei, Hermann Max, EMI Classics, 2005 Bach, Johann Sebastian: Nun komm der Heiden Heiland, Kantate BWV 61, The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner, Deutsche Grammophon, 2010 Bach, Johann Sebastian: Nun komm der Heiden Heiland, Kantate BWV 62, The Monteverdi Choir, The English Baroque Soloists, John Eliot Gardiner, Deutsche Grammophon, 2010 Bach, Johann Sebastian: Orgelchoral BWV 686, Hans Fagius, Complete Organ Music, BIS, 2005 Bach, Johann Sebastian: Orgelchoral BWV 687, Hans Fagius, Complete Organ Music, BIS, 2005 Bach, Johann Sebastian: Orgelchoral BWV 734, Jan Kalfus, Alte Choräle, Supraphon, 1997 Bach, Johann Sebastian: Orgelfuge BWV 755, Peter Hurford, The Organ Works, Decca, 1995 Bach, Johann Sebastian: Singet dem Herrn ein neues Lied, Kantate BWV 190, The Amsterdam Baroque Orchestra & Choir, Ton Koopman, Cantatas Vol. -
Local Romanesque Architecture in Germany and Its Fifteenth-Century Reinterpretation
Originalveröffentlichung in: Enenkel, Karl A. E. ; Ottenheym, Konrad A. (Hrsgg.): The quest for an appropriate past in literature, art and architecture, Leiden 2019, S. 511-585 (Intersections ; 60) chapter 19 Translating the Past: Local Romanesque Architecture in Germany and Its Fifteenth-Century Reinterpretation Stephan Hoppe The early history of northern Renaissance architecture has long been pre- sented as being the inexorable occurrence of an almost viral dissemination of Italian Renaissance forms and motifs.1 For the last two decades, however, the interconnected and parallel histories of enfolding Renaissance humanism have produced new analytical models of reciprocal exchange and of an ac- tively creative reception of knowledge, ideas, and texts yet to be adopted more widely by art historical research.2 In what follows, the focus will be on a particular part of the history of early German Renaissance architecture, i.e. on the new engagement with the historical – and by then long out-of-date – world of Romanesque architectural style and its possible connections to emerging Renaissance historiography 1 Cf. Hitchcock H.-R., German Renaissance Architecture (Princeton, NJ: 1981). 2 Burke P., The Renaissance (Atlantic Highlands, NJ: 1987); Black R., “Humanism”, in Allmand C. (ed.), The New Cambridge Medieval History, c. 1415–c. 1500, vol. 7 (Cambridge: 1998) 243–277; Helmrath J., “Diffusion des Humanismus. Zur Einführung”, in Helmrath J. – Muhlack U. – Walther G. (eds.), Diffusion des Humanismus. Studien zur nationalen Geschichtsschreibung europäischer Humanisten (Göttingen: 2002) 9–34; Muhlack U., Renaissance und Humanismus (Berlin – Boston: 2017); Roeck B., Der Morgen der Welt. Die Geschichte der Renaissance (Munich: 2017). For more on the field of modern research in early German humanism, see note 98 below. -
GROUP TRAVEL Discover Cities Enjoy Nature Experience Culture Active Relaxation a Warm-Hearted Wl E Come
BAD REICHENHALL MUNICH LEONBERG/STUTTGART ALKEN/MOSEL HILDEN/DÜssELDORF BERLIN CHEMNITZ HOLIDAY DESTINATION GERMANY GROUP TRAVEL Discover cities Enjoy nature Experience culture Active relaxation A warm-hearted WL E COME D ear travel partner, Dear guests, Countryside or culture? City or landscapes? Culinary delights or active holidays? Different travel groups have different needs. It doesn’t matter for which season you are planning a trip, Germany offers a wide range of interesting places and entertainment for all ages all year round. All sights and destinations shown on the next pages are easily accessible with your own vehicle from the AMBER HOTELS and partner hotels. Your travellers will also feel thoroughly pampered in the 3 and 4 star hotels. As well as friendly staff all hotels offer great comfort and tasty choices in the restaurants. You can be sure to have the same quality even if you travel from hotel to hotel on your tours. Email me the cornerstones of you trip and you will receive an offer asap. With kind regards AMBER HOTELS Christian Röder Sales Manager Leisure [email protected] Direct contact: mobile +49 1520 6289001 Contact address: AMBER HOTELS Leisure, Schwanenstraße 27, 40721 Hilden, Germany +49 2103 503-100, -444, [email protected] Stay informed! Sign up for the AMBER newsletter for group travel (in German)! 4x to 6x a year you will receive news of the hotels and regions. Interesting basics for your tours! www.amber-hotels.de/gruppen/newsletter-gruppe/ Important notice: The tips and destina- AMBER TIP: tions on the following pages are a choice of F UN AND DANCE IN CHEMNITZ suggestions. -
Where Christmas Comes to Life
Winter 2014 | The Christmas magazine for the Free State of Saxony Saxony Where Christmas comes to life Jens Weissflog Ring tuRneR stollen 2.0 A sausage on a bus instead of presents: Back to the future: Science and the web: A blogger from The legendary ski jumper talks about How a maverick brought the Ore Mountains takes Christmas Advent season in professional sport. an old craft back to life. baking to a whole new level. 2 Baking stuDio DresDen In Pulsnitz children are nostalgia tracking down the secret Chock-full of treats and of German “pepper mementos from yes- cake”. Page 10 DresDen teryear: “Advent on the kreuzchor Neumarkt” next to the paraDe moDe 11-year-old Karl sings for o come all ye Frauenkirche. Page 4 Glück auf! A day in Ad- his supper. Page 20 FaithFul! vent with the Schneeberg Saxony’s best Christmas Flyyyyyyyyy! miners. Page 12 Festive Fortress markets. Page 24 stollen 2.0 Ski jump legend Jens Why the Christmas mar- A baking blogger from Weißflog talks about schwarzenBerg ket on the Königstein young culture the Ore Mountains Christmas time among After a steep climb, a glo- is a real highlight of the scene reveals how to make the top athletes. Page 6 rious market. Page 15 season. Page 21 Runa Pernoda Schaefer, moistest of moist stollen actress, guides us through cakes. Page 28 the raugrave’s Advent alphaBet silBermann’s Leipzig’s Advent. Page 25 recipe An A to Z of Christmas pipes all wrappeD up An old mulled wine reci- in Saxony. Page 16 Choirmaster and organ- Blaze oF light Highly recommended: pe written by a bankrupt ist Albrecht Koch reveals The Christmas market in celebrities and VIPs from aristocrat was collecting turn arounD! how to coax modern Altkötzschenbroda: pic- Saxony give advice on dust in a far corner of a A ring turner as unusual sounds out of a 300- turesque setting, enchant- Christmas presents. -
Collecting and Representing Saxon Identity in the Dresden Kunstkammer and Princely Monuments in Freiberg Cathedral
UNIVERSITY OF CALIFORNIA RIVERSIDE International Projects with a Local Emphasis: Collecting and Representing Saxon Identity in the Dresden Kunstkammer and Princely Monuments in Freiberg Cathedral A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Daniel A. Powazek June 2020 Thesis Committee: Dr. Kristoffer Neville, Chairperson Dr. Randolph Head Dr. Jeanette Kohl Copyright by Daniel A. Powazek 2020 The Thesis of Daniel A. Powazek is approved: Committee Chairperson University of California, Riverside ABSTRACT OF THE THESIS International Projects with a Local Emphasis: The Collecting and Representation of Saxon Identity in the Dresden Kunstkammer and Princely Monuments in Freiberg Cathedral by Daniel A. Powazek Master of Arts, Graduate Program in Art History University of California, Riverside, June 2020 Dr. Kristoffer Neville, Chairperson When the Albertine Dukes of Saxony gained the Electoral privilege in the second half of the sixteenth century, they ascended to a higher echelon of European princes. Elector August (r. 1553-1586) marked this new status by commissioning a monumental tomb in Freiberg Cathedral in Saxony for his deceased brother, Moritz, who had first won the Electoral privilege for the Albertine line of rulers. The tomb’s magnificence and scale, completed in 1563, immediately set it into relation to the grandest funerary memorials of Europe, the tombs of popes and monarchs, and thus establishing the new Saxon Electors as worthy peers in rank and status to the most powerful rulers of the period. By the end of his reign, Elector August sought to enshrine the succeeding rulers of his line in an even grander project, a dynastic chapel built into Freiberg Cathedral directly in front of the tomb of Moritz. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
CD-Katalog 2014
CD CATALOGUE 2014 … ohne Musik wäre das Leben ein Irrtum … F r i e d r i c h N i e t z s c h e 2 Inhalt Orgelmusik ...................................................................................................04 editiON thOmaNerchOr ....................................................................... 10 Orchestermusik ...................................................................................12 FraNz tuNder zum 400. geburtstag ...................................... 14 POsauNeNquartett "OPus4" wird 20 ........................................ 16 kaleidOskop der kammermusik ................................................... 18 weiterhiN erhältlich ............................................................................ 24 3 Sehr geehrte Musikliebhaber, seit nunmehr 20 Jahren veröffentlicht querstand, das Klassiklabel der Verlagsgruppe Kamprad, seine audiophilen Tonproduktionen als eine sinnbildliche Reise, die zu den Orten und Personen der Geschichte und Gegenwart unseres mitteleuropäischen Kulturraums führt. Dabei verschmelzen die uns überlieferte Musik, geschichtsträchtige Stätten und kunstvoll gefertigte Instrumente mit dem musikalischen Wissen und Wirken der im 21. Jahrhundert stehenden Menschen. Ein wiederkehrender spannender Prozess, in dessen Ergebnis jede CD zu einer ganz eigenen Entdeckung wird. Auch im 21. querstand-Jahr stellt dieser Katalog gedankliche Reiserouten vor, die von windigen Kirchturmspitzen im Norden Deutschlands hin zu der im Süden liegenden Bergwelt am Zürichsee reichen und den artifiziellen -
241. Saison Im Gewandhaus Konzerte Im SEP/OKT 2021 Vorverkaufsstart
SEP OKT 2021 Die 241. Saison im Gewandhaus zu Leipzig Die Beraterin, die tickt wie Sie. Silke Eisermann arbeitet als Beraterin total strukturiert. In ihrer Freizeit braucht sie dann aber viel Kreativität und für Mode interessiert sie sich sowieso. Genau wie Sie? Dann könnte es ja passen. Welche Beraterin oder welcher Berater so drauf ist wie Sie, erfahren Sie unter: 2 berater.sparkasse-leipzig.de SEP OKT 2021 Die 241. Saison im Gewandhaus zu Leipzig 3 Welchen Platz dürfen wir Ihnen anbieten? Normalerweise musizieren wir im Gewandhaus, in der Oper und der Thomaskirche, aber auch in Schulen und Kitas, in sozio-kulturellen Zentren der Stadtteile, in der Moritzbastei und auf der Rosental-Wiese. 4 Durch die Corona-Pandemie war dies nicht in normalem Maße möglich. Stattdessen musizierten wir in Hinterhöfen, vor Pflege- sowie Altenheimen und zur Weihnachtszeit auf einem Bus. Denn wir wollten da sein, wo Sie sind und Ihnen mit unserer Musik Freude bereiten. Im Zentrum unseres Schaffens stehen die Großen Concerte des Gewand- hausorchesters. Aber Sie können die Vielseitigkeit, Kreativität und Experimentierfreude unserer Musiker auch bei Kammermusikabenden, Chor-, Orgel- und Salonmusikkonzerte, Musikvermittlungs- oder Crossover-Projekten mit Künstlern der freien Szene erleben. Den Leipziger Bürgern ist es zu verdanken, dass es uns als Orchester seit der Bach-Zeit gibt und wir heute in Leipzig und der ganzen Welt musizieren. Wir revanchieren uns seit drei Jahrhunderten mit engagiertem Spiel auf Weltklasseniveau sowie ideen- und abwechs- lungsreich zusammengestellten Programmen. Und – unsere Herzens- angelegenheit – mit Benefizkonzerten für Leipziger Initiativen. Unsere Gewandhauskapellmeister haben Musik-, Zeit- und Stadtgeschichte geschrieben: Mendelssohn, Nikisch, Masur. Unser aktueller Gewandhaus- kapellmeister Andris Nelsons ist ein international gefeierter Star. -
Bach's Organ World Tour of Germany
Bach’s Organ World Tour of Germany for Organists & Friends June 2 - 11, 2020 (10 days, 8 nights) There will be masterclasses and opportunity for organists to play many of the organs visited. Non- organists are welcome to hear about/listen to the organs or explore the tour cities in more depth Day 1 - Tuesday, June 2 Departure Overnight flights to Berlin, Germany (own arrangements or request from Concept Tours). Day 2 - Wednesday, June 3 Arrival/Dresden Guten Tag and welcome to Berlin! (Arrival time to meet for group transfer tbd.) Meet your English-speaking German tour escort who’ll be with you throughout the tour. Board your private bus for transfer south to Dresden, a Kunststadt (City of Art) along the graceful Elbe River. Dresden’s glorious architecture was reconstructed in advance of the city’s 800th anniversary. Highlights include the elegant Zwinger Palace and the baroque Hofkirche (Court Church). Check in to hotel for 2 nights. Welcome dinner and overnight. Day 3 - Thursday, June 4 Dresden This morning enjoy a guided walking tour of Dresden. Some of the major sights you'll see: the Frauenkirche; Gemäldegalerie Alte Meister (Painting Gallery of Old Masters); inside the Zwinger; the majestic Semper Opera House; Grünes Gewölbe (Green Vaults); the Brühlsche Terrasse overlooking the River Elbe. Free time afterwards for your own explorations. 3pm Meet at the Kreuzkirche to attend the organ recital “Orgel Punkt 3”. Visit Hofkirche and have a resident organist (tbc) demonstrate the Silbermann organ, followed by some organ time for members. Day 4 - Friday, June 5 Freiberg/Pomssen/Leipzig After breakfast, check out, board bus and depart. -
Tales of 1001 Pipes. for Mendelssohn's
Tales of 1001 Pipes. For Mendelssohn’s organ lessons: The Wagner Organ at St. Mary’s Church, Berlin Michael Gailit ′ Prologue 4Octava Example 1 3′ Quinta For some, musicology can offer cap- 2′ Super-Octava 3 tivating moments. What has happened 1⁄5′ Tertia at a certain place during a certain time? 8′ Cornet V (c1–c3) Changes in organs remind us sometimes 2′ Mixtur IV 1 of CSI. Who really knew what was go- 1⁄3′ Cimbeln III ing on? The pastor might be not the best 8′ Trompete guess, and the lead has intelligent ways 4′ Clarin to tell everybody how to look at things— Oberwerk (II; CD–c3; 13 stops) 2556 pipes in an organ it’s not worth it, 16′ Quintaden with 1001 pipes you get even more! 8′ Principal 8′ Gedackt Wagner and St. Mary 8′ Quintaden Let us imagine a visit to St. Mary’s 4′ Octava Church in Berlin at the beginning of the 4′ Spitzfl öte 19th century. Our reason is the celebra- 2′ Super-Octava 1′ Flaschfl öt tion last year of the 200th anniversary 1 1⁄3′ Mixtur III of Felix Mendelssohn Bartholdy (1809– 1′ Cimbeln II 1847). During the period 1820–21, the ′ 8Krummhorn Example 2 ingenious multi-talent received organ 8′ Vox humana lessons at St. Mary’s and composed his 8′ Echo V (c1–c3) fi rst organ pieces. Mendelssohn’s organ teacher August Wilhelm Bach (1796– Brustwerk (III; CD–c3; 9 stops) 8′ Gedackt 1869)—not related to the Thuringian ′ family of musicians—had at his post in 4Principal 4′ Rohrfl öte St. -
Possible Orchestral Tendencies in Registering Johann Sebastian Bach’S Organ Music: an Historical Perspective
Copyright Ruth Elaine Dykstra 2004 The Treatise Committee for Ruth Elaine Dykstra Certifies that this is the approved version of the following treatise: Possible Orchestral Tendencies in Registering Johann Sebastian Bach’s Organ Music: An Historical Perspective Committee: Edward Pearsall, Supervisor Frank Speller, Co-Supervisor David Hunter Timothy Lovelace Thomas O’Hare David Renner Possible Orchestral Tendencies in Registering Johann Sebastian Bach’s Organ Music: An Historical Perspective by Ruth Elaine Dykstra, B. M., M. Mus. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2004 Dedication To Frank Speller mentor and friend, whose encouragement and faith in me were instrumental in bringing this project to fruition. Acknowledgments Special thanks to: my husband, Jerry, and son, Mark, for so willingly sharing their computer expertise to rescue me from all manner of computer anomalies; my friend and organ builder, Pieter Visser, for all of the explanations of and answers to technical questions; my co-supervisor, Ed Pearsall, whose guidance through this paper has helped me become a more analytical writer and reader; and to the remaining members of my treatise committee, for their time, input and support throughout the writing of this document. v Possible Orchestral Tendencies in Registering Johann Sebastian Bach’s Organ Music: An Historical Perspective Publication No._____________ Ruth Elaine Dykstra, D.M.A. The University of Texas at Austin, 2004 Supervisors: Edward Pearsall and Frank Speller Many books have been written about Johann Sebastian Bach: his life, his music and his legacy.