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4.2 Zur Person Des Firmengründers Carl Bechstein 4.2.1
4. Unternehmertum im Instrumentenbau am Beispiel Bechstein 172 4.2 Zur Person des Firmengründers Carl Bechstein 4.2.1 Heimat und Familie Wer war dieser Mann, dessen Name heute über fünfhundertmal in deutschen Telefonbüchern zu finden ist, und wo kam er her? Bechsteins Vorfahren stammten überwiegend aus dem Lande zwischen Erfurt und Eisenach zwischen Unstrut und Thüringer Wald, einem Gebiet, das damals größtenteils zum Herzogtum Sachsen-Gotha-Altenburg gehörte. Friedrich Wilhelm Carl Bechstein wurde am 1. Juni 1826 in der Siebleber Straße in Gotha geboren (vgl. Stammbaum der Familie Bechstein im Anhang). Hier, „am Fuße des Inselberges in den Dörfern Laucha und Langenhain und in den Städten Waltershausen und Ohrdruf sitzen die Bechsteine als Ackerbauern und Handwerker seit mehreren Jahrhunderten. Alle sind ausgezeichnet durch einen hohen Grad von Intelligenz, einen ernsten Sinn und das Streben, sich emporzuarbeiten. Angeboren ist ihnen ein außerordentliches musikalisches Talent und dies wurde die Veranlassung, dass viele von ihnen den Lehrerberuf ergriffen“ (Berbig 1926: 1). Carls Großvater Dieter Johann Christoph Bechstein hatte eine für die damalige Zeit hohe schulische und berufliche Bildung. Er war über 20 Jahre lang als Kammerdiener im Dienste des Prinzen August von Sachsen-Gotha-Altenburg gewesen, bevor er eine Lehrerstelle in Laucha bekam, die er bis zu seinem Tode 10 Jahre lang innehatte. Carls Vater, der am 10. August 1780 geborene Friedrich Wilhelm August Bechstein, war zu Lebzeiten u. a. selbständiger Unternehmer gewesen. Frühzeitig hatte er mit 14 Jahren das Haus verlassen und sich als Frisör und Perückenmacher selbständig gemacht. Von ihm muss der junge Carl das unternehmerische Blut geerbt haben. Der Beruf des Vaters, den er im Elternhaus in der Sieblebener Straße in Gotha ausübte, füllte diesen allerdings nicht aus. -
Richard Wagner in München
Richard Wagner in München Allitera Verlag MÜNCHNER VERÖFFENTLICHUNGEN ZUR MUSIKGESCHICHTE Begründet von Thrasybulos G. Georgiades Fortgeführt von Theodor Göllner Herausgegeben von Hartmut Schick Band 76 Richard Wagner in München. Bericht über das interdisziplinäre Symposium zum 200. Geburtstag des Komponisten München, 26.–27. April 2013 RICHARD WAGNER IN MÜNCHEN Bericht über das interdisziplinäre Symposium zum 200. Geburtstag des Komponisten München, 26.–27. April 2013 Herausgegeben von Sebastian Bolz und Hartmut Schick Weitere Informationen über den Verlag und sein Programm unter: www.allitera.de Dezember 2015 Allitera Verlag Ein Verlag der Buch&media GmbH, München © 2015 Buch&media GmbH, München © 2015 der Einzelbeiträge bei den AutorInnen Satz und Layout: Sebastian Bolz und Friedrich Wall Printed in Germany · ISBN 978-3-86906-790-2 Inhalt Vorwort ..................................................... 7 Abkürzungen ................................................ 9 Hartmut Schick Zwischen Skandal und Triumph: Richard Wagners Wirken in München ... 11 Ulrich Konrad Münchner G’schichten. Von Isolde, Parsifal und dem Messelesen ......... 37 Katharina Weigand König Ludwig II. – politische und biografische Wirklichkeiten jenseits von Wagner, Kunst und Oper .................................... 47 Jürgen Schläder Wagners Theater und Ludwigs Politik. Die Meistersinger als Instrument kultureller Identifikation ............... 63 Markus Kiesel »Was geht mich alle Baukunst der Welt an!« Wagners Münchener Festspielhausprojekte ......................... -
President's Report
Wagner Society in NSW Inc. Newsletter No. 117, February - March 2010 IN NEW SOUTH WALES INC. President’s Report Dear Members Parsifal published elsewhere in this Newsletter; and others discussed the performances and their likes and dislikes. Happy New Year, and welcome to our first Newsletter for 2010. Our thanks to all who participated in the meeting, and gave such an informative and in many cases personal account of Congratulations to Miriam Gordon-Stewart their Bayreuth experiences. Our warmest congratulations go to Miriam Gordon- Stewart, who has been cast in the role of Helmwige in On Sunday 18 October, members of the Sydney University Bayreuth this year. We last saw Miriam in August 2006, Opera Company gave a singularly outstanding concert. when she arranged a discussion with Deborah Polaski as ♫ Louis Garrick and Jack Symonds played an arrangement a special member function. I’m not sure when the last of the “Pilgrim’s Chorus” from Tannhäuser for piano Australian soprano sang in Bayreuth, and I’d appreciate duet; hearing from anyone who knows. For details of her recent European performances and repertoire, check her website ♫ Emma Moore (soprano) accompanied by Louis Garrick http://www.gordon-stewart.de/ (piano) sang Berg’s Seven Early Songs; and 2009 Functions ♫ Jack Symonds and Chad Vindin played seven scenes from Parsifal arranged by Humperdinck for piano duet. On Sunday 20 September 2009, a number of members who had attended the 2009 Bayreuth Festival gave a I only knew the Berg songs from a CD with Jane Eaglan, fascinating presentation covering more than just the and hearing them fresh and live was a revelation, with Louis performances. -
THE PIANO BOOK Pianos, Composers, Pianists, Recording Artists, Repertoire, Performing Practice, Analysis, Expression and Interpretation
THE PIANO BOOK pianos, composers, pianists, recording artists, repertoire, performing practice, analysis, expression and interpretation GERARD CARTER BEc LL B (Sydney) A Mus A (Piano Performing) WENSLEYDALE PRESS 2 THE PIANO BOOK 3 4 THE PIANO BOOK pianos, composers, pianists, recording artists, repertoire, performing practice, analysis, expression and interpretation GERARD CARTER BEc LL B (Sydney) A Mus A (Piano Performing) WENSLEYDALE PRESS 5 Published in 2008 by Wensleydale Press ABN 30 628 090 446 165/137 Victoria Street, Ashfield NSW 2131 Tel +61 2 9799 4226 Email [email protected] Designed and printed in Australia by Wensleydale Press, Ashfield Copyright © Gerard Carter 2008 All rights reserved. This book is copyright. Except as permitted under the Copyright Act 1968 (for example, a fair dealing for the purposes of study, research, criticism or review) no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior permission. Enquiries should be made to the publisher. ISBN 978-0-9805441-0-7 This publication is sold and distributed on the understanding that the publisher and the author cannot guarantee that the contents of this publication are accurate, reliable, complete or up to date; they do not take responsibility for any loss or damage that happens as a result of using or relying on the contents of this publication and they are not giving advice in this publication. 6 INTRODUCTION ACCENT ACTION ALBERT D’ ALBERTI BASS ALKAN ALTENBURG AMERICAN TERMS ANSORGE -
Carl Bechstein - Wikipedia, the Free Encyclopedia 1/5/14, 4:02 PM Carl Bechstein from Wikipedia, the Free Encyclopedia
Carl Bechstein - Wikipedia, the free encyclopedia 1/5/14, 4:02 PM Carl Bechstein From Wikipedia, the free encyclopedia Friedrich Wilhelm Carl Bechstein (June 1, 1826 – March 6, 1900) was the maker of C. Bechstein pianos and the founder Friedrich Wilhelm Carl Bechstein of C. Bechstein Pianofortefabrik.[1] Contents 1 Biography 1.1 C. Bechstein piano factory 1.2 A successful piano maker 2 References 3 Further reading 4 External links Biography Carl Bechstein was born on June 1, 1826, in Gotha, Germany. He studied and worked in France and England as a Carl Bechstein piano craftsman, before he became an individual piano Born June 1, 1826 maker. His first pianos were made for other companies.[2] Gotha, Germany From 1844 to 1848 he worked in Dresden for a local piano maker, then moved to Berlin and worked at Klavierfabrik Died March 6, 1900 (aged 73) Perau in Behrenstraße 56. In 1849 he worked as a hired Nationality German contractor for piano makers in Paris. Back in Berlin he Occupation Piano manufacturer worked again for Klavierfabrik Perau in 1852-53. Known for Maker of C. Bechstein pianos and C. Bechstein piano factory founder of C. Bechstein Pianofortefabrik. Main article: C. Bechstein Pianofortefabrik Signature C. Bechstein piano factory was founded on 1 October 1853 by Carl Bechstein in Berlin, Germany.[3] Carl Bechstein set out to manufacture a piano able to withstand the great demands imposed on the instrument by the virtuosi of the time, such as Franz Liszt. In 1857, Hans von Bülow (Liszt's son-in-law) gave the first public performance on a Bechstein grand piano by performing Liszt's Piano Sonata in B minor in Berlin.[3] http://en.wikipedia.org/wiki/Carl_Bechstein Page 1 of 3 Carl Bechstein - Wikipedia, the free encyclopedia 1/5/14, 4:02 PM By 1870, with the endorsements by Franz Liszt and Hans von Bülow, Bechstein pianos became a staple at many concert halls, as well as in private mansions. -
C. Bechstein: the Legend Lives on C
grand & upright pianos C. Bechstein: The legend lives on C. Bechstein: the legend lives on The birth of a legend comes about under extraordinary conditions. Nearly 160 years after its founding, the C. Bechstein brand still enjoys a vibrant aura. Its vitality comes from the team’s dedication and passionate commitment to the company. The patriarch Tale” as it becomes an archipelago of the 1870s, however, will he devote retrograde States. himself to representing the industrial Berlin 1853. Friedrich Wilhelm revolution, then painting one of his Carl Bechstein, a twenty-seven- Founding a business masterpieces: The Rolling Mill. To a cer- year-old instrument maker from tain extent, the non-representation of Gotha, Thuringia, who is related in troubled times particular topics also reveals the spirit to the writer Ludwig Bechstein of a given time: for example, even Carl Bechstein, the company founder famous for his compilation of Although the period is quite bleak, though Menzel does not represent the traditional tales and legends, new ideas still arise and feed on the barricades and fires that shook Berlin decides to live out his dream German spirit of enterprise. Friedrich in 1849, his studies figuring a students’ and make his vision reality: he Krupp runs modern steelworks in Es- torchlight procession can be under- founds his own business. sen, while August Borsig founds smelt- stood as a discreet allusion to ing works in Berlin. A new age begins, the riots. Berlin has not yet forgotten the trou- one of heavy industry, blast furnaces bles of the 1848 revolution. Frederic and steam railway engines. -
By Franz Liszt; Letters Collected by La Mara and Translated
Letters of Franz Liszt, Volume 2: "From Rome to the End" by Franz Liszt; letters collected by La Mara and translated Letters of Franz Liszt, Volume 2: "From Rome to the End" by Franz Liszt; letters collected by La Mara and translated This etext was produced by John Mamoun with the Online Distributed Proofreading Team of Charles Franks. Letters of Franz Liszt, Volume 2: "From Rome to the End" by Franz Liszt; letters collected by La Mara and translated by Constance Bache CONTENTS BRIEF BIOGRAPHICAL SKETCH FRONTISPIECE TO VOLUME II, HONORING LISZT TABLE OF LETTER CONTENTS THE LETTERS OF FRANZ LISZT, VOL. 2 INFO ABOUT THIS E-TEXT EDITION page 1 / 711 BRIEF BIOGRAPHICAL SKETCH The Austrio-Hungarian composer Franz Liszt (1811-1886) was a pianistic miracle. He could play anything on site and composed over 400 works centered around "his" instrument. Among his key works are his Hungarian Rhapsodies, his Transcendental Etudes, his Concert Etudes, his Etudes based on variations of Paganinini's Violin Caprices and his Sonata, one of the most important of the nineteenth century. He also wrote thousands of letters, of which 399 are translated into English in this second of a 2-volume set of letters (the first volume contains 260 letters). Those who knew him were struck by his extremely sophisticated personality. He was surely one of the most civilized people of the nineteeth century, internalizing within himself a complex conception of human civility, and attempting to project it in his music and his communications with people. His life was centered around people; he knew them, worked with them, remembered them, thought about them, and wrote about them using an almost poetic language, while pushing them to reflect the high ideals he believed in.