Karl Ludwig Giesecke (1761 – 1833)
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Karl Ludwig Giesecke
73 Karl Ludwig Giesecke (1761 – 1833) Zur Erinnerung an den Augsburger Theaterdichter, Forschungsreisenden und Mineralogen Gerd Ibler Kryolith von Ivigtut (Ivittuut), Südgrönland. Kryolith von Ivigtut (Ivittuut), Südgrönland. Augsburg. Gerd Ibler/Richard Speckmeier, Foto: Vor 250 Jahren, am 6. April 1761, wurde Giesecke nennen sollte, und mit diesem in Augsburg Johann Georg Metzler gebo- Pseudonym als Theaterdichter und Mine- ren, der sich als 20-Jähriger Karl Ludwig raloge Geschichte machte. Herkunft und Ausbildung Sein Vater, Johann Georg Metzler, ein Anwesen „Bei den sieben Kindeln“ in der Schneidermeister aus Edelfingen in Würt- Augsburger Altstadt befindet. Der jun- temberg, war mit Sibylla Magdalena Götz ge Metzler besuchte das Humanistische aus Augsburg verheiratet. Die Mutter Gymnasium St. Anna, wo er 1781 sein schenkte insgesamt 15 Kindern das Leben. Abi tur ablegte. Danach war er Student der Johann Georg Metzler alias Karl Ludwig Rechte an der Georg-August-Universität Giesecke war der zweitgeborene Sohn. Er in Göttingen und wurde vom 1.11.1781 wurde in St. Jacob evangelisch getauft. Die bis Michaelis 1783 mit einem Stipendium Familie Metzler bewohnte ab 1763 das des evangelischen Scholarchats des Augs- Haus H 375, das heutige Haus „Mittlerer burger Gymnasiums Annaneum unter- Graben Nr. 30“, das sich gegenüber dem stützt. Naturhistorica BERICHTE DER NATURHISTORISCHEN GESELLSCHAFT HANNOVER 153 · 2011 74 Gerd Ibler Metzler/Giesecke als Schauspieler und Dichter Johann Georg Metzler brach plötzlich Muttersöhnchen auf der Galeere oder man sein Studium ab und wurde nicht Jurist, trägt den Krug solange zum Brunnen, bis sondern begeisterte sich für das Theater. Er er bricht“. tingelte als Schauspieler unter dem Künst- Als Journalist und Chronist des Thea- lernamen Karl Ludwig Giesecke mit ver- terlebens hat Giesecke sich in Regensburg schiedenen Wanderbühnen von Bremen, von 1784 bis 1786 und in Salzburg von Pyrmont, Köln, Bonn, Mainz, Frankfurt/ 1786 bis 1787 hervorgetan und zwei Thea- Main über Regensburg, Augsburg, Salz- terjournale geschrieben. -
Der Stein Der Weisen and Die Zauberflöte
Nota Bene: Canadian Undergraduate Journal of Musicology Volume 12 | Issue 1 Article 3 Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zauberflöte Mercer Greenwald Bard College Conservatory of Music Recommended Citation Greenwald, Mercer. “Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zaouberflöte.” Nota Bene: Canadian Undergraduate Journal of Musicology Vol. 12, no. 1 (2019): 30-45. https://doi.org/10.5206/notabene.v12i1.8145 Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zauberflöte Abstract This paper probes how the rational and the irrational interact in Enlightenment operatic plots, and explores the effect of this interaction on the Viennese public. To do this, I will investigate the fantastic worlds of two operas premiered by the same opera company, both with libretti written by Emanuel Schikaneder: Der Stein der Weisen oder Die Zauberinsel (1790) and Die Zauberflöte (1791). David J. Buch’s seminal book Magic Flutes and Enchanted Forests (2008) explores the intertextual threads of magical ideas in Der Stein der Weisen and Die Zauberflöte, that is, how librettists and composers translated and reprocessed magical themes. I will draw on Buch’s comparison to show how these intertextual connections can be read for their broad cultural resonances. In this paper, I will first establish the connections between Der Stein der Weisen and Die Zauberflöte in plot and in music. Then I will show how the later opera diverges from its predecessor and discuss how it manages to diminish the polarity of rationality and irrationality considered central to Enlightenment thinking. Ultimately, I argue, Die Zauberflöte facilitates its audience’s access to Enlightenment values by magical means. -
Leguminosae Subfamily Papilionoideae Author(S): Duane Isely and Roger Polhill Reviewed Work(S): Source: Taxon, Vol
Leguminosae Subfamily Papilionoideae Author(s): Duane Isely and Roger Polhill Reviewed work(s): Source: Taxon, Vol. 29, No. 1 (Feb., 1980), pp. 105-119 Published by: International Association for Plant Taxonomy (IAPT) Stable URL: http://www.jstor.org/stable/1219604 . Accessed: 16/08/2012 02:44 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. International Association for Plant Taxonomy (IAPT) is collaborating with JSTOR to digitize, preserve and extend access to Taxon. http://www.jstor.org TAXON 29(1): 105-119. FEBRUARY1980 LEGUMINOSAE SUBFAMILY PAPILIONOIDEAE1 Duane Isely and Roger Polhill2 Summary This paper is an historical resume of names that have been used for the group of legumes whose membershave papilionoidflowers. When this taxon is treatedas a subfamily,the prefix "Papilion-", with various terminations, has predominated.We propose conservation of Papilionoideae as an alternative to Faboideae, coeval with the "unique" conservation of Papilionaceaeat the family rank. (42) Proposal to revise Code: Add to Article 19 of the Code: Note 2. Whenthe Papilionaceaeare includedin the family Leguminosae(alt. name Fabaceae) as a subfamily,the name Papilionoideaemay be used as an alternativeto Faboideae(see Art. 18.5 and 18.6). -
'The Philosopher's Stone': Mozart's Newly Discovered Opera
Click here for Full Issue of EIR Volume 27, Number 4, January 28, 2000 Review ‘The Philosopher’s Stone’: Mozart’s newly discovered opera by David M. Shavin Philosopher’s Stone, the famous “Miau! Miau!” duet that opens the Finale of Act II. (This assumption had been based The Philosopher’s Stone, or upon a known copy of this “cat duet” in Mozart’s hand.) Since The Enchanted Isle Mozart had contributed individual works to several operas by Wolfgang Amadeus Mozart, Johann Baptist by others, nothing much was made of this. Now, Buch has Henneberg, Benedikt Schack, Franz Xaver Gerl, and Emanuel Schikaneder identified Mozart as the main composer of the Act II Finale, A fairy-tale opera from 1790, rediscovered by along with the Act II duet, “Nun, liebes Weibchen.” Schik- David J. Buch aneder, who is credited with two of the works in The Philoso- Boston Baroque, Martin Pearlman, Telarc CD pher’s Stone, was the creator of the comic figure Papageno, in The Magic Flute. Further, the other three collaborators inThe Philosopher’s The discovery of Mozart’s significant role in the opera The Stone also played major roles in The Magic Flute production Philosopher’s Stone casts a whole new light on his famous the following year. Johann Baptist Henneberg, who has 10 of opera The Magic Flute. This recording presents the long-lost the 24 attributions in The Philosopher’s Stone, including most half-sister. It is also something of a minor miracle that the of Act I, was the conductor for The Magic Flute (except when opera, a product of the collaboration of five composers, is as Mozart himself chose to conduct). -
HUNTIA a Journal of Botanical History
HUNTIA A Journal of Botanical History VOLUME 16 NUMBER 2 2018 Hunt Institute for Botanical Documentation Carnegie Mellon University Pittsburgh The Hunt Institute for Botanical Documentation, a research division of Carnegie Mellon University, specializes in the history of botany and all aspects of plant science and serves the international scientific community through research and documentation. To this end, the Institute acquires and maintains authoritative collections of books, plant images, manuscripts, portraits and data files, and provides publications and other modes of information service. The Institute meets the reference needs of botanists, biologists, historians, conservationists, librarians, bibliographers and the public at large, especially those concerned with any aspect of the North American flora. Huntia publishes articles on all aspects of the history of botany, including exploration, art, literature, biography, iconography and bibliography. The journal is published irregularly in one or more numbers per volume of approximately 200 pages by the Hunt Institute for Botanical Documentation. External contributions to Huntia are welcomed. Page charges have been eliminated. All manuscripts are subject to external peer review. Before submitting manuscripts for consideration, please review the “Guidelines for Contributors” on our Web site. Direct editorial correspondence to the Editor. Send books for announcement or review to the Book Reviews and Announcements Editor. All issues are available as PDFs on our Web site. Hunt Institute Associates may elect to receive Huntia as a benefit of membership; contact the Institute for more information. Hunt Institute for Botanical Documentation Carnegie Mellon University 5th Floor, Hunt Library 4909 Frew Street Pittsburgh, PA 15213-3890 Telephone: 412-268-2434 Email: [email protected] Web site: http://www.huntbotanical.org Editor and layout Scarlett T. -
HSS Paper 2000
The Many Books of Nature: How Renaissance naturalists created and responded to information overload Brian W. Ogilvie* History of Science Society Annual Meeting, Vancouver, Nov. 3, 2000 Copyright © 2000 Brian W. Ogilvie. All rights reserved. Renaissance natural history emerged in the late fifteenth century at the confluence of humanist textual criticism, the revival of Greek medical texts, and curricular reform in medicine.1 These streams had been set in motion by a deeper tectonic shift: an increasing interest in particular, empirical knowledge among humanists and their pupils, who rejected the scholastic definition of scientific knowledge as certain deductions from universal principles.2 Natural history, which had been seen in antiquity and the Middle Ages as a propaedeutic to natural philosophy or medicine, emerged from this confluence as a distinct discipline with its own set of practitioners, techniques, and norms.3 Ever since Linnaeus, description, nomenclature, and taxonomy have been taken to be the sine qua non of natural history; pre-Linnaean natural history has been treated by many historians as a kind of blind groping toward self-evident principles of binomial nomenclature and encaptic taxa that were first stated clearly by the Swedish naturalist. Today I would like to present a different history. For natural history in the Renaissance, from the late fifteenth through the early seventeenth century, was not a taxonomic * Department of History, Herter Hall, University of Massachusetts, 161 Presidents Drive, Amherst, MA 01003-9312; [email protected]. 2 science. Rather, it was a science of describing, whose goal was a comprehensive catalogue of nature. Botany was at the forefront of that development, for the study of plants had both medical and horticultural applications, but botanists (botanici) rapidly developed interests that went beyond the pharmacy and the garden, to which some scarcely even nodded their heads by 1600. -
Komponisten 1618Caccini
© Albert Gier (UNIV. BAMBERG), NOVEMBER 2003 KOMPONISTEN 1618CACCINI LORENZO BIANCONI, Giulio Caccini e il manierismo musicale, Chigiana 25 (1968), S. 21-38 1633PERI HOWARD MAYER BROWN, Music – How Opera Began: An Introduction to Jacopo Peri´s Euridice (1600), in: The Late Italian Renaissance 1525-1630, hrsg. von ERIC COCHRANE, London: Macmillan 1970, S. 401-443 WILLIAM V. PORTER, Peri and Corsi´s Dafne: Some New Discoveries and Observations, Journal of the American Musicological Society 17 (1975), S. 170-196 OBIZZI P. PETROBELLI, L’ “Ermonia“ di Pio Enea degli Obizzi ed i primi spettacoli d´opera veneziani, Quaderni della Rassegna musicale 3 (1966), S. 125-141 1643MONTEVERDI ANNA AMALIE ABERT, Claudio Monteverdi und das musikalische Drama, Lippstadt: Kistner & Siegel & Co. 1954 Claudio Monteverdi und die Folgen. Bericht über das Internationale Symposium Detmold 1993, hrsg. von SILKE LEOPOLD und JOACHIM STEINHEUER, Kassel – Basel – London – New York – Prag: Bärenreiter 1998, 497 S. Der Band gliedert sich in zwei Teile: Quellen der Monteverdi-Rezeption in Europa (8 Beiträge) sowie Monteverdi und seine Zeitgenossen (15 Beiträge); hier sollen nur jene Studien vorgestellt werden, in denen Libretto und Oper eine Rolle spielen: H. SEIFERT, Monteverdi und die Habsburger (S. 77-91) [faßt alle bekannten Fakten zusammen und fragt abschließend (S. 91) nach möglichen Einflüssen Monteverdis auf das Wiener Opernschaffen]. – A. SZWEYKOWSKA, Monteverdi in Polen (S. 93-104) [um 1600 wirken in Polen zahlreiche italienische Musiker, vor allem in der königlichen Hofkapelle; Monteverdi lernte den künftigen König Wladyslaw IV. 1625 in Venedig kennen. Marco Scacchi, der Leiter der Kapelle, deren Mitglieder auch drammi per musica komponierten (vgl. -
Biblioqraphy & Natural History
BIBLIOQRAPHY & NATURAL HISTORY Essays presented at a Conference convened in June 1964 by Thomas R. Buckman Lawrence, Kansas 1966 University of Kansas Libraries University of Kansas Publications Library Series, 27 Copyright 1966 by the University of Kansas Libraries Library of Congress Catalog Card number: 66-64215 Printed in Lawrence, Kansas, U.S.A., by the University of Kansas Printing Service. Introduction The purpose of this group of essays and formal papers is to focus attention on some aspects of bibliography in the service of natural history, and possibly to stimulate further studies which may be of mutual usefulness to biologists and historians of science, and also to librarians and museum curators. Bibli• ography is interpreted rather broadly to include botanical illustration. Further, the intent and style of the contributions reflects the occasion—a meeting of bookmen, scientists and scholars assembled not only to discuss specific examples of the uses of books and manuscripts in the natural sciences, but also to consider some other related matters in a spirit of wit and congeniality. Thus we hope in this volume, as in the conference itself, both to inform and to please. When Edwin Wolf, 2nd, Librarian of the Library Company of Phila• delphia, and then Chairman of the Rare Books Section of the Association of College and Research Libraries, asked me to plan the Section's program for its session in Lawrence, June 25-27, 1964, we agreed immediately on a theme. With few exceptions, we noted, the bibliography of natural history has received little attention in this country, and yet it is indispensable to many biologists and to historians of the natural sciences. -
Catalogue 05-2019 Biology and Earth Sciences - Mostly New Arrivals
Catalogue 05-2019 Biology and Earth Sciences - Mostly New Arrivals To access our website for more images, click on the author's name! Botany: .................................................................................................................... 3, 5, 11 Crystallography:................................................................................................................. 1 Entomology: ...................................................................................................................... 2 Exploration, Travel & Adventure: ...................................................................................... 6 General Science: ................................................................................................................ 4 Geology & Geophysics: .......................................................................................... 9, 15, 16 Glaciology: ......................................................................................................................... 8 Mineralogy: ..................................................................................................... 9, 10, 13, 14 Microscopy: ....................................................................................................................... 2 Mining:............................................................................................................................. 14 Zoology: ...................................................................................................................... -
The House Composers of the Theater Auf Der Wieden in the Time of Mozart (1789-91)1
The House Composers of the Theater auf der Wieden in the Time of Mozart (1789-91)1 DAVID J. BUCH Some of the most important theatrical music in Europe was produced at the Theater auf der Wieden in suburban Vienna in the years 1789 to 1801. Beginning with the immensely popular Die zween Anton oder der dumme Gärtner aus dem Gebirge in July 1789, Emanuel Schikaneder produced one successful singspiel after another. The most successful of these were quickly staged in other European venues, both in the original German and in translation.2 Yet, until recently, we have known only a single opera from that period, Mozart’s Die Zauberflöte. Because scholars have not studied this repertory,3 a myth of singularity for Mozart’s singspiel has dominated the secondary literature. But Mozart’s opera was in fact the fourth in a series of fairy-tale singspiels based on texts associated with Christoph Martin Wieland. And the music of Mozart’s singspiel is firmly rooted in a unique style developed at the theater by a group of talented composers who interacted with Mozart, both learning from the master and influencing him in turn. Another myth about this theater has also persisted in modern literature, namely, that the music was of an inferior quality and that the performances were rather crude. While there is one derisive review of a performance at the Theater auf der Wieden by a north German commentator in 1793,4 most contemporary reviews were positive, noting a high standard of musical performance. In his unpublished autobiography, Ignaz von Seyfried recalled performances of operas in the early 1790s by Mozart, Süßmayr, Hoffmeister etc., writing that they were performed with rare skill (ungemein artig). -
Die Zauberflöte, Masonic Opera, and Other Fairy Tales Author(S): David J
Die Zauberflöte, Masonic Opera, and Other Fairy Tales Author(s): David J. Buch Source: Acta Musicologica, [Vol.] 76, [Fasc.] 2 (2004), pp. 193-219 Published by: International Musicological Society Stable URL: http://www.jstor.org/stable/25071239 Accessed: 11/10/2010 08:38 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=inmuso. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. International Musicological Society is collaborating with JSTOR to digitize, preserve and extend access to Acta Musicologica. http://www.jstor.org Die Zauberfl?te, Masonic Opera, and Other Fairy Tales* David J.Buch Cedar Falls, Iowa The term 'Masonic opera' isoften applied to Mozart's Die Zauberfl?te to indicate per vasive Masonic content in the form of a hidden coherent allegory with a complex representation of the order's symbols and initiation rituals. -
IO MINIK ROSING Grønland - En Verden Af Mineraler
IO MINIK ROSING Grønland - en verden af mineraler AF MINIK ROSING figur i. Kryolit- Den 31. maj 1806 ankom mineralogen Karl Ludwig Da transporten over Atlanten efterhånden blev krystaller fra Giesecke til Frederikshåb, det nuværende Paamiut, i mere og mere besværliggjort af krigshandlingerne og Ivittuut. Foto: Vestgrønland. Han var udsendt af Christian VII’s i særdeleshed af tabet af den danske flåde i 1807, måtte O. Johnsen. Kongelige Grønlandske og Færøske Handelscommis- Giesecke fortsætte sit arbejde i Grønland helt frem til sion for at undersøge og registrere de mineralogiske 1813, hvor det endelig efter syv hårde års indsamling af rigdomme, man måtte formode lå gemt i Grønland. mineraler fra hele det da kendte Grønland lykkedes Et par år forinden havde han i stor hast og efter alt ham at komme med et skib mod Europa. Han havde at dømme med pantefogeden i hælene forladt sit ar allerede fået efterretninger om, at hans samling var bejde som librettist og skuespiller i Schikaneders sku forsvundet i England, og han stoppede derfor i Leith, espilstrup i Wien. Han havde været involveret i op som dengang var en af anløbshavnene på vejen mel sætningen af Tryllefløjten og havde selv spillet 1. slave lem Danmark og Grønland. ved uropførelsen. På vejen nordover havde han lagt Naturhistorikeren Morten Wormskjold fra Køben sit oprindelige navn Johann Georg Metzler og skue havns Universitet var i 1812 på vej mod Grønland, spillet bag sig, og han optrådte i København som mi men sad fast i Leith. For at udnytte tiden fulgte han neralogen Karl Ludwig Giesecke. mineralogiforelæsninger hos Robert Jameson i Edin Straks efter ankomsten til Frederikshåb/Paamiut burgh.