Universität Mozarteum Salzburg – Wo Aus Begabung Exzellenz Wird

Total Page:16

File Type:pdf, Size:1020Kb

Universität Mozarteum Salzburg – Wo Aus Begabung Exzellenz Wird CONTENTS Mission Statement 5 The Mozarteum University 6 History 11 Conducting, Composition and Music Theory 14 Study Courses for Instruments, Keyboard Instruments 16 String and Plucked String Instruments, Wind Instruments and Percussion 18 Voice and Music-Theatre 20 Acting and Stage Directing 22 Stage and Costume Design, Film and Exhibition Architecture 23 Musicology 24 Music Educational Theory, INHALT Orff Institute for Elementary Music and Dance Pedagogy 26 2 · 05 Mission Statement 5 Visual Arts, Educational Theory of Art Die Universität Mozarteum Salzburg 6 and Craftwork 28 Die Geschichte 8 Studying at the Mozarteum University 31 Dirigieren, Komposition und Musiktheorie 14 Symphony Orchestra, Bläserphilharmonie Mozarteum Salzburg 32 Instrumentalstudium, Tasteninstrumente 16 Mozarteum International Summer Academy, Streich- und Zupfinstrumente, International Mozart Competition 34 Blas- und Schlaginstrumente 18 Leopold Mozart Institute for Encouraging Gesang und Musiktheater 20 Talent, History of the Reception of Music, Schauspiel und Regie, New Music, Early Music, Mozart Bühnen- und Kostümgestaltung, Interpretation, Game Research, Innsbruck Film- und Ausstellungsarchitektur 22 Baroque, Sándor Végh Institute Musikwissenschaft 24 of Chamber Music 38 Musikpädagogik, Orff-Institut für Research Funding, Science and Art 40 Elementare Musik- und Tanzpädagogik 26 Institute of Equality and Gender Studies 41 Bildende Künste, Distinguished Persons and Kunst- und Werkpädagogik 28 Association of Friends 42 Studieren an der Universität Mozarteum 30 The Principals 43 Sinfonieorchester, Bläserphilharmonie Locations 45 Mozarteum Salzburg 32 Artistic Teaching Staff 46 Internationale Sommerakademie The Main Building 50 Mozarteum, Internationaler Contact Addresses 51 Mozartwettbewerb 34 Leopold Mozart Institut für Begabungs- förderung, Rezeptions- und Interpretations- geschichte, Neue Musik, Alte Musik, Mozart Interpretation, Spielforschung, Innsbruck Barock, Sándor Végh Institut für Kammermusik 36 Forschungsförderung, Wissenschaft & Kunst, Gleichstellung und Gender Studies 40 EhrenträgerInnen, Verein der Freunde 42 Direktoren, Präsidenten und Rektoren 43 Standorte 44 Künstlerisches Lehrpersonal 46 Das Hauptgebäude 50 Kontakt 51 UNIVERSITÄT MOZARTEum SALZBURg – WO AUS BEGABUNG EXZELLENZ WIRD 4 · 5 Mozart ist unsere Inspiration, Musik unsere Tradition, alle Facetten der Kunst unsere Passion. Im Herzen Salzburgs reifen außer­ gewöhnliche Talente zu künstlerischen Persönlich keiten – am Puls der Zeit, für die Bühnen der Welt. Das kulturelle Erbe Europas bildet unser Fundament und den Auftrag, auf dem wir Inter­- na tionalität, Weltoffenheit und Toleranz im ständigen Dialog und kritischer Reflexion mit der Gesellschaft leben. Mozart is our inspiration, music our tradition, all aspects of art our passion. In the heart of Salzburg exceptional talents mature into artistic personalities for the world‘s stages. Always at the cutting edge of art. The cultural heritage of Europe forms the foundation on which we, an international community, promote liberal and tolerant dialogue, critically reflecting on the society we live in today. MOZARTEum UNIVERSITY SALZBURG ­ WHERE TALENT GROWS INTO EXCELLENCE MOZARTS MUSik IST SO REIN UND SCHÖN, Mit internationalem Austausch von an academy, in 1970 a Hochschule of DASS icH SIE Lehrenden und Studierenden, Stipendien- music and performing arts and finally, programmen, Austauschkonzerten und in 1998, a university. ALS DIE INNERE gemeinsamen Projekten pflegt die Uni- versität Mozarteum weltweite Beziehun- The Mozarteum University fosters inter- SCHÖNHEIT gen zu befreundeten Musik- und national relations with associated music DES UNIVERSumS Kunsthochschulen. and art academies by means of an inter- national exchange of lecturers and stu- SELBST ANSEHE. Studierende und Lehrende sind im Rahmen dents, scholarship programmes, exchange Albert einstein des Studiums gemeinsam künstlerisch aktiv. concerts and mutual projects. Sie stellen sich der Öffentlichkeit in zahl- reichen Konzerten, Theater-, Tanz- und Students and lecturers engage in joint Opernproduktionen sowie Ausstellungen vor artistic activities as an integral part of the und bereichern das Salzburger Kulturleben. course programme. They perform in public Neben den intensiven Studien in einer in several concerts, plays, dance and opera kunstfreudigen Umgebung beginnen hier die productions as well as participating in Netzwerke für spätere berufliche Karrieren. exhibitions, thereby enriching cultural life in Salzburg. Besides intensive studies in 6 · 7 DiE UNIVERSITÄT an arts-friendly environment, networks are MOZARTEum SALZBURG created here for later professional careers. THE MOZARTEum Die Universität Mozarteum bietet über UNIVERSITY IN SALZBURG 40 künstlerische und pädagogische Studien- richtungen aus den Bereichen Musik, The Mozarteum University offers over Darstellende und Bildende Kunst an. 1.500 40 artistic and education courses in the junge KünstlerInnen aus aller Welt erfahren fields of music, the performing and visual hier eine umfassende Ausbildung in allen arts. 1,500 young artists from all over the Instrumentalfächern, in Komposition, Diri- world experience comprehensive training gieren, Katholischer und Evangelischer here in all instruments, in composition, Kirchenmusik, Gesang, Musiktheater, Schau- conducting, Catholic and Protestant spiel, Regie, Bühnenbild, Musik- und Tanzpä- church music, singing, music-theatre, dagogik, Kunst- und Werkpädagogik sowie acting, stage-directing, stage design, in Musikpädagogik und Musikwissenschaft. music and dance education, art and craft education as well as in music educational 500 Lehrende, viele davon international theory and musicology. bekannte KünstlerInnen und PädagogInnen, geben ihr Wissen und ihre Kunst weiter und 500 lecturers, many of whom are inter- erfüllen die Universität mit lebendiger nationally renowned artists and teachers, Auseinandersetzung. pass on their knowledge and their art, thus making the uni versity a place of lively Die Geschichte der Universität Mozarteum intellectual exchange and dialogue. reicht bis ins Jahr 1841 zurück und wurde von herausragenden Persönlichkeiten wie The history of the Mozarteum University MOZART’S muSic IS SO puRE Bernhard Paumgartner, Clemens Krauss, goes back to the year 1841 and is charac- AND BEAUTifuL THAT I REGARD Paul Hindemith, Nikolaus Harnoncourt, terised by the work and teaching of out- iT AS THE INNER BEAUTY OF Carl Orff und Sándor Végh geprägt. Als standing personalities such as Bernhard THE UNIVERSE ITSELF. Musikschule wurde das Mozarteum vom Paumgartner, Clemens Krauss, Paul Salzburger Dom-Musik-Verein gegründet. Hindemith, Nikolaus Harnoncourt, Carl Albert einstein 1914 wurde es Konservatorium, 1953 Orff and Sándor Végh. The Mozarteum Akademie, 1970 Hochschule für Musik School of Music was founded by the und darstellende Kunst und schließlich Salzburg Cathedral Music Association. 1998 Universität. In 1914 it became a conservatory, in 1953 Musikschule vom Dom-Musik-Verein, keitsrecht“. Dies wurde ihm vom Ministe - sechs Schuljahre unter dem NS-Regime. 1949 Ministeriums ermöglichten ein selbst- indem sie von der heutigen Stiftung r ium nicht untersagt, unter anderem mit Es wurden mit Elly Ney, Ludwig Hoelscher, bewusstes Auftreten des Mozarteums Mozarteum Salzburg übernommen wurde. folgender Begründung: Ermanno Wolf-Ferrari oder Heinrich Schauspielseminar nach außen und einen schrittweisen Die Kernaufgabe der Stiftung war (und ist „... Das Mozarteum steht heute, wo seine Rehkemper einige der damals wichtigsten ergänzt Unterrichts angebot Aufbau im Inneren. Schon im Studienjahr bis heute) die Bewahrung und Nutzbar- Übersiedlung in das neue Mozarthaus Künstlerinnen und Künstler engagiert, 1953/54 wurden die ersten internationalen machung des Erbes Wolfgang Amadeus bevorsteht, zweifellos vor einer neuen die heute zum Teil aufgrund ihrer ideolo- Unter Direktor Bernhard Paumgartner Austauschkonzerte organisiert. Mozarts, sie verwaltete neben der Musik- Entwicklung. Eine Reihe von in der letzten gischen Einstellung umstritten sind. er öffnete im Juni 1949 die Studiobühne schule auch ein Orchester (das spätere Zeit getroffenen Maßnahmen (wie das Das Mozarteum-Gebäude in der Schwarz- St.-Peter-Saal. Im November 2013 erhielt die Mozarteumorchester Salzburg) sowie Engagement eines eigenen Schulinspektors, straße blieb vom Bombenkrieg verschont. Abteilung Schauspiel und Regie ihren aktu- Gründung des internationalen einen Fonds zur Unterstützung talentierter die Berufung der Kammersängerin Pollini Nach der Einstellung des Unterrichts 1944 ellen Namen „Thomas Bernhard Institut“. Verbandes AEC und hilfsbedürftiger Musiker. aus München als Lehrerin des Opernge- wurden zunächst eine Bekleidungsfirma sanges, die Reorganisation des Lehrplanes und nach dem ersten Bombenangriff 1953 war Direktor Bernhard Paumgartner u.a.m.) zeigen das ernstliche Streben, das auch noch die Gauwirtschaftskammer in Weinzierl spielt Borchert Mitbegründer der AEC, der Association Stetiger Ausbau des Unterrichts Niveau der Anstalt möglichst zu heben...“ den von der Schule geräumten Lokalitäten Européenne des Conservatoires, Académies (Schreiben des k.k. Ministeriums für Kultus untergebracht. Die Lehrerschaft, das Ver- Im November 1949 sorgt die neue de Musique et Musikhochschulen: Im Juli und Unterricht, Nr. 20208) waltungspersonal und die Studierenden Abteilung mit der Aufführung von Wolfgang 1953 fand ein internationaler Kongress wurden entweder zur Wehrmacht oder Borcherts „Draußen vor der
Recommended publications
  • Remembering East German Childhood in Post-Wende Life Narratives" (2013)
    Wayne State University Wayne State University Dissertations 1-1-2013 Remembering East German Childhood In Post- Wende Life Narratives Juliana Mamou Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the German Literature Commons Recommended Citation Mamou, Juliana, "Remembering East German Childhood In Post-Wende Life Narratives" (2013). Wayne State University Dissertations. Paper 735. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. REMEMBERING EAST GERMAN CHILDHOOD IN POST-WENDE LIFE NARRATIVES by JULIANA MAMOU DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2013 MAJOR: MODERN LANGUAGES (German Studies) Approved by: _____________________________________ Advisor Date _____________________________________ _____________________________________ _____________________________________ _____________________________________ © COPYRIGHT BY JULIANA MAMOU 2013 ALL RIGHTS RESERVED ACKNOWLEDGMENTS I would like to express my great appreciation to the members of my Dissertation Committee, Professor Donald Haase, Professor Lisabeth Hock, and Professor Anca Vlasopolos, for their constructive input, their patience, and support. I am particularly grateful for the assistance
    [Show full text]
  • Preliminary Pages [PDF]
    THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Rebecca Mara Plack May 2008 © 2008 Rebecca Mara Plack THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 Rebecca Mara Plack, Ph. D. Cornell University 2008 In this dissertation, I examine the relationship between vocal technique and performance style through 165 audio clips of early Lieder recordings. I proceed from the starting point that many stylistic gestures are in fact grounded in a singer’s habitual vocalism. Vibrato, tempo and rubato are directly affected by a singer’s voice type and his physical condition, and portamento has long been a technical term as well as a stylistic one. If we consider these technical underpinnings of style, we are inevitably moved to ask: how do a singer’s vocal habits affect what we perceive to be his style? Does a singer’s habitual vocalism result in his being more likely to make certain style gestures, or even unable to make others? To address these questions, I begin by defining a vocabulary that draws on three sources: the language of vocal pedagogy, data derived from voice science, and evidence drawn from recordings themselves. In the process, I also consider how some Lieder singers distorted the word “technique,” using it to signify emotional detachment. Next, I examine the ways in which a recording represents the performer, addressing how singers are affected by both changing aesthetics and the aging process; both of these lead to a discussion of how consistently some performers make certain stylistic gestures throughout their recordings.
    [Show full text]
  • Polzonetti's CV
    September 2019 PIERPAOLO POLZONETTI Curriculum Vitae Department of Music Room 132, Hutchison Dr University of California, Davis One Shields Avenue Davis, CA 95616-8701 e-mail: [email protected] telephone: +1 (530) 752-9041 EDUCATION Ph.D. in Musicology, Cornell University, 2003. Advisor: James Webster M.A. in Musicology, Cornell University, 2001 B.A. in Letters (Laurea in Lettere), University of Rome “La Sapienza,” 1995 (magna cum laude). Advisor: Pierluigi Petrobelli PROFESSIONAL POSITIONS Jan and Betta Popper Professor of Music, University of California, Davis, 2019 Professor, Department of Music, University of California, Davis, 2017 Professor, Program of Liberal Studies, University of Notre Dame, 2016 Concurrent Professor in Music and in the Program in Sacred Music, 2016 Director of Graduate Studies, Program in Sacred Music Associate Director of Academics, Program in Sacred Music Associate Professor, Program of Liberal Studies, concurrent in the Program in Sacred Music and in the Department of Music, allied faculty in Italian Studies, University of Notre Dame, 2012-2015. Adjunct Professor, Westville Educational Initiative (WEI) at Westville Correctional Facility, College of the Holy Cross, Fall 2014 Assistant Professor, Program of Liberal Studies, University of Notre Dame, 2006-2012 Assistant Professor, School of Music, University of North Carolina, Greensboro, 2003-2006 Teaching Fellow, Department of Music, Cornell University, 1998-2003 PUBLICATIONS Books: Italian Opera in the Age of the American Revolution. Cambridge: Cambridge University Press, 2011. 396 pp. Winner of the Lewis Lockwood Book Award, conferred by the American Musicological Society. 1- CV - PpP September 2019 Tartini e la musica secondo natura. Lucca: LIM, 2001. 197 pp. Winner of the International Prize in Music Studies, “Premio Internazionale Latina di Studi Musicali.” Edited Books: The Cambridge Companion to Eighteenth-Century Opera.
    [Show full text]
  • 28Apr2004p2.Pdf
    144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No.
    [Show full text]
  • The Fall of the Wall: the Unintended Self-Dissolution of East Germany’S Ruling Regime
    COLD WAR INTERNATIONAL HISTORY PROJECT BULLETIN, ISSUE 12 /13 131 The Fall of the Wall: The Unintended Self-Dissolution of East Germany’s Ruling Regime By Hans-Hermann Hertle ast Germany’s sudden collapse like a house of cards retrospect to have been inevitable.” He labeled this in fall 1989 caught both the political and academic thinking “whatever happened, had to have happened,” or, Eworlds by surprise.1 The decisive moment of the more ironically, “the marvelous advantage which historians collapse was undoubtedly the fall of the Berlin Wall during have over political scientists.”15 Resistance scholar Peter the night of 9 November 1989. After the initial political Steinbach commented that historians occasionally forget upheavals in Poland and Hungary, it served as the turning very quickly “that they are only able to offer insightful point for the revolutions in Central and Eastern Europe and interpretations of the changes because they know how accelerated the deterioration of the Soviet empire. Indeed, unpredictable circumstances have resolved themselves.”16 the Soviet Union collapsed within two years. Along with In the case of 9 November 1989, reconstruction of the the demolition of the “Iron Curtain” in May and the details graphically demonstrates that history is an open opening of the border between Hungary and Austria for process. In addition, it also leads to the paradoxical GDR citizens in September 1989, the fall of the Berlin Wall realization that the details of central historical events can stands as a symbol of the end of the Cold War,2 the end of only be understood when they are placed in their historical the division of Germany and of the continent of Europe.3 context, thereby losing their sense of predetermination.17 Political events of this magnitude have always been The mistaken conclusion of what Reinhard Bendix the preferred stuff of which legends and myths are made of.
    [Show full text]
  • A Collection of Stan Ruttenberg's Reviews of Mahler Recordings From
    A collection of Stan Ruttenberg’s Reviews of Mahler Recordings from the Archives Of the Colorado MahlerFest (Symphonies 3 through 7 and Kindertotenlieder) Colorado MahlerFest XIII Recordings of the Mahler Third Symphony Of the fifty recordings listed in Peter Fülöp’s monumental discography (up to 1955, and many more have been added since then), I review here fifteen at my disposal, leaving out two by Boulez and one by Scherchen as not as worthy as the others. All of these fifteen are recommendable, all with fine points, all with some or more weaknesses. I cannot rank them in any numerical order, but I can say that there are four which I would rather hear more than the others — my desert island choices. I am glad to have the others for their own particular merits. Getting ready for MFest XIII we discovered that the matter of score versions and parts is complex. I use the Dover score, no date but attributed to Universal Edition; my guess this is an early version. The Kalmus edition is copied from who knows which published version. Then there is the “Critical Edition,” prepared by the Mahler Gesellschaft, Vienna. I can find two major discrepancies between the Dover/Universal and the Critical (I) the lack of horns at RN25-5, doubling the string riff and (ii) only two harp glissandi at the middle of RN28, whereas the Critical has three. Our first horn found another. Both the Dover and Critical have the horn doublings, written ff at RN 67, but only a few conductors observe them.
    [Show full text]
  • Ottoman Empire & European Theatre Viii
    CALL FOR PAPERS Don Juan Archiv Wien International Symposium Istanbul 2015 OTTOMAN EMPIRE & EUROPEAN THEATRE VIII Culture, Diplomacy and Peacemaking: Ottoman-European Relations in the Wake of the Treaty of Belgrade (1739) and the Era of Maria Theresia (r. 1740–1780) 28-29 May 2015 Istanbul, Pera Museum The importance of the Ottoman Empire’s presence in Europe in history is highlighted by its frequent appearance in theatre, music and arts. The aim of Don Juan Archiv Wien’s annual symposia entitled Ottoman Empire and European Theatre, alternately hosted in Vienna and Istanbul since 2008, is to explore, on the one hand, the various theatrical expressions of the Ottoman culture and diplomacy on European theatre stages from the fifteenth to eighteenth centuries, and on the other hand, the appearance of European theatre and opera in the Ottoman Empire, and the Ottoman attitude towards Europe. The symposium in 2015 will follow in the footsteps of the past seven conferences: in 2008, which marked the 200th anniversary of Sultan Selim III’s death, it was entitled ‘The Age of Sultan Selim III and Mozart (1756–1808)’; in 2009, to commemorate the 200th anniversary of Joseph Haydn’s death, ‘The Time of Joseph Haydn: From Sultan Mahmud I to Mahmud II (r.1730–1839)’; in 2010, on the 200th anniversary of Lord Byron’s visit to Constantinople, it was dedicated to ‘Seraglios and Harems’; and in 2011, on the 250th anniversary of Christoph Gluck’s Don Juan ou le festin de pierre and Le cadi dupé (Vienna 1761), the theme was ‘The Turkish Subject in Ballet and Dance from the Sixteenth Century to the Time of Christoph W.
    [Show full text]
  • ARSC Journal
    Book Reviews 185 dices: a 57-page glossary towards the end of the book defines technical terms ranging from "alkaline" to "digital audio recording" to "vellum"; a list of professional organiza­ tions including address, telephone number, mission, and publications issued; and a selective list of periodical publications that are of particular interest to professionals planning and overseeing a preservation program. I have a few quibbles with the book. For one thing, an important discussion of the issue of electronic records is buried in Chapter 11, "Image and Sound: The Care and Preservation of Motion Pictures, Sound Recordings, and Videotape," in a short section called "Computer Records". Also, I expected to find a discussion of digitization in Chapter 12, "Reformatting for Preservation". In the copy I reviewed there is an unfor­ tunate mistake in the table of contents where the same subtitle: "The Care and Preservation of Motion Pictures, Sound Recordings, and Videotape" appears under Chapter 10, "Photographic Materials" and Chapter 11, "Image and Sound". While sound archivists and collectors probably won't purchase this book for the information it contains about the preservation of recorded sound materials, they should consider purchasing it for the overview it provides of preservation issues in libraries in general and also for the useful advice it offers about books, photographs, and other non-sound materials found in libraries. Reviewed by Bridget P. Carr Discographie der deutschen Gesangsaufnahmen, Bandl By Manfred Weihermilller. Deutsche National-Discographie (Rainer E. Lotz, ed.), Serie 3. Bonn: Birgit Lotz Verlag, 1995. 288 pp. $100.00 DM. Following the launching of series devoted to German Kleinkunst (performers of popu­ lar or vernacular art, especially cabaret) and dance music, the volume under review inaugurates a third series in Rainer Lotz's "German National Discography".
    [Show full text]
  • Newsletter Is Published Twice Yearly,In October and I Hope This Message Finds All of You and Your Relatives and Friends April
    676 7 7 is et c s y os . 6 6 s s f . s o 7 c 7 s r i s s . 6 6 s e u s i 7 g m s 7 s SECM . h 6 y s t 6 s 7 r e N E W S L E T T ER s u e 7 s t 6 sn n s t 6 e h c s- s 7 7 6 6 7 issue no.35 spring 2020 Dulling Needles and Sweeping Chimneys: Racot de Grandval, and one by Pierre Boudin. The 1758 edition Vaudeville, Sexuality, and Private Theaters in kept all five of these plays,adding a sixth by Grandvalfils , LesDeux Mid-Eighteenth-Century Paris Biscuits. Vaudevilles, or songs created by combining well-known melodies and newly-written text,appear throughout both editions: Jenna Harmon in the 1755 edition,L’Eunuqueis followed by the notated melodies At the top of the hill that separates Montmartre from the rest of for each vaudeville cited in the play,where they are designated only Paris, to the immediate west of Sacré Coeur, sits the Paroisse by their timbre.The notated melodies were only included for the Saint-Pierre-de-Montmartre. Within this parish, on the rue 1755 L’Eunuque,however,and were not included in the subsequent Blanche, two homes once shared a 1758 edition. garden: the first belonged to the The prevalence of vaudevilles in playwright and actor Charles- this collection might be surprising, François Racot de Grandval, and given that the appearance of the the other to the actress Marie- Théâtre de Campagne coincides with Françoise Dumesnil.
    [Show full text]
  • Agriculture Investing in Natural Capital
    iStockphoto/Klaus Hollitzer Agriculture Investing in natural capital ADVANCE COPY] [ONLINE RELEASE Acknowledgements Chapter Coordinating Author: Dr. Hans R. Herren, President, of Tropical Agriculture), Jyotsna Puri (UNEP), Manuele Tamo Millennium Institute, Arlington, VA, USA. (International Institute of Tropical Agriculture), and Sébastien Treyer (International Institute for Sustainable Development and Asad Naqvi and Nicolas Bertrand (in the initial stages of the International Relations). project) of UNEP managed the chapter, including the handling of peer reviews, interacting with the coordinating author on Richard Piechocki (Rabobank Nederland), Lara Yacob (Robeco), revisions, conducting supplementary research and bringing the and Daniel Wild (Sustainable Asset Management AG) provided chapter to final production. Derek Eaton reviewed and edited information for some case studies and success stories. Annie the modelling section of the chapter. Sheng Fulai conducted Haakenstad and Zainab Soomar provided valuable help in preliminary editing of the chapter. collecting data and evidence. Ivo Mulder (UNEP) facilitated the coordination with investment institutions. The following individuals contributed to different sections of the chapter through research and writing: Sithara Atapattu We would like to thank the many colleagues and individuals (formerly with International Water Management Institute and who commented on various drafts and provided suggestions now Deputy Team Leader on the Asian Development Bank including Anna Lucía Iturriza (ILO),
    [Show full text]
  • 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 .........................
    [Show full text]
  • Jascha Horenstein Reference Recordings
    JASCHA HORENSTEIN REFERENCE RECORDINGS BARTOK BEETHOVEN BRAHMS BRUCH BRUCKNER HINDEMITH JANÁČEK LISZT MAHLER RAVEL SCHOENBERG STRAUSS STRAVINSKY WAGNER Claudio Arrau Ivry Gitlis David Oistrakh Bamberger Symphoniker Pro Musica Orchester Wien London Symphony Orchestra JASCHA HORENSTEIN REFERENCE RECORDINGS CD 1 CD 2 CD 3 CD 4 Gustav Mahler (1860 – 1911) Gustav Mahler (1860 – 1911) Anton Bruckner (1824 – 1896) Paul Hindemith (1895 – 1963) SYMPHONY No. 3 IN D MINOR SYMPHONY No. 3 IN D MINOR SYMPHONY No. 8 IN C MINOR SYMPHONY „MATHIS DER MALER“ Sinfonie Nr. 3, d-Moll Sinfonie Nr. 3, d-Moll Sinfonie Nr. 8, c-Moll 1. I. Concert of Angels / Engelkonzert 9'25 1. I. Kräftig. Entschieden 30'29 1. VI. Adagio 21'14 (1890 Version) Ruhig bewegt. Ziemlich lebhafte Halbe 2. II. Tempo di Menuetto. Sehr mäßig 8'40 1. I. Allegro moderato 13'40 2. II. Entombment / Grablegung 4'57 SYMPHONY No. 1 IN D MAJOR („Titan“) 3. III. Comodo. Scherzando 16'09 2. II. Scherzo: Allegro moderato 14'59 Sehr langsam Sinfonie Nr. 1, D-Dur 4. IV. Sehr langsam. Misterioso 8'52 3. III. Adagio: Feierlich langsam, 3. III. The Temptation of St. Antony / 5. V. Lustig im Tempo und keck im Ausdruck 4'07 2. I. Langsam. Schleppend 16'47 doch nicht schleppend 25'26 Versuchung des Hl. Antonius 15'09 (cont. on disc 2) 3. II. Kräftig bewegt, doch nicht zu schnell 8'13 4. IV. Finale: Feierlich, nicht schnell 22'35 Sehr langsam. Frei im Zeitmaß. Sehr lebhaft 4. III. Feierlich und gemessen, Helen Watts, contralto/Alt (4) ohne zu schleppen 11'35 Pro Musica Orchester, Wien Richard Strauss (1864 – 1949) Highgate School Choir, Orpington Junior Singers (5) 5.
    [Show full text]