Richard Strauss Also Sprach Zarathustra Tod Und Verklarung

Total Page：16

File Type：pdf, Size：1020Kb

RICHARD STRAUSS ALSO SPRACH ZARATHUSTRA TOD UND VERKLARUNG WIENER PHILHARMONIKER GUSTAVO DUDAMEL “Dudamel gets the Vienna Philharmonic dancing” (Salzburger Nachrichten) RICHARD STRAUSS Since his debut at the Salzburg Festival in 2008, the young Venezuelan ALSO SPRACH ZARATHUSTRA conductor Gustavo Dudamel has excited both the audience and the world’s most famous orchestras. He now returns to Salzburg, to the rostrum of the TOD UND VERKLARUNG Vienna Philharmonic, in order to pay homage to Richard Strauss. The co- founder of the Salzburg Festival is being celebrated with two of his so called WIENER PHILHARMONKER tone poems, Strauss’s monumental “Death and Transfiguration” and “Thus spake Zarathustra”. The concert is complemented by the contemporary work GUSTAVO DUDAMEL by the Graz composer and Vienna Phil musician “Time Recycling”. The tone poem “Death and Transfiguration” depicts the death throes of a terminally ill individual: riddled by cramps and haunted by memories of his RICHARD STRAUSS youth, he longs to attain the ideal that he has been unable to realize during his Tod und Verklärung, Op. 24 lifetime. Only when the soul departs the body – illustrated by the 32 soft beats on the tam-tam – does he behold his ideal in the afterlife. RENÉ STAAR Time Recycling, Op. 22n Transience is also the motif of the contemporary work “Time Recycling”, though not expressed with the same basic solemnity: inspired by the fact that time RICHARD STRAUSS cannot be reversed in human terms, René Staar’s work strikes the orchestra Also sprach Zarathustra, Op. 30 up in playful manner: “leader Rainer Küchl plays salsa (…) but it is above all the double basses that begin to dance with their sound furniture (…)” (Salzburger Nachrichten). What is remarkable about this performance is that for the first Orchestra Wiener Philharmoniker time in the 170-year history of the orchestra, the Vienna Philharmonic’s Conductor Gustavo Dudamel musicians have commissioned a work from one of their own members – and it has to be said, with great success: “Staar (…) was rewarded with a veritable (…) Produced by BFMI standing ovation” (Giornale della musica online). Video Director Henning Kasten Strauss’s opulent tone poem “Thus spake Zarathustra” after Friedrich Length: 102' Nietzsche’s poem, on the other hand, takes up the concept of a cyclical Shot in HDTV 1080/50i understanding of time which is evident in “Time Recycling” too. Strauss set Cat. no. A045500370000 the predominant ideas of Nietzsche’s philosophy of eternal return. Under A production of UNITEL CLASSICA Dudamel’s baton the Vienna Philharmonic unfolded its vast aural splendour: in co-production with ZDF/Arte “Gustavo Dudamel understands (…) how to light a fire” Die( Krone). in cooperation with the Salzburg Festival and the Wiener Philharmoniker World Sales: All rights reserved · credits not contractual · Different territories · Photos: © Mark Hanauer, Vern Evans · Flyer: luebbeke.com Flyer: · Evans Vern Hanauer, contractual Mark Different Photos: © territories credits · not rights · All reserved · Tel. +49.30.30306464 [email protected] Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitelclassica.com.

Copy Link

Recommended publications

STRAUSS Also Sprach Zarathustra. Ein Heldenleben • Vasily Petrenko
STRAUSS Also sprach Zarathustra. Ein Heldenleben • Vasily Petrenko, cond; Oslo PO • LAWO 1166 (Streaming audio: 79:57) https://app.napster.com/artist/vasily-petrenko/album/richard-strauss-also- sprach-zarathustra-op-30-ein-helden Collectors of Richard Strauss’s tone poems can afford to be finicky, or even to turn their backs on upstart new recordings when we have Fritz Reiner, Rudolf Kempe, and Herbert von Karajan as enduring pillars of the Strauss discography—anytime I return to Reiner’s 1961 Don Juan with the Chicago Symphony, I feel that no greater recording is imaginable. But the call of these orchestral thrill rides never ceases, and in recent years desirable recordings have emerged from Christian Thielemann, Vladimir Jurowski, Manfred Honeck, and François-Xavier Roth. To them can now be added this superb new release from Vasily Petrenko and the Oslo Philharmonic. It’s something of a cheeky release, too, because the pairing of Also sprach Zarathustra and Ein Heldenleben mimics the very first recording, from 1954, that Reiner made in Chicago after assuming leadership of the CSO. The two Living Stereo LPs became a landmark in the postwar hi-fi era, achieving tremendous sales. Although Reiner’s remake of Zarathustra in 1962 is considered superior among collectors, no one would be without the 1954 version. You don’t have to feel guilty about betraying old allegiances, however, to appreciate the vibrancy and imagination that Petrenko brings to these two scores. It’s good news that this CD is the initial installment in a Strauss series from him and the Oslo orchestra.
[Show full text]
Danny Elfman's Violin Concerto
Danny Elfman’s Violin Concerto Friday, October 18 Today’s concert focuses not only on the renowned 10:30am concert music of Danny Elfman, but on a style of music that doesn’t tell a complete narrative. Rather, today’s selections paint a picture of a feeling, or an emotion, or a mysterious land- scape, by only using the power of music. Read on to find out more! Danny Elfman, American Composer (1953- ) Danny Elfman is an American composer most well known for his film music. He has composed music for film and TV such as The Simpsons, Men in Black, and Avengers: Age of Ultron. and has worked with pioneer- ing directors such as Tim Burton, Sam Raimi, Guillermo del Toro and Ang REPERTOIRE Lee. In 2004, Elfman began writing for the concert hall, such as Serenada Schizophrana (2005), Rabbit and Rogue (2008), and Eleven Eleven (2017). ELFMAN Concerto: “Eleven Eleven” Danny Elfman work- STRAUSS ing with longtime creative collaborator Death and and director, Tim Bur- Transfiguration, ton, on Alice in Wonderland (2010). Dance of the Seven Veils from Salome Concerto for Violin & Orchestra: “Eleven Eleven” composed in 2017, duration is 15 minutes This concerto, or larger-scale piece for an orchestra and a solo instrument, is approximately 40 minutes in duration and is divided into four movements. It features lyrical melodies inspired by early 20th century music, as well as more modern rhythms and har- monies. The title comes from the measure count, which hap- pens to be exactly 1,111 meas- ures long. The piece was written in collaboration with violinist Sandy Cameron.
[Show full text]
Richard Strauss' Eine Alpensinfonie
Richard Strauss’ Eine Alpensinfonie: A Culmination and Rejection of Nineteenth Century Philosophical Influences Chloe Tula MUSI 551 Dr. Bailey November 18, 2016 !1 ABSTRACT The goal of this paper is two-fold: on one hand, exploring how Alpensinfonie both challenges and stays true to traditional symphonic idioms, and on the other, examining how it fits into Strauss’s compositional career, personal religious journey, and the greater landscape of early 20th century leanings towards modernism. This paper is part analysis, part biography, and part historical analysis. Strauss clearly had a unique (and changing) perspective on Friedrich Nietzsche’s writings, and this often drew sharp contradictions in his life; one can view evidence of how this plays into Alpensinfonie, especially when contrasted against Zarathustra (1896), which shares many motives with Alpensinfonie (which, coincidentally, was sketched out as early as 1899, before Strauss’s operatic career took off). While Un Alpensinfonie is not his definitive - and far from his final - work, it is an important landmark in Strauss’s ever-changing compositional perspective. In Un Alpensinfonie, Strauss overturns norms of the early twentieth century by constructing an intense, one-movement symphony that all but replaces lofty reverence of deity figures with a more universal reverence of nature, adding to the collection of earth- conscious masterpieces (e.g. Rite of Spring, La Mer, The Planets for instance) that inspired a irreversible large-scale shift to programmatic and agnostic-leaning music in the European modernist movement to follow. INTRODUCTION Richard Strauss’ final tone poem, Un Alpensinfonie (An Alpine Symphony) is largely overlooked in the analyses of his tone poems.
[Show full text]
The RIAS Recordings Vol. II
Ferenc Fricsay Richard Strauss: Burleske | Oboe Concerto Duet concertino | Till Eulenspiegel L.Goossens | H. Geuser | W. Fugmann | M. Weber Berlin, 1949-1955 RIAS-Symphonie-Orchester RICHARD STRAUSS Burleske for Piano and Orchestra in D minor, TrV 145 Allegro vivace 20:06 Concerto for Oboe and Small Orchestra in D major, TrV 292 I. Allegro moderato 8:17 II. Andante 8:47 III. Vivace – 4:32 Allegro 2:44 Duet concertino for Clarinet and Bassoon with String Orchestra and Harp in F major, TrV 293 I. Allegro moderato 5:32 II. Andante 2:20 III. Rondo. Allegro ma non troppo 8:21 Till Eulenspiegel’s Merry Pranks, Op. 28, TrV 171 14:21 Léon Goossens, oboe Heinrich Geuser, clarinet Willi Fugmann, bassoon Margrit Weber, piano RIAS-Symphonie-Orchester* Ferenc Fricsay, conductor Heinrich Geuser *today: Deutsches Symphonie-Orchester Berlin Experiment and Elegy Ferenc Fricsay conducts Strauss When it comes to Ferenc Fricsay, the legendary Hungarian conductor, afficionados mostly think of his fiery Mozart interpretations, his fundamental approach to Bartók or his commitment to modern music which earned the 33-year-old sudden international fame when he conducted the world premier of Gottfried von Einem’s opera Dantons Tod at the Salzburger Festspiele in 1947. But Fricsay and Richard Strauss? Hadn’t Fricsay, being the general music director of the Bayeri sche Staatsoper (Bavarian State Opera) in Munich from 1956 until 1958, just been accused of not providing enough support to the city’s great son, of having only once performed his works in concert, and not even a single opera? A glance at the list of existing sound documents from that time calls to atten- tion that the number of entries under the keyword “Strauß, Johann” exceeds by far the number of entries mentioning “Strauss, Richard”.
[Show full text]
Richard Strauss
RICHARD STRAUSS METAMORPHOSEN SERENADE, OP. 7 SYMPHONY FOR WIND INSTRUMENTS ALDEBURGH WINDS Nicholas Daniel director ALDEBURGH STRINGS Markus Däunert director MENU TRACKLIST CREDITS PROGRAMME NOTE BIOGRAPHIES ALDEBURGH WINDS ALDEBURGH STRINGS Nicholas Daniel director Markus Däunert director RICHARD STRAUSS 1. Metamorphosen, TrV. 290 27:15 2. Serenade in E-flat major, Op. 7 10:05 SYMPHONY FOR WIND INSTRUMENTS ‘FRÖHLICHE WERKSTATT’, TRV. 291 3. Allegro con brio 13:15 4. Andantino, sehr gemächlich 5:56 5. Menuett – Etwas lebhaft 4:58 6. Einleitung 16:18 Total Running Time: 78 minutes RECORDED AT Snape Maltings, Snape, Suffolk, UK 3–5 April 2015 PRODUCED AND RECORDED BY Philip Hobbs POST-PRODUCTION BY Julia Thomas COVER IMAGE BY Keiko Oikawa DESIGN BY toucari.live METAMORPHOSEN For Richard Strauss, composing was as natural as living and breathing. His father, Franz Joseph, was principal French horn at the Bavarian Court Opera and a particular favourite (musically, at least) of Richard Wagner – although he detested both ‘the Master’ and his music. He nevertheless played in the premieres of four major Wagner operas, including the first two instalments of the Ring Cycle (Das Rheingold and Die Walküre). Although Franz was not the easiest of men, money was never a problem at home and music was everywhere, enabling the young Strauss to develop his almost supernatural talent in an entirely natural way. In this respect, his early development was closer to the wunderkind Mendelssohn’s than the ceaseless international parading of talent that Strauss’s beloved Mozart had to endure. Although he had piano and violin lessons from an early age, Strauss never became an instrumental virtuoso – his true destiny lay as a conductor and, most especially, a composer.
[Show full text]
A Hero's Work of Peace: Richard Strauss's FRIEDENSTAG
A HERO’S WORK OF PEACE: RICHARD STRAUSS’S FRIEDENSTAG BY RYAN MICHAEL PRENDERGAST THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Music in Music with a concentration in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Adviser: Associate Professor Katherine R. Syer ABSTRACT Richard Strauss’s one-act opera Friedenstag (Day of Peace) has received staunch criticism regarding its overt militaristic content and compositional merits. The opera is one of several works that Strauss composed between 1933 and 1945, when the National Socialists were in power in Germany. Owing to Strauss’s formal involvement with the Third Reich, his artistic and political activities during this period have invited much scrutiny. The context of the opera’s premiere in 1938, just as Germany’s aggressive stance in Europe intensified, has encouraged a range of assessments regarding its preoccupation with war and peace. The opera’s defenders read its dramatic and musical components via lenses of pacifism and resistance to Nazi ideology. Others simply dismiss the opera as platitudinous. Eschewing a strict political stance as an interpretive guide, this thesis instead explores the means by which Strauss pursued more ambiguous and multidimensional levels of meaning in the opera. Specifically, I highlight the ways he infused the dramaturgical and musical landscapes of Friedenstag with burlesque elements. These malleable instances of irony open the opera up to a variety of fresh and fascinating interpretations, illustrating how Friedenstag remains a lynchpin for judiciously appraising Strauss’s artistic and political legacy.
[Show full text]
Nietzsche's and 20Th Century Music in Order to Understand Nietzsche's
Nietzsche’s and 20th century Music In order to understand Nietzsche’s relationship to twentieth-century music, one must first examine Nietzsche’s peculiar relationship to western (European) music. Only the author of such divergent books as The Case of Wagner and The Birth of Tragedy from the Spirit of Music could be credited with influencing Schoenberg and Strauss, Stravinsky and Mahler. The inherent contradiction of Nietzsche’s philosophical works meant that the power of his writings could be simultaneously applied by proponents and opponents of any number of aesthetic issues. When Nietzsche’s fascination with music is taken into consideration, it seems almost unavoidable that his work would influence a wide array of musical trends—several of which that explicitly contradict each other. Due to Nietzsche’s original and unique approach to philosophy, his ideas did not reach the musical world by the same trajectory as other thinkers. Whereas Schiller’s aesthetic principles were routinely discussed in Beethoven’s circles and Wagner actively championed Schopenhauer’s views of the singular nature of music, Nietzsche’s avoidance of easily communicated concepts in his works lent a mysterious, ecstatic air to his thought. Although many musicians read Also Sprach Zarathustra and were inspired and motivated, few truly grasped the underlying philosophical substance of his writings.1 As the Nazi misappropriation of Nietzsche’s thought illustrates, the emotional and inspirational powers of his works were appreciated long before the critical and philosophical aspects were understood. One substantive component, however, was immediately understood and largely accepted by Nietzsche’s contemporaries—his description and criticism of modernism.
[Show full text]
Didaktische Hinweise
1 BRSO Education 2017 – 2018 Unterrichtsmaterial zur „Echtzeit 1“ am 10. Oktober 2017 im Herkulessaal der Münchner Residenz Mariss Jansons, Dirigent Symphonieorchester des Bayerischen Rundfunks Richard Strauss „Also sprach Zarathustra“, op. 30 Anlass zum Ausdruck Richard Strauss‘ „Also sprach Zarathustra“ im Musikunterricht Autoren: Gabriele Puffer und Bernhard Hofmann Richard Strauss um 1900 Quelle: https://upload.wikimedia.org/wikipedia/commons/4/40/ Richard_Strauss_um_1900.jpg 2 Popmusik von Richard Strauss Diese Musik erklang vor Auftritten des Sängers Elvis Presley 1 und des Wrestlers Ric Flair 2. Sie 3 diente als Soundtrack in Stanley Kubricks Science-Fiction-Klassiker „2001: A Space Odyssee“ und in einem Werbespot für Bier 4. Der brasilianische Jazzpianist Eumir Deodato nutzte sie als Vorlage für einen funkigen Crossover-Hit 5, die „Members of Mayday“ als Vorlage zu einer Technoparty-Hymne 6. Die Rede ist von der Einleitung zu „Also sprach Zarathustra“: Die ersten 22 Takte aus der sinfonischen Dichtung von Richard Strauss gingen ein in den Kanon der Popkultur, und so sind diese 90 Sekunden Orchestermusik weltweit bekannt – nicht nur bei Klassik- Connaisseuren. Mächtige Bilder Als Zarathustra dreißig Jahre alt war, verließ er seine Heimat und ging in das Gebirge. Hier genoß er seines Geistes und seiner Einsamkeit und wurde dessen zehn Jahre nicht müde. Endlich aber verwandelte sich sein Herz – und eines Morgens stand er mit der Morgenröte auf, trat vor die Sonne hin und sprach zu ihr also: „Du großes Gestirn! Was wäre dein Glück, wenn du nicht die hättest, welchen du leuchtest!“ 7 Diese Passage stammt aus der Schrift Friedrich Nietzsches, die Richard Strauss als Titel seiner Tondichtung wählte.
[Show full text]
6 X 10.Long.P65
Cambridge University Press 978-0-521-02774-8 - Richard Strauss: Man, Musician, Enigma Michael Kennedy Index More information index Aagard-Oestvig, Karl, 196, 212 Annunzio, Gabriele d’, 175, 187 Abendroth, Walther, 290–1 Arnim, Achim von, 103, 202 Adam, Adolphe, 105 Artôt de Padilla, Lola, 193 Adler, Guido, 295 Aschenbrenner, Carl, 19, 27 Adler, Hans, 374 Asow, Dr Erich Müller von, 18, 347 Adolph, Dr Paul, 262, 285, 298, 299 Astruc, Gabriel, 144 Adorno, Theodor, on R.S., 224 Auber, Daniel, 16–17, 32, 48, 130, 316, 366 Ahlgrimm, Isolde, 353 Audibert, Comte d’, 368 Ahna, Major General Adolf de (father-in- law), 58, 81–3 Bach, Johann Sebastian, 4, 128, 395; Well- Ahna, Mädi de (sister-in-law), 81–2 Tempered Clavier, 15 Ahna, Maria de (mother-in-law), 58 Baden-Baden, 28 Ahna, Pauline de. See Strauss, Pauline Bahr, Hermann, 96, 199, 231, 341; works Aibl, Joseph, 34, 109 on R.S. libretto, 196 Albert, Eugen d’, 32, 56 Bakst, Léon, 186 Albert, Hermann, 328 Bantock, Sir Granville, 284 Allen, Sir Hugh, 312 Bärmann, Carl, 20 Allgemeiner Deutscher Musikverein, 73, Barrymore, Lionel, invites R.S. to 108, 153, 306 Hollywood, 372–3 Allgemeine Musikzeitung, 33, 62, 290 Basile, Armando, 381 Altenberg, Peter (Richard Englander), 148 Bayreuth, 8, 26, 47, 54, 55, 57, 60, 61, 68, Alvary, Max, 68 83, 85, 86, 143, 281, 287; R.S. ﬁrst Alwin, Carl, 94, 212, 222, 224, 238, 255, conducts at, 78; R.S. conducts Parsifal 256, 329 at, 276–7; Pauline sings at, 66, 78 Ampico (piano rolls, Chicago 1921), 406 Beardsley, Aubrey, 148 Amsterdam.
[Show full text]
A Hero's Life and Nietzschean Struggle in Richard Strauss's
manusya 22 (2019) 115-133 brill.com/mnya A Hero’s Life and Nietzschean Struggle in Richard Strauss’s Ein Heldenleben Ampai Buranaprapuk (อำ�ไพ บูรณประพฤกษ์) Lecturer, Musicology Department, College of Music, Mahidol University, Thailand [email protected] Abstract Nietzsche influenced Strauss throughout the composer’s mature career, from Also sprach Zarathustra, Op. 30 (1896), which shares the same name as the treatise by Nietzsche, to Eine Alpensinfonie, Op. 64 (1911–15), which initially bore the title Der An- tichrist, after Nietzsche’s 1888 essay. Nietzsche, through Zarathustra, stresses the idea of the Übermensch, which proposes that the human occupies the stratum between the primal and the super-human. The Übermensch is not, however, the zenith for a man. The goal for man is rather his journey toward self-overcoming, his struggle within himself. In Ein Heldenleben (A Hero’s Life, 1898), Strauss incorporates Nietzschean con- cepts without any direct references to Nietzsche. The designation of a man as a hero, the battle as an obstacle with which one struggles, the alternation between peace and war and the cycle of recurrence in this tone poem all reflect Nietzsche’s ideas. This research considers the tone poem from a hermeneutical perspective and argues that Strauss’s hero in Ein Heldenleben embodies qualities encompassing the true Nietzs- chean hero. Keywords Richard Strauss – Nietzsche – Ein Heldenleben © ampai buranaprapuk, 2019 | doi:10.1163/26659077-02202001 This is an open access article distributed under the terms of the prevailing cc-by-nc License at the time of publication. Downloaded from Brill.com09/26/2021 07:32:26PM via free access 204248 116 Buranaprapuk บทคัดย่อ ชีวิตวีรบุรุษและการต่อสู้ดิ้นรนในแบบนีทเชอในบทเพลง ไอน์ เฮลเดนเลเบน ของริชาร์ด ชเตราส์ นีทเชอส่งอิทธิพลต่อชเตร�ส์ตลอดช่วงที่เข�เติบโตเต็มที่ในฐ�นะนักประพันธ์แล้ว ตั้งแต่เพลง อ�ลโซ ชปร�ก ซ�ร�ทุสตร� (ประพันธ์ปี พ.ศ.
[Show full text]
Thesis Title Page
The Pennsylvania State University The Graduate School School of Music GERMAN AND FRENCH COMPOSITIONAL INFLUENCES IN BÉLA BARTÓK’S ORCHESTRAL WORKS 1903-1924: CASE STUDIES IN A METHODOLOGY OF APPROPRIATION A Thesis in Musicology by Paul A. Sommerfeld © 2011 Paul A. Sommerfeld Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2011 The thesis of Paul A. Sommerfeld was reviewed and approved* by the following: Charles D. Youmans Associate Professor of Musicology Thesis Adviser Marica S. Tacconi Professor of Musicology Sue E. Haug Professor of Music Director, School of Music *Signatures are on file in the Graduate School ii ABSTRACT Attending the Budapest premiere of Richard Strauss’s tone poem Also sprach Zarathustra in February 1902 profoundly influenced the subsequent trajectory of the young Béla Bartók’s musical endeavors. Afterward, the budding composer, who at the moment stood at a creative impasse, immersed himself in Strauss's orchestral works—Ein Heldenleben in particular—and thereafter resumed his compositional studies. In Strauss, Bartók discovered “the seeds of a new life,” a means with which he could create complex, serious music that he would unite with Hungarian characteristics—at least those elements that Europe as a whole associated with Hungarian identity at the time, meaning gypsy music and the verbunkos. Only with these “authentic” elements did Bartók believe he could craft a musical embodiment of the Hungarian ethos. Yet like many artists of the period, Bartók viewed Straussian modernism as a means to imbue his music with renewed vitality. Thus, he plunged into the tone poems of the world’s leading Teutonic composer.
[Show full text]
Lehrveranstaltungen WS 2014/15
DR. THOMAS ERLACH, VERTRETUNGSPROFESSOR Meine Lehrveranstaltungen im WS 2014/15 ACHTUNG! Wegen der Berufungsverhandlungen beginnen meine Veranstaltungen erst in der 43. Kalenderwoche, d. h. ab dem 21. Oktober! Musiktheaterpädagogik (mit Aufführungsbesuchen) Veranstaltungsnummer: 142MUS777001 Termin: Dienstag 14-16 Uhr Raum: S 17.13 Beginn: 21. Oktober Der Bereich Musiktheater bietet vielfältige Möglichkeiten ästhetischer Erfahrungen und musikalischer Bildung. Für angehende Musiklehrerinnen und Musiklehrer stellt er ein äußerst spannendes Übungsfeld für künftige Aufgaben dar. In diesem Seminar geht es darum, Werke verschiedener Gattungen (Oper, Musical, Ballett...) selbst kennen zu lernen und im Anschluss an den Besuch einer Aufführung didaktische Szenarien zu entwickeln. Geplant ist zunächst der Besuch des neuen Don Giovanni am Theater Wuppertal. Weitere Aufführungsbesuche folgen nach Absprache. Ebenfalls vorgesehen sind eine Theaterführung hinter den Kulissen sowie Künstlergespräche. Aufführungsprojekt „Was ich gerade übe...“ Veranstaltungsnummer: 142MUS777002 Termin: Dienstag 16-18 Uhr Raum: M 09 Beginn: 21. Oktober Als neuer Kollege im Fach Musik möchte ich gerne den Stand und die Potenziale im Bereich des Musizierens kennen lernen und aus den gegebenen Möglichkeiten eine kleine Aufführung organisieren. Zu den Inhalten des Seminars gehören Grundlagen der Projektplanung, Entwicklung eines gemeinsamen Aufführungskonzepts, Formen der Präsentation und Moderation, Abfassen von Programmtexten, Umgang mit Auftrittsängsten, gegenseitiges Feedback
[Show full text]