Deine Ohren Werden Augen Machen
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FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Deine Ohren Werden Augen Machen
Deine Ohren werden Augen machen. 23. Programmwoche 30. Mai – 5. Juni 2020 Samstag, 30. Mai 2020 09.04 – 09.35 Uhr FEATURE Die Dörnthaler Leinöl-Müllerin Von Matthias Körner Es ist wie ein Motiv von Caspar David Friedrich: Im erzgebirgischen Dörnthal, an der Silberstraße gelegen, klappert eine Fachwerk-Mühle am rauschenden Bach, mindestens seit 1650, wie eine Urkunde belegt. Von den damals 11 Mühlen ist sie die einzig übrig gebliebene, steht längst unter Denkmalschutz und ist dennoch kein Museum. Die Mühle klappert im Dreischichtsystem. 10 Tonnen Saat, das bedeutet 3.000 Liter Leinöl. Pro Tag! Christl Braun hat die Mühle von ihrem Vater übernommen. Als die Eltern 1984 früh starben, musste sie sich als junge Frau der Familientradition stellen und die Verantwortung für 10 Mitarbeiter übernehmen. Sie schaffte es und entwickelte eine Begeisterung für den Beruf, die ihr auch heute noch deutlich anzumerken ist. Sie konzentrierte sich auf die alte erzgebirgische Tradition der Herstellung von kalt gepresstem Leinöl für die regionale Spezialität Quark mit Leinöl. Getreu dem Motto: „Ißt Du´s mit dankbar frohem Mut, wird alles kranke sogar gut. Drum ochte drauf in deinem Haus, dass Quork un Leinöl geht nie aus!“ Regie: Andre Lüer Produktion: MDR 2020 - Ursendung - 19.04 – 19.30 Uhr KULTURTERMIN weiter lesen – das LCB im rbb Zsófia Bán liest „Als nur die Tiere lebten“ Am Mikrofon Anne-Dore Krohn Zsófia Bán, aufgewachsen in Brasilien, lebte immer wieder in den USA. Ihr neuer Erzählungsband „Als nur die Tiere lebten“ enthält 15 meisterhafte Geschichten über Auswanderung und Entwurzelung, über einschneidende Vorgänge, die das Leben in ein Davor und eine Danach sortieren, kongenial übersetzt von Térezia Mora. -
Download the Fall 2016 Issue (PDF)
THE NEW SMITHSONIAN // GIFT GUIDE // FOOTBALL’S DAY IN THE SUN THE GEORGE WASHINGTON UNIVERSITY MAGAZINE FALL 2016 For 30 years in the Senate, Harry Reid, JD ’64, has burnished an image as a fighter, a pragmatic workhorse and the consummate inside player. The chamber’s top-ranking Democrat leaves Congress in January on his terms, with few regrets and still plenty of gw magazine / Fall 2016 GW MAGAZINE FALL 2016 A MAGAZINE FOR ALUMNI AND FRIENDS CONTENTS [Features] 26 / Rumble & Sway After 30 years in the U.S. Senate—and at least as many tussles as tangos—the chamber’s highest-ranking Democrat, Harry Reid, JD ’64, prepares to make an exit. / Story by Charles Babington / / Photos by Gabriella Demczuk, BA ’13 / 36 / Out of the Margins In filling the Smithsonian’s new National Museum of African American History and Culture, alumna Michèle Gates Moresi and other curators worked to convey not just the devastation and legacy of racism, but the everyday experience of black life in America. / By Helen Fields / 44 / Gift Guide From handmade bow ties and DIY gin to cake on-the-go, our curated selection of alumni-made gifts will take some panic out of the season. / Text by Emily Cahn, BA ’11 / / Photos by William Atkins / 52 / One Day in January Fifty years ago this fall, GW’s football program ended for a sixth and final time. But 10 years before it was dropped, Colonials football rose to its zenith, the greatest season in program history and a singular moment on the national stage. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Since its launch in 1982, the Marco Polo label has for twenty years sought to draw attention to unexplored repertoire.␣ Its main goals have been to record the best music of unknown composers and the rarely heard works of well-known composers.␣ At the same time it aspired, like Marco Polo himself, to bring something of the East to the West and of the West to the East. For many years Marco Polo was the only label dedicated to recording rare repertoire.␣ Most of its releases were world première recordings of works by Romantic, Late Romantic and Early Twentieth Century composers, and of light classical music. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again, particularly those whose careers were affected by political events and composers who refused to follow contemporary fashions.␣ Of particular interest are the operas by Richard Wagner’s son Siegfried, who ran the Bayreuth Festival for so many years, yet wrote music more akin to that of his teacher Humperdinck. To Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich, Schwarzschwanenreich (The Kingdom of the Black Swan), and Bruder Lustig, which further explores the mysterious medieval world of German legend.␣ Other German operas included in the catalogue are works by Franz Schreker and Hans Pfitzner. Earlier Romantic opera is represented by Weber’s Peter Schmoll, and by Silvana, the latter notable in that the heroine of the title remains dumb throughout most of the action. Marschner’s Hans -
Deine Ohren Werden Augen Machen
Deine Ohren werden Augen machen. 4 6. Programmwoche 7 . November – 13. November 2020 Samstag, 7. November 2020 09.04 – 09.30 Uhr FEATURE Ein Untergrundverlag und der Mauerfall Wie die radix-Blätter die Revolution ins Rollen brachten Von David Siebert Eine versteckte Druckerei, illegal besorgtes Papier, geschmuggelte Druckmaschinen, heimliche Lesungen: Von 1986 bis 1989 betrieben drei junge Ostberliner den Untergrundverlag radix. Obwohl der Verlag hunderttausende Seiten mit systemkritischen Texten druckte, die in der gesamten DDR verbreitet wurden, konnte die Stasi ihn nicht enttarnen. Auf „staatsfeindliche Hetze“ standen in der DDR bis zu zehn Jahre Gefängnisstrafe. Was hat die radix-Macher bewegt, ein solches Risiko einzugehen? Was haben sie mit ihren Publikationen angestoßen? Und was halten sie davon, wenn die rechtspopulistische AfD heute im Osten die „Wende 2.0“ propagiert? Regie: Andrea Lederque Produktion: SWR 2019 14.00 – 15.00 Uhr FEATURE Herbst 1929 – Schatten über Babylon (5/6) Eine sechsteilige Podcastserie Von Volker Heise Teil 5: Die blinde Wut Anfang November haben zehn Prozent der Wahlberechtigten dem Volksbegehren gegen den Young-Plan zugestimmt, es muss im Parlament verhandelt werden. Der Börsencrash hat Tod und Elend zur Folge. Die Arbeitslosenzahlen steigen, amerikanische Banken ziehen Geld aus Deutschland ab, Unternehmen und Kommunen geht langsam das Geld aus. Zur gleichen Zeit wird Berlin von einem Korruptionsskandal erschüttert. Stadträte werden verhaftet, der Stuhl des Bürgermeisters wackelt. In den neuen Babelsberger -
Berliner Weihnacht Weihnachtliches Konzert
BERLINER WEIHNACHT WEIHNACHTLICHES KONZERT Mittwoch, 11. Dezember 2002 2. Abonnement-Konzert Philharmonie Berlin Der Karl-Forster-Chor Berlin wurde am 1. Oktober 1998 von ehemaligen Sängerinnen und Sängern des „Chores der St. Hedwigs-Kathedrale“ gegründet. Den Namen Karl-Forster-Chor wählten sie, um deutlich zu machen, in welcher musikalischen Tradition sie stehen. Domkapellmeister Karl Forster bildete zwischen 1934 und 1963 den „Chor der St. Hedwigs-Kathedrale“ zum namhaftesten Kathedralchor im deutschsprachigen Raum heran, der gleichzeitig auf den Konzertpodien in aller Welt hohes Ansehen genoss. Karl Forsters Nachfolger als Dirigenten waren Anton Lippe, Roland Bader und Alois Koch. Ganz im Sinne seines Namensgebers sieht der Karl-Forster-Chor seine vorrangige Aufgabe darin, sakrale Musik nicht nur in Kirchen, sondern auch in Konzertsälen auf hohem Niveau zu gestalten. Der Chor ist regelmäßiger Gast in den Kirchen Berlins und der näheren Umgebung. Er übernimmt zwei- bis dreimal im Monat die musikalische Gestaltung von Gottesdiensten und bringt seinen Zuhörern geistliche Musik auch außerhalb der Liturgie in regelmäßigen A-cappella-Konzerten nahe. Der Karl-Forster-Chor hat eine eigene Abonnementreihe in Berlin. In der Philharmonie und im Konzerthaus musiziert er mit den großen Berliner Orchestern und weiteren namhaften Ensembles. Inzwischen ist die Zahl der Mitglieder auf über 80 Sängerinnen und Sänger angewachsen. Unter der Leitung seiner auch international tätigen Dirigentin Barbara Rucha erweitert der Chor ständig sein umfangreiches Repertoire mit Werken bekannter Komponisten wie Bach, Beethoven, Bruckner, Distler, Dvorak, Haydn, Mozart, Mendelssohn Bartholdy, Palestrina, Schütz, Verdi, Rossini und anderen. Besonderes Augenmerk gilt Komponisten zeitgenössischer sakraler Musik wie Max Baumann, Günther Gerlach, Zoltan Kodály, Matthias Liebich, Arvo Pärt, Ludger Vollmer und natürlich Karl Forster. -
Network Notebook
Network Notebook Spring Quarter 2020 (April - June) A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
New Publications
NEW PUBLICATIONS ARTICLES Kater, Michael H. 'The Revenge of the Fathers: The Demise of Modern Music at the End of the Weimar Republic." German Studies Review 15, no. 2 (May 1992): 295-313. Lareau, Alan. "1ne German Cabaret Movement During the Weimar Republic." Theatre journal 43 (1991): 471-90. · Lucchesi, Joachim. "Contextualizing The Threepenny Opera: Music and Politics." Com munications from the international Brecht Society 21, no. 2 (November 1992): 45-48. Lucchesi, Joachim. " ... ob Sie noch deutscher lnlander sind? Der Komponist Kurt Weill im Exil." Ko"espondenzen 11-12-13 (1992): 42-44. Published by the Gesellschaft fur Theaterpadagogik Niedersachsen, Hannover. Stempel, Larry. 'The Musical Play Expands." American Music 10, no. 2 (Summer 1992): 13&-69. Stern, Guy and Peter Schon back. "Die Vertonung Werfelscher Dramen." ln Franz We,fel im Exit, edited by Wolfgang Nehring and Hans Wagener, 187-98. Bonn: Bouvier, 1992. Wagner, Gottfried. "ll teatro de Weill e Brecht." Musica e Dossier41 Oune 1990): 74-79. WiBkirchen, Hubert. "Mimesis und Gestus: Das 'Llebeslied' aus der Dreigroschenoper (Brecht/Weill)." Musik und Unterricht 5 (1990): 38-44. BOOKS Jacob, P. Walter. Musica Prohibida-Verbotene Musik: Ein Vortrag im Exit. Hrsg. und kommentiert von Kritz Pohle (Schriftenreihe des P. Walter Jocob-Archivs. nr. 3). Hamburg: Hamburger Arbeitsstelle fur deutsche Exilliteratur, 1991. Wagner, Gottfried. Weill e Brecht. Pordenone, Italy: Studio Tesi, 1992. Weill, Kurt Kurt Weill:de Berlin aBroadway. Traduitetpresentepar Pascal Huynh. Paris: Editions Plume, 1993. RECORDINGS ''Kurt Weill: Un Pianoforte a Broadway." Roberto Negri, piano. Riverrecords CDR 5405. "Laura Goes Weill" Laura Goes Blue (rock ensemble). Industrial Jive Records 04-14-92- 01. -
Strauss' Four Last Songs
Richard Strauss: Four Last Songs A discographical survey by Ralph Moore I consider forty-six recordings of the Vier Letzte Lieder here, which is a goodly number, but by no means the total of all of those released in the nearly seventy years since their premiere in 1950. A survey cannot hope – or even want – to encompass every version but I have tried to include the most notable and have deliberately missed out a few which I know to be less than premium quality but have also reviewed one or two in the “caveat emptor” category as best avoided (see also MWI review index). These songs feature frequently in lists of personal nominations for favourite recordings, such as in the BBC radio programme “Desert Island Discs”. They are not a cycle as such, but all deal with the readiness for death and emanate a sense of calm, resignation and even transfiguration; I quote unashamedly from Wikipedia: “Towards the end of Im Abendrot, after the soprano's intonation of ‘Ist dies etwa der Tod?’ (‘Is this perhaps death?’), Strauss musically quotes his own tone poem Death and Transfiguration, written 60 years earlier. As in that piece, the quoted seven-note phrase (known as the ‘transfiguration theme’) has been seen as the fulfilment of the soul through death.” They are amenable to successful performance by a range of soprano voice-types, from the mezzo- tinged soprano falcon of Jessye Norman to the light, lyric sopranos of Lucia Popp or Anneliese Rothenberger, and although one or two sopranos have come a cropper in attempting them, there are many more admirable and even superlative recordings than failures. -
Oms2015baja.Pdf
Director Festival: Jose Manuel Aceña Notas al programa: Sonia Gonzalo Delgado Diseño y maquetación: Estudioayllón Impresión: Imprenta Provincial de Soria Organiza: Plaza Mayor s/n. 42071· SORIA Tel: 975 23 41 14 / 975 23 28 69 [email protected] www.soria.es/festivalmusical Dep. Leg: SO - 55/2015 Saluda del Alcalde Estimado amigo, estimada amiga, Tienes en tus manos el programa de la nueva edición del Otoño Musical Soriano, que suma con éste veintitrés años siendo referente en la vida cultural de nuestra ciudad y, ahora, es uno de los principales festivales musicales de Europa. Así lo atestigua el galardón recientemente recibido desde la Asociación Europea de Festivales, “EFFE Label”, que tiene como objetivo otorgar una etiqueta de calidad a los festivales que participen de tres pilares fundamentales como son el compromiso artístico, el impacto positivo en la vida cultural de su comunidad y una perspectiva europea e internacional. Este galardón reconoce el esfuerzo que hemos desarrollado en Soria para crear un Festival de calidad accesible a todos los públicos. Sobre este logro, quiero destacar a dos responsables fundamentales. El primero de ellos, alma mater y padre del Otoño Musical Soriano, el Maestro Odón Alonso, siempre presente en nuestro Festival. No hay palabras suficientes de agradecimiento para devolverle el enorme regalo que supuso su entusiasmo, apoyo y devoción por Soria. El segundo, amigo y digno heredero de la labor de su mentor, el Maestro José Manuel Aceña, que ha sabido recoger el legado recibido, mimarlo y hacer que siga creciendo como Director del Festival. Con esta enhorabuena inicial por un logro que es de todos y todas, porque sin el apoyo del público el Festival no sería posible, quiero presentarles un programa que mantiene la esencia de sus mejores momentos. -
Recording Master List.Xls
UPDATED 11/20/2019 ENSEMBLE CONDUCTOR YEAR Bartok - Concerto for Orchestra Baltimore Symphony Orchestra Marin Alsop 2009 Bavarian Radio Symphony Orchestra Rafael Kubelik 1978L BBC National Orchestra of Wales Tadaaki Otaka 2005L Berlin Philharmonic Herbert von Karajan 1965 Berlin Radio Symphony Orchestra Ferenc Fricsay 1957 Boston Symphony Orchestra Erich Leinsdorf 1962 Boston Symphony Orchestra Rafael Kubelik 1973 Boston Symphony Orchestra Seiji Ozawa 1995 Boston Symphony Orchestra Serge Koussevitzky 1944 Brussels Belgian Radio & TV Philharmonic OrchestraAlexander Rahbari 1990 Budapest Festival Orchestra Iván Fischer 1996 Chicago Symphony Orchestra Fritz Reiner 1955 Chicago Symphony Orchestra Georg Solti 1981 Chicago Symphony Orchestra James Levine 1991 Chicago Symphony Orchestra Pierre Boulez 1993 Cincinnati Symphony Orchestra Paavo Jarvi 2005 City of Birmingham Symphony Orchestra Simon Rattle 1994L Cleveland Orchestra Christoph von Dohnányi 1988 Cleveland Orchestra George Szell 1965 Concertgebouw Orchestra, Amsterdam Antal Dorati 1983 Detroit Symphony Orchestra Antal Dorati 1983 Hungarian National Philharmonic Orchestra Tibor Ferenc 1992 Hungarian National Philharmonic Orchestra Zoltan Kocsis 2004 London Symphony Orchestra Antal Dorati 1962 London Symphony Orchestra Georg Solti 1965 London Symphony Orchestra Gustavo Dudamel 2007 Los Angeles Philharmonic Andre Previn 1988 Los Angeles Philharmonic Esa-Pekka Salonen 1996 Montreal Symphony Orchestra Charles Dutoit 1987 New York Philharmonic Leonard Bernstein 1959 New York Philharmonic Pierre