2021.Spring with Bach and Beyond.Pages

Total Page:16

File Type:pdf, Size:1020Kb

2021.Spring with Bach and Beyond.Pages Spring with Bach and Beyond Hannah Koby, Organ Monday, May 24, 2021 Prelude in E-flat Major, BWV 552/1 Johann Sebastian Bach (1685-1750) Christ lag in Todesbanden, BWV 625 Johann Sebastian Bach Christ Jesus Lay in Death’s Strong Bands Paul Manz (1919-2009) Komm, Gott Schöpfer, heiliger Geist, BWV 631 Johann Sebastian Bach Fanfares to the Tongues of Fire (1978) Larry King (1932-1990) Brief intermission Praeambulum in D Heinrich Scheidemann (1595-1663) Prelude and Fugue in F Major “Little,” BWV 556 Attr. Johann Sebastian Bach Vater unser im Himmelreich, BWV 636 Johann Sebastian Bach Sonata in D, Op. 65, no. 6 Felix Mendelssohn (1809-1847) Fugue in E-flat Major, BWV 552/2 “St. Anne” Johann Sebastian Bach Organist Hannah Koby is a recent graduate of the Cleveland Institute of Music, where she earned a Master of Music in Organ Performance with Todd Wilson. Hannah earned her Bachelor of Music in Church Music/Organ from Valparaiso University (Indiana), studying organ with Dr. Lorraine Brugh and Dr. Sunghee Kim. She has also studied under Heinrich Walther at the Hochschule für Kirchenmusik in Rottenburg am Neckar, Germany. Among many accolades as organist, Hannah was awarded both of the Cleveland Institute of Music’s organ prizes, the Henry Fusner Prize (2019 and 2020) and the Heinrich Scholarship (2020). She is a past winner of the Immanuel Lutheran Church Organ Scholar Competition (Evanston, IL), and is a member of Pi Kappa Lambda (national music honor society). Hannah has excelled in scholarly endeavors, earning a German minor and graduating from Valparaiso University with the honors of summa cum laude and Christ College Scholar. She was named a 2018 Valparaiso University Alumni Association Distinguished Student and received a Dean’s Choice Award for her research in Lutheran theology and hymns, which she presented at the 2017 National Conference on Undergraduate Research. Hannah’s diverse church music experience includes summer internships at the Castle Church in Wittenberg, Germany and numerous music leadership positions at the Valparaiso University Chapel of the Resurrection and local parishes. She was a member and section leader of the Valparaiso University Chorale and frequently served as organist with the ensemble, including for special Reformation Day services at the Valparaiso University Chapel of the Resurrection (2016) and the Castle Church, Wittenberg, Germany (2017). Hannah currently serves as Interim Co-Director of Children’s and Youth Choirs/Organist at St. Paul’s Episcopal Church in Cleveland Heights. Passionate about ministry, Hannah is in formation to become a Lutheran deaconess and looks forward to an internship year in Wittenberg, Germany. .
Recommended publications
  • Music for the Christmas Season by Buxtehude and Friends Musicmusic for for the the Christmas Christmas Season Byby Buxtehude Buxtehude and and Friends Friends
    Music for the Christmas season by Buxtehude and friends MusicMusic for for the the Christmas Christmas season byby Buxtehude Buxtehude and and friends friends Else Torp, soprano ET Kate Browton, soprano KB Kristin Mulders, mezzo-soprano KM Mark Chambers, countertenor MC Johan Linderoth, tenor JL Paul Bentley-Angell, tenor PB Jakob Bloch Jespersen, bass JB Steffen Bruun, bass SB Fredrik From, violin Jesenka Balic Zunic, violin Kanerva Juutilainen, viola Judith-Maria Blomsterberg, cello Mattias Frostenson, violone Jane Gower, bassoon Allan Rasmussen, organ Dacapo is supported by the Cover: Fresco from Elmelunde Church, Møn, Denmark. The Twelfth Night scene, painted by the Elmelunde Master around 1500. The Wise Men presenting gifts to the infant Jesus.. THE ANNUNCIATION & ADVENT THE NATIVITY Heinrich Scheidemann (c. 1595–1663) – Preambulum in F major ������������1:25 Dietrich Buxtehude – Das neugeborne Kindelein ������������������������������������6:24 organ solo (chamber organ) ET, MC, PB, JB | violins, viola, bassoon, violone and organ Christian Geist (c. 1640–1711) – Wie schön leuchtet der Morgenstern ������5:35 Franz Tunder (1614–1667) – Ein kleines Kindelein ��������������������������������������4:09 ET | violins, cello and organ KB | violins, viola, cello, violone and organ Johann Christoph Bach (1642–1703) – Merk auf, mein Herz. 10:07 Dietrich Buxtehude – In dulci jubilo ����������������������������������������������������������5:50 ET, MC, JL, JB (Coro I) ET, MC, JB | violins, cello and organ KB, KM, PB, SB (Coro II) | cello, bassoon, violone and organ Heinrich Scheidemann – Preambulum in D minor. .3:38 Dietrich Buxtehude (c. 1637-1707) – Nun komm der Heiden Heiland. .1:53 organ solo (chamber organ) organ solo (main organ) NEW YEAR, EPIPHANY & ANNUNCIATION THE SHEPHERDS Dietrich Buxtehude – Jesu dulcis memoria ����������������������������������������������8:27 Dietrich Buxtehude – Fürchtet euch nicht.
    [Show full text]
  • Navigating, Coping & Cashing In
    The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings.
    [Show full text]
  • Universi^ International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfîlming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the Him along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Buxtehude's Pedaliter Keyboard Works: Organ Or Pedal Clavichord?
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Journals of Faculty of Arts, University of Ljubljana K. J. SNYDER • BUXTEHUDE’S PEDALITER ... UDK 780.8:780.649Buxtehude Kerala J. Snyder Eastman School of Music, University of Rochester Eastmanova akademija za glasbo, Univerza v Rochesterju Buxtehude’s Pedaliter Keyboard Works: Organ or Pedal Clavichord? Buxtehudejeva pedalna dela za instrumente s tipkami: orgle ali pedalni klavikord Prejeto: 13. julij 2011 Received: 13th July 2011 Sprejeto: 9. september 2011 Accepted: 9th September 2011 Ključne besede: Buxtehude, klavikord, orgle, Keywords: Buxtehude, clavichord, organ, peda- izvajanje pedaliter [s pedali] liter [or pedals] performance Iz v l e č e k Ab s t r a c t Članek razpravlja o tem, kako naj bi bil Buxtehude This article explores the questions of how Buxte- uporabljal pedalni klavikord pri pouku, reproduk- hude might have used a pedal clavichord for the ciji in komponiranju, zlasti kar zadeva njegove purposes of teaching, performing, and composing, pedalne (pedaliter) preludije. with special reference to his pedaliter praeludia. On May 23, 1675, Dieterich Buxtehude, organist and Werkmeister of St. Mary’s Church in Lübeck, wrote the following entry into the account book of the church: “Saturday. My highly honored directors, upon my—Dieterich Buxtehude’s— humble request (see Memorial, fol. 75), have graciously granted that a small writing and study room be built onto the Werkhaus, over the steps, facing the church courtyard. And this week [the work] began on it.”1 These two positions, one artistic, the other administrative, had been combined at St.
    [Show full text]
  • Baroque and Classical Style in Selected Organ Works of The
    BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.
    [Show full text]
  • Skript D-Prüfung
    Skript für die D-Prüfung Kirchenmusik Erstellt von Franziska Riccabona für den Beirat für Kirchenmusik der Evangelischen Kirche A.B. und H.B. in Österreich Stand: Jänner 2021 Kirchenmusikalische D-Prüfung der evangelischen Kirche A.B. und H.B. in Österreich ÜBERSICHT PRÜFUNGSFÄCHER: 1. Begleitendes Orgelspiel a) Spielen von Kirchenliedern mit und ohne Pedal nach Choralbuch b) Spielen von liturgischen Stücken c) Auswendigspiel eines Kirchenliedes nach eigener Wahl 2. Selbständiges Orgelspiel a) Spiel einfacher Intonations- und Vorspielliteratur zu Kirchenliedern b) Spiel einfacher freier Orgelliteratur: 2 verschiedenartige Stücke 3. Allgemeine Musikpraxis a) Gehörbildung b) Musiktheorie 4. Theoretische Kenntnisse 4.1 Kenntnis einfacher Orgelliteratur 4.2 Kenntnis des Gesangbuches 4.3 Kenntnis der Gottesdienstordnung 4.4 Elementare Registrierkunde HINWEISE ZU BEWERTUNGSKRITERIEN, FRISTEN & INHALTEN: 1. Begleitendes Orgelspiel Besondere Bewertungskriterien: Tempowahl, Atemführung, Zeilen- und Strophenübergänge. a) Spielen von Kirchenliedern mit und ohne Pedal nach Choralbuch (vorbereitet) Zur Prüfung werden 3 Kirchenlieder mit mindestens zwei Strophen zur Begleitung aufgegeben, darunter ein neues geistliches Lied. Nur in wirklichen Ausnahmefällen kann auf das Pedalspiel gänzlich verzichtet werden. b) Spielen von liturgischen Stücken (vorbereitet). Zur Prüfung werden 4 liturgische Stücke aufgegeben (z.B. Gloria Patri, Heilig, Christe du Lamm Gottes…) c) Auswendigspiel eines Kirchenliedes nach eigener Wahl, ggf. im eigenen Satz. Vorbereitungszeit für a) und b): 1 Woche 2. Selbständiges Orgelspiel a) Spiel einfacher Intonations- und Vorspielliteratur zu Kirchenliedern (vorbereitet). Zu einem der unter Punkt 1.a) aufgegebenen Liedern muss ein Choralvorspiel (= alle Choralzeilen des Chorales werden verarbeitet, länger) erarbeitet werden, zu den beiden anderen je eine Intonation (kürzere Einstimmung auf den Choral, nicht alle Choralzeilen müssen vorkommen).
    [Show full text]
  • Pieter Dirksen, Heinrich Scheidemann's Keyboard Music
    Pieter Dirksen, Heinrich Scheidemann’s Keyboard Music PIETER DIRKSEN, HEINRICH SCHEIDEMANN’S KEYBOARD MUSIC: TRANSMISSION, STYLE AND CHRONOLOGY (Aldershot: Ashgate, 2007), ISBN 978-0-7546-5441-4, xxiii + 254 pp, £55/ $99.95 During the early years of the seventeenth century, at least twelve German musicians that we know of, including Scheidt, Scheidemann, Jacob Praetorius, Melchior Schildt and Paul Siefert, travelled to Amsterdam to study with Sweelinck, their extant key- board works testifying to the Dutch composer’s influence. In his collection of bio- graphies—the Ehren-Pforte—of 1740, Mattheson famously compared the personalities of two of these Sweelinck pupils, Praetorius and Scheidemann, noting the particular attractiveness of the latter’s character and music, best captured in the phrase ‘Scheide- mannische Liebligkeit’.1 Despite his being a prominent student of the Dutch master and a founding father of the north-German organ school, however, Scheidemann has been largely neglected by scholars hitherto. Pieter Dirksen’s fine study, which appeared during ‘Buxtehudejahr’ and forty years after the publication of Werner Breig’s seminal monograph, Die Orgelwerke von Heinrich Scheidemann, is thus a wel- come addition to the literature on the Hamburg composer whom Dirksen believes to have been ‘Sweelinck’s most independent pupil’.2 A Sweelinck scholar and performer, Dirksen has written much on north-German keyboard music of the Baroque and on J. S. Bach. Having already produced an edition of Scheidemann’s complete harpsichord music in 2000 (Edition Breitkopf 8688), he offers a rich fare to musicologists, organologists and performers in this dense but rewarding volume. Tripartite in structure, the book’s first section (chapters 1–6) examines the transmission of Scheidemann’s keyboard music, presenting an in-depth analysis of each of the manuscript sources, which date from all phases of the composer’s career and even up to 20 years after his death.
    [Show full text]
  • CONVERSATIONS AVEC DIEU MOTETS ET CANTATES DE HAMMERSCHMIDT, TELEMANN, BRUHNS, SCHEIDT… LE CONCERT ÉTRANGER - ITAY JEDLIN Director Label Managers Editorial Assistant
    CONVERSATIONS AVEC DIEU MOTETS ET CANTATES DE HAMMERSCHMIDT, TELEMANN, BRUHNS, SCHEIDT… LE CONCERT ÉTRANGER - ITAY JEDLIN Director Label managers Editorial assistant Recorded at Recording producer, recording engineer, editing, mixing & mastering Cover photograph & design Booklet layout Booklet photo credits Printers 1 CONVERSATIONS AVEC DIEU MOTETS ET CANTATES DE HAMMERSCHMIDT, TELEMANN, BRUHNS, SCHEIDT… LE CONCERT ÉTRANGER – ITAY JEDLIN 1 Georg Philipp Telemann (1681-1767) 9’01 Cantate Ach, Herr, straf mich nicht in deinem Zorn. (Psaume 6, TWV 7:3) Pour quatre voix, violons, alto et basse continue. 2 Heinrich Scheidemann (1595-1663) 2’12 Erbarm dich mein, o Herre Gott. Choral pour orgue, verset 1. 3 Andreas Hammerschmidt (1611-1675) 4’54 Psaume 51 Erbarm dich mein, o Herre Gott. Choral pour 2 sopranos, alto, ténor, basse et basse continue – Musikalische Andachten II, 1641. 4 Heinrich Scheidemann 2’57 Erbarm dich mein, o Herre Gott. Choral pour orgue, verset 2. 5 Andreas Hammerschmidt 5’05 Première pavane à 5. 6 Andreas Hammerschmidt 4’46 Ach Gott, warum hast du mein vergessen? Dialogue à 4 voix, un instrument et basse continue – Dialogi, 1645. 7 Johann Rosenmüller (1619-1684) 4’25 Sinfonia XI, pour cordes Sonate da camera e sinfonia, 1667. 2 8 Andreas Hammerschmidt 5’17 Herr, wie lange willst du mein so gar vergessen ? Psaume 13, pour 2 sopranos, alto, ténor et basse – Musikalische Andachten II, 1641. 9 Heinrich Scheidemann 2’39 Praeludium en ré, pour orgue. 10 Andreas Hammerschmidt 4’18 Ergo sit nulla ratio salutis Motet pour soprano et basse continue – Motettae, unius et duarium vocum, 1649. 11 Claudio Monteverdi (1567 – 1643) 1’18 Sinfonia 12 Samuel Scheidt (1587-1654) 6’18 Ist nicht Ephraim mein teurer Sohn? Motet pour 2 sopranos, alto, 2 ténors, basse et basse continue – Geistliche Concerte II, 1634.
    [Show full text]
  • Sacred German Music in the Thirty Years'
    Musical Offerings Volume 3 Number 1 Spring 2012 Article 1 2012 Sacred German Music in the Thirty Years’ War Brandi Hoffer Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the History Commons, and the Musicology Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Hoffer, Brandi (2012) "Sacred German Music in the Thirty Years’ War," Musical Offerings: Vol. 3 : No. 1 , Article 1. DOI: 10.15385/jmo.2012.3.1.1 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol3/iss1/1 Sacred German Music in the Thirty Years’ War Document Type Article Abstract The religious and political turmoil of the Thirty Years’ War significantly impacted the performance and preservation of sacred Baroque music in the German lands. Conflict between the Catholics and Protestants created an unstable social environment, which resulted in a myriad of responses from composers and performers. Leading composers including Heinrich Schütz, Michael Praetorius, Thomas Selle, and Heinrich Scheidemann, expressed their values either overtly or implicitly depending upon their occupational, geographical, political, and religious positions. Research indicates that the influences of the Thirty Years’ War created an ideal environment for the flourishing of the following German music in the late Baroque Era.
    [Show full text]
  • Composers for the Pipe Organ from the Renaissance to the 20Th Century
    Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today.
    [Show full text]
  • GERMAN ORGAN MUSIC Volume 1 Fischer Praetorius Bohm Scheidemann and Others Joseph Payne, Organ GERMAN ORGAN MUSIC VOLUME 1
    8.550964 GERMAN ORGAN MUSIC Volume 1 Fischer Praetorius Bohm Scheidemann and others Joseph Payne, Organ GERMAN ORGAN MUSIC VOLUME 1 Organ music of the German-speaking countries is vast and varied, and more than anywhere else in Europe, it reached considerable complexity by the early 15th century. This repertory reflects the complex development of large, fixed organs, about which few generalizations can be made, as well as the more uniform evolution of smaller forms of organs. Among these was the portative, a small portable organ blown by a pair of bellows operated by one of the player's hands. Capable of performing only one part, this was a "monophonic" instrument used mainly in ensembles with other instruments and singers in the performance of polyphonic music. Somewhat larger and more or less stationary was the positive. It employed bellows that were operated by a second person, enabling the organist to use both hands so that several notes might be played simultaneously on a chromatic keyboard. Both these smaller types of organ employed flue pipes, while reed pipes were used in a third type, the regal. (There are many depictions of these small organs; a famous one can be found on the altar painting by Jan van Eyck at St. Bavo in Ghent). Towards the end of the Middle Ages, many tonal and mechanical features of the smaller organs were incorporated into the resources of the full-sized church Orgelwerk. This was a decisive step towards the modern organ: the organ came to be regarded as a composite of several instruments of various capabilities and functions, its resources controlled from several different keyboards.
    [Show full text]
  • Mein Freund, Der Terrorist
    #11 Das NOVEMBER 2020 Magazin Interviews, die in die Tiefe gehen „Deep Talk“ bei Deutschlandfunk Nova Bundeswett - bewerb „lyrix“ Preisträgertexte 2020 Mein Freund, der Terrorist Ein Flüchtlingshelfer auf der Suche nach der Wahrheit – Podcast-Serie „Unsere Impulsgeber mit Stil.“ ÄTNA, Band Unabhängig. Unverzichtbar. Unverwechselbar. Editorial Veranstaltungen #11 Liebe Hörerinnen und Hörer, Amerika wählt BERLIN und die Ereignisse in den Vereinigten Staaten vollziehen sich mit außerordentlicher Dynamik und Dramatik. Wer wird der Sieger sein und wer der Verlierer und werden beide das Ergeb- nis akzeptieren? Do., 12.11., 19.00 UHR LITERATURHAUS BERLIN Literatur trifft Wissenschaft Podiumsdiskussion literaturhaus-berlin.de Do./Fr., 12./13.11. Donald Trump HAUS DER BUNDES- gegen Joe Biden: PRESSEKONFERENZ Wer gewinnt Formate des den Kampf ums Politischen 2020 Weiße Haus? Wer darf (wie) sprechen? Aufmerksamkeits- ökonomien in Krisen deutschlandfunk.de/ formate BONN Mi., 18.11., 20.00 UHR BEETHOVEN-HAUS Wo werden Sie in der Wahlnacht sein? Gleich, wo Sie unsere Berichterstattung Aspekte: Jazz im Kammermusiksaal I verfolgen, seien Sie gewiss: Wir werden neugierig und mit langem Atem berichten, beethoven.de analysieren, kommentieren und hoffentlich auch inspirieren. DÜSSELDORF In unseren Programmen, für all unsere Ausspielwege laufen die Vorbereitungen für die So., 15.11., 18.00/ Präsidentschaftswahl. Unsere beiden Korrespondenten in Washington, Doris Simon 20.30 UHR KOM(M)ÖDCHEN und Thilo Kößler, sind pausenlos im Einsatz. Hinter unserer Kollegin und unserem Zingsheim braucht Kollegen liegt eine im höchsten Maße ungewöhnliche Zeit der Vorbereitung, denn in Gesellschaft diesen Corona-Zeiten ist keine Normalität vorhanden. Der Schutz unserer Korrespon- Die politische Radioshow von Deutschlandfunk denten steht obenan, Reisebeschränkungen mussten in Kauf genommen werden und kommoedchen.de beide berichten uns aus einem Land der gesellschaftlichen Unruhen und politischen Verwerfungen.
    [Show full text]