DOCSLIB.ORG

BEES, BIRDS and MANKIND Destroying Nature by “Electrosmog”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BEES, BIRDS and MANKIND Destroying Nature by “Electrosmog” BEES, BIRDS AND MANKIND Destroying nature by “electrosmog” Ulrich Warnke Effects of Mobile Radio and Wireless Communication A series of papers by the Competence Initiative for the Protection of Mankind, Environment and Democracy Brochure 1 Effects of mobile radio and wireless communication A series of papers by the Competence Initiative for the Protection of Mankind, Environment and Democracy Published by Prof. Dr. med. Karl Hecht, Dr. med. Markus Kern, Prof. Dr. phil. Karl Richter and Dr. med. Hans-Christoph Scheiner Scientific consultants: Prof. Dr. rer. nat. Klaus Buchner Prof. Dr. med. Rainer Frentzel-Beyme Dr. rer. nat. Lebrecht von Klitzing Prof. Dr. phil. Jochen Schmidt Prof. Dr. jur. Erich Schöndorf Dr. rer. nat. Ulrich Warnke Prof. Dr. med. Guido Zimmer Picture credits: Cover page: Nils Steindorf-Sabath www.aboutpixel.de Brochure 1 All copyrights reserved ISBN: 978-3-00-023124-7 Kempten, November 2007 Competence Initiative for the Protection of Mankind, Environment and Democracy The founding programme in brief Our banking details: Purchase order: Raiffeisenbank Kempten [email protected] The Competence Initiative for the Acc. no. 1020 -102, Bank code 733 Price: € 5.00 Protection of Mankind, Environment 699 02 and Democracy was founded in the Keyword: “Kompetenzinitiative“ beginning of May 2007. It is an association of independent scientists, The full text of the Competence doctors, technicians and environ- Initiative for the Protection of Mankind, Mobile radio effects on human mentally committed organisations. It Environment and Democracy health operates interdisciplinary, throughout programme can be viewed at Germany and internationally. www.kompetenzinitiative.de, where we Conclusions and demands from a medical point of view also inform you of important results of Its foundation was driven by the our work and suggest options for Dr. med. Wolf Bergmann Dr. med. Horst Eger observed culture deficits in the health, cooperation. The programme is also political, environmental and demo- available as a reprint (see left-hand cratic fields. side). It criticises: - the irresponsible electromagnetic overloading of our living space; The launch of the new series follows - inadequate protection of consumers the publication of two scientific papers Heike-Solweig Bleuel (Publisher): and environment; to which the Competence Initiative has Generation Handy - unconstitutional alliances of state made contributions: … grenzenlos im Netz verführt and industry, forcing hazards to St. Ingbert (Röhrig Universitätsverlag) health, loss of values and displace- Dr. med. Wolf Bergmann 2007 ment upon more and more people. and Dr. med. Horst Eger: Mobile radio effects on human health. It demands: Conclusions and demands from a - acknowledgement and promotion of medical point of view. industry-independent research by those politically responsible; Published by the Association for the - sustainable consumer and Protection of the Population against environmental protection, possible Electrosmog and by the Competence only on this basis; Initiative for the Protection of Mankind, - a democratic culture ensuring ad- Environment and Democracy, herence to laws for the protection of Stuttgart, 2007. citizens under the constitution and the European Commission for In this paper, the two renowned Human Rights. physicians show how the technical information in mobile radio and If you wish to support this pro- wireless communication is biologically This publication, substantially sup- gramme, you have three options: false information to living organisms – ported by members of the - to join the Competence Initiative and based on the state of the information Competence Initiative, highlights the actively work together with us; of independent science and medicine. seduction, endangerment and impair- - to let us know that you agree with the ment of children and the youth from a values and targets in the founding number of perspectives. It intends to statement; give a voice to an endangered - to support our work, which costs a generation that believes in the state’s considerable amount in terms of duty to protect and is therefore falling information material, legal actions, victim to advertising and abuse. organisation of conferences, etc., More: www.generation-handy.de with a contribution. Price: € 19.80 ISBN 978-3-86110-432-2 BEES, BIRDS AND MANKIND Destroying nature by “electrosmog” Ulrich Warnke Preamble by the publishers 1 Author’s introduction 3 1. The organisation of life underlying its 5 vulnerability 2. About the disappearing bees and 9 birds 3. Mechanisms of disorientation and 11 damage 4. Humans suffer functionality 30 disorders 5. Summary 37 Scientific literature 38 Glossary (GL) 42 Preamble For different protection of mankind, environment and democracy Preamble by the publishers at the launch of the series of papers: Effects of Mobile Radio and Wireless Communication The bio-scientist Ulrich Warnke is scientists, shows how many of the The involvement of government in more familiar with nature’s damaging effects of such fields have industry and the high percentage of electromagnetic housekeeping than already been proven industry-financed research and most. In this paper, he shows how (www.bioinitiative.org). The report industry-beholden panels and wise and sensitive nature was about evaluates the present limiting values consultants, have spawned a using electrical and magnetic fields in as a useless edifice, protecting questionable system of environment the creation of life. But he can for this nobody. Based on this, the European and consumer protection. Only that reason also convincingly criticise the Environment Agency (EEA), the top which does not seriously endanger present foolish and irresponsible scientific environment authority of the common commercial interests is interference in nature’s house- EU, has warned of the possibility of noted and supported. The rights of keeping. It is clear from his paper that looming environmental disasters the citizen to protection and the the powers that be in politics, the following the increasing density of suffering of the people are flatly economy and science are in the electromagnetic fields. And the ignored. Those with political process of destroying what nature coordinator of the European Reflex responsibility have apparently still not has built up over millions of years. project, Prof. Franz Adlkofer, has realised that their negligent handling of The traces of this destruction have informed the public on the new the obligation to take precautions has long been evident in our living research results, proving the high long since been proven to be one of environment. The paper shows, degree of gene-toxicity of UMTS the main causes of past environmental however, how short-sightedly we are radiation. disasters and scandals.4 treating not only our health and the economy, but especially also future The public is little aware of these As a result of their quarrel with politics generations’ right to life.1 All of the risks because they are hardly of carelessness, an interdisciplinary above is documented not as addressed in the “enlightenment” association of scientists and probabilities but based on provided by officialdom and industry. physicians founded the Competence reproducible effects. This should give The public is given the assurance that Initiative for the Protection of pause also to those who regularly they are well-protected by the limits Mankind, Environment and justify their actions with the argument and the compliance-assuring Democracy in May 2007 that they are unaware of any proof of measurements and that UMTS (www.kompetenzinitiative.de). This damage. radiation is as harmless as GSM paper is the first in a new scientific radiation – more antennae in series. The reported results are Under the term “radio residential areas are recommended in intended as a correction to trivialising communication”, we combine all principle.2 And whilst Ulrich Warnke “enlightenment” that does not protect, wireless communication technology, demonstrates how vulnerable man but endangers. The series intends to increasingly flooding our residential and environment are, we are told that maintain a high level of technical zones and the environment with we are more robustly organised than information, without being unreadable electromagnetic fields. A recent, our machines.3 The original “radiation to the interested layman. comprehensive research report by protection” has deteriorated to the the BioInitiative Working Group, a protection of commercial interests. consortium of renowned international 1 On injury to the health of children and the youth refer also to the collection published by Heike-Solweig Bleuel “Generation Handy... grenzenlos im Netz verführt”, St. Ingbert 2007. 2 Quoting scientists of the Jacobs University Bremen-Grohn under Prof. Alexander Lerchl: “UMTS doch nicht schädlicher als GSM”, www.pcmagazin.de, 2.7.2007, and A. Lerchl at a presentation in Ritterhude acc. to a newspaper report of the Osterholzer Kreisblatt dated 16.6.2007: “More radio masts in the centre of town". Professor Lerchl appeals to all communities not to spend further tax money on mobile radio studies 3 Statement at the end of a brochure: Mobilfunk und Funkwellen: Information, Fakten, Antworten; published by the Saarland Department of Justice, Health and Social matters, Saarbrucken 2005 (copy of a brochure of the LfU Baden-Wurtemberg). 4 Compare the paper published by the European Environmental Agency and its German translation
Load more

Recommended publications
  • The Munich Bach Choir
    The Munich Bach Choir “… modern Bach …” / or / “… which wondrous transformation that dignified Munich Bach Choir is currently undergoing …” (Rondo 2008) The Munich Bach Choir, founded in 1954 by Karl Richter, soon gained international renown, particularly for performing the works of Johann Sebastian Bach – both live onstage during major international concert tours (be it in Paris, Moscow, Tokyo or New York) or as documented by numerous recordings. After Richter’s death in 1981 – Leonard Bernstein conducted the memorial concert in his honour – Hanns-Martin Schneidt took over the baton between 1984 and 2001. He began to expand the choir’s repertoire and continued the by now traditional conert tours. The following years saw the choir collaborating with several guest conductors, predominantly Baroque specialists such as Peter Schreier, Bruno Weil and Ralf Otto. A new era began in 2005, when Hansjörg Albrecht was appointed as new Musical Director – “a godsend for the Munich Bach Choir”, as Süddeutsche Zeitung phrased it. Under his leadership the ensemble developed a new artistic profile and gained a clear and transparent choral sound that many critics since have highlighted. Agile, animated performances of Bach’s works, inspired by historically informed practices, remain a key focus of the choir’s schedule. Unusual program concepts and a steadily expanding repertoire have become additional trademarks in recent years, marked by collaborations with the ballet companies of John Neumeier or Marguerite Donlon and with acclaimed soloists such as Marlis Petersen, Simone Kermes, Klaus Florian Vogt, or Michael Volle. The Munich Bach Choir is regularly working with its traditional artistic partners, the Munich Bach Orchestra and Bach Collegium München, but has also teamed up with other notable European orchestras.
    [Show full text]
  • Voyager's Gold Record
    Voyager's Gold Record https://en.wikipedia.org/wiki/Voyager_Golden_Record #14 score, next page. YouTube (Perlman): https://www.youtube.com/watch?v=aVzIfSsskM0 Each Voyager space probe carries a gold-plated audio-visual disc in the event that the spacecraft is ever found by intelligent life forms from other planetary systems.[83] The disc carries photos of the Earth and its lifeforms, a range of scientific information, spoken greetings from people such as the Secretary- General of the United Nations and the President of the United States and a medley, "Sounds of Earth," that includes the sounds of whales, a baby crying, waves breaking on a shore, and a collection of music, including works by Mozart, Blind Willie Johnson, Chuck Berry, and Valya Balkanska. Other Eastern and Western classics are included, as well as various performances of indigenous music from around the world. The record also contains greetings in 55 different languages.[84] Track listing The track listing is as it appears on the 2017 reissue by ozmarecords. No. Title Length "Greeting from Kurt Waldheim, Secretary-General of the United Nations" (by Various 1. 0:44 Artists) 2. "Greetings in 55 Languages" (by Various Artists) 3:46 3. "United Nations Greetings/Whale Songs" (by Various Artists) 4:04 4. "The Sounds of Earth" (by Various Artists) 12:19 "Brandenburg Concerto No. 2 in F Major, BWV 1047: I. Allegro (Johann Sebastian 5. 4:44 Bach)" (by Munich Bach Orchestra/Karl Richter) "Ketawang: Puspåwårnå (Kinds of Flowers)" (by Pura Paku Alaman Palace 6. 4:47 Orchestra/K.R.T. Wasitodipuro) 7.
    [Show full text]
  • Wolfgang Amadeus Mozart Sacred Works
    hänssler CLA SSIC Wolfgang Amadeus Mozart Sacred Works MASSES · MESSIAH · MISSA SOLEMNIS REQUIEM · KYRIE GÜRZENICH-KAMMERORCHESTER KÖLN · WDR SINFONIEORCHESTER BACH-COLLEGIUM STUTTGART LIMBURGER DOMSINGKNABEN · GÄCHINGER KANTOREI HELMUTH RILLING · KARL RICHTER · GÜNTER WAND · SIR COLIN DAVIS Wolfgang Amadeus Mozart sacred works CD 1 9 Nr. 6 Arie (Sopran II) CD 2 10 Nr. 24 Accompagnato-Rezitativ (Sopran I) O du, die Wonne verkündet in Zion 3'52 Er ist dahin aus dem Lande der Lebenden 0'32 Der Messias / Messiah / HWV 56 / KV 572 Der Messias / Messiah / HWV 56 / KV 572 10 Chor O du, die Wonne verkündet in Zion 1'41 11 Arie (Sopran I) In der Bearbeitung / Transcription by 11 Nr. 7 Accompagnato-Rezitativ (Bass) In der Bearbeitung / Transcription by Doch du ließest ihn im Grabe nicht 2'12 Wolfgang Amadeus Mozart (1756–1791) Blick auf! Nacht bedecket das Erdreich 2'16 Wolfgang Amadeus Mozart (1756–1791) 12 Nr. 25 Chor Machet das Tor weit 3'15 Oratorium in drei Teilen nach Bibeltexten 12 Arie (Bass) Das Volk, das im Dunkeln wandelt 4'01 Oratorium in drei Teilen nach Bibeltexten 13 Rezitativ (Sopran II) zusammengestellt von Charles Jennens, 13 Nr. 8 Soloquartett und Chor zusammengestellt von Charles Jennens, Zu welchen von den Engeln hat er je gesagt 0'15 deutsche Übersetzung von C. D. Ebeling. Uns ist zum Heil ein Kind geboren 3'55 deutsche Übersetzung von C. D. Ebeling. 14 Nr. 26 Chor Der Herr gab das Wort 1'10 Three-part Oratorio with scriptural texts 14 Nr. 9 Pifa (Hirtenmusik) 2'49 Three-part Oratorio with scriptural texts 15 Nr.
    [Show full text]
  • Brandenburg 21 Voyager.Pdf
    Home Page Album Notes Monterey Jazz Festival Monarch Butterfly Brandenburg #1 11: Franklin 12-3 Perricone 14: Hicks 15: Penkovsky 16 Earle 17-8 Morales Brandenburg #2 21: Martin Luther King 21: Guadalupe 21: Voyager Brandenbone 21 22: Rembrandt Van Rijn 22: Joe Manning 23: Leonardo DaVinci 23: Johannes Vermeer 23: Pythagoras Brandenburg #3 31: John Schoenoff Brandello 31 Monterey 323: Woody Woodland Brandenburg #4 41: Helen Iwanaga 42: Lloyd Pementil 43: Marie Curie 43: Albert Einstein 43: Linus Pauling Brandenburg #5 52-1: Lafayette 53: Shen Zhou Brandenburg #6 62-1: Voyager 2 63: San BirdBach Badinerie Magic Steps Brandenburg Medley Monterey Masters and the Ashokan Farewell Links and Info Home Page Album Notes Monterey Jazz Festival Monarch Butterfly Brandenburg #1 11: Franklin 12-3 Perricone 14: Hicks 15: Penkovsky 16 Earle 17-8 Morales Brandenburg #2 21: Martin Luther King 21: Guadalupe 21: Voyager Brandenbone 21 22: Rembrandt Van Rijn 22: Joe Manning 23: Leonardo DaVinci 23: Johannes Vermeer 23: Pythagoras Brandenburg #3 31: John Schoenoff Brandello 31 Monterey 323: Woody Woodland Brandenburg #4 41: Helen Iwanaga 42: Lloyd Pementil 43: Marie Curie 43: Albert Einstein 43: Linus Pauling Brandenburg #5 52-1: Lafayette 53: Shen Zhou Brandenburg #6 62-1: Voyager 2 63: San BirdBach Badinerie Magic Steps Brandenburg Medley Monterey Masters and the Ashokan Farewell Links and Info The Brandenburg 300 Project Update: Voyager 2 leaves our solar system on November 5, 2018, It was 11.1 billion miles from earth. Voyager 1, which crossed into interstellar space on August 25, 2012, is 13.4 billion miles from earth.
    [Show full text]
  • FINAL-The Farthest PBS Credits 05-08-17 V2 Formatted For
    The Farthest: Voyager in Space Written & Directed by Emer Reynolds Produced by John Murray & Clare Stronge Director of Photography Kate Mc Cullough Editor Tony Cranstoun A.C.E. Executive Producers John Rubin, Keith Potter Sean B Carroll, Dennis Liu Narrator John Benjamin Hickey Line Producer Zlata Filipovic Composer Ray Harman Researcher Clare Stronge Archive Researcher / Assistant Editor Aoife Carey Production Designer Joe Fallover Sound Recordist Kieran Horgan Sound Designer Steve Fanagan CGI Visual Effects Ian Benjamin Kenny Visual Effects Enda O’Connor Production Manager – Crossing the Line Siobhán Ward Post Production Manager Séamus Connolly Camera Assistants Joseph Ingersoll James Marnell Meg O’Kelly Focus Puller Paul Shanahan Gaffers Addo Gallagher Mark Lawless Robin Olsson Grip John Foster Ronin Operator Dan Coplan S.O.C. Propman Ciarán Fogarty Props Buyer Deborah Davis Art Department Trainee Sam Fallover Art Department Transport Brian Thompson Imaging Support Eolan Power Production Assistants Brian O’ Leary Conor O’ Donovan Location Research Andrea Lewis Hannah Masterson Production Accounts Siobhán Murray Additional Assistant Editing Martin Fanning Tom Pierce Robert O’Connor Colorist Gary Curran Online Editor Eugene McCrystal Executive Producer BBC Kate Townsend Commissioning Editor ZDF/arte Sabine Bubeck-Paaz FOR HHMI TANGLED BANK STUDIOS Managing Director Anne Tarrant Director of Operations Lori Beane Director of Production Heather Forbes Director of Communications Anna Irwin Art Director Fabian de Kok-Mercado Consulting Producers
    [Show full text]
  • Music and the Transhuman Ear: Ultrasonics, Material Bodies, and the Limits of Sensation
    Music and the Transhuman Ear: Ultrasonics, Material Bodies, and the Limits of Sensation “We favor morphological freedom – the right to modify and enhance one’s body, cognition and emotions.” (Transhumanist declaration, 2012)1 “I am apt to think, if we knew what it was to be an angel for one hour, we should return to this world, though it were to sit on the brightest throne in it, with vastly more loathing and reluctance than we would now descend into a loathsome dungeon or sepulchre.” (George Berkeley, 1732)2 PART I The materialist turn When Voyager probes 1 and 2 left the earth’s orbit in 1977, the committee tasked with assembling cultural artifacts followed scientist Lewis Thomas’ advice to include recordings of J. S. Bach among the many musical samples. This, it seems, was the best way to open a conversation with an unknown non-human interlocutor, wherein exchanges may be spaced hundreds of years apart. Many styles and genres were committed to the golden discs, but Thomas worried that by broadcasting Bach, the human race might be guilty of bragging to aliens: “we would be bragging, of course,” he admitted in 1972, “but it is surely excusable to put the best possible face on at the beginning of such an acquaintance.”3 His statement makes telling assumptions. To take one example, the three-voice C-major fugue Glenn Gould recorded (WTC, Book II) matches humans’ ability at auditory streaming, which, as David Huron has shown, tends to max out at around three streams, after which “confusions [over contrapuntal lines] become commonplace.”4 It would seem that part of the effect of Bach’s 1 Various, “Transhumanist Declaration,” The Transhumanist Reader, ed.
    [Show full text]
  • FORECAST WASHINGTON/ BALTIMORE EDITION 111 Ss Y`' ` R'
    FEBRUARY, 1971 60c 70' FORECAST WASHINGTON/ BALTIMORE EDITION 111 ss Y`' ` r' i THE FM LISTENING GUIDE ,`' ,, , N - ~O. I I ,wirr.!++ -...r.. 4:,°` I -.... ._,,...._. ....w -_ .:i i 1r,1C +:i--i- i__a.wre,.-_ Y^ W LOUDSPEAKER DESIGN CORPORATION INVITES ONE AND ALL TO 0 ME J TO OUR AUTHORIZED EZEKIEL SHOWS There are at least 763 places not suited for the evaluation of high fidelity speakers. They include sub- way stations, airports, and crowded hotel rooms. Since we do not display our speakers under any of these conditions, we cordially invite you to pick your audio show favorites, and then compare them to the Ezekiel Loudspeakers under rigid showroom conditions. Any of our authorized dealers will give you the Ezekiel show. Compare clarity, definition, balance, and transient response. You'll see why we feel the Ezekiel speakers are "The Most Accurate Reproducers Available." Ezekiel Show Dealers: McGuire's Audio - 6929 Arlington Road, Bethesda, Maryland 657-3336 Audio Specialists - 230 W. Broad Street, Falls Church, Virginia 532-1023 Wheaton Plaza Hi Fi - Wheaton Plaza, Wheaton, Maryland 949-2355 Stereo Corner - 19126 Montgomery Village Ave., Gaithersburg, Md. ____ 948-1175 Audio Specialists - 1605 Connecticut Ave., N.W., Washington, D. C. ____ 667-7480 Sight & Sound - Campus Hills Shopping Center, Bel Air, Maryland 734-7783 Fred Burke Says: After 14 Years Why is Audio Center Still Number 1957 - Audio Center opens for busi- ness late in year. 1958 - Audio Center was told they would not last six months in business, however, they ended up first year in the black! 1959 - Audio Center became a leading dealer in its second year of operation! 1960 - Audio Center became Fisher's largest single store dealer in entire Washington area.
    [Show full text]
  • Liste Der Tonbänder (Außer Lehrmittelsammlung)
    Liste der Tonbänder (außer Lehrmittelsammlung) Auflistung nach laufender Nummer: S. 3 Auflistung nach Komponist: S. 20 Erläuterungen/Abkürzungen: Jedem Tonband ist eine Karteikarte beigelegt, die genauere Angaben zu Inhalt und Interpreten enthält. Die hier wiedergegebenen Informationen dienen der groben Identifikation der Einspielungen. Der Zusatz „St“ vor/nach der laufenden Nummer ist hinfällig. Abkürzungen bei den Interpretenangaben: PO: Philharmoniker/Philharmonisches Orchester RSO: Radiosymphonieorchester WPO: Wiener Philharmoniker RKO: Radiokammerorchester BPO: Berliner Philharmoniker BR: Bayrischer Rundfunk SO: Symphoniker/Symphonisches Orchester WSO: Wiener Symphoniker WrSt: Wiener Staatsoper WrVo: Wiener Volksoper GdM: Gesellschaft der Musikfreunde Wien BaySt: Bayrische Staatsoper München ASMF: Acadamy of St.-Martin-in-the-Fields DtOB: Deutsche Oper Berlin 2/35 Liste 1: nach laufender Nummer 3/35 Nr. Komponist Titel Interpret Produktion 1 BRITTEN, Benjamin War Requiem, op. 66 Bachchor London, London SO, Benjamin Britten 1 HÄNDEL, Georg Friedrich Salomon Chor holl. Händelgesell. & Utrechter Oratoriumsgesell., RKO Hilversum, Jack Loorij 1 Verschiedene Opernarien Adolph Adam 1 Verschiedene Lieder Peter Anders 3 LEHAR, Franz Der Zarewitsch (Querschnitt) SO Graunke, Chor BaySt, Willy Mattes EMI Electrola 1C061-28073 3 KALMAN, Emmerich Die Czardasfürstin (Querschnitt) Chor und Orch. WrVo, Anton Paulik BELLAPHON BWS 312 Wolrd Serie 3 Verschiedene Songs aus Musicals etc. Mario Lanza 3 ROMBERG, Siegmund Der Studenten-Prinz Mario Lanza, Paul Baron RCA Victor LSC 2339-B 3 GERSHWIN, George I Got Rhythm Werner Hasse, Orch. Nat. Opéra Monte Philips 411414-1 Carlo, Edo de Waart 4 MONTEVERDI, Claudio Il Combattimento di Tancredi e Clorinda Carlo Gaifa, Mariagrazia Ferracini 4 CIMAROSA, Domenico Il Maestro di Capella Giusepope Taddei 4 DONIZETTI, Gaetano Il Campanello WSO, Bruno Amaducci Livemitschnitt 19.7.1979, Bregenz 4 BEETHOVEN Ludwig van Sinfonie Nr.
    [Show full text]
  • PRESS INFORMATION: for Immediate Release BEFORE BACH's
    PRESS INFORMATION: for immediate release BEFORE BACH’S BIRTHDAY BASH, March 17, 2018 – an event co-sponsored by the Twin Cities Chapter of the American Guild of Organists, the Bach Society of Minnesota, and Classical Minnesota Public Radio Five free hour-long performances, at diverse Saint Paul venues, of works by Johann Sebastian Bach (and one of his sons!). Performers are members and friends of the TCAGO and the University Of Minnesota School Of Music. SUMMARY: 9:00AM -- Olivet Congregational Church, 1859 Igelhart Avenue (*MPR Live Broadcast) 10:30AM -- St. Mark Catholic Church, 1976 Dayton Avenue LUNCH (On your own) 1:00PM -- St. Clement's Episcopal Church, 901 Portland Avenue, at Milton 2:30PM -- St. Paul's United Church of Christ, 900 Summit Avenue 4:00PM -- The House of Hope Presbyterian Church, 797 Summit Avenue DETAILED REPERTOIRE BY GROUP: I. 9:00-10:00AM - at Olivet Congregational Church (1850 Iglehart Avenue, Saint Paul) (1976 Dobson tracker-action pipe organ; 33 ranks) http://www.pipeorganlist.com/Organ_Webpages/St._Paul,_Olivet_Congregational,_Dobson_sp.html REPERTOIRE: J. S. BACH: Prelude & Fugue in G, BWV 541 --Sonya Sutton, organ W. F. BACH: Flute Duet in E-flat (1st movement) --Immanuel Davis, David Ross, traverso J. S. BACH: Sonata in g, BWV 1020 (arranged for lute and chamber organ) --Paul Berget, lute; Bruce Jacobs, positive organ J. S. BACH: O Mensch, bewein’ dein Sünde gross, BWV 622 --Adrian Volovets, organ J. S. BACH: Fantasy on Komm, heiliger Geist, BWV 651 --Mark Spitzack, organ This first hour will be broadcast live and statewide on the network stations of Classical Minnesota Public Radio.
    [Show full text]
  • Performance in Theory and in Practice: Helmuth Rilling's Interpretations of Bach's B Minor Mass
    77 Performance in Theory and in Practice: Helmuth Rilling’s Interpretations of Bach’s B minor Mass 1 Uri Golomb Abstract The conductor Helmuth Rilling documented his views on Bach’s B minor Mass in two different media: in addition to his three recordings, he wrote a monograph on this work, containing detailed analyses and performance instructions for each movement. Surprisingly, the recording that seems most consistent with the conductor’s verbally-stated views is his 1999 version – the one most chronologically distant from the book. In the book, Rilling repeatedly exhorts performers to trace the ebb-and-flow of tension within the music. His earlier performances, however, often display an internal rigidity which belies this ideal. This disparity might represent a tension between Rilling’s aesthetics and his adoption, in the 1960s and 1970s, of a performance style better-suited for the projection of strict Unity of Affect, reflecting the influence of several of Rilling’s mentors and erstwhile colleagues. In subsequent years, Rilling and his ensembles have gradually adopted a more locally flexible performance style, reflecting, in part, the influence of period-instrument performances. The comparison between the book and the recordings provides a fascinating case study on the relationship between a performer’s statements and practices; it also provides insights into how the ostensibly anti-Romantic influence of historical performance has increased the expressive options for Bach performance. 78 The conductor and scholar Helmuth Rilling, one of the most prominent interpreters of Bach’s music in the 20 th (and early 21 st ) century, provided posterity with several interpretations of Bach’s B-minor Mass, BWV 232, in two distinct media.
    [Show full text]
  • The Historical Organs St
    The Historical Organs St. Jakobi, Lübeck, Germany Friedrich Stellwagen, 1637 Hauptwerk Rückpositiv Brustwerk Pedal Prinzipal 16′ Gedackt 8′ Gedackt 8′ Subbass 16′ Oktave 8′ Quintadena 8′ Quintadena 4′ Prinzipal 8′ Spillpfeife 8′ Prinzipal 4′ Waldflöte 2′ Spillpfeife 8′ Oktave 4′ Hohlflöte 4′ Zimbel 2fach Oktave 4′ Nasat 22/3′ Sesquialtera 2fach Regal 8′ Gedackt 4′ Rauschpfeife 2fach Scharf 3–4fach Schalmei 4′ Flöte 2′ Mixtur 4fach Trechterregal 8′ Rauschpfeife 4fach Trompete 8′ Krummhorn 8′ Posaune 16′ Trompete 8′ Trompete 4′ Regal 2′ Friedrich Stellwagen built a Rückpositiv, Brustwerk and a small Pedal division in 1636/37, adding to the extant Gothic Hauptwerk (1467–1515). The wind- chests and nearly all pipes in the manual divisions are original. The Pedal was enlarged in 1935 by Hugo Distler, and since the most recent refurbishing (Hillebrand 1977/78) the organ has contained 31 stops over three manuals and ORGAN pedal. It is in the old choir pitch (Chorton) and tuned to the Werckmeister tem- perament. All the pipes are metal, and additions or expansions have precisely followed the historical alloy composition and scaling. Walcha’s recordings there in 1947 were the first to be made for the Archiv Produktion label. (See cover photo on CD 106–125.) Helmut Walcha: CD 162, tr. 4–5 BACH 333 BACH 57 St. Peter-und-Paul Kirche, Cappel, Germany Arp Schnitger, 1680 Rückpositiv Hauptwerk Pedal Principal 4′ Principal 8′ Untersatz 16′ Gedact 8′ Quintadena 16′ Octava 8′ Quintadena 8′ Hollfloit 8′ Octava 4′ Floit 4′ Octava 4′ Nachthorn 2′ Octava 2′ Spitzfloit 4′ Rauschpfeife II Siffloit 11/2′ Nasat 3′ Mixtur IV–VI Sesquialtera II Gemshorn 2′ Posaun 16′ Tertian II Rauschpfeife II Trompet 8′ Scharff IV–VI Mixtur V–VI Cornet 2′ Dulcian 16′ Cimbel III Trompet 8′ Of all extant Arp Schnitger organs, that in Cappel is the best preserved and most valuable.
    [Show full text]
  • Doctor of Musical Arts
    A Conductor’s Guide to J. S. Bach’s Quinquagesima Cantatas A document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2012 by Jung Jin Baek B.M., Presbyterian College & Theological Seminary, 2001 M.M., University of Cincinnati, 2008 Committee Members: Earl Rivers, D.M.A. (Chair) Matthew Peattie, Ph.D. Brett L. Scott, D.M.A. ABSTRACT Johann Sebastian Bach’s cantatas occupy a significant portion of his output. This document focuses on his four cantatas written for the Quinquagesima Sunday in Leipzig. The first two cantatas (BWV 22 and BWV 23), which were audition pieces for the cantor position in Leipzig (1723), were performed again in the following year as part of his first cantata cycle. The other two surviving cantatas for this Sunday (BWV 127 and BWV 159) are found in his second (1724–25) and fourth (1728–29) cantata cycles. Not only for his audition, but also for the special context of the Quinquagesima Sunday, (the last major religious musical event in Leipzig before the Passion at the Good Friday Vespers), Bach carefully constructed these cantatas to display his considerable musical ability, his attention to text expression, and his knowledge of liturgical and theological issues for the preparation of the Lenten season. This document will provide a conductor’s guide to preparing and conducting these cantatas and examine how Bach achieves his goals of musical and liturgical function within the Lutheran tradition.
    [Show full text]