DOCSLIB.ORG

483 5138 Reger Ebooklet3.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
483 5138 Reger Ebooklet3.Indd MAX REGER ORCHESTRAL EDITION SYMPHONIC CHORAL WORKS ORCHESTRAL SONGS MAX REGER 1873-1916 SYMPHONIC CHORAL WORKS ORCHESTRAL SONGS MAX REGER 2 A Requiem op. 144b 15:24 E Die Weihe der Nacht op. 119 16:17 for alto solo, chorus and orchestra for alto solo, male chorus and orchestra Text: Friedrich Hebbel The Consecration of the Night Text: Friedrich Hebbel Requiem (fragment) WoO V/9 for 4 soloists, chorus, orchestra and organ Psalm 100 op. 106 B Requiem aeternam – Kyrie eleison [op. 145a] 22:04 for chorus, orchestra and organ C Dies irae 13:48 F “Jauchzet dem Herrn alle Welt” 11:28 Maestoso (animato) D Gesang der Verklärten op. 71 17:35 G “Erkennet, dass der Herr Gott ist” 8:03 for chorus and orchestra Andante sostenuto Chant of the Transfigured H “Gehet zu seinen Toren ein” 2:46 Text: Carl Busse Allegretto con grazia I “Denn der Herr ist freundlich” 8:44 Andante sostenuto – Allegro maestoso Yoko Kawahara soprano Marga Höffgen alto J Weihegesang WoO V/6 10:38 Hans-Dieter Bader tenor for alto solo, chorus and wind orchestra Nikolaus Hillebrand bass Song of Consecration Text: Otto Liebmann NDR Chor Chorus Master: Alexander Šumski Lioba Braun alto A | Ursula Kunz alto F NDR Sinfonieorchester Chor der Bamberger Symphoniker Roland Bader Chorus Master: Rolf Beck | Fritz Walter-Lindquist organ Recording: Hamburg, Friedrich-Ebert-Halle, 11/1979 Bamberger Symphoniker | Horst Stein Recording Engineer (Tonmeister): Friedrich-Karl Wagner | Assistant Recording Engineer: Willy Jaeschke ൿ 1981 [4]/1988 [1–3] Deutsche Grammophon GmbH, Berlin Recordings: Bamberg, Dominikanerbau, 3/1992 [6–10] & Konzerthalle Bamberg, Joseph-Keilberth-Saal, 2/1994 [5] Recording Producer: Michael Kempff | Recording Engineer: Peter Zelnhöfer 1995 Deutsche Grammophon GmbH, Berlin 3 K Die Nonnen op. 112 28:45 Q Mariä Wiegenlied op. 76/52 2:26 for chorus and orchestra Cradle Song of the Virgin The Nuns Text: Martin Boelitz Text: Martin Boelitz R Äolsharfe op. 75/11 3:01 The Aeolian Harp Orchestral Songs Text: Hermann Ritter von Lingg S op. 98/1 3:01 L Glück op. 76/16 2:11 Aus den Himmelsaugen Happiness From the Eyes of Heaven Text: Ernst Ludwig Schellenberg Text: Heinrich Heine T Das Dorf op. 97/1 1:59 M Mittag op. 76/35 1:53 Midday The Village Text: Ernst Ludwig Schellenberg Text: Martin Boelitz U Flieder op. 35/4 3:07 N Glückes genug op. 37/3 2:37 Happiness enough Lilac Text: Detlev von Liliencron Text: Otto Julius Bierbaum V Mein Traum op. 31/5 5:43 O Wiegenlied op. 43/5 2:52 Cradle Song My Dream Text: Richard Dehmel Text: Anna Ritter W Fromm op. 62/11 2:40 P Des Kindes Gebet op. 76/22 2:14 The Child’s Prayer Devout Text: Ludwig Rafael (i.e. Hedwig Kiesekamp) Text: Gustav Falke X An die Hoffnung op. 124 12:40 To Hope Text: Friedrich Hölderlin 4 Lioba Braun alto L– X HORST STEIN Chor der Bamberger Symphoniker K Chorus Master: Rolf Beck Bamberger Symphoniker Horst Stein Recording: Konzerthalle Bamberg, Joseph-Keilberth-Saal, 5 & 6/1995 Recording Producers: Michael Kempff [11]; Almut Telsnig [12–24] Recording Engineers: Herbert Frühbauer [11]; Peter Zelnhöfer [12–24] Publisher: Bote & Bock [12, 13] ൿ 1999 Deutsche Grammophon GmbH, Berlin HORST STEIN 9 5 derful melodies and its colourful shifts of harmony risk pendant, Die Nonnen op. 112, is based on a mystically Max Reger’s Orchestral Works disorientating the listener. Schoenberg admired its transfigured contemporary poem and contrasts two prose-like melodies and a “familiarity with note-rela- very different worlds: the sensuously disorientating tionships that recalls Bach”, yet few violinists chose to world in which the action of the poem is set, and the Max Reger’s orchestral output defies any easy categor- notion of vagueness and ambiguity, while his Sinfo- champion a piece which according to Reger “fundamen- singing of the nuns, which Reger described as “chaste” ization. Poised, as he was, on the cusp of modernism, nietta op. 90 finds him distancing himself from the sym- tally avoids all hankering after empty effects”. His Piano and which strikes an altogether archaic note. No less he paid no heed to stylistic or generic boundaries but phonic poems of his Munich colleagues and adopting the Concerto op. 114 of 1910, which the composer regard- ambivalent are the last two works that Reger wrote in created a distinctive musical language made up of mod- four-movement design of a symphony, in which chamber ed as “a kind of Brahms D minor Concerto translated Leipzig. Die Weihe der Nacht op. 119 was written at a els and counter-models. textures are writ large. Reproached for the density of his into the language of modernism”, is likewise not a vir- time of deep depression for him. At its first performance From the remote enclave of Weiden in the Upper instrumentation, Reger reacted with an orchestral Ser- tuoso work, for all that it is difficult to play. Its motivic he vowed to begin a new life without alcohol – he had Palatinate, Reger achieved his breakthrough with a enade op. 95 in which the textures have been noticeably writing extends, in Reger’s words, “to its tiniest ramifi- just been appointed court Kapellmeister in Meiningen. series of bold organ works notable for their polyphonic thinned out. Here, he insisted, he had written in a way cations”. It dates from the same year as Schoenberg’s His Comedy Overture op. 120 is a tour de force of bril- thinking and uncompromising expressivity. Conversely, that was intelligible to “every fine specimen from Noah’s first atonal composition and yet, as Reger insisted, it liant volatility that draws on all the topoi of humour in he wrote only three orchestral works during this period: Ark”, while the complex textures that were typical of his marked the start of a journey “that will lead to a goal music and attests to the composer’s delight at the two Violin Romances op. 50, whose amiable character style were “served up in a spirit of gallantry”. sooner than all the new ways”. Two years earlier Reger thought of being placed in charge of his own orchestra. may be explained by reference to their dedications to By 1907 Reger was professor of composition in had written a Symphonic Prologue op. 108 that was With their modern discontinuity the orchestral works his publisher and his doctor, and a Scherzino WoO I/6, Leipzig. With his Hiller Variations op. 100 he returned to inspired by no specific tragedy but which depicts an that Reger wrote in Meiningen make it abundantly clear which according to its autograph score was composed a medium he had already explored with his piano varia- inner drama that oscillates between despair, rebellion just how freely their composer could handle a whole for an amateur orchestra and which reveals its com- tions on themes by Bach and Beethoven. The theme is and submission. It builds to a dramatically, tense climax range of different musical styles. The result was a series poser’s sense of humour by placing a number of obs- broken down into blocks and serves as the starting that is at odds with its structure as a symphonic move- of individual works whose art of instrumentation reveals tacles in the horn player’s path in the form of its rapid point for a series of pointed character-pieces that follow ment, with the result that Reger later advised perform- the extent to which Reger was able to profit from his tempo and dense chromatic writing. an improvisatory impulse rather than any purposeful ers to cut the recapitulation: “Mont Blanc should come daily contact with a small but outstanding orchestra. His Not until he moved to Munich did Reger apply himself development. The symmetry of the theme inspired the only once.” His setting of Psalm 100 op. 106 was written Concerto in the Olden Style op. 123 harks back to the to larger works, all of which reflect the ideal that he had composer to write a piece that is full of surprises and in 1908/09 to thank the University of Jena for awarding world of the Baroque concerto grosso, while at the same developed in his chamber music, in which all the voices that he himself described as “fundamentally jolly”. Its him an honorary doctorate of philosophy. The piece time looking forward to the 1920s. The Romantic Suite are treated as equals and all are involved in the motivic final fugue is a bravura movement based on two sub- displays its composer’s polyphonic abilities combined op.b125 is an example of German Impressionism, a night writing. In his four-part choral work Gesang der Ver- jects. At its climax the theme of the variations is com- with an overwhelming power of expression. At the cli- song inspired by the poems of Joseph von Eichendorff klärten op. 71, which he dedicated to the woman he had bined with the fugue subject. With his Violin Concerto max of the final fugue, the Protestant hymn Ein feste that combines echoes of Debussy with the strains of recently married, the dense textures, with their orna- op. 101, conversely, Reger created what he called a Burg is heard on distant trumpets and trombones, cast- Tristan und Isolde and motifs based on the notes B flat, mentally proliferating lines, embody a very modern “damnably serious work”, although its wealth of won- ing its radiance over the fugal textures. Its Catholic A, C and B – in German nomenclature, B–A–C–H. For 6 its part the Hölderlin setting An die Hoffnung op.
Load more

Recommended publications
  • University of Washington School of Music St. Mark's Cathedral
    ((J i\A~&!d C\I~ t \LqiJ }D10 I I . I'J. University of Washington School of Music in conjunction with St. Mark's Cathedral November 11-12, 2016 Dr. Carole Terry Wyatt Smith Co-Directors On behalfof the UW School of Music, I am delighted to welcome you to this very special Reger Symposium. Professor Carole Terry, working with her facuIty colleagues and students has planned an exciting program of recitals, lectures, and lively discussions that promise to illuminate the life and uniquely important music of Max Reger. I wish to thank all of those who are performing and presenting as well those who are attending and participating in other ways in our two-day Symposium. Richard Karpen Professor and Director School of Music, University ofWashington This year marks the lOOth anniversary of the death of Max Reger, a remarkable south German composer of works for organ and piano, as well as symphonic, chamber, and choral music. On November J ph we were pleased to present a group of stellar Seattle organists in a concert of well known organ works by Reger. On November 12, our Symposium includes a group of renowned scholars from the University of Washington and around the world. Dr. Christopher Anderson, Associate Professor of Sacred Music at Southern Methodist University, will present two lectures as a part of the Symposium: The first will be on modem performance practice of Reger's organ works, which will be followed later in the day with lecture highlighting selected chamber works. Dr. George Bozarth will present a lecture on some of Reger's early lieder.
    [Show full text]
  • Calmus-Washington-Post Review April 2013.Pdf
    to discover, nurture & promote young musicians Press: Calmus April 21, 2013 At Strathmore, Calmus Ensemble is stunning in its vocal variety, mastery By Robert Battey Last week, two of Germany’s best musical ensembles — one very large, one very small — visited our area. After the resplendence of the Dresden Staatskapelle on Tuesday at Strathmore, we were treated on Friday to an equally impressive display of precise, polished musicianship by the Calmus Ensemble, an a cappella vocal quintet from Leipzig. Founded in 1999 by students at the St. Thomas Church choir school (which used to be run by a fellow named Bach), Calmus presented a program both narrow and wide: all German works, but spanning more than four centuries of repertoire. The group held the audience at St. Paul’s Episcopal Church in Alexandria nearly spellbound with its artistry. The only possible quibble was that occasionally there was a very slight imbalance in the upper texture; Calmus has only one female member, the alto parts being taken by a countertenor who could not always match the clear projection of the soprano. But in matters of pitch, diction and musical shaping, I’ve never heard finer ensemble singing. From the lively “Italian Madrigals” of Heinrich Schütz, to a setting by Johann Hiller of “Alles Fleisch” (used by Brahms centuries later in “Ein Deutsches Requiem”), to the numinous coloratura of Bach’s “Lobet den Herrn,” to some especially lovely part-songs of Schumann, to a performance-art work written for the group by Bernd Franke in 2010, the quintet met the demands of every piece with cool perfection.
    [Show full text]
  • Eftychia Papanikolaou Is Assistant Professor of Musicology and Coordinator of Music History Studies at Bowling Green State University in Ohio
    Eftychia Papanikolaou is assistant professor of musicology and coordinator of music history studies at Bowling Green State University in Ohio. Her research (from Haydn and Brahms to Mahler’s fi n-de-siècle Vienna), focuses on the in- terconnections of music, religion, and politics in the long nineteenth century, with emphasis on the sacred as a musical topos. She is currently completing a monograph on the genre of the Romantic Symphonic Mass <[email protected]>. famous poetic inter- it was there that the Requiem für Mignon polations from Johann (subsequently the second Abteilung, Op. The Wolfgang von Goethe’s 98b), received its premiere as an inde- Wilhelm Meisters Leh- pendent composition on November 21, rjahre [Wilhelm Meister’s Apprenticeship], 1850. With this dramatic setting for solo especially the “Mignon” lieder, hold a voices, chorus, and orchestra Schumann’s prestigious place in nineteenth-century Wilhelm Meister project was completed. In lied literature. Mignon, the novel’s adoles- under 12 minutes, this “charming” piece, cent girl, possesses a strange personality as Clara Schumann put it in a letter, epito- whose mysterious traits will be discussed mizes Schumann’s predilection for music further later. Goethe included ten songs in that defi es generic classifi cation. This Wilhelm Meisters Lehrjahre, eight of which article will consider the elevated status were fi rst set to music by Johann Fried- choral-orchestral compositions held in rich Reichardt (1752–1814) and were Schumann’s output and will shed light on included in the novel’s original publication tangential connections between the com- (1795–96). Four of those songs are sung poser’s musico-dramatic approach and his by the Harper, a character reminiscent of engagement with the German tradition.
    [Show full text]
  • 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.
    [Show full text]
  • Journal of the American Viola Society Volume 28 No. 1, Spring 2012
    y t e i c o S a l o i V n a c i r e m A e h t Features: 1 f IVC 39 Review r e o b Bernard Zaslav: m From Broadway u l to Babbitt N a Sergey Vasilenko's 8 n Viola Compositions 2 r e m u u l o V o J Journal of the American Viola Society A publication of the American Viola Society Spring 2012 Volume 28 Number 1 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: Announcements ~ In Memoriam ~ IVC Host Letter Feature Articles p. 13 International Viola Congress XXXIX in Review: Andrew Filmer and John Roxburgh report from Germany p. 19 Bowing for Dollars: From Broadway to Babbitt: Bernard Zaslav highlights his career as Broadway musician, recording artist, and quartet violist p. 33 Unknown Sergey Vasilenko and His Viola Compositions: Recent Discoveries in Russian Archives: Elena Artamonova uncovers works by Russian composer Sergey Vasilenko Departments p. 49 In the Studio: Yavet Boyadjiev chats with legendary Thai viola teacher Choochart Pitaksakorn p. 57 Student Life: Meet six young violists featured on NPR’s From the Top p. 65 With Viola in Hand: George Andrix reflects on his viola alta p. 69 Recording Reviews On the Cover: Karoline Leal Viola One Violist Karoline Leal uses her classical music background for inspiration in advertising, graphic design, and printmaking. Viola One is an alu - minum plate lithograph featuring her viola atop the viola part to Dvořák’s “New World” Symphony. To view more of her art, please visit: www.karolineart.daportfolio.com.
    [Show full text]
  • Max Reger's Adaptations of Bach Keyboard Works for the Organ Wyatt Smith a Dissertation Submitted in Partial Fulfillment Of
    Max Reger’s Adaptations of Bach Keyboard Works for the Organ Wyatt Smith A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2019 Reading Committee: Carole Terry, Chair Jonathan Bernard Craig Sheppard Program Authorized to Offer Degree: School of Music ©Copyright 2019 Wyatt Smith ii University of Washington Abstract Max Reger’s Adaptations of Bach Keyboard Works for the Organ Wyatt Smith Chair of the Supervisory Committee: Dr. Carole Terry School of Music The history and performance of transcriptions of works by other composers is vast, largely stemming from the Romantic period and forward, though there are examples of such practices in earlier musical periods. In particular, the music of Johann Sebastian Bach found its way to prominence through composers’ pens during the Romantic era, often in the form of transcriptions for solo piano recitals. One major figure in this regard is the German Romantic composer and organist Max Reger. Around the turn of the twentieth century, Reger produced many adaptations of works by Bach, including organ works for solo piano and four-hand piano, and keyboard works for solo organ, of which there are fifteen primary adaptations for the organ. It is in these adaptations that Reger explored different ways in which to take these solo keyboard works and apply them idiomatically to the organ in varying degrees, ranging from simple transcriptions to heavily orchestrated arrangements. This dissertation will compare each of these adaptations to the original Bach work and analyze the changes made by Reger. It also seeks to fill a void in the literature on this subject, which often favors other areas of Reger’s transcription and arrangement output, primarily those for the piano.
    [Show full text]
  • Reger on the Web
    28 reger on the web It is quite interesting to browse the internet regarding information on Max Reger, though it must be said that very few websites give really substantial accounts. Any account, however, can help retaining Reger under consideration. Several CD labels, concert organisers (http://www.chorkonzerte.de/ – Erlöserkirche München, http://www.geocities.com/Vienna/ Strasse/1945/WSB/reger.html – Washington Sängerbund, http://www.konzerte-weiden.de/ – Förderkreis für Kammermusik Weiden or http://www.max-reger-tage.de – Max-Reger-Tage Weiden) or music publishers (e.g. C. F. Peters, http://www.edition-peters.de/urtext/reger/ choralfantasien_2/) give tiny bits when advertising their stuff, and in music periodicals’ websi- tes reviews may be found (one of the best websites in this respect is http://www.gramopho- ne.co.uk/reviews/default.asp which stores past reviews of many Gramophone issues; other reviews can be found e. g. under http://www.musicweb.uk.net/). Links to commercial aspects of Reger – CDs, books, sheet music etc. can be found on http://www.mala.bc.ca/~mcneil/ reger.htm. There are several websites that are rather the only online source for one or the other spe- cific country, amongst them French, Spanish, Korean, Japanese, or Polish websites (http://mac-texier.ircam.fr/textes/c00002635/, http://www.rtve.es/rne/rc/boletin/boljun/reger.htm, http://members.tripod.lycos.co.kr/ksjpiano/reger.htm, http://www.ne.jp/asahi/piano/natsui/ S_Reger.htm – with reference to Reger’s Strauß transcription, http://wiem.onet.pl/ wiem/0039a5.html). Several Netherlands websites show how well-loved Reger is in our neigh- bouring country, and even deal with the interpretation of Reger’s organ music (http://www.
    [Show full text]
  • The Rise and Fall of the Cellist-Composer of the Nineteenth Century
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 The Rise and Fall of the Cellist- Composer of the Nineteenth Century: A Comprehensive Study of the Life and Works of Georg Goltermann Including A Complete Catalog of His Cello Compositions Katherine Ann Geeseman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE RISE AND FALL OF THE CELLIST-COMPOSER OF THE NINETEENTH CENTURY: A COMPREHENSIVE STUDY OF THE LIFE AND WORKS OF GEORG GOLTERMANN INCLUDING A COMPLETE CATALOG OF HIS CELLO COMPOSITIONS By KATHERINE ANN GEESEMAN A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Degree Awarded: Fall Semester, 2011 Katherine Geeeseman defended this treatise on October 20th, 2011. The members of the supervisory committee were: Gregory Sauer Professor Directing Treatise Evan Jones University Representative Alexander Jiménez Committee Member Corinne Stillwell Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my dad iii ACKNOWLEDGEMENTS This treatise would not have been possible without the gracious support of my family, colleagues and professors. I would like to thank Gregory Sauer for his support as a teacher and mentor over our many years working together. I would also like to thank Dr. Alexander Jiménez for his faith, encouragement and guidance. Without the support of these professors and others such as Dr.
    [Show full text]
  • Historicism and German Nationalism in Max Reger's Requiems
    Historicism and German Nationalism in Max Reger’s Requiems Katherine FitzGibbon Background: Historicism and German During the nineteenth century, German Requiems composers began creating alternative German Requiems that used either German literary material, as in Schumann’s Requiem für ermans have long perceived their Mignon with texts by Goethe, or German literary and musical traditions as being theology, as in selections from Luther’s of central importance to their sense of translation of the Bible in Brahms’s Ein Gnational identity. Historians and music scholars in deutsches Requiem. The musical sources tended the late nineteenth and early twentieth centuries to be specifically German as well; composers sought to define specifically German attributes in made use of German folk materials, German music that elevated the status of German music, spiritual materials such as the Lutheran chorale, and of particular canonic composers. and historical forms and ideas like the fugue, the pedal point, antiphony, and other devices derived from Bach’s cantatas and Schütz’s funeral music. It was the Requiem that became an ideal vehicle for transmitting these German ideals. Although there had long been a tradition of As Daniel Beller-McKenna notes, Brahms’s Ein German Lutheran funeral music, it was only in deutsches Requiem was written at the same the nineteenth century that composers began time as Germany’s move toward unification creating alternatives to the Catholic Requiem under Kaiser Wilhelm and Bismarck. While with the same monumental scope (and the same Brahms exhibited some nationalist sympathies— title). Although there were several important he owned a bust of Bismarck and wrote the examples of Latin Requiems by composers like jingoistic Triumphlied—his Requiem became Mozart, none used the German language or the Lutheran theology that were of particular importance to the Prussians.
    [Show full text]
  • 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
    [Show full text]
  • Literary Clusters in Germany from Mid-18Th to Early-20Th Century
    A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Kuld, Lukas; O'Hagan, John Working Paper Location, migration and age: Literary clusters in Germany from mid-18th to early-20th Century TRiSS Working Paper Series, No. TRiSS-WPS-03-2019 Provided in Cooperation with: Trinity Research in Social Sciences (TRiSS), Trinity College Dublin, The University of Dublin Suggested Citation: Kuld, Lukas; O'Hagan, John (2019) : Location, migration and age: Literary clusters in Germany from mid-18th to early-20th Century, TRiSS Working Paper Series, No. TRiSS-WPS-03-2019, Trinity College Dublin, The University of Dublin, Trinity Research in Social Sciences (TRiSS), Dublin This Version is available at: http://hdl.handle.net/10419/226788 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence.
    [Show full text]
  • Beyond Beethoven LEON BOTSTEIN, Conductor
    Friday Evening, January 31, 2020, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Beyond Beethoven LEON BOTSTEIN, Conductor LOUIS SPOHR Symphony No. 6 in G major Op. 116 I. The Age of Bach and Handel 1720 II. The Age of Haydn and Mozart 1780 III. The Age of Beethoven 1810 IV. The Newest of the New 1840 GALINA USTVOLSKAYA Piano Concerto I. Lento assai II. Allegro moderato III. Andante (cantabile) IV. Largo V. Grave LUCAS DEBARGUE, Piano Intermission FRANZ LISZT Fantasy on Motifs from Beethoven’s Ruins of Athens LUCAS DEBARGUE, Piano Program continues on following page American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. MAX REGER Variations and Fugue on a Theme of Beethoven, Op.86 Theme (Andante) I. Un poco più lento II. Appassionato III. Andantino grazioso IV. Vivace V. Andante sostenuto VI. Allegretto con grazia VII. Poco Vivace VII. Allegro pomposo Fugue (Con spirito) This evening’s concert will run approximately 2 hours including one 20-minute intermission. from the Music Director Celebrating Beethoven piano concerto. Ustvolstkaya (1919– by Leon Botstein 2006) was a remarkable iconoclast. Her music is strikingly original and gripping Our habit of marking anniversaries in in its use of sound. We need to stop our culture of concert programming remembering her, if at all, in the context has to inspire some ambivalence.
    [Show full text]