Das Labyrinth der rasenden Zeit (German Edition)
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Romane aus dem dritten Jahrtausend. English as Author In Paradise: English as Author On the Cross: Tosi kertomus vuodelta Ps. Ernst Theodor Amadeus , Deutsche Humoristen, 2. Band von 8 German as Author Deutsche Humoristen, 6. Lay Down Your Arms: Een verhaal uit de zestiende eeuw Dutch as Author Hostrup, C. Christian , Eeva: Eerste bundel I en II. Dramo en kvar aktoj Esperanto as Author Helgelannin sankarit: Dramo en kvin aktoj Esperanto as Author Puphejmo: Dramo en tri aktoj Esperanto as Author Rakentaja Solness: Dramo en kvar aktoj Esperanto as Author Rosmersholm: A Play, in Five Acts.
English as Author Iisalo, Osmo See: English as Author Ingman, Santeri See: Finnish as Translator Talvi-iltain tarinoita 2 Vinsentti Aallonhalkoja. Finnish as Translator Talvi-iltain tarinoita 3 Suomen herttuatar. Finnish as Translator Talvi-iltain tarinoita 4 Nuoruuden unelmia. Finnish as Translator Talvi-iltain tarinoita 5 Sumutarinoita. Finnish as Translator Jacobsen, J. Jens Peter , Fru Marie Grubbe: Finnish as Translator Jardin, Edward du See: English as Translator Jonckbloet, W.
Woude, Johanna van, Juva, Valter, Jouluilta: Ein Gleichniss German as Author Nixchen. Kalser, Erwin, Kalser, Erwin, Almansor: Erwin Guido , Kate, J. Romaani Finnish as Author Seldwyla Folks: Roman German as Author Der Tor: Roman German as Author Der Tunnel: Roman German as Author Yester und Li: Juva, Valter, Kershaw, Norah See: Nora Kershaw , Kessler, Helene See: Romaani Finnish as Author Vergif: Schubin, Ossip, Kirsch, W. Salomon , Gabriel: Reinhold, Caroline, Kopallik, Auguste See: Forsman, Kaarlo, Koskimies, Kaarlo, Magnhild: Bilse, Fritz Oswald, Laak, W.
Sten, Daniel, Lange, Wilhelm Rosmersholm: Kokoelma kertomuksia Finnish as Translator Valtioviisas kannunvalaja: Goll, Yvan, Lateur, Frank See: A Novel English as Author of introduction, etc. Swedish as Author Kvinnlighet och erotik II. Historiallinen novelli Finnish as Translator Reihensteinin perillinen: Kertomus ison vihan ajoilta Finnish as Translator Ulla Fersen: Historiallinen novelli Finnish as Translator Lennep, J. German as Author Der junge Gelehrte: Matthew Gregory , The Bravo of Venice: Lehti intohimojen kirjasta Finnish as Author The Visionary: Lizzy , August Strindberg, the Spirit of Revolt: May, Karl, Linde, Otto zur See: Kaksi historiallista kertomusta Finnish as Author Turun linnassa: English as Translator L: Lempiranta, Arvo, Lockwood, E.
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Rampolli English as Author Macdowall, M. The Jews of Barnow: Romaani Finnish as Author Die Armen: Novellen German as Author Die kleine Stadt: Clements Robert , Sir, Akbar: Lewald, Fanny, Marlitt, E. Een Levensbeeld Dutch as Author Op reis en thuis: Novellen en schetsen Dutch as Author Papieren Kinderen: Grotesken German as Illustrator Meier, J. English as Author Sidonia, the Sorceress: Gustaf Henrik , Helena Wrede: Historiallinen novelli Finnish as Author Paavo Nissinen: Berhardina , Sprookjes: Clant van der See: Clant van der Mijll-Piepers, J.
Mikkola, Maila Winter See: Talvio, Maila, Milman, Arthur Gabriel: Band German as Translator M. Band German as Translator Stufen: Alice Cordelia , At the Ghost Hour.
Luise , Andreas Hofer: Wolzogen, Ernst von, Neupauer, Josef von, ? English as Author Dionysos: Otto , Oksanen, A. Ahlqvist, August, Oland, Edith, Plays: The Family at Gilje: Uusia kertomuksia Finnish as Translator Pikku Eyolf: Hamsun, Knut, Pelkonen, Lauri Kruunu ja okaita: Linnankoski, Johannes, Penning, L. Louis Christiaan Louis , Picard, L.
Clant van der Mijll- See: Van der Post, C. Christiaan Willem Hendrik , Potgieter, E. Everhardus Johannes , Jan, Jannetje en hun jongste kind—Het Rijksmuseum met inleiding en aanteekeningen van L. Rugeley-Powers, Susan Poynter, E. Romanfragmente von Leo Wolfram.
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Kornelis Herman de , Een abel spel van Lanseloet van Denemerken hoe hi wert minnende ene joncfrou, die met synder moeder diende Dutch as Editor Raahauge, H. Roman Dutch as Translator Klea en Irene: Kertomus ison vihan ajoilta Finnish as Author Sigrid Liljeholm: Roman Swedish as Author Sigrid Liljeholm: A Romance of the Present Time. Van Santford, Frances A. Margo Sybranda Everdina See: English as Author Scheffler, Johannes See: Maximilian , Problematic Characters: Roman German as Author Ludwig Fugeler: I examine the Italian term pianoforte and believe it to be a metaphor for my formal considerations underlying this cycle.
His phrasing or way of interpreting certain musical phrases has shaped forms of expression not only in the language of music but also in everyday language. In that respect I am the guide who has prepared an itinerary and devised a surprise or two, or a variation on the most relevant destinations, which are the tangos of Gardel. It was the vision of a large steamship scaling a hill under its own steam, working its way up a steep slope in the jungle, while above this natural landscape, which shatters the weak and the strong with equal ferocity, soars the voice of Caruso, silencing all the pain and all the voices of the primeval forest and drowning out all birdsong.
Pretty much all the music here finds its origins in this short passage of text taken from the prologue to Conquest of the Useless, Reflections from the making of Fitzcarraldo , by the German director Werner Herzog. Little did I know that when I encountered that iconic image on the pages of a movie magazine ten years ago, it would lead me down my own path of obsession and immersion culminating in an hour-long cycle of pieces which I have also named Conquest of the Useless. Prologue takes as its starting point the central character in Fitzcarraldo , Brian Sweeney Fitzgerald, and his dream to build an opera house in the middle of the Amazon jungle.
The electric guitar is a representation of an obsessive, creative force at the centre of it all — enveloped by, soothed by, often railing against and sometimes overpowered by this mass of sound. Gold is the sweat of the sun, silver are the tears of the moon finallygives a voice and physicality to the driving force behind the quest to realise such a singular vision.
An actor recites passages from the diaries while a mezzo soprano dives deeper into a more mysterious and sensual realm. All the while the orchestra provides the setting and perhaps even the embodiment of what could be the true central character of this whole trilogy — the jungle itself and the river which flows through it. During a visit to the antenatal clinic I heard her heartbeats for the first time - incredibly fast and almost violent in their energy. Those heartbeats with all their potential as yet unleashed, drive the first half of this piece. The recording was made towards the end of his days, and it is imbued with a rich sense of retrospective satisfaction at a life well lived.
I 16 , vln. The new critical and practical edition of Sinfonietta reflects all existing sources, including those recently discovered during the work on the edition.
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It is primarily based on the transcription of the score that was used to stage the premiere and then served as a print template. The transcription was subjected to the first press release, and contained the premiere manuscript orchestral voices, autograph and corrections. However, the edition reflects some of the composer's wishes that were not taken into account at the premiere due to technical reasons and then did not make it into the edition e. The use of these additions, which made it into the first edition, are thus at the discretion of the conductor.
According to sources, the editor also added further dynamics, specified the tempo and corrected errors. Anna Prohaska on Requiem-Strophen: Rihm always writes for individuals, for the person he has composed it for, the person who sings the premiere performance. He knows the extreme regions of the voice in question, but he also knows where that voice feels most comfortable.
I am a lyric soprano with coloratura. It goes from G below the staff to the D above it, yet there is always a wonderful balance; the voice always has moments when it can repose in the lower regions — it is not always stuck in the eternal ice up there. Schaufler, it was quite funny; we met in Berlin at the performance of the great dance-poem Tutuguri , given in a concert version by the Bavarian Radio Symphony at the Berlin Musikfest.
It was a very strange moment; I had this big score on my lap as I was listening to another piece by Rihm, a piece from a very different time — a courageous, bombastic early work with a huge deployment of percussion at the end. He wrote another piece for you, Mnemosyne, some of which lies very high.
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I always feel a moment of utopia when the soprano catapults herself into the very highest ranges. How is that for you as the performer? First of all, I must say that a singer does not approach it so philosophically; at first, it is all technical and physical, which is truly a kind of tightrope walking. Sometimes the pitches are extremely far apart — indeed, occasionally over two octaves — but without ever losing the thread.
Often, the other instruments lead and accompany me. Rihm composes a musical Ariadne thread. With Rihm, the singing is always ingrained in the musical texture; it is never mere fodder for virtuosi. That is also obvious in his opera Dionysos; again and again, he gives a note to the sopranos from the orchestra, maintaining the integrity and never leaving the soloists isolated.
Yes, and that is naturally an incredible help to intonation as well. Mojca Erdmann, who sings first soprano, has perfect pitch. I admire that like mad, of course, because it makes learning a score a lot easier. I have relative pitch, so I am more reliant on the orchestra. His music often has a vocal core. Do you sense that, as a performer of his music? I love his instrumental music, too, but of course as a singer I relate more strongly to the vocal music. I was still a child when I got to know his baritone songs through our mutual friend Richard Salter; Rihm wrote several things for him and he premiered some of them.
That closeness to the words, that vocal expressiveness — that is the epicentre of his work, it seems to me. When Beethoven wrote his Missa Solemnis, he was accused of writing against the voice — also in the sense that the failure had some allure. I can well imagine that he tries to do that. But with a singer like Mojca Erdmann, for instance, it is not even noticeable that there are such limits, because she just soars over it all, like with Proserpina or the large part in Dionysos.
I admire what she does madly. Besides, Rihm already knew what she could do and where her strengths lay, and that he could fully exploit them. With Rihm, I feel that it all goes hand in hand: What else is there to say about the music before the first rehearsals of the Requiem-Strophen? I fell in love with the wonderful Lacrimosa parts at once, one of them in Latin and the other in German.
There are simply those heartrending intervals and I am simply looking forward to finding Klangfarben with Mojca Erdmann — that perhaps we will try to sound the same, or wan, or with vibrato, depending — to seek and try a mirror image and, then again, a completely different line. One can only find these things out during the rehearsal stage and really grasp what it will then become. I think that is a very beautiful idea: My goal was to prepare a version for large ensemble also playable by small orchestras with multiple strings to a part which, despite the reduced forces, is in no way inferior to the original — that is, not a reduction expediently pared down to a restricted ensemble, but rather a variant retaining the luminescent tone colours and the unbridled power of the original — quasi a new raiment for the original, without sacrifices.
So I chose this instrumentation: Eberhard Kloke, who received international acclaim for his arrangements of Lulu and Wozzeck , has also scaled down this orchestral song cycle so that it can be performed by either a medium-sized orchestra or an ensemble of 13 players. Each of the parts is scored differently; four are for voice and changing instruments, while five are purely instrumental.
On the one hand, the five instrumental pieces are organised in a prelude and postlude to the first vocal piece and, on the other, in three commentaries on the third vocal piece. However, cohesive vocal and instrumental parts do not follow one another directly; they are woven throughout the entire piece like a web.
The words of the second poem appear in two musical versions Nos. Comparison of the two versions makes the difference in handling the singing voice very clear: Kind der wilde Molenweg Mann der nachgeahmte Wahn. Henker der Einsamkeit Der Schritt hat sich entfernt der Wanderer ist verstummt. Find building and premonitions I hear walking in my limbs The dead sea waves overhead Child the wild pier Man the imitated illusion Pure eyes in the woods Weeping seek the habitable head. Hangmen of solitude The step has gone away the walker fallen silent On the dial of Imitation The Pendulum casts its load of granite in reverse.
Stravinsky himself gave a comparable example when he wrote the Symphonies of Wind Instruments in memory of Debussy, since these wind symphonies truly are extremely different from Debussy in their tone colour, form and musical ideas. It is the same with …explosante-fixe…. I made an initial first written-out version in At first, the material was rather primitive; I worked it out some more in the next step. I assigned a very precise register to each instrument, in which each one moves independently of the others. That, so to speak, is the fixed dimension of …explosante-fixe….
At the same time, the instruments were to mutually influence one another, thus undermining the register boundaries. However, since I did not alter the substance, it can also be performed in this version without electronics … it is a very quiet, restrained work … it now forms the final section of … explosante-fixe …. The implicit ambivalence of the word threshold allows us to imagine the suggestion of a new beginning, to intend or circumscribe an entrance, to determine a boundary, or to condition a limit; it obligates each of us to bear the risk of interpreting our position with respect to it through a choice: Only a further choice will allow us, possibly, to overstep or go beyond that door.
The compositional attempt absolves gestures and expressions from their randomness: The medium of their emancipation is precisely that sclerotic freedom expressed and revealed by the action. In this piece, based on the lively African American dance of Cake Walk, the playful character is mainly preserved thanks to the clarinet theme, as the clarinet is considered the liveliest instrument of the orchestra, used by many other authors to emphasize lively, playful or joking passages. The arrangement is brilliant and of high timbral variety thanks to the use of the percussive pizzicato of the strings which is the background of the dancing theme.
The substantial difference between these two arrangements is a single instrument of the ensemble: The presence of the French horn gives to this work greater brilliance and fullness of the sound and the orchestral mix. This piece, dedicated to Countess Elisabeth Greffulhe, whose pavana is meant to be a kind of portrait in music, was composed in In this reduction most of the orchestral sounds have been preserved thanks to the instrumentation.
The harp, an instrument totally absent from the original version, is used moderately so as not to overly alter the original sonorities conceived by the author. The arrangement can be executed, like the original version, with the addition of the choir. The short pieces titled:. A blown-away leaf 3. They chattered like swallows 6.
The barn owl has not flown away! They are so dear to me that it seems I will never forget them. Memories of farewells, love songs and lullabies, bitterness and disappointment, weeping, of a letter that has been finally put aside, …, and a premonition of death — in the motif of the barn owl in the final piece — are the poetic starting points for the compositions. There are no motivic, thematic developments, merely moods, contrasts, stirring harmonies and turns, themes — which, like the rhythms, seem inspired by Moravian folk music but transformed entirely — , and sound, an autobiography in sound, an overgrown path of memories, a path along which the journey began at the beginning of the 20th century and was continued by me at the beginning of the 21st century with my transcription of this cycle into the sound world of a large ensemble or chamber orchestra.
The fact that this is far more than merely an arrangement in the traditional sense and rather a present-day act of re-composition stems from my deep conviction that for this project and actually for all instrumentation being restricted to a level that is merely technical or purely philological can neither prove worthy of the spirit of the original composition, nor create a living work of art. The love of the original work and its composer demands a fresh creative approach to the process.
The resulting popular hypothesis that Mahler had prophetic powers is not serious. Mahler wrote the Kindertotenlieder — as well as Symphony No. The Vienna Hofoper Court Opera was in its heyday with productions of Pique Dame, Tristan, Louise and Falstaff to name but a few , he had a wealth of inspirations for his compositions, his first successes as a composer were on the horizon, his recent marriage was — from his point of view at least — in good order and the two children were experiencing a happy father — at least during the summer months by Lake Worthersee.
Der fremde Vertraute, Vienna Mahler selected five of the poems to set to music. Unlike in other song compositions, he altered only very little of the poems — mainly to repeat words. The players in Brethren of the Coast set out from Port Royal and on each turn must make two straightforward decisions: Die Zukunft von Noria liegt vor dir. Mit Mage Wars Arena: Der Klassiker "Ich packe meinen Koffer" mit neuem Sobald ein Spieler eine Kartenkombination findet, Aber zwei Bilder stellen bereits eine Frage.
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