Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden (SLUB): Qucosa
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Lehrende begleiten kreative Prozesse: Komponieren mit Tablet-PCs im Musikunterricht am Gymnasium
No full textGelingendes Leben und inklusiver Musikunterricht – Zu Klaus Schallers Differenzierung des Leistungsbegriffs und zu einem inklusionssensiblen Begriff kategorialer musikalischer Bildung
No full textUnique Courtyards and Arcades: Leipzig : strolling and shopping
No full textThey are places to wander, a shopping
paradise, places of art and culture or
architectural gems – Leipzig’s unique
arcades, courtyards and trade fair palaces.
For about 500 years they have dominated
Leipzig’s city centre. Their history is closely connected
to Leipzig’s development into an up-andcoming
trade and fair city. Other European cities
have examples of shopping arcades too, but only
Leipzig has such a closed system in the city centre.
The city of Leipzig feels especially obliged to this
unique feature of city planning so the historical
arcades and courtyards are not only preserved,
but new ones are also being built.
Probably one of the most famous arcades is the
Mädler-Passage with the restaurant Auerbachs
Keller, rich in tradition, where Goethe also spent
some time. But there is much more to discover – preferably with an extended
walk around the city: wander through the arcades, courtyards and trade fair
palaces and be enchanted by their charm and architectural diversity
1x1 der Schule: Fragen und Antworten zum Schulalltag
No full textFragen und Antworten zum Schulalltag. In diesem Notizbüchlein, dem „1×1 der Schule“, sind die Fragen gesammelt und beantwortet, die im Ministerium immer wieder gestellt werden. Natürlich hoffen wir, dass auch Ihre Frage dabei ist. Wenn nicht, wenden Sie sich einfach an unsere Bürgerbeauftragte.
Redaktionsschluss: 30.04.202
„Offenheit, Treue, Brüderlichkeit…“: Karl Amadeus und Elisabeth Hartmann im Briefwechsel mit Hans Werner Henze
No full text2022 erschien als erster Band der „Schriftenreihe Karl Amadeus Hartmann“ der Karl Amadeus Hartmann-Gesellschaft e.V. München die Edition der Korrespondenz des Ehepaars Karl Amadeus und Elisabeth Hartmann mit Hans Werner Henze, die den Zeitraum von 1947 bis 1963 beziehungsweise 1998 umspannt. Der Aufsatz diskutiert anhand ausgewählter Dokumente Motivation, Aufbau sowie philologische und inhaltliche Herausforderungen einer Edition, deren Ziel die Ausleuchtung und Kontextualisierung der facettenreichen persönlichen und künstlerischen Beziehung zwischen Hartmann und Henze vor dem Hintergrund der zeit- und musikgeschichtlichen Dynamik des 20. Jahrhunderts ist.In 2022, the first volume of the ‘Schriftenreihe Karl Amadeus Hartmann’ of the Karl Amadeus Hartmann-Gesellschaft e.V. (Munich) was published as an edition of the correspondence between Karl Amadeus and Elisabeth Hartmann and Hans Werner Henze, spanning the period from 1947 to 1963 and 1998 respectively. The article uses selected documents to discuss the motivation, structure and the philological and content-related challenges of an edition, which aims to illuminate and contextualise the multifaceted personal and artistic relationship between Hartmann and Henze against the background of the historical and music-historical dynamics of the 20th century
Twelve-Tone Strategies and Tonal Allusions in Hans Werner Henze’s Early Operas
No full textHans Werner Henzes frühe Opern – Il Re Cervo (König Hirsch), Der Prinz von Homburg und The Bassarids (Die Bassariden) – veranschaulichen seine einzigartige Synthese von Zwölftontechniken und tonalen Techniken, durch die er eine dramatische Musiksprache entwickelt, die sich einer eindeutigen Kategorisierung entzieht. Entstanden in einer entscheidenden Phase der stilistischen Entwicklung der europäischen Musik der Nachkriegszeit steht Henzes Auseinandersetzung mit der Zwölftontechnik in einem Dialog mit den vorherrschenden seriellen Ästhetiken der Darmstädter Schule. Anhand detaillierter Analysen von Schlüsselszenen der drei Opern untersucht diese Studie seine kompositorischen Strategien – vielschichtige Klangtexturen, wiederkehrende Tonartzentren und selektive Reihentechniken – und zeigt, wie strukturelle Komplexität dem unmittelbaren Ausdruck dient. Indem sie librettozentrierte Analysen überwindet und Henzes kompositorische Entscheidungen kontextualisiert, leistet die Arbeit einen Beitrag zum tieferen Verständnis von Henzes hybrider Musiksprache und der erweiterten Ästhetik der Oper im 20. Jahrhundert.Hans Werner Henze’s early operas—Il Re Cervo, Der Prinz von Homburg, and The Bassarids—exemplify his unique synthesis of twelve-tone techniques and tonal references, forging a dramatic musical language that defies strict categorization. Written during a critical period of stylistic development in post-war European music, Henze’s engagement with twelve-tone methods places him in dialogue with the prevailing serialist aesthetics of the Darmstadt School. Drawing on detailed analyses of key scenes from the three operas, this study examines his compositional strategies – layered textures, recurring pitch centers, and selective row usage – to reveal how structural complexity serves expressive immediacy. By transcending libretto-focused analyses, and contextualising Henze’s compositional choices, the article contributes to a deeper understanding of his hybrid musical language and the broader aesthetics of twentieth-century opera
„Von Film zu Film eine andere Aufgabe“: Hans Werner Henzes Filmmusik
No full textAn evening discussion between Henze's companions and researchers, with questions from the audience, rounded off the symposium. Moderated by Antje Tumat (Paderborn), the discussion, transcribed here, featured Gastón Fournier-Facio (Rome), who worked with Henze to establish the Cantiére Montepulciano, Michael Kerstan (Nuremberg), director, current managing director of the Henze Foundation and Henze's companion until the end of his life, Simon Obert, curator of the Hans Werner Henze Collection at the Paul Sacher Foundation in Basel, and Peter Petersen (Hamburg) as representative of early musicological research on Henze. The contemporary accounts covered topics such as personal experiences with Henze, performances, the atmosphere during the establishment of the Cantiére, the size and structure of the Hans Werner Henze Collection at the Paul Sacher Foundation, the cataloguing of Henze's private library in Detmold, and current desiderata in Henze research.As far as we know, Hans Werner Henze wrote music for ten feature films and one short film, as well as creating the title music for a television series and a live improvisation for a silent film. His collaborations with Alain Resnais and Volker Schlöndorff are the most notable, while some of the other films are relatively unknown and difficult to access. All of the films can be categorised as European auteur films. This article presents some tendencies of the corpus, including the often reduced quantity of music and the individuality of its conception, which is strongly oriented towards the aesthetics of the respective film. The lesser-known television film Concierto barroco (1982) by José Montes-Baquer, an adaptation of a novella by Alejo Carpentier, demonstrates Henze’s approach to historical repertoires. Henze’s pastiche of Baroque music is presented as a diegetic concert piece in this film, which can be viewed as a postmodern fantasy about the Baroque era
