Hanover or Hannover is the capital and largest city of the German state of Lower Saxony. Its 535,061 inhabitants make it the thirteenth-largest city of Germany, as well as the third-largest city of Northern Germany after Hamburg and Bremen; the city lies at the confluence of the River Leine and its tributary Ihme, in the south of the North German Plain, is the largest city of the Hannover–Braunschweig–Göttingen–Wolfsburg Metropolitan Region. It is the fifth-largest city in the Low German dialect area after Hamburg, Dortmund and Bremen. Before it became the capital of Lower Saxony in 1946, Hanover was the capital of the Principality of Calenberg, the Electorate of Brunswick-Lüneburg, the Kingdom of Hanover, the Province of Hanover of the Kingdom of Prussia, the Province of Hanover of the Free State of Prussia, of the State of Hanover. From 1714 to 1837, Hanover was by personal union the family seat of the Hanoverian Kings of the United Kingdom of Great Britain and Ireland, under their title of the dukes of Brunswick-Lüneburg.
The city is a major crossing point of railway lines and highways, connecting European main lines in both the east-west and north-south directions. Hannover Airport lies north of the city, in Langenhagen, is Germany's ninth-busiest airport; the city's most notable institutions of higher education are the Hannover Medical School with its university hospital, the University of Hanover. The Hanover fairground, due to numerous extensions for the Expo 2000, is the largest in the world. Hanover hosts annual commercial trade fairs such as the Hanover Fair and up to 2018 the CeBIT; the IAA Commercial Vehicles show takes place every two years. It is the world's leading trade show for transport and mobility; every year Hanover hosts the Schützenfest Hannover, the world's largest marksmen's festival, the Oktoberfest Hannover. "Hanover" is the traditional English spelling. The German spelling is becoming more popular in English; the English pronunciation, with stress on the first syllable, is applied to both the German and English spellings, different from German pronunciation, with stress on the second syllable and a long second vowel.
The traditional English spelling is still used in historical contexts when referring to the British House of Hanover. Hanover was founded in medieval times on the east bank of the River Leine, its original name Honovere may mean "high bank". Hanover was a small village of ferrymen and fishermen that became a comparatively large town in the 13th century, receiving town privileges in 1241, due to its position at a natural crossroads; as overland travel was difficult, its position on the upper navigable reaches of the river helped it to grow by increasing trade. It was connected to the Hanseatic League city of Bremen by the Leine, was situated near the southern edge of the wide North German Plain and north-west of the Harz mountains, so that east-west traffic such as mule trains passed through it. Hanover was thus a gateway to the Rhine and Saar river valleys, their industrial areas which grew up to the southwest and the plains regions to the east and north, for overland traffic skirting the Harz between the Low Countries and Saxony or Thuringia.
In the 14th century the main churches of Hanover were built, as well as a city wall with three city gates. The beginning of industrialization in Germany led to trade in iron and silver from the northern Harz Mountains, which increased the city's importance. In 1636 George, Duke of Brunswick-Lüneburg, ruler of the Brunswick-Lüneburg principality of Calenberg, moved his residence to Hanover; the Dukes of Brunswick-Lüneburg was elevated by the Holy Roman Emperor to the rank of Prince-Elector in 1692, this elevation was confirmed by the Imperial Diet in 1708. Thus the principality was upgraded to the Electorate of Brunswick-Lüneburg, colloquially known as the Electorate of Hanover after Calenberg's capital, its Electors become monarchs of Great Britain. The first of these was George I Louis, who acceded to the British throne in 1714; the last British monarch who reigned in Hanover was William IV. Semi-Salic law, which required succession by the male line if possible, forbade the accession of Queen Victoria in Hanover.
As a male-line descendant of George I, Queen Victoria was herself a member of the House of Hanover. Her descendants, bore her husband's titular name of Saxe-Coburg-Gotha. Three kings of Great Britain, or the United Kingdom, were concurrently Electoral Princes of Hanover. During the time of the personal union of the crowns of the United Kingdom and Hanover, the monarchs visited the city. In fact, during the reigns of the final three joint rulers, there was only one short visit, by George IV in 1821. From 1816 to 1837 Viceroy Adolphus represented the monarch in Hanover. During the Seven Years' War, the Battle of Hastenbeck was fought near the city on 26 July 1757; the French army defeated the Hanoverian Army of Observation, leading to the city's occupation as part of the Invasion of Hanover. It was recaptured by Anglo-German forces led by Ferdinand of Brunswick the following year. After Napoleon imposed the Conv
An orchestra is a large instrumental ensemble typical of classical music, which combines instruments from different families, including bowed string instruments such as the violin, viola and double bass, brass instruments such as the horn, trumpet and tuba, woodwinds such as the flute, oboe and bassoon, percussion instruments such as the timpani, bass drum, snare drum and cymbals, each grouped in sections. Other instruments such as the piano and celesta may sometimes appear in a fifth keyboard section or may stand alone, as may the concert harp and, for performances of some modern compositions, electronic instruments. A full-size orchestra may sometimes be called philharmonic orchestra; the actual number of musicians employed in a given performance may vary from seventy to over one hundred musicians, depending on the work being played and the size of the venue. The term chamber orchestra refers to smaller-sized ensembles of about fifty musicians or fewer. Orchestras that specialize in the Baroque music of, for example, Johann Sebastian Bach and George Frideric Handel, or Classical repertoire, such as that of Haydn and Mozart, tend to be smaller than orchestras performing a Romantic music repertoire, such as the symphonies of Johannes Brahms.
The typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras called for in the works of Richard Wagner, Gustav Mahler. Orchestras are led by a conductor who directs the performance with movements of the hands and arms made easier for the musicians to see by use of a conductor's baton; the conductor sets the tempo and shapes the sound of the ensemble. The conductor prepares the orchestra by leading rehearsals before the public concert, in which the conductor provides instructions to the musicians on their interpretation of the music being performed; the leader of the first violin section called the concertmaster plays an important role in leading the musicians. In the Baroque music era, orchestras were led by the concertmaster or by a chord-playing musician performing the basso continuo parts on a harpsichord or pipe organ, a tradition that some 20th century and 21st century early music ensembles continue. Orchestras play a wide range of repertoire, including symphonies and ballet overtures, concertos for solo instruments, as pit ensembles for operas and some types of musical theatre.
Amateur orchestras include those made up of students from an elementary school or a high school, youth orchestras, community orchestras. The term orchestra derives from the Greek ὀρχήστρα, the name for the area in front of a stage in ancient Greek theatre reserved for the Greek chorus; the typical symphony orchestra consists of four groups of related musical instruments called the woodwinds, brass and strings. Other instruments such as the piano and celesta may sometimes be grouped into a fifth section such as a keyboard section or may stand alone, as may the concert harp and electric and electronic instruments; the orchestra, depending on the size, contains all of the standard instruments in each group. In the history of the orchestra, its instrumentation has been expanded over time agreed to have been standardized by the classical period and Ludwig van Beethoven's influence on the classical model. In the 20th and 21st century, new repertory demands expanded the instrumentation of the orchestra, resulting in a flexible use of the classical-model instruments and newly developed electric and electronic instruments in various combinations.
The terms symphony orchestra and philharmonic orchestra may be used to distinguish different ensembles from the same locality, such as the London Symphony Orchestra and the London Philharmonic Orchestra. A symphony orchestra will have over eighty musicians on its roster, in some cases over a hundred, but the actual number of musicians employed in a particular performance may vary according to the work being played and the size of the venue. Chamber orchestra refers to smaller-sized ensembles; the term concert orchestra may be used, as in the BBC Concert Orchestra and the RTÉ Concert Orchestra. The so-called "standard complement" of doubled winds and brass in the orchestra from the first half of the 19th century is attributed to the forces called for by Beethoven; the composer's instrumentation always included paired flutes, clarinets, bassoons and trumpets. The exceptions to this are his Symphony No. 4, Violin Concerto, Piano Concerto No. 4, which each specify a single flute. Beethoven calculated the expansion of this particular timbral "palette" in Symphonies 3, 5, 6, 9 for an innovative effect.
The third horn in the "Eroica" Symphony arrives to provide not only some harmonic flexibility, but the effect of "choral" brass in the Trio movement. Piccolo and trombones add to the triumphal finale of his Symphony No. 5. A piccolo and a pair of trombones help deliver the effect of storm and sunshine in the Sixth known as the Pastoral Symphony; the Ninth asks for a second pair of horns, for reasons similar to the "Eroica".
A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player's lips. Brass instruments are called labrosones meaning "lip-vibrated instruments". There are several factors involved in producing different pitches on a brass instrument. Slides, crooks, or keys are used to change vibratory length of tubing, thus changing the available harmonic series, while the player's embouchure, lip tension and air flow serve to select the specific harmonic produced from the available series; the view of most scholars is that the term "brass instrument" should be defined by the way the sound is made, as above, not by whether the instrument is made of brass. Thus one finds brass instruments made of wood, like the alphorn, the cornett, the serpent and the didgeridoo, while some woodwind instruments are made of brass, like the saxophone. Modern brass instruments come in one of two families: Valved brass instruments use a set of valves operated by the player's fingers that introduce additional tubing, or crooks, into the instrument, changing its overall length.
This family includes all of the modern brass instruments except the trombone: the trumpet, horn and tuba, as well as the cornet, tenor horn, baritone horn and the mellophone. As valved instruments are predominant among the brasses today, a more thorough discussion of their workings can be found below; the valves are piston valves, but can be rotary valves. Slide brass instruments use a slide to change the length of tubing; the main instruments in this category are the trombone family, though valve trombones are used in jazz. The trombone family's ancestor, the sackbut, the folk instrument bazooka are in the slide family. There are two other families that have, in general, become functionally obsolete for practical purposes. Instruments of both types, are sometimes used for period-instrument performances of Baroque or Classical pieces. In more modern compositions, they are used for their intonation or tone color. Natural brass instruments only play notes in the instrument's harmonic series; these include older variants of the trumpet and horn.
The trumpet was a natural brass instrument prior to about 1795, the horn before about 1820. In the 18th century, makers developed interchangeable crooks of different lengths, which let players use a single instrument in more than one key. Natural instruments are still played for period performances and some ceremonial functions, are found in more modern scores, such as those by Richard Wagner and Richard Strauss. Keyed or Fingered brass instruments used holes along the body of the instrument, which were covered by fingers or by finger-operated pads in a similar way to a woodwind instrument; these included the cornett, ophicleide, keyed bugle and keyed trumpet. They are more difficult to play than valved instruments. Brass instruments may be characterised by two generalizations about geometry of the bore, that is, the tubing between the mouthpiece and the flaring of the tubing into the bell; those two generalizations are with regard to the degree of taper or conicity of the bore and the diameter of the bore with respect to its length.
While all modern valved and slide brass instruments consist in part of conical and in part of cylindrical tubing, they are divided as follows: Cylindrical bore brass instruments are those in which constant diameter tubing predominates. Cylindrical bore brass instruments are perceived as having a brighter, more penetrating tone quality compared to conical bore brass instruments; the trumpet, all trombones are cylindrical bore. In particular, the slide design of the trombone necessitates this. Conical bore brass instruments are those in which tubing of increasing diameter predominates. Conical bore instruments are perceived as having a more mellow tone quality than the cylindrical bore brass instruments; the "British brass band" group of instruments fall into this category. This includes the flugelhorn, tenor horn, baritone horn, horn and tuba; some conical bore. For example, the flugelhorn differs from the cornet by having a higher percentage of its tubing length conical than does the cornet, in addition to possessing a wider bore than the cornet.
In the 1910s and 1920s, the E. A. Couturier company built brass band instruments utilizing a patent for a continuous conical bore without cylindrical portions for the valves or tuning slide; the second division, based on bore diameter in relation to length, determines whether the fundamental tone or the first overtone is the lowest partial available to the player: Whole-tube instruments have larger bores in relation to tubing length, can play the fundamental tone with ease and precision. The tuba and euphonium are examples of whole-tube brass instruments. Half-tube instruments have smaller bores in relation to tubing length and cannot or play the fundamental tone; the second partial is the lowest note of each tubing length practical to play on half-tube instruments. The trumpet and horn are examples of half-tube brass instruments. For half tube instruments the'fundamental', although half the frequency of the second harmonic, is in fact a pedal note rather than a true fundamental The instruments in this list fall for vario
Chamber music is a form of classical music, composed for a small group of instruments—traditionally a group that could fit in a palace chamber or a large room. Most broadly, it includes any art music, performed by a small number of performers, with one performer to a part. However, by convention, it does not include solo instrument performances; because of its intimate nature, chamber music has been described as "the music of friends". For more than 100 years, chamber music was played by amateur musicians in their homes, today, when chamber music performance has migrated from the home to the concert hall, many musicians and professional, still play chamber music for their own pleasure. Playing chamber music requires special skills, both musical and social, that differ from the skills required for playing solo or symphonic works. Johann Wolfgang von Goethe described chamber music as "four rational people conversing"; this conversational paradigm–which refers to the way one instrument introduces a melody or motif and other instruments subsequently "respond" with a similar motif–has been a thread woven through the history of chamber music composition from the end of the 18th century to the present.
The analogy to conversation recurs in analyses of chamber music compositions. From its earliest beginnings in the Medieval period to the present, chamber music has been a reflection of the changes in the technology and the society that produced it. During the Middle Ages and the early Renaissance, instruments were used as accompaniment for singers. String players would play along with the melody line sung by the singer. There were purely instrumental ensembles of stringed precursors of the violin family, called consorts; some analysts consider the origin of classical instrumental ensembles to be the sonata da camera and the sonata da chiesa. These were compositions for one to five or more instruments; the sonata da camera was a suite of fast movements, interspersed with dance tunes. These forms developed into the trio sonata of the Baroque – two treble instruments and a bass instrument with a keyboard or other chording instrument filling in the harmony. Both the bass instrument and the chordal instrument would play the basso continuo part.
During the Baroque period, chamber music as a genre was not defined. Works could be played on any variety of instruments, in orchestral or chamber ensembles; the Art of Fugue by Johann Sebastian Bach, for example, can be played on a keyboard instrument or by a string quartet or a string orchestra. The instrumentation of trio sonatas was often flexibly specified. Sometimes composers mixed movements for chamber ensembles with orchestral movements. Telemann's'Tafelmusik', for example, has five sets of movements for various combinations of instruments, ending with a full orchestral section. Baroque chamber music was contrapuntal; because each instrument was playing the same melodies, all the instruments were equal. In the trio sonata, there is no ascendent or solo instrument, but all three instruments share equal importance; the harmonic role played by the keyboard or other chording instrument was subsidiary, the keyboard part was not written out. In the second half of the 18th century, tastes began to change: many composers preferred a new, lighter Galant style, with "thinner texture... and defined melody and bass" to the complexities of counterpoint.
Now a new custom arose. Patrons invited street musicians to play evening concerts below the balconies of their homes, their friends and their lovers. Patrons and musicians commissioned composers to write suitable suites of dances and tunes, for groups of two to five or six players; these works were called serenades, divertimenti, or cassations. The young Joseph Haydn was commissioned to write several of these. Joseph Haydn is credited with creating the modern form of chamber music as we know it. In 83 string quartets, 45 piano trios, numerous string trios and wind ensembles, Haydn established the conversational style of composition and the overall form, to dominate the world of chamber music for the next two centuries. An example of the conversational mode of composition is Haydn's string quartet Op. 20, No. 4 in D major. In the first movement, after a statement of the main theme by all the instruments, the first violin breaks into a triplet figure, supported by the second violin and cello; the cello answers with its own triplet figure the viola, while the other instruments play a secondary theme against this movement.
Unlike counterpoint, where each part plays the same melodic role as the others, here each instrument contributes its own character, its own comment on the music as it develops. Haydn settled on an overall form for his chamber music compositions, which would become the standard, with slight varia
Cologne is the largest city of Germany's most populous federal state of North Rhine-Westphalia, its 1 million+ inhabitants make it the fourth most populous city in Germany after Berlin and Munich. The largest city on the Rhine, it is the most populous city both of the Rhine-Ruhr Metropolitan Region, Germany's largest and one of Europe's major metropolitan areas, of the Rhineland. Centred on the left bank of the Rhine, Cologne is about 45 kilometres southeast of North Rhine-Westphalia's capital of Düsseldorf and 25 kilometres northwest of Bonn, it is the largest city in the Central Ripuarian dialect areas. The city's famous Cologne Cathedral is the seat of the Catholic Archbishop of Cologne. There are many institutions of higher education in the city, most notably the University of Cologne, one of Europe's oldest and largest universities, the Technical University of Cologne, Germany's largest university of applied sciences, the German Sport University Cologne, Germany's only sport university.
Cologne Bonn Airport lies in the southeast of the city. The main airport for the Rhine-Ruhr region is Düsseldorf Airport. Cologne was founded and established in Ubii territory in the 1st century AD as the Roman Colonia Claudia Ara Agrippinensium, the first word of, the origin of its name. An alternative Latin name of the settlement is Augusta Ubiorum, after the Ubii. "Cologne", the French version of the city's name, has become standard in English as well. The city functioned as the capital of the Roman province of Germania Inferior and as the headquarters of the Roman military in the region until occupied by the Franks in 462. During the Middle Ages it flourished on one of the most important major trade routes between east and west in Europe. Cologne was one of the leading members of the Hanseatic League and one of the largest cities north of the Alps in medieval and Renaissance times. Prior to World War II the city had undergone several occupations by the French and by the British. Cologne was one of the most bombed cities in Germany during World War II, with the Royal Air Force dropping 34,711 long tons of bombs on the city.
The bombing reduced the population by 95% due to evacuation, destroyed the entire city. With the intention of restoring as many historic buildings as possible, the successful postwar rebuilding has resulted in a mixed and unique cityscape. Cologne is a major cultural centre for the Rhineland. Exhibitions range from local ancient Roman archeological sites to contemporary graphics and sculpture; the Cologne Trade Fair hosts a number of trade shows such as Art Cologne, imm Cologne and the Photokina. The first urban settlement on the grounds of modern-day Cologne was Oppidum Ubiorum, founded in 38 BC by the Ubii, a Cisrhenian Germanic tribe. In 50 AD, the Romans founded Colonia Claudia Ara Agrippinensium on the river Rhine and the city became the provincial capital of Germania Inferior in 85 AD. Considerable Roman remains can be found in present-day Cologne near the wharf area, where a 1,900-year-old Roman boat was discovered in late 2007. From 260 to 271 Cologne was the capital of the Gallic Empire under Postumus and Victorinus.
In 310 under emperor Constantine I a bridge was built over the Rhine at Cologne. Roman imperial governors resided in the city and it became one of the most important trade and production centres in the Roman Empire north of the Alps. Cologne is shown on the 4th century Peutinger Map. Maternus, elected as bishop in 313, was the first known bishop of Cologne; the city was the capital of a Roman province until it was occupied by the Ripuarian Franks in 462. Parts of the original Roman sewers are preserved underneath the city, with the new sewerage system having opened in 1890. Early medieval Cologne was part of Austrasia within the Frankish Empire. In 716, Charles Martel commanded an army for the first time and suffered the only defeat of his life when Chilperic II, King of Neustria, invaded Austrasia and the city fell to him in the Battle of Cologne. Charles fled to the Eifel mountains, rallied supporters, took the city back that same year after defeating Chilperic in the Battle of Amblève. Cologne had been the seat of a bishop since the Roman period.
In 843, Cologne became a city within the Treaty of Verdun-created East Francia. In 953, the archbishops of Cologne first gained noteworthy secular power, when bishop Bruno was appointed as duke by his brother Otto I, King of Germany. In order to weaken the secular nobility, who threatened his power, Otto endowed Bruno and his successors on the bishop's see with the prerogatives of secular princes, thus establishing the Electorate of Cologne, formed by the temporal possessions of the archbishopric and included in the end a strip of territory along the left Bank of the Rhine east of Jülich, as well as the Duchy of Westphalia on the other side of the Rhine, beyond Berg and Mark. By the end of the 12th century, the Archbishop of Cologne was one of the seven electors of the Holy Roman Emperor. Besides being prince elector, he was Arch-chancellor of Italy as well, technically from 1238 and permanently from 1263 until 1803. Following the Battle of Worringen in 1288, Cologne gained its independence from the archbishops and became a Free City.
Archbishop Sigfried II von Westerburg was forced to reside in Bonn. The archbishop preserv
Spenge is a town in the district of Herford, in North Rhine-Westphalia, Germany Spenge is situated north of Bielefeld and west of Herford. It borders Lower Saxony in the west. Spenge consists of 5 subdivisions: Bardüttingdorf Hücker-Aschen Lenzinghausen Spenge Wallenbrück 1969–1984: Karl Obermann 1984–1995: Karl-Heinz Wiegelmann 1995–2009: Christian Manz, 2009–today: Bernd Dumcke Lutheran Church of Sankt Martin built in the 13th Century, within the Altar of St. Martin, created around 1470. Marienkirche in Wallenbrück built 1096, to the west of Spenge Mühlenburg Castle built in 1468. Eberhard Werdin and music pedagogue Friedrich-Wilhelm Graefe zu Baringdorf, politician, 1984–1987 and 1989–2009 Member of the European parliament Official site
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012