1.
Virtuoso
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A virtuoso is an individual who possesses outstanding technical ability in a particular art or field such as fine arts, music, singing, playing a musical instrument, or composition. This word also refers to a person who has cultivated appreciation of artistic excellence, the plural form of virtuoso is either virtuosi or the Anglicisation, virtuosos, and the feminine forms are virtuosa and virtuose. According to Music in the Western civilization by Piero Weiss and Richard Taruskin, the defining element of virtuosity is the performance ability of the musician in question, who is capable of displaying feats of skill well above the average performer. Especially in music, both critics and musicians have mixed opinions on virtuosity, while the skill implied is clearly positive, musicians focused on virtuosity have been criticized for overlooking substance and emotion in favor of raw technical prowess. For instance, Ken Jennings initial success on Jeopardy was described as a virtuoso performance, the meaning of virtuoso has its roots in the Italian usage of the 16th and 17th centuries, signifying an honorific term reserved for a person distinguished in any intellectual or artistic field. The term evolved with time, simultaneously broadening and narrowing in scope as interpretations went in and out of fashion, originally a musician was honored the classification by being a composer, theorist or famous maestro, more importantly than being a skilled performer. In the 17th and 18th centuries, the word shifted in meaning, sébastien de Brossard in his Dictionnaire de Musique approached the word virtuoso by its Latin root virtu emphasizing exceptional training, especially in theory. This position was defended in Johann Gottfried Walthers Musicalisches Lexicon favoring the theorist over the performer. Johan Matthensons Der brauchbare Virtuoso maintained the respect for the traditional theoretische Virtuosen, in the late 18th century, people began to use the term to describe a instrumentalist or vocalist who pursued a career as a soloist. The tension about the merit of practical virtuosity started to grow at the time and intensified in the 19th century. Franz Liszt, considered one of the greatest of all virtuosos, declared that virtuosity is not an outgrowth, media related to Musicians at Wikimedia Commons
2.
Hamburg
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Hamburg, officially Freie und Hansestadt Hamburg, is the second largest city in Germany and the eighth largest city in the European Union. It is the second smallest German state by area and its population is over 1.7 million people, and the wider Hamburg Metropolitan Region covers more than 5.1 million inhabitants. The city is situated on the river Elbe, the official long name reflects Hamburgs history as a member of the medieval Hanseatic League, a free imperial city of the Holy Roman Empire, a city-state, and one of the 16 states of Germany. Before the 1871 Unification of Germany, it was a sovereign state. Prior to the changes in 1919, the civic republic was ruled by a class of hereditary grand burghers or Hanseaten. Though repeatedly destroyed by the Great Fire of Hamburg, the floods and military conflicts including WW2 bombing raids, the city managed to recover and emerge wealthier after each catastrophe. On the river Elbe, Hamburg is a port and a global service, media, logistics and industrial hub, with headquarters and facilities of Airbus, Blohm + Voss, Aurubis, Beiersdorf. The radio and television broadcaster NDR, Europes largest printing and publishing firm Gruner + Jahr, Hamburg has been an important financial centre for centuries, and is the seat of Germanys oldest stock exchange and the worlds second oldest bank, Berenberg Bank. The city is a fast expanding tourist destination for domestic and international visitors. It ranked 16th in the world for livability in 2015, the ensemble Speicherstadt and Kontorhausviertel was declared a World Heritage Site by the UNESCO in 2015. Hamburg is a major European science, research and education hub with several universities and institutes and its creative industries and major cultural venues include the renowned Elbphilharmonie and Laeisz concert halls, various art venues, music producers and artists. It is regarded as a haven for artists, gave birth to movements like Hamburger Schule. Hamburg is also known for theatres and a variety of musical shows. St. Paulis Reeperbahn is among the best known European entertainment districts, Hamburg is on the southern point of the Jutland Peninsula, between Continental Europe to the south and Scandinavia to the north, with the North Sea to the west and the Baltic Sea to the north-east. It is on the River Elbe at its confluence with the Alster, the city centre is around the Binnenalster and Außenalster, both formed by damming the River Alster to create lakes. The island of Neuwerk and two neighbouring islands Scharhörn and Nigehörn, in the Hamburg Wadden Sea National Park, are also part of Hamburg. The neighbourhoods of Neuenfelde, Cranz, Francop and Finkenwerder are part of the Altes Land region, neugraben-Fischbek has Hamburgs highest elevation, the Hasselbrack at 116.2 metres AMSL. Hamburg has a climate, influenced by its proximity to the coast
3.
Felix Mendelssohn
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Jakob Ludwig Felix Mendelssohn Bartholdy, born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period. A grandson of the philosopher Moses Mendelssohn, Felix Mendelssohn was born into a prominent Jewish family and he was brought up without religion until the age of seven, when he was baptised as a Reformed Christian. Mendelssohn was recognised early as a prodigy, but his parents were cautious. Mendelssohn enjoyed early success in Germany, where he revived interest in the music of Johann Sebastian Bach. The Leipzig Conservatoire, which he founded, became a bastion of this anti-radical outlook, Mendelssohn wrote symphonies, concerti, oratorios, piano music and chamber music. His Songs Without Words are his most famous solo piano compositions and he is now among the most popular composers of the Romantic era. Mendelssohns father was the banker Abraham Mendelssohn, the son of the German Jewish philosopher Moses Mendelssohn and his mother was Lea Salomon, a member of the Itzig family and a sister of Jakob Salomon Bartholdy. Mendelssohn was the second of four children, his older sister Fanny also displayed exceptional, the family moved to Berlin in 1811, leaving Hamburg in disguise fearing French revenge for the Mendelssohn banks role in breaking Napoleons Continental System blockade. Abraham and Lea Mendelssohn sought to give their children – Fanny, Felix, Paul, Fanny became a well-known pianist and amateur composer, originally Abraham had thought that she, rather than Felix, would be the more musical. However, at time, it was not considered proper, by either Abraham or Felix, for a woman to have a career in music, so Fanny remained an active. Abraham was also disinclined to allow Felix to follow a career until it became clear that he seriously intended to dedicate himself to it. Mendelssohn grew up in an intellectual environment, Sarah Rothenburg wrote of the household that Europe came to their living room. Abraham Mendelssohn renounced the Jewish religion, he and his wife decided not to have Felix circumcised. Felix and his siblings were first brought up without religious education, Abraham and his wife Lea were themselves baptised in 1822, formally adopting the surname Mendelssohn Bartholdy for themselves and their children. The name Bartholdy was added at the suggestion of Leas brother, Jakob Salomon Bartholdy, in 1829, his sister Fanny wrote to him of Bartholdy this name that we all dislike. Like Wolfgang Amadeus Mozart before him, Mendelssohn was regarded as a child prodigy and he began taking piano lessons from his mother when he was six, and at seven was tutored by Marie Bigot in Paris. After the family moved to Berlin, all four Mendelssohn children studied piano with Ludwig Berger, from at least May 1819 Felix studied counterpoint and composition with Carl Friedrich Zelter in Berlin. This was an important influence on his future career, Zelter had almost certainly been recommended as a teacher by his aunt Sarah Levy, who had been a pupil of W. F. Bach and a patron of C. P. E. Bach
4.
Louis Spohr
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Louis Spohr, baptized Ludewig Spohr, later often in the modern German form of the name Ludwig, was a German composer, violinist and conductor. Spohr was the inventor of both the violin chinrest and the orchestral rehearsal mark and his output occupies a pivotal position between Classicism and Romanticism, but fell into obscurity following his death, when his music was rarely heard. The late 20th century saw a revival of interest in his oeuvre, Spohr was born in Braunschweig in the duchy of Brunswick-Wolfenbüttel to Karl Heinrich Spohr and Juliane Ernestine Luise Henke, but in 1786 the family moved to Seesen. Spohrs first musical encouragement came from his parents, his mother was a singer and pianist. A violinist named Dufour gave him his earliest violin teaching, the pupils first attempts at composition date from the early 1790s. Dufour, recognizing the musical talent, persuaded his parents to send him to Brunswick for further instruction. The failure of his first concert tour, a badly planned venture to Hamburg in 1799, a successful concert at the court impressed the duke so much that he engaged the 15-year-old Spohr as a chamber musician. In 1802, through the offices of the duke, he became the pupil of Franz Eck. Eck, who completely retrained Spohr in violin technique, was a product of the Mannheim school, Spohrs first notable compositions, including his Violin Concerto No. After his return home, the duke granted him leave to make a tour of North Germany. A concert in Leipzig in December 1804 brought the music critic Friedrich Rochlitz to his knees, not only because of Spohrs playing. This concert brought the young man overnight fame in the whole German-speaking world, in 1805, Spohr obtained a position as concertmaster at the court of Gotha, where he stayed until 1812. There he met the 18-year-old harpist and pianist Dorette Scheidler, daughter of one of the court singers and they were married on 2 February 1806, and lived happily until Dorettes death 28 years later. They performed successfully together as a violin and harp duo, touring in Italy, England and Paris, in 1808, Spohr practiced with Beethoven at the latters home, working on the Piano Trio, Op.70 No. Spohr wrote that the piano was out of tune and that Beethovens playing was harsh or careless, in 1812, Spohr conducted a concert in the Predigerkirche of the French-occupied Principality of Erfurt to celebrate Napoleons 43rd birthday. In Kassel on 3 January 1836, he married his second wife and she survived him by many years, living until 1892. In 1857 he was pensioned off, much against his own wish, and in the winter of the year he broke his arm. Nevertheless he conducted his opera Jessonda at the anniversary of the Prague Conservatorium in the following year
5.
Moritz Hauptmann
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Moritz Hauptmann, was a German music theorist, teacher and composer. Hauptmann was born in Dresden, and studied violin under Scholz, piano under Franz Lanska, composition under Grosse and he completed his education as a violinist and composer under Louis Spohr, and until 1821 held various appointments in private families. In addition, he studied mathematics and acoustics, Hauptmann was initially employed as an architect before finding success as a musician. Notable in his musical output is a grand tragic opera. He joined the orchestra of Kassel in 1822 under Spohrs direction, there, he first taught composition and music theory. His pupils included Ferdinand David, Friedrich Burgmüller, Friedrich Kiel, Ernst Naumann, Oscar Paul, Isidor Seiss and others. In 1842, Hauptmann became Kantor of the Thomanerchor at St. Thomas Church, in this capacity, his unique gift as a teacher developed and it was readily acknowledged by his enthusiastic and quite-often distinguished pupils. Hauptmanns compositions are marked by symmetry and craftsmanship rather than spontaneous invention and his vocal output include two masses, choral songs for mixed voices and numerous part songs. He was a member and editor of the Bach Gesellschaft edition of the complete works of Bach. His musical philosophy embodied in his book Die Natur der Harmonik und Metrik and his theory is described as Hegelian and he emphasized concepts of unity, opposition, and reunion, which he finds in chords, scales, key relationships, and meter. He conceived of minor and major triads as opposite and this theory influenced harmonic dualists including Hugo Riemann. He also advocated just intonation and considered enharmonic progressions unnatural, in this sense, he could be considered a conservative in relation to the compositional trends of his time. He displayed a taste for classical proportion, formal order, metrical clarity, unlike the Romantic trends of continuous legato, he considered any metrical first to be automatically accented. Moritz Hauptmann, The Letters of a Leipzig Cantor, London, Novello, Ewer and Co.1892 ] Moritz Hauptmann, The nature of harmony and metre. New York, Da Capo Press,1991, Reprint of the ed. London, ] Dale A. Jorgenson, Moritz Hauptmann of Leipzig. Studies in History and Interpretation of Music, Vol.2, lewiston, NY, The Edwin Mellen Press,1986. ISBN 0-88946-427-8 William Mason, Memories of a Musical Life, new York, The Century Company,1902. Attribution This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Hauptmann
6.
Karl Eduard von Liphart
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Baron Karl Eduard von Liphart or Carl Eduard von Liphart was a noted art expert and collector from Estonia. The family manor was near Dorpat, Liphart was born in Kambja Parish in Tartu County in 1808. He was one of the three children of Carl Gotthard von Lindhardt and Annette von Loewenwolde and he came from a noble family based at Raadi Manor who were members of the Estonian intelligentsia and owned a significant art collection. In 1853 Liphart was the founding President of the Estonian Naturalists Society, the society still operates and claims to be the oldest scientific society in the Baltic states. In 1862 Liphart moved to Florence because of the health of his son. However, in Florence he was able to add to his expertise and he was financed and supported by Grand Duchess Maria Nikolaevna, the daughter of Tsar Nicholas I. The bas-relief of St Jerome by Desiderio da Settignano now in the National Gallery of Art, Liphart became an acknowledged expert on the history of art. In 1867, following a theory put forward by Gustav Waagen, in 1871 he realised that another painting in the Uffizi was by the seventeenth century artist Hercules Seghers. It was Liphart and his friend the Director of the Berlin State Museums, Wilhelm von Bode and he died in Florence in 1891. After his death his art collection was moved to Estonia where it was combined with his familys collection at Raadi Manor, Liphart wrote numerous articles and published brief notes, but never published a book-length monograph. He corresponded with all the art historians of his time, in Europe, Great Britain. Lipharts son, Ernst Friedrich von Liphart, was disinherited by his father in 1873 for converting to marry a Roman Catholic, however his son was an accomplished artist, painting portraits including one of Tsar Nicholas II. He went on to be a curator of the Hermitage Museum, the graphic art that was collected by the Liphart family came into the possession of Tartu University in the 1920s. The university still conserves the collection includes examples of Japanese art as well as noted European printmakers like Albrecht Dürer
7.
Tartu
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Tartu is the second largest city of Estonia, following Estonias political and financial capital Tallinn. Tartu is often considered the centre of the country, especially since it is home to the nations oldest and most renowned university. The city also houses the Supreme Court of Estonia, the Ministry of Education and Research and it is the birthplace of Estonian Song Festivals. Situated 186 kilometres southeast of Tallinn and 245 kilometres northeast of Riga, Tartu lies on the Emajõgi, the city is served by Tartu Airport. Since 1918 the Estonian name Tartu has been used, but as the town has come under control of rulers throughout its history. Most of them derive ultimately from the earliest attested form, the Estonian Tarbatu, in German, Swedish and Polish the town has been known and is sometimes still referred to as Dorpat, a variant of Tarbatu. In Russian, the city has known as Юрьев and as Дерпт. Similarly, the city has known as Tērbata in Latvian. Archaeological evidence of the first permanent settlement on the site of modern Tartu dates to as early as the 5th century AD, by the 7th century, local inhabitants had built a wooden fortification on the east side of Toome Hill. The first documented record of the area was made in 1030 by chroniclers of Kievan Rus, yaroslav I the Wise, Prince of Kiev, invaded the region that year, built his own fort there, and named it Yuryev. Kievan Rus again controlled Tartu from 1133 for an unknown period, in the 12th century Tartu was the most notable Slavic settlement in Chud territory. His views have been criticized by historian Ain Mäesalu, subsequently, known as Dorpat, Tartu became a commercial centre of considerable importance during the later Middle Ages and the capital of the semi-independent Bishopric of Dorpat. In 1262 the army of Prince Dmitri of Pereslavl, son of Alexander Nevsky launched an assault on Dorpat and his troops did not manage to capture the bishops fortress on Toome Hill. In medieval times, after the Livonian Order was subsumed into the Teutonic Knights in 1236, in the 1280s Dorpat joined the Hanseatic League. For example, the hall of Dorpat was designed by an architect from Rostock in Mecklenburg, while the university buildings were designed by Johann Wilhelm Krause. Most Germans left during the first half of the 20th century, in particular as part of the Heim ins Reich program of the Nazis, in 1558 the forces of Muscovy led by tsar Ivan the Terrible invaded the region in what became known as the Livonian War. Dorpat was captured without a fight and the bishop was imprisoned in Moscow. In the effect of the Truce of Jam Zapolski of 1582 the city along with southern regions of Livonian Confederation became part of the Polish–Lithuanian Commonwealth, in 1598 it became the capital of the Dorpat Voivodeship of the Duchy of Livonia
8.
Riga
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Riga is the capital and the largest city of Latvia. With 696,593 inhabitants, Riga is the largest city in the Baltic states, the city lies on the Gulf of Riga, at the mouth of the Daugava. Rigas territory covers 307.17 square kilometres and lies one and ten metres above sea level, on a flat and sandy plain. Riga was founded in 1201 and is a former Hanseatic League member, Rigas historical centre is a UNESCO World Heritage Site, noted for its Art Nouveau/Jugendstil architecture and 19th century wooden architecture. Riga was the European Capital of Culture during 2014, along with Umeå in Sweden, Riga hosted the 2006 NATO Summit, the Eurovision Song Contest 2003, and the 2006 IIHF Mens World Ice Hockey Championships. It is home to the European Unions office of European Regulators for Electronic Communications, Riga is served by Riga International Airport, the largest airport in the Baltic states. Riga is a member of Eurocities, the Union of the Baltic Cities, another theory could be that Riga was named after Riege, the German name for the River Rīdzene, a tributary of the Daugava. The river Daugava has been a trade route since antiquity, part of the Vikings Dvina-Dnieper navigation route to Byzantium. A sheltered natural harbour 15 km upriver from the mouth of the Daugava — the site of todays Riga — has been recorded, as Duna Urbs and it was settled by the Livs, an ancient Finnic tribe. Riga began to develop as a centre of Viking trade during the early Middle Ages, Rigas inhabitants occupied themselves mainly with fishing, animal husbandry, and trading, later developing crafts. German traders began visiting Riga, establishing a nearby outpost in 1158, along with German traders also arrived the monk Meinhard of Segeberg to convert the Livonian pagans to Christianity. Catholic and Orthodox Christianity had already arrived in Latvia more than a century earlier, Meinhard settled among the Livs, building a castle and church at Ikšķile, upstream from Riga, and established his bishopric there. The Livs, however, continued to practice paganism and Meinhard died in Ikšķile in 1196, in 1198, the Bishop Berthold arrived with a contingent of crusaders and commenced a campaign of forced Christianization. Berthold was killed soon afterwards and his forces defeated, pope Innocent III issued a bull declaring a crusade against the Livonians. Bishop Albert was proclaimed Bishop of Livonia by his uncle Hartwig of Uthlede, Prince-Archbishop of Bremen, Albert landed in Riga in 1200 with 23 ships and 500 Westphalian crusaders. In 1201, he transferred the seat of the Livonian bishopric from Ikšķile to Riga, the year 1201 also marked the first arrival of German merchants in Novgorod, via the Dvina. To defend territory and trade, Albert established the Order of Livonian Brothers of the Sword in 1202, open to nobles, in 1207, Albert started on fortification of the town. Emperor Philip invested Albert with Livonia as a fief and principality of the Holy Roman Empire, until then, it had been customary for crusaders to serve for a year and then return home
9.
Saint Petersburg
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Saint Petersburg is Russias second-largest city after Moscow, with five million inhabitants in 2012, and an important Russian port on the Baltic Sea. It is politically incorporated as a federal subject, situated on the Neva River, at the head of the Gulf of Finland on the Baltic Sea, it was founded by Tsar Peter the Great on May 271703. In 1914, the name was changed from Saint Petersburg to Petrograd, in 1924 to Leningrad, between 1713 and 1728 and 1732–1918, Saint Petersburg was the capital of imperial Russia. In 1918, the government bodies moved to Moscow. Saint Petersburg is one of the cities of Russia, as well as its cultural capital. The Historic Centre of Saint Petersburg and Related Groups of Monuments constitute a UNESCO World Heritage Site, Saint Petersburg is home to The Hermitage, one of the largest art museums in the world. A large number of consulates, international corporations, banks. Swedish colonists built Nyenskans, a fortress, at the mouth of the Neva River in 1611, in a then called Ingermanland. A small town called Nyen grew up around it, Peter the Great was interested in seafaring and maritime affairs, and he intended to have Russia gain a seaport in order to be able to trade with other maritime nations. He needed a better seaport than Arkhangelsk, which was on the White Sea to the north, on May 1703121703, during the Great Northern War, Peter the Great captured Nyenskans, and soon replaced the fortress. On May 271703, closer to the estuary 5 km inland from the gulf), on Zayachy Island, he laid down the Peter and Paul Fortress, which became the first brick and stone building of the new city. The city was built by conscripted peasants from all over Russia, tens of thousands of serfs died building the city. Later, the city became the centre of the Saint Petersburg Governorate, Peter moved the capital from Moscow to Saint Petersburg in 1712,9 years before the Treaty of Nystad of 1721 ended the war, he referred to Saint Petersburg as the capital as early as 1704. During its first few years, the city developed around Trinity Square on the bank of the Neva, near the Peter. However, Saint Petersburg soon started to be built out according to a plan, by 1716 the Swiss Italian Domenico Trezzini had elaborated a project whereby the city centre would be located on Vasilyevsky Island and shaped by a rectangular grid of canals. The project was not completed, but is evident in the layout of the streets, in 1716, Peter the Great appointed French Jean-Baptiste Alexandre Le Blond as the chief architect of Saint Petersburg. In 1724 the Academy of Sciences, University and Academic Gymnasium were established in Saint Petersburg by Peter the Great, in 1725, Peter died at the age of fifty-two. His endeavours to modernize Russia had met opposition from the Russian nobility—resulting in several attempts on his life
10.
Concertmaster
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The Concertmaster is the second-most significant person in an orchestra, symphonic band or other musical ensemble after the conductor or director. Another common term in the U. S. is First Chair, in the U. K. the term commonly used is leader. In an orchestra, the concertmaster is the leader of the first violin section, there is another violin section, the second violins, led by the principal second violin. Any violin solo in a work is played by the concertmaster. The concertmaster sits to the left, closest to the audience, in what is called the first chair. The concertmaster makes decisions regarding bowing and other details of violin playing for the violins. He or she leads the orchestra in tuning before concerts and rehearsals, leading the orchestral tuning is not just a mere formality, if the concertmaster believes that a section is not adequately tuned, he or she will signal to the oboe player to play another A. Several larger orchestras have one or more assistant concertmasters, who lead the orchestra in the concertmasters absence, the concertmaster, along with the conductor and section principals, will normally participate in the auditions of important musicians in the orchestra. The concertmaster in a concert band is the principal clarinet, oboe, flute or saxophone. The first-chair clarinet concertmaster will, in practice, play all solos for their instrument. Often the lead flautist will receive similar responsibilities to the concertmaster, depending on several factors such as age, skill. The concertmaster will, in orchestral and wind band settings, also coordinate with other principals and section leaders, in most cases being their senior in terms of group pecking order. In brass bands, the role of concertmaster is often filled by the solo cornet or trumpet. The duties and tasks of the concertmaster are myriad, primarily, he or she acts as the conduit between conductor and orchestra and is accountable to both parties. One of the tasks of the concertmaster is to provide bowings for the 1st violins prior to rehearsal. This entails a great knowledge of playing styles in addition to complete idiomatic understanding of the mechanics of string playing. Ensemble cohesion emanates directly from the contact and connection between these vital front desk positions, the concertmaster assumes responsibility for the tone and execution of the entire section of 1st violins, in addition to performing any solo passages that occur in a given piece. Another primary duty of the concertmaster is to translate instructions from the conductor into specific technical language for the strings, full-time professional orchestras work with several conductors through the course of a regular season
11.
Gewandhaus
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Gewandhaus is a concert hall in Leipzig, Germany, the home of the Leipzig Gewandhaus Orchestra. Todays hall is the third to bear this name, like the second, the first concert hall was constructed in 1781 by architect Johann Carl Friedrich Dauthe inside the Gewandhaus, a building used by cloth merchants. The second Gewandhaus was designed by Martin Gropius and it opened on 11 December 1884, and had a main concert hall and a chamber music hall. It was destroyed in the fire-bombings of World War II between 1943 and 1944, the third Gewandhaus on Augustusplatz opened on 8 October 1981, two hundred years after the Leipzig Gewandhaus Orchestra moved into the original hall. The hall contains an organ, Schuke, Potsdam IV-92-6638. List of concert halls Leo Beranek, Concert Halls and Opera Houses, Musics, Acoustics, history of the Gewandhaus from the official site
12.
Leipzig
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Leipzig is the largest city in the federal state of Saxony, Germany. With a population of 570,087 inhabitants it is Germanys tenth most populous city, Leipzig is located about 160 kilometres southwest of Berlin at the confluence of the White Elster, Pleisse, and Parthe rivers at the southern end of the North German Plain. Leipzig has been a city since at least the time of the Holy Roman Empire. The city sits at the intersection of the Via Regia and Via Imperii, Leipzig was once one of the major European centers of learning and culture in fields such as music and publishing. Leipzig became an urban center within the German Democratic Republic after the Second World War. Leipzig later played a significant role in instigating the fall of communism in Eastern Europe, through events which took place in, Leipzig today is an economic center and the most livable city in Germany, according to the GfK marketing research institution. Since the opening of the Leipzig City Tunnel in 2013, Leipzig forms the centerpiece of the S-Bahn Mitteldeutschland public transit system, Leipzig is currently listed as Gamma World City and Germanys Boomtown. Outside of Leipzig the Neuseenland district forms a lake area of approximately 300 square kilometres. Leipzig is derived from the Slavic word Lipsk, which means settlement where the linden trees stand, an older spelling of the name in English is Leipsic. The Latin name Lipsia was also used, the name is cognate with Lipetsk in Russia and Liepāja in Latvia. In 1937 the Nazi government officially renamed the city Reichsmessestadt Leipzig, the common usage of this nickname for Leipzig up until the present is reflected, for example, in the name of a popular blog for local arts and culture, Heldenstadt. de. Leipzig was first documented in 1015 in the chronicles of Bishop Thietmar of Merseburg as urbs Libzi and endowed with city, Leipzig Trade Fair, started in the Middle Ages, became an event of international importance and is the oldest remaining trade fair in the world. During the Thirty Years War, two battles took place in Breitenfeld, about 8 kilometres outside Leipzig city walls, the first Battle of Breitenfeld took place in 1631 and the second in 1642. Both battles resulted in victories for the Swedish-led side, on 24 December 1701, an oil-fueled street lighting system was introduced. The city employed light guards who had to follow a schedule to ensure the punctual lighting of the 700 lanterns. The Leipzig region was the arena of the 1813 Battle of Leipzig between Napoleonic France and a coalition of Prussia, Russia, Austria and Sweden. It was the largest battle in Europe prior to the First World War, in 1913 the Monument to the Battle of the Nations celebrating the centenary of this event was completed. The railway station has two entrance halls, the eastern one for the Royal Saxon State Railways and the western one for the Prussian state railways
13.
Violin Concerto (Mendelssohn)
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Felix Mendelssohns Violin Concerto in E minor, Op.64, is his last large orchestral work. It forms an important part of the repertoire and is one of the most popular. A typical performance lasts just under half an hour, Mendelssohn originally proposed the idea of the violin concerto to Ferdinand David, a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra. Although conceived in 1838, the work another six years to complete and was not premiered until 1845. During this time, Mendelssohn maintained a correspondence with David. The work itself was one of the foremost violin concertos of the Romantic era and was influential on other composers. The concerto was received and soon became regarded as one of the greatest violin concertos of all time. Many professional violinists have recorded the concerto and the work is performed in concerts. This work was rediscovered and first recorded in 1951 by Yehudi Menuhin, Following his appointment in 1835 to principal conductor of the Leipzig Gewandhaus Orchestra, Mendelssohn named his childhood friend Ferdinand David as the orchestras concertmaster. The works origins derive from this professional collaboration, in a letter dated 30 July 1838, Mendelssohn wrote to David, I should like to write a violin concerto for you next winter. One in E minor runs through my head, the beginning of which gives me no peace, the concerto took another six years to complete. There are many reasons for the delay, including self-doubt, his third symphony. Nevertheless, Mendelssohn and David kept up a correspondence during this time. Indeed, this concerto was the first of many to have been composed with the input of a professional violinist. The autographed score is dated 16 September 1844, but Mendelssohn was still seeking advice from David until its premiere, the concerto was first performed in Leipzig on 13 March 1845 with Ferdinand David as soloist. Mendelssohn was unable to due to illness and the premiere was conducted by the Danish composer Niels Gade. Mendelssohn first conducted the concerto on 23 October 1845 again with Ferdinand David as soloist. The work is scored for violin and a standard orchestra of its period
14.
Klosters
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Klosters is a town in the Prättigau/Davos Region in the Swiss canton of Graubünden. Together with neighbouring Serneus, the two form the municipality of Klosters-Serneus. Its ski resort lies 150 km from Zurich, the nearest international airport, transfer time is about 1.5 hours. Klosters is 10 km from Davos and it is a popular ski location and the slopes are easily accessible via a large cable car. Klosters-Serneus is first mentioned in 1222 as ecclesiam sancti Iacobi, in 1436 it was mentioned as zuo dem Closter. Klosters-Serneus has an area, as of 2006, of 193.2 km2, of this area,25. 3% is used for agricultural purposes, while 18. 9% is forested. Of the rest of the land,1. 3% is settled, before 2017, the municipality was located in and is the only municipality in Klosters sub-district of the Prättigau/Davos district, after 2017 it was part of the Prättigau/Davos Region. It was created in 1865 through the merger of the independent municipalities of Serneus. Until 1973 Klosters-Serneus was known as Klosters and it is the last and uppermost village in the Prättigau valley. It consists of the villages of Klosters and Serneus and is made up of the sections of Platz, Dorf, Selfranga, Äuja, as of 2008,17. 2% of the population was made up of foreign nationals. Over the last 10 years the population has decreased at a rate of -2. 8%, most of the population speaks German, with Portuguese being second most common and Serbo-Croatian being third. As of 2000, the distribution of the population was 48. 9% male and 51. 1% female. The age distribution, as of 2000, in Klosters-Serneus is,423 children or 10. 9% of the population are between 0 and 9 years old and 398 teenagers or 10. 2% are between 10 and 19. Of the adult population,518 people or 13. 3% of the population are between 20 and 29 years old. 588 people or 15. 1% are between 30 and 39,552 people or 14. 2% are between 40 and 49, and 540 people or 13. 9% are between 50 and 59. In the 2007 federal election the most popular party was the SVP which received 46. 5% of the vote, the next three most popular parties were the FDP, the SP and the CVP. In Klosters-Serneus about 76. 4% of the population have completed either non-mandatory upper secondary education or additional higher education, Klosters-Serneus has an unemployment rate of 0. 93%. As of 2005, there were 189 people employed in the economic sector
15.
Grisons
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Grisons is the largest and easternmost canton of Switzerland. The canton shares borders with the cantons of Ticino, Uri, Glarus and St. Gallen and international borders with Italy, Austria and Liechtenstein. The name Graubünden translates as the Grey Leagues, referring to the origin in three local alliances, the League of Gods House, the Grey League, and the League of the Ten Jurisdictions. Grisons is also home to three of Switzerlands ethnic groups and the subsequent languages of Swiss German, Italian and Romansh are all native to the canton and it is the only officially trilingual canton and the only canton where the Romansh language has official status. Area-wise Grisons is Switzerlands largest canton at 7,105.2 square kilometres,19. 2% larger than the Canton of Bern, only about a third of this is commonly regarded as productive land of which forests cover about a fifth of the total area. The canton is entirely mountainous, comprising the highlands of the Rhine, in its southeastern part lies the only official Swiss National Park. In its northern part the mountains were formed as part of the thrust fault that was declared a geologic UNESCO World Heritage Site, under the name Swiss Tectonic Arena Sardona, in 2008. Another Biosphere Reserve is the Biosfera Val Müstair adjacent to the Swiss National Park whereas Ela Nature Park is one of the regionally supported parks. Elevations in the Grison Alps include Tödi, at 3,614 metres, many of the mountain ranges feature extensive glaciers, such as at the Adula, the Albula, the Silvretta, the Bernina, the Bregaglia and the Rätikon ranges. The mountain ranges in the area are very deep, some being considered the deepest valleys in Europe. These valleys were settled by the Raetians. Grisons borders on the cantons of St. Gallen to the northwest, Glarus, Uri to the west and it also shares international borders with Italy, Austria and Liechtenstein. The inhabitants of Grisons are called Bündner or Grisonians, most of the lands of the canton were once part of a Roman province called Raetia which was established in 15 BC. The current capital of Grisons, Chur, was known as Curia in Roman times, the area later was part of the lands of the diocese at Chur. In 1367 the League of Gods House was founded to resist the power of the Bishop of Chur. This was followed by the establishment of the Grey League, sometimes called Oberbund, the name Grey League is derived from the homespun grey clothes worn by the people and was used exclusively after 16 March 1424. The name of this later gave its name to the canton of Grisons. A third league was established in 1436 by the people of ten bailiwicks in the former Toggenburg countship, the league was called League of the Ten Jurisdictions
16.
Switzerland
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Switzerland, officially the Swiss Confederation, is a federal republic in Europe. It consists of 26 cantons, and the city of Bern is the seat of the federal authorities. The country is situated in western-Central Europe, and is bordered by Italy to the south, France to the west, Germany to the north, and Austria and Liechtenstein to the east. Switzerland is a country geographically divided between the Alps, the Swiss Plateau and the Jura, spanning an area of 41,285 km2. The establishment of the Old Swiss Confederacy dates to the medieval period, resulting from a series of military successes against Austria. Swiss independence from the Holy Roman Empire was formally recognized in the Peace of Westphalia in 1648. The country has a history of armed neutrality going back to the Reformation, it has not been in a state of war internationally since 1815, nevertheless, it pursues an active foreign policy and is frequently involved in peace-building processes around the world. In addition to being the birthplace of the Red Cross, Switzerland is home to international organisations. On the European level, it is a member of the European Free Trade Association. However, it participates in the Schengen Area and the European Single Market through bilateral treaties, spanning the intersection of Germanic and Romance Europe, Switzerland comprises four main linguistic and cultural regions, German, French, Italian and Romansh. Due to its diversity, Switzerland is known by a variety of native names, Schweiz, Suisse, Svizzera. On coins and stamps, Latin is used instead of the four living languages, Switzerland is one of the most developed countries in the world, with the highest nominal wealth per adult and the eighth-highest per capita gross domestic product according to the IMF. Zürich and Geneva have each been ranked among the top cities in the world in terms of quality of life, with the former ranked second globally, according to Mercer. The English name Switzerland is a compound containing Switzer, a term for the Swiss. The English adjective Swiss is a loan from French Suisse, also in use since the 16th century. The name Switzer is from the Alemannic Schwiizer, in origin an inhabitant of Schwyz and its associated territory, the Swiss began to adopt the name for themselves after the Swabian War of 1499, used alongside the term for Confederates, Eidgenossen, used since the 14th century. The data code for Switzerland, CH, is derived from Latin Confoederatio Helvetica. The toponym Schwyz itself was first attested in 972, as Old High German Suittes, ultimately related to swedan ‘to burn’
17.
Violin concerto
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A violin concerto is a concerto for solo violin and instrumental ensemble, customarily orchestra. Such works have been written since the Baroque period, when the solo concerto form was first developed, traditionally a three-movement work, the violin concerto has been structured in four movements by a number of modern composers, including Dmitri Shostakovich, Igor Stravinsky, and Alban Berg. The following concertos are presently found near the center of the mainstream Western repertoire, for a more comprehensive list of violin concertos, see List of compositions for violin and orchestra. Violin sonata Piano trio Tobias Broeker, Free e-book about the compositions for violin concertante of the 20th century
18.
Lied
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Lied originally denoted in classical music the setting of German poems to music, beginning in the late-fourteenth or early fifteenth centuries. It later came especially to refer to settings of Romantic poetry during the eighteenth and nineteenth centuries. Examples include settings by Ludwig van Beethoven and Franz Schubert, among English speakers, however, Lied is often used interchangeably with art song to encompass works that the tradition has inspired in other languages. The poems that have made into Lieder often center on pastoral themes or themes of romantic love. Typically, Lieder are arranged for a singer and piano. Some of the most famous examples of Lieder are Schuberts Der Tod und das Mädchen, Gretchen am Spinnrade, Schubert and Schumann are most closely associated with this genre, mainly developed in the Romantic era. For German-speakers, the term Lied has a long history ranging from twelfth-century troubadour songs via folk songs, the word Lied for song first came into general use in German during the early fifteenth century, largely displacing the earlier word Gesang. The poet and composer Oswald von Wolkenstein is sometimes claimed as the creator of the Lied, because of his innovations in combining words and music. The late-fourteenth-century composer known as the Monk of Salzburg wrote six two-part Lieder which are older still, in Germany, the great age of song came in the nineteenth century. Schubert wrote over 600 songs, some of them in sequences or song cycles that relate an adventure of the rather than the body. The tradition was continued by Schumann, Brahms, and Hugo Wolf, and on into the 20th century by Strauss, Mahler, partisans of atonal music, such as Arnold Schoenberg and Anton Webern, composed Lieder in their own style. England too had a flowering of song, more closely associated, however, with folk songs than with art songs, as represented by Vaughan Williams, Benjamin Britten, Ivor Gurney, and Gerald Finzi. At the end of the 19th century and during the 20th century, alphons Diepenbrock and Henk Badings composed Dutch, German, English, and French songs, as well as songs in Latin for choirs. Böker-Heil, Norbert, David Fallows, John H. Baron, James Parsons, Eric Sams, Graham Johnson, grove Music Online, edited by Deane L. Root. Oxford University Press, accessed December 26,2016, a Multitude of Voices, The Lied at Mid Century. In The Cambridge Companion to the Lied, edited by James Parsons, Cambridge and New York, Cambridge University Press. The Circulation of the Lied, The Double Life of an Art Form, in The Cambridge Companion to the Lied, edited by James Parsons, 301–14. Cambridge and New York, Cambridge University Press, the Oxford Companion to Music, edited by Alison Latham
19.
Symphony
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A symphony is an extended musical composition in Western classical music, most often written by composers for orchestra. Symphonies are scored for string, brass, woodwind, and percussion instruments which altogether number about 30–100 musicians, Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the music for their instrument. A small number of symphonies also contain vocal parts, the word symphony is derived from the Greek word συμφωνία, meaning agreement or concord of sound, concert of vocal or instrumental music, from σύμφωνος, harmonious. The word referred to a variety of different things, before ultimately settling on its current meaning designating a musical form. In late Greek and medieval theory, the word was used for consonance, as opposed to διαφωνία, in the Middle Ages and later, the Latin form symphonia was used to describe various instruments, especially those capable of producing more than one sound simultaneously. Isidore of Seville was the first to use the word symphonia as the name of a two-headed drum, in late medieval England, symphony was used in both of these senses, whereas by the 16th century it was equated with the dulcimer. In German, Symphonie was a term for spinets and virginals from the late 16th century to the 18th century. 16, published in 1607, Lodovico Grossi da Viadanas Sinfonie musicali,18, published in 1610, and Heinrich Schützs Symphoniae sacrae, op. 6, and Symphoniarum sacrarum secunda pars, op,10, published in 1629 and 1647, respectively. Except for Viadanas collection, which contained purely instrumental and secular music, the opera sinfonia, or Italian overture had, by the 18th century, a standard structure of three contrasting movements, fast, slow, fast and dance-like. It is this form that is considered as the direct forerunner of the orchestral symphony. The terms overture, symphony and sinfonia were widely regarded as interchangeable for much of the 18th century, when composers from the 17th century wrote pieces, they expected that these works would be performed by whatever group of musicians were available. A performance of the piece might be done with a basso continuo group as small as a single cello, during the 18th century, the symphony was cultivated with extraordinary intensity. It played a role in areas of public life, including church services. Since the normal size of the orchestra at the time was quite small, laRue, Bonds, Walsh, and Wilson trace the gradual expansion of the symphonic orchestra through the 18th century. At first, symphonies were string symphonies, written in just four parts, first violin, second violin, viola, occasionally the early symphonists even dispensed with the viola part, thus creating three-part symphonies. A basso continuo part including a bassoon together with a harpsichord or other chording instrument was also possible, the first additions to this simple ensemble were a pair of horns, occasionally a pair of oboes, and then both horns and oboes together
20.
Francesco Maria Veracini
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Francesco Maria Veracini was an Italian composer and violinist, perhaps best known for his sets of violin sonatas. His contemporary, Charles Burney, held that he had certainly a great share of whim and caprice, the asteroid 10875 Veracini was named after him. Francesco Maria Veracini was born at about 8, 00am on 1 February 1690 in the house on the via Palazzuolo, parish of San Salvatore, Ognissanti. The painter Niccolò Agostino Veracini was Francesco Marias cousin, Veracini estimated Carlo Ambrogio Lonati as a great violinist. He is known to have been a soloist in Venice at the Christmas masses at San Marco, the celebration, held in Santa Maria Gloriosa dei Frari included a vocal Te Deum and Mass, as well as motets and concertos performed under the direction of padre Ferdinando Antonio Lazari. The manuscript scores of all the works performed that day, including Veracinis concerto, were together in a handsome presentation volume now found in the National Library of Austria. In 1714, Veracini went to London and played instrumental pieces between the acts of operas at the Queens Theatre, at the court of Johann Wilhelm, Elector Palatine and Anna Maria Luisa de Medici he performed his oratorio Mosè al Mar Rosso. In 1716 he was appointed as the head of a Venetian music school, Veracini wrote a set of violin/recorder sonatas dedicated to Prince Friedrich August, who came to celebrate carnival. The Prince recruited not only singers, as he was told to do by his father, in 1718 the Prince also secured the services of the eccentric Francesco Maria Veracini—at a very high salary— Johann David Heinichen and Giuseppe Maria Boschi. To justify his salary, Veracini had to chamber music for the court, transferring him to the official payroll as Kapellmeister in August 1717. In 1719 Veracini was sent to recruit more Italian singers for the new Dresden opera, am Zwinger, whilst in Venice he secured the services of Margherita Durastanti and Vittorio Tesi and in Bologna added Maria Antonia Laurenti. Veracini also took the opportunity to visit his town where he married Chiara Tesi. In 1721 Veracini wrote another set of violin sonatas dedicated to the Prince, unfortunately, there was animosity among all these gifted musicians at the court in Dresden. Pisendel had been rehearsing his composition intensively with this violinist, according to Veracini the jealous German musicians allegedly plotted to murder him. He fled Dresden by jumping out a window and apparently broke a leg in the fall, after the incident Veracini walked with a limp for the rest of his life. It is a myth Senesino was involved in the quarrel as he was dismissed by Heinichen or by the court which ran out of money. Handel offered the singer a contract for London two years before the incident with Veracini. It seems the Dresden musicians, fearing for their position, felt relieved Veracini had left the city, back in his native Florence in 1723, Veracini played music in a church
21.
Pietro Locatelli
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Pietro Antonio Locatelli was an Italian Baroque composer and violinist. Little is known about Locatellis childhood, in his early youth he was the third violinist and held the title of virtuoso in the cappella musicale of the church of Santa Maria Maggiore in Bergamo. His first violin teachers were probably Ludovico Ferronati and Carlo Antonio Marino, the maestro di cappella, Francesco Ballarotti, may have taught him composition. In autumn 1711 Locatelli went to Rome to seek greater recognition, Locatelli began studying in Rome in autumn 1711, probably under Antonio Montanari or Giuseppe Valentini and perhaps for a short time under Arcangelo Corelli, who died in January 1713. Between 1716 and 1722, Locatelli was also a member of the congregazione generale dei musici di S. Cecilia and he also assisted other Roman noble houses, often including that of Cardinal Pietro Ottoboni in the church of San Lorenzo e San Damaso, probably until 7 February 1723. While in Rome, Locatelli debuted as a composer, in 1721 his XII Concerti grossi, Op.1, dedicated to Camillo Cybo, was published in Amsterdam. From 1723 to 1728 Locatelli travelled through Italy and Germany, Mantua, Venice, Munich, Dresden, Berlin, Frankfurt and Kassel are the only places he is known to have visited. Most of his compositions, including the violin concertos and the capricci, were probably written in this period. They were published later in Amsterdam and it is believed that his performances made him famous, but almost no source attests to his attaining high virtuosity. Locatellis activity at the court of the regent of Mantua, the landgrave Philipp von Hessen-Darmstadt, is attested by a 1725 document in which the refers to him as our virtuoso. How often and in what capacity Locatelli performed at court is not known. Also unknown is the time of his activity in Venice, although he went there. One notice describes Locatellis visit to Munich, on 26 June 1727, the foreign virtuoso Locatelli was paid twelve double golden guilder by the electors director of music. Just one year later, in May 1728, Locatelli visited the Prussian court in Berlin and he moved from Dresden to Potsdam with Augustus II and the electors escort of about 500 people, including Johann Georg Pisendel, Johann Joachim Quantz and Silvius Leopold Weiss. A notice about Locatellis performance before Frederick William I anecdotically describes the musicians self-assurance and his vanity in wearing gorgeous, the aristocratic listeners may have preferred Johann Gottlieb Grauns violin playing to Locatellis. According to an entry in a rich autograph collectors records, Locatelli was living in Frankfurt on 20 October 1728, the entry includes a miniature version of the Andante from Sonata III, Op.2, for piano. Locatellis last known stop was in Kassel, where he received the high payment of 80 reichsthaler after his visit to Charles I, Landgrave of Hesse-Kassel. The organist Jacob Wilhelm Lustig stated in 1728 that Locatelli had astonished his listeners with hugely difficult passages while scraping at his violin, in 1729 Locatelli moved to Amsterdam, where he stayed until his death
22.
Ludwig van Beethoven
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Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he one of the most famous. His best-known compositions include 9 symphonies,5 piano concertos,1 violin concerto,32 piano sonatas,16 string quartets, his great Mass the Missa solemnis, and one opera, Fidelio. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn and he lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost completely deaf. In 1811 he gave up conducting and performing in public but continued to compose, many of his most admired works come from these last 15 years of his life. Beethoven was the grandson of Ludwig van Beethoven, a musician from the town of Mechelen in the Duchy of Brabant in the Flemish region of what is now Belgium, who at the age of twenty moved to Bonn. Ludwig was employed as a singer at the court of the Elector of Cologne, eventually rising to become, in 1761. The portrait he commissioned of himself towards the end of his life remained proudly displayed in his grandsons rooms as a talisman of his musical heritage. Ludwig had one son, Johann, who worked as a tenor in the musical establishment and gave keyboard. Johann married Maria Magdalena Keverich in 1767, she was the daughter of Johann Heinrich Keverich, Beethoven was born of this marriage in Bonn. There is no record of the date of his birth, however. Of the seven children born to Johann van Beethoven, only Ludwig, the second-born, caspar Anton Carl was born on 8 April 1774, and Nikolaus Johann, the youngest, was born on 2 October 1776. Beethovens first music teacher was his father and he later had other local teachers, the court organist Gilles van den Eeden, Tobias Friedrich Pfeiffer, and Franz Rovantini. Beethovens musical talent was obvious at a young age, some time after 1779, Beethoven began his studies with his most important teacher in Bonn, Christian Gottlob Neefe, who was appointed the Courts Organist in that year. Neefe taught Beethoven composition, and by March 1783 had helped him write his first published composition, Beethoven soon began working with Neefe as assistant organist, at first unpaid, and then as a paid employee of the court chapel conducted by the Kapellmeister Andrea Luchesi. His first three piano sonatas, named Kurfürst for their dedication to the Elector Maximilian Friedrich, were published in 1783, Maximilian Frederick noticed Beethovens talent early, and subsidised and encouraged the young mans musical studies. Maximilian Fredericks successor as the Elector of Bonn was Maximilian Francis, the youngest son of Empress Maria Theresa of Austria, echoing changes made in Vienna by his brother Joseph, he introduced reforms based on Enlightenment philosophy, with increased support for education and the arts
23.
Piano trio
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A piano trio is a group of piano and two other instruments, usually a violin and a cello, or a piece of music written for such a group. It is one of the most common found in classical chamber music. The term can refer to a group of musicians who regularly play this repertoire together, for a number of well-known piano trios. Works titled Piano Trio tend to be in the overall shape as a sonata. Initially this was in the three movement form, though some of Haydns have two movements, with the early 19th century, particularly Beethoven, this genre was felt to be more appropriate to cast in the four movement form. In the Classical period, home music-making made the trio a very popular genre for arrangements of other works. For example, Beethoven transcribed his first two symphonies for piano trio, thus a large number of works exist for the arrangement of piano, violin and violoncello which are not generally titled or numbered as piano trios, but which are nonetheless part of the overall genre. These include single movements as well as sets of such as Beethovens Variations on Ich bin der Schneider Kakadu Op. 121a. After the classical era, works for piano and two continue to be written which are not presented as in the sonata tradition, or are arrangements of other works. Many of these works are popular on concert programs, for example Suks Elegie. For individual articles treating works for trio, see Category. The piano trios of the Classical era, notably those of Haydn, are dominated by the piano part, the violin plays the melody only a certain amount of the time, and when it does, is often doubled by the piano. The cello part is very much subordinated, usually just doubling the line in the piano. Mozarts five late trios are generally felt to mark the arrival of the form, attentive to balanced voices. Beethovens trios continued the compositional objectives inaugurated by Mozart, the new idea of equality was never implemented completely, the extent to which it is realized varies from one composition to the next, as well as among movements within a single composition. Certainly by the mid century, all three instruments had been modified to have a very powerful sound, and each can hold its own in a modern ensemble. The earlier trios are now performed and recorded using authentic instruments. Such performances restore the balance the composer would have expected
24.
Edition Peters
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Edition Peters is a classical music publisher founded in Leipzig, Germany, in 1800. The Edition Peters Group was formed in August 2010 and consists of Peters UK, Peters Germany, the company came into being on 1 December 1800 when the Viennese composer Franz Anton Hoffmeister and the local organist Ambrosius Kühnel opened a concern in Leipzig known as the Bureau de Musique. Along with publishing, the new firm included an engraving and printing works, when Hoffmeister departed for Vienna in 1805, the firm had already issued several works by the then new Viennese composer, Ludwig van Beethoven. Kühnel continued publishing new works, adding those of composers Daniel Gottlob Türk, Václav Tomášek, after Kühnels death, the enterprise was sold to Carl Friedrich Peters, a Leipzig bookseller. Ownership of the company was transferred to a charity run by the City of Leipzig for a period after Böhmes death. The company was sold to a Berlin music and book retailer, Julius Friedländer. By 1863, Friedländer took on a partner, Dr. Max Abraham, Abraham employed many of the improvements to music printing that were introduced by the Leipzig engraver Gottlieb Röder, and launched the Edition Peters inprint in 1867. This series competed with Breitkopf & Härtels similar Volksausgabe series, launched at the same time, by 1880, the year Abraham took over the directorship, Peters had begun issuing new works by contemporary composers of the era. By 1900, new works from composers including Brahms, Bruch, Grieg, Köhler, Moszkowski, Reger, Sinding, abrahams successor was his nephew, Henri Hinrichsen, who added works of Mahler, Pfitzner, Reger, Schoenberg, and Hugo Wolf. The works of Richard Strauss that were issued by Joseph Aibl were acquired by Hinrichsen for Peters in 1932. Hinrichsens sons Max, Walter, and Hans-Joachim all entered the business in the 1930s and its first director was Georg Hillner, who was succeeded by musicologist Bernd Pachnicke in 1969. Following German reunification in 1989, the Leipzig concern was absorbed by the Frankfurt firm, who had acquired the catalogues of M. P. Belaieff in 1971, Schwann in 1974 and C. F. The Peters Edition Ltd. the C. F. Peters Corporation, the C. F. Peters Musikverlag, in July 2014 the headquarters was moved from Frankfurt back to Leipzig
25.
Johann Sebastian Bach
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Johann Sebastian Bach was a German composer and musician of the Baroque period. Bachs compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor and his music is revered for its technical command, artistic beauty, and intellectual depth. He is now regarded as one of the greatest composers of all time. Bach was born in Eisenach, in the duchy of Saxe-Eisenach and his father Johann Ambrosius Bach was the director of the town musicians, and all of his uncles were professional musicians. His father probably taught him to play the violin and harpsichord, apparently at his own initiative, Bach attended St. Michaels School in Lüneburg for two years. He received the title of Royal Court Composer from Augustus III in 1736, Bachs health and vision declined in 1749, and he died on 28 July 1750. Johann Sebastian Bach was born in Eisenach, the capital of the duchy of Saxe-Eisenach, in present-day Germany and he was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt. He was the eighth and youngest child of Johann Ambrosius, who taught him violin. His uncles were all musicians, whose posts included church organists, court chamber musicians. One uncle, Johann Christoph Bach, introduced him to the organ, Bachs mother died in 1694, and his father died eight months later. The 10-year-old Bach moved in with his eldest brother, Johann Christoph Bach, there he studied, performed, and copied music, including his own brothers, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly. He received valuable teaching from his brother, who instructed him on the clavichord, also during this time he was taught theology, Latin, Greek, French and Italian at the local gymnasium. By 3 April 1700 Bach and his schoolfriend Georg Erdmann–who was two years Bachs elder–were enrolled in the prestigious St. Michaels School in Lüneburg, some two weeks travel north of Ohrdruf and their journey was probably undertaken mostly on foot. His two years there were critical in exposing Bach to a range of European culture. In addition to singing in the choir, he played the Schools three-manual organ and he came into contact with sons of aristocrats from northern Germany, sent to the highly selective school to prepare for careers in other disciplines. While in Lüneburg, Bach had access to St. Johns Church and possibly used the famous organ from 1553. His role there is unclear, but it probably included menial, non-musical duties, despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir and he called one of them a Zippel Fagottist
26.
Sonatas and Partitas for Solo Violin (Bach)
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The sonatas and partitas for solo violin are a set of six works composed by Johann Sebastian Bach. The set consists of three sonatas da chiesa in four movements and three partitas in dance-form movements, the set was completed by 1720, but was only published in 1802 by Nikolaus Simrock in Bonn. Even after publication, it was ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bachs Sonatas and Partitas are a part of the violin repertoire. The Sei Solo – a violino senza Basso accompagnato, as Bach titled them, the pieces often served as archetypes for solo violin pieces by later generations of composers, including Eugène Ysaÿe and Béla Bartók. The surviving autograph manuscript of the sonatas and partitas was made by Bach in 1720 in Cöthen, where he was Kapellmeister. The virtuoso violinist Westhoff served as court musician in Dresden from 1674 to 1697 and in Weimar from 1699 until his death in 1705, the repertoire for solo violin was actively growing at the time, Heinrich Ignaz Franz Bibers celebrated solo passacaglia appeared c. Bachs Weimar and Cöthen periods were particularly suitable times for composition of secular music, Bachs cello and orchestral suites date from the Cöthen period, as well as the famous Brandenburg Concertos and many other well-known collections of instrumental music. So there exist in all 13 varied sonatas and partitas in the senza Basso group, in both major manuscripts the important specification is written clearly, for violin/violoncello solo, senza Basso accompagnato. Bach himself underwrote the practice of Basso Continuo as the Fundament of Music, a solo sonata for violin would naturally have the continuo players and parts implied, here Bach himself tells us that Basso Continuo does not apply. The norm was set by Corellis important solo sonatas of 1700 which may have accompanied in a variety of ways. It is not known whether these violin solos were performed during Bachs lifetime or, if they were, who the performer was. Johann Georg Pisendel and Jean-Baptiste Volumier, both talented violinists in the Dresden court, have suggested as possible performers, as was Joseph Spiess. Friedrich Wilhelm Rust, who would become part of the Bach family circle in Leipzig. According to his son Carl Philipp Emanuel Bach, in his youth, upon Bachs death in 1750, the original manuscript passed into the possession, possibly through his second wife Anna Magdalena, of Johann Christoph Friedrich Bach. It was inherited by the last male descendant of J. C. F. Bach, Wilhelm Friedrich Ernst Bach, two other early manuscripts also exist. All three manuscripts are in the Berlin State Museum and have been in the possession of the Bach-Gesellschaft since 1879, the first edition was printed in 1802 by Nikolaus Simrock of Bonn. It is clear from errors in it that it was not made with reference to Bachs own manuscript, one of his students Serge Blanc collected the notes of his master Enescu regarding sonority, phrasing, tempo, fingering and expression, in a now freely distributed document
27.
24 Caprices for Solo Violin (Paganini)
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The 24 Caprices for Solo Violin were written in groups by Niccolò Paganini between 1802 and 1817. They are also designated as M. S.25 in Maria Rosa Morettis, when Paganini released his Caprices, he dedicated them alli artisti rather than to a specific person. Ferdinand Davids first edition was published by Breitkopf & Härtel in 1854, David, as editor, also issued an edition of Caprices with piano accompaniments by Robert Schumann. Another edition by David was issued in two books of 12 caprices each mit hinzugefügter Begleitung des Pianoforte von Ferdinand David and published by Breitkopf & Härtel, unlike many earlier and later sets of 24 pieces, there was no intention to write these caprices in 24 different keys. Allegro agitato by Alfredo Casella Paganini Variations, Op and this was the world premiere recording of any version of the 24 Caprices. Renardy had played the violin version of the 24 in his Carnegie Hall debut the previous October. In 1953, shortly before his death, Renardy recorded the 24 again, in the same arrangement by David. In 1947, Ruggiero Ricci made the first complete recording of the 24 Caprices in their original version. Ricci later made recordings, as stated below,1947 | 2LPs | Decca LK.4025, LXT.2588 mono,1950 reprint | 2LPs | London Decca LL.264. Bruno Canino, playing the Robert Schumann piano accompaniment for Nos, total playing time,10025 Markov, Alexander – live recording,3 May 1989. DVD Film directed by Bruno Monsaingeon, recorded on a 17-inch Dodd viola in Vardis home recording studio Wihan String Quartet – arranged by William Zinn for string quartet Stratton, Stephen. Nicolo Paganini, His Life and Work, philippe Borer, The Twenty-Four Caprices of Niccolò Paganini
28.
Ruggiero Ricci
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Ruggiero Ricci was an American violinist known for performances and recordings of the works of Paganini. He was born in San Bruno, California, the son of Italian immigrants who first named him Woodrow Wilson Rich and his brother was cellist George Ricci, originally named George Washington Rich. His sister Emma played violin with the New York Metropolitan Opera and his father first taught him to play the violin. At age seven, Ricci studied with Louis Persinger and Elizabeth Lackey, Persinger would become his piano accompanist for many recitals and recordings. Ricci gave his first public performance in 1928 at the age of 10 in San Francisco where he played works by Wieniawski and he gained a reputation for being a child prodigy. At the age of 11, he gave his first orchestral performance, playing the Mendelssohn concerto, in the 1930s Ricci studied in Berlin with Georg Kulenkampff, where he learned a German style of playing in the tradition of Adolf Busch. He also studied with Michel Piastro and Paul Stassevich and he served in the US Army from 1942 until 1945, where he was an Entertainment Specialist. In 1947, Ricci was the first violinist to record the complete 24 Caprices, Op.1, by Paganini, riccis first recording was on the Shellac recording label. After his time in the military, he uncovered many pieces by 19th-century composers that he would perform solo and he also performed the world premieres of pieces by many contemporary composers, including the violin concertos by Gottfried von Einem, Carlos Veerhoff and Alberto Ginastera. Aside from performing over 6,000 concerts in 65 countries during his 70-year solo career, Ricci also made over 500 recordings and he taught violin at Indiana University, the Juilliard School and the University of Michigan. He also taught at the University Mozarteum in Salzburg, Austria, Ricci held master classes in the United States and Europe. He wrote Left Hand Technique, a volume for violin published by G. Schirmer. He played, on September 18,1997, his recording of the Paganini Caprices on Paganinis own Guarneri, Il Cannone, on loan to him by the City of Genoa. On Sunday 5 August 2012, Ruggiero Ricci died of heart failure at his home in Palm Springs, California, notes Sources Ruggiero Ricci – Official Site Ruggiero Ricci at the Internet Movie Database Ruggiero Ricci, aged 12 on YouTube, La campanella Ruggiero Ricci at Find a Grave
29.
Saxon State and University Library Dresden
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The Saxon State and University Library Dresden, abbreviated SLUB Dresden, is located in Dresden, Germany. It is both the library for the German State of Saxony as well as the academic library for the Dresden University of Technology. It was created in 1996 through the merger of the Saxon State Library, the seemingly redundant name is to show that the library brings both these institutional traditions together. The SLUB moved into a new building in 2002 to bring together the inventories of both its predecessors. Its collection numbers nearly nine million, making it one of the largest public archival centers in the Federal Republic of Germany and it holds significant treasures, including the Codex Dresdensis, an octagonal Koran from 1184 and a copy of the Peter Schoeffer Bible printed in 1462. Within the SLUB is the Deutsche Fotothek, holding some 4 million photographs from the past 80 years, and it is a special-interest collection library of the Deutsche Forschungsgemeinschaft focusing on “Contemporary Art after 1945” and “History of Technology”. Both collections also include such as commercial photography, documentary photography, photographic art. The first preserved index of the state library’s collections dates back to the year 1574, further services on the internet include, for example, the Kartenforum with historical maps of Saxony and the Fotothek, providing pictorial documents for research. The Deutsche Fotothek is based on the Dresden traditions of photographic techniques, the Landesbildstelle was originally established in Chemnitz, but was shortly afterwards, in 1925, relocated to Dresden. Since 1956 the inventory has been labeled Fotothek, since 1983 it has belonged to the Sächsische Landesbibliothek as a separate section. With 2.3 million photographic documents, the Fotothek has a large share of the overall holdings. The oldest images from around 1850 can be traced back to the photographer Hermann Krone, there are only three other existing codices left. They are located in Paris, Madrid, and Mexico, the Codex runs for inclusion in the UNESCO Memory of the World Programme. The elaborately-restored Dresdner Sachsenspiegel is exhibited in the chamber for six weeks each year. As part of the Bibliotheca Corviniana, the Corvines of Dresden have been admitted into the Memory of the World Program by UNESCO in 2005, since 2007, the SLUB Dresden operates the Dresden Digitization Center and has been continually expanding its capacity up to 3 million pages per year. More than 95,000 volumes have been digitized and are free to use within the Digital Collections, the SLUB is one of the major providers of data for the Deutsche Digitale Bibliothek, which has been accessible online since November 2012. This is also facilitated by numerous third-party funds, especially by the Deutsche Forschungsgemeinschaft, in this way, the SLUB e. g. participates in the digitization of indexes of printing published in the German language area in the 17th and 18th centuries. Also worth mentioning is the digitization of the editions of August Wilhelm Schlegel’s collection
30.
Joseph Joachim
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Joseph Joachim was a Hungarian violinist, conductor, composer and teacher. A close collaborator of Johannes Brahms, he is regarded as one of the most significant violinists of the 19th century. Joseph Joachim was born in Köpcsény, Moson County, Kingdom of Hungary and he was the seventh of eight children born to Julius, a wool merchant, and Fanny Joachim, who were of Hungarian Jewish origin. His infancy was spent as a member of the Kittsee Kehilla and he was a first cousin of Fanny Wittgenstein, née Figdor, the mother of Karl Wittgenstein and the grandmother of the philosopher Ludwig Wittgenstein and the pianist Paul Wittgenstein. In 1833 his family moved to Pest, which in 1873 was united with Óbuda to form Budapest, there from 1836 he studied violin with Stanisław Serwaczyński, the concertmaster of the opera in Pest, said to be the best violinist in Pest. Although Joachims parents were not particularly well off, they had been advised to choose not just an ordinary violin teacher. Joachims first public performance was 17 March 1839 when he was of age 8, in 1839, Joachim continued his studies at the Vienna Conservatory. In his début performance in the Leipzig Gewandhaus he played the Otello Fantasy by Heinrich Wilhelm Ernst, on 27 May 1844 Joachim, at age not quite 13, in his London Philharmonic debut with Mendelssohn conducting, played the solo part in Beethovens violin concerto. This was a triumph in several respects, as described by R. W. Eshbach, Ludwig Spohr had harshly criticized it, and after the London premiere by violinist Edward Eliason, a critic had said it might have been written by any third or fourth rate composer. But Joachim was very well prepared to play Beethovens concerto, having written his own cadenzas for it, the audience anticipated great things, having got word from the rehearsal, and so, Mendelssohn wrote, frenetic applause began as soon as Joachim stepped in front of the orchestra. The beginning was applauded still more, and cheers of the audience accompanied every, one for The Musical World wrote The greatest violinists hold this concerto in awe. Attacked it with the vigour and determination of the most accomplished artist, No master could have read it better, and the two cadenzas, written by Joachim, were tremendous feats. Another reviewer, for the Illustrated London News, wrote that Joachim is perhaps the first violin player, not only of his age and he performed Beethovens solitary concerto, which we have heard all the great performers of the last twenty years attempt, and invariably fail in. Its performance was an eloquent vindication of the master-spirit who imagined it, Joachim remained a favorite with the English public for the rest of his career. He visited England in each year 1858,1859,1862, in 1848, Franz Liszt took up residence in Weimar, determined to re-establish the towns reputation as the Athens of Germany. There, he gathered a circle of young disciples, vocally opposed to the conservatism of the Leipzig circle. Joachim was amongst the first of these and he served Liszt as concertmaster, and for several years enthusiastically embraced the new psychological music, as he called it. In 1852 he moved to Hanover, at the same time dissociating himself from the ideals of the New German School
31.
Jascha Heifetz
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Jascha Heifetz was a Russian born violinist. Many consider him to be the greatest violinist of all time, born in Wilno, Russian Empire, he moved as a teenager to the United States, where his Carnegie Hall debut was rapturously received. He had a long and successful performing and recording career, after an injury to his right arm, Heifetz was born into a Russian Jewish family in Wilno, then part of the Russian Empire. His father, Reuven Heifetz, son of Elie, was a violin teacher. While Jascha was an infant, his father did a series of tests and this convinced him that Jascha had great potential, and before Jascha was two years old, his father bought him a small violin, and taught him bowing and simple fingering. At five years old, he started lessons with Leopold Auer and he was a child prodigy, making his public debut at seven, in Kovno playing the Violin Concerto in E minor by Felix Mendelssohn. In 1910 he entered the Saint Petersburg Conservatory to study under Leopold Auer and he played in Germany and Scandinavia, and met Fritz Kreisler for the first time in a Berlin private house, in a private press matinee on May 20,1912. The home was that of Arthur Abell, the pre-eminent Berlin music critic for the American magazine, among other noted violinists in attendance was Fritz Kreisler. After the 12-year-old Heifetz performed the Mendelssohn violin concerto, Abell reported that Kreisler said to all present, Heifetz visited much of Europe while still in his teens. In 1914, he performed with the Berlin Philharmonic conducted by Arthur Nikisch, the conductor was very impressed, saying he had never heard such an excellent violinist. Heifetz and his family left Russia in 1917, traveling by rail to the Russian far east and then by ship to the United States, arriving in San Francisco. On 27 October 1917, Heifetz played for the first time in the United States, at Carnegie Hall in New York, fellow violinist Mischa Elman in the audience asked Do you think its hot in here. Whereupon the pianist Leopold Godowsky, in the seat, imperturbably replied. As he was aged 16 at the time, he was perhaps the youngest person elected to membership in the organization. Heifetz remained in the country and became an American citizen in 1925, in 1954, Heifetz began working with pianist Brooks Smith, who would serve as Heifetzs accompanist for many years until he chose Dr. Ayke Agus as his accompanist. He was also accompanied in concert for more than 20 years by Emmanuel Bay, another immigrant from Russia, Heifetzs musicianship was such that he would demonstrate to his accompanist how he wanted passages to sound on the piano, and would even suggest which fingerings to use. After the seasons of 1955–56, Heifetz announced that he would sharply curtail his concert activity, in 1958, he tripped in his kitchen and fractured his right hip, resulting in hospitalisation at Cedars of Lebanon Hospital, and a near fatal staphylococcus infection. He was invited to play Beethoven at the United Nations General Assembly, by 1967, Heifetz had considerably curtailed his concert performances
32.
Fine Arts Museums of San Francisco
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The Fine Arts Museums of San Francisco, comprising the M. H. With a total value of over $1 billion, the permanent collection of the Fine Arts Museums is organized into six areas, each with a curatorial staff. There are 150,000 objects in the permanent collection, of which 90% are digitally photographed and cataloged, unlike most other major art museums, the Fine Arts Museums of San Francisco do not have a large endowment on which it can draw. As of June 2011, the endowment amounted to $120 million, the museums operate on an annual budget of about $55 million, most of which is funded by membership dues, ticket sales, donations and purchases in its stores as well as contributed revenue. In fiscal year 2012, the museum drew nearly 1.6 million visitors, in 2012, the Fine Arts Museums of San Francisco and the Louvre signed an agreement that provides for collaborative exhibitions and the sharing of art works. Holleins tenure began on June 1,2016, media related to Fine Arts Museums of San Francisco at Wikimedia Commons Official website
33.
San Francisco Symphony
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The San Francisco Symphony, founded in 1911, is an orchestra based in San Francisco, California. Since 1980, the orchestra has performed at the Louise M. Davies Symphony Hall in the Citys Hayes Valley neighborhood, the San Francisco Symphony Youth Orchestra and the San Francisco Symphony Chorus are part of the organization. Its current music director is Michael Tilson Thomas, who has held the position since September 1995, among various awards and honors for the orchestra are an Emmy Award and 15 Grammy Awards in the past 25 years. The orchestras first concerts were led by conductor composer Henry Hadley, there were sixty musicians in the Orchestra at the beginning of their first season. The first concert included music by Wagner, Tchaikovsky, Haydn, there were thirteen concerts in the 1911–1912 season, five of which were popular music. Hertz helped to refine the orchestra and arranged for the Victor Talking Machine Company to record it at their new studio in Oakland in early 1925. Hertz also led the orchestra during a number of broadcasts, including on the The Standard Hour. The series began in 1926 when the orchestra faced bankruptcy, Standard Oil of California paid the orchestras debts, the first broadcast aired on the NBC Pacific Network, on October 24,1926. and the broadcasts continued for more than 30 years. After Hertzs retirement in 1930, the orchestra was led by two conductors, Basil Cameron and Issay Dobrowen, the French maestro Pierre Monteux, who had conducted the world premiere of Igor Stravinskys The Rite of Spring, was hired to restore the orchestra. Monteux succeeded to the point where NBC began broadcasting some of its concerts, in 1949, Monteux invited Arthur Fiedler to lead summer pops concerts in the Civic Auditorium. Fiedler also conducted the orchestra at concerts in Sigmund Stern Grove in San Francisco. Fiedlers relationship with the orchestra continued until the mid-1970s, stokowski made a series of RCA Victor recordings with the orchestra in 1952 and 1953. In 1954 the board hired the young Spanish maestro Enrique Jordá as music director, surviving eyewitness and newspaper accounts describe him as having youthful enthusiasm, energy, and charm. Jordá sometimes conducted so vigorously that his baton flew from his hand, szells comments, along with growing dissatisfaction among musicians and the public, led the symphony board to dismiss Jordá. In the fall of 1963, the Austrian conductor Josef Krips became music director and he quickly became known as a benevolent autocrat, and would not tolerate sloppy playing. He soon began to refine the performance of the musicians, particularly of the standard German-Austrian repertoire. One of his innovations was a tradition on New Years Eve, A Night in Old Vienna. Similar concerts continued into the 2000s, though the format has changed in recent years, Krips would not make recordings with the orchestra, insisting they werent ready
34.
William Sterndale Bennett
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Sir William Sterndale Bennett was an English composer, pianist, conductor and music educator. At the age of ten Bennett was admitted to the London Royal Academy of Music, by the age of twenty, he had begun to make a reputation as a concert pianist, and his compositions received high praise. Among those impressed by Bennett was the German composer Felix Mendelssohn, there Bennett became friendly with Robert Schumann, who shared Mendelssohns admiration for his compositions. Bennett spent three winters composing and performing in Leipzig, in 1837 Bennett began to teach at the RAM, with which he was associated for most of the rest of his life. For twenty years he taught there, later teaching at Queens College. Amongst his pupils during this period were Arthur Sullivan, Hubert Parry, throughout the 1840s and 1850s he composed little, although he performed as a pianist and directed the Philharmonic Society for ten years. He also actively promoted concerts of chamber music, from 1848 onwards his career was punctuated by antagonism between himself and the conductor Michael Costa. In 1858 Bennett returned to composition, but his works, though popular, were considered old-fashioned. He was Professor of Music at the University of Cambridge from 1856 to 1866, in that year he became Principal of the RAM, rescuing it from closure, and remained in this position until his death. He died in London in 1875 and was buried in Westminster Abbey, in his bicentenary year of 2016, several concerts of his music have been planned. Bennett was born in Sheffield, Yorkshire, the child and only son of Robert Bennett, the organist of Sheffield parish church. His mother died in 1818, aged 27, and his father, after remarrying, thus orphaned at the age of three, Bennett was brought up in Cambridge by his paternal grandfather, John Bennett, from whom he received his first musical education. John Bennett was a bass, who sang as a lay clerk in the choir of Kings, St Johns. The young Bennett had an alto voice and entered the choir of Kings College Chapel in February 1824. In 1826, at the age of ten, he was accepted into the Royal Academy of Music, the examiners were so impressed by the childs talent that they waived all fees for his tuition and board. Bennett was a pupil at the RAM for the ten years. At his grandfathers wish his principal studies were at first as a violinist, under Paolo Spagnoletti. He also studied the piano under W. H. Holmes, amongst the friends Bennett made at the Academy was the future music critic J. W. Davison
35.
Uppingham School
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Uppingham School is a co-educational independent school situated in the small market town of Uppingham in Rutland, England. The school was founded in 1584 by Robert Johnson, the Archdeacon of Leicester who also established Oakham School, the Reverend Edward Thring was perhaps the schools best-known headmaster. His changes to the curriculum were later adopted in other English public schools. John Wolfenden, headmaster from 1934–1944, was notable for later chairing the Wolfenden Committee whose report recommending the decriminalisation of homosexuality, was published in 1957, the current Director of Music is Stephen Williams. In 1584 Uppingham School was founded with a hospital, or almshouse, the original 1584 Schoolroom in Uppingham churchyard is still owned by the school and is a Grade I listed building. The original hospital building is now incorporated in the School Library, the first recorded Uppingham schoolboy was Henry Ferne from York, who was Chaplain to Charles I. Another prominent early schoolboy was the Jesuit Anthony Turner, one of the martyrs of the Popish Plot, in the 17th, 18th and early 19th centuries Uppingham remained a small school of 30–60 pupils, with two staff. Despite its small size, pupils then, regularly gained places and scholarships to Oxford, during that period, various features of life in the School developed which are still in evidence today. Uppingham became a boarding school, with all pupils having individual studies. This pattern was established around 1800, and some of original studies still survive. The first recorded school play was performed in 1794 and Uppingham has a thriving theatre, the main recreation in the 19th century was cricket – the first recorded cricket match, described in the school magazine, was in 1815 – and the game still thrives at Uppingham. In 1846 the Institution of School Praepostors, or Prefects, was established, the Praepostors are universally called Pollies around the school. Edward Thring transformed the School from a small, high-quality local grammar school into a large, well-known public school, in Borth the school took over the disused Cambrian Hotel and a number of boarding houses, for a period of 14 months. The move was successful in saving the school from a serious epidemic, the move to Borth is commemorated in an annual service, held in the school chapel. Thring also won national and transatlantic reputation as a thinker and writer on education. At a time when Maths and Classics dominated the curriculum he encouraged many ‘extra’ subjects, French, German, Science, History, Art, Carpentry and Music. In particular Thring was a pioneer in his introduction of Music into the system of education. He also opened the first gymnasium in an English school, the forerunner of the present Sports Hall and he also commissioned a number of impressive buildings, notably the Chapel designed by the famous Gothic Revival architect G. E. Street
36.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
37.
International Music Score Library Project
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Since its launch on February 16,2006, over 370,000 scores and 42,000 recordings for over 110,000 works by over 14,000 composers have been uploaded. The project uses MediaWiki software to provide contributors with a familiar interface, since June 6,2010, IMSLP has also included public domain and licensed recordings in its scope, to allow for study by ear. The site was launched on February 16,2006, the library consists mainly of scans of old musical editions out of copyright. In addition, it admits scores by composers who wish to share their music with the world by releasing it under a Creative Commons license. One of the projects of IMSLP was the sorting and uploading of the complete works of Johann Sebastian Bach in the Bach-Gesellschaft Ausgabe. Besides providing a repository, IMSLP offers possibilities as a musicological encyclopaedia, since multiple. Also, pages on publishers provide valuable information, and the pages themselves often contain a large quantity of information. IMSLP is recommended as a tool by MIT, which also uses it extensively for providing scores for its OpenCourseWare courses. In 2007–2015, IMSLP / Petrucci Music Library used logo based on a score, the score image in the background was taken from the beginning of the very first printed book of music, the Harmonice Musices Odhecaton. It was published in Venice, Italy in 1501 by Ottaviano Petrucci, in 2016, IMSLP changed its logo to a clean wordmark, featuring its two project names – IMSLP and Petrucci Music Library. In 2009, IMSLP won the MERLOT Classics award for Music and it was named one of the Top 100 Web Sites of 2009 by PC Magazine. On October 19,2007, the IMSLP closed following legal demands from Universal Edition of Vienna, at first I thought this letter would be similar in content to the first Cease and Desist letter I received in August. I cannot apologize enough to all IMSLP contributors, who have done so much for IMSLP in the last two years, in response, director Michael S. Hart of Project Gutenberg offered support to keep the project online. This offer was declined by Feldmahler, who voiced concern about having the project hosted in the United States, on November 2,2007, Michael Geist, a prominent Canadian copyright academic, wrote an article for the BBC discussing the specifics and the wider implications of this case. IMSLP went back online on June 30,2008, although the server is located in Canada, files which are not public domain in the US were until July 2010 flagged, for Technical Block or Temporary Block, and could not be viewed. The FAQ posted in their forum stated, Unfortunately, these temporary blocks will be until further notice – possibly all the way until the expiration of term in the USA. After an initial phase, flagged items have disappeared thanks to the introduction of regional servers operated by unaffiliated organizations. On 21 April 2011, the Music Publishers Association issued a DMCA takedown notice against the IMSLP, Go Daddy, the domain name registrar for the IMSLP, removed the domain name imslp. org, leaving it inaccessible
38.
Romanticism
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Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography, education. It elevated folk art and ancient custom to something noble, Romanticism assigned a high value to the achievements of heroic individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art, there was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism, the decline of Romanticism during this time was associated with multiple processes, including social and political changes and the spread of nationalism. Defining the nature of Romanticism may be approached from the point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on emotion is summed up in the remark of the German painter Caspar David Friedrich that the feeling is his law. Samuel Taylor Coleridge and others believed there were laws that the imagination—at least of a good creative artist—would unconsciously follow through artistic inspiration if left alone. As well as rules, the influence of models from other works was considered to impede the creators own imagination, so that originality was essential. The concept of the genius, or artist who was able to produce his own work through this process of creation from nothingness, is key to Romanticism. This idea is called romantic originality. Not essential to Romanticism, but so widespread as to be normative, was a strong belief, however, this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. Romantic art addressed its audiences with what was intended to be felt as the voice of the artist. So, in literature, much of romantic poetry invited the reader to identify the protagonists with the poets themselves. In both French and German the closeness of the adjective to roman, meaning the new literary form of the novel, had some effect on the sense of the word in those languages. It is only from the 1820s that Romanticism certainly knew itself by its name, the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place roughly between 1770 and 1848, and few dates much earlier than 1770 will be found. In English literature, M. H. Abrams placed it between 1789, or 1798, this latter a very typical view, and about 1830, however, in most fields the Romantic Period is said to be over by about 1850, or earlier
39.
Danish Golden Age
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The Danish Golden Age covers a period of exceptional creative production in Denmark, especially during the first half of the 19th century. Although Copenhagen had suffered fires, bombardment and national bankruptcy. It also saw the development of Danish architecture in the Neoclassical style, Copenhagen, in particular, acquired a new look, with buildings designed by Christian Frederik Hansen and by Michael Gottlieb Bindesbøll. In relation to music, the Golden Age covers figures inspired by Danish romantic nationalism including J. P. E. Hartmann, Hans Christian Lumbye, Niels W. Gade, literature centred on Romantic thinking, introduced in 1802 by the Norwegian-German philosopher Henrik Steffens. Key contributors were Adam Oehlenschläger, Bernhard Severin Ingemann, N. F. S. Grundtvig and, last but not least, Hans Christian Andersen, Søren Kierkegaard furthered philosophy while Hans Christian Ørsted achieved fundamental progress in science. The Golden Age thus had an effect not only on life in Denmark but, with time. The origins of the Golden Age can be traced back to around the beginning of the 19th century, surprisingly, this was a very rough period for Denmark. Copenhagen, the centre of the intellectual life, first experienced huge fires in 1794 and 1795 which destroyed both Christiansborg Palace and large areas of the inner city. In 1801, as a result of the involvement in the League of Armed Neutrality. Then in 1813, as a result of the inability to support the costs of war. To make matters worse, Norway ceased to be part of the Danish realm when it was ceded to Sweden the following year, Copenhagens devastation nevertheless provided new opportunities. Architects and planners widened the streets, constructing beautifully designed Neoclassical buildings offering a brighter yet intimate look, at the time, with a population of only 100,000, the city was still quite small, built within the confines of the old ramparts. As a result, the figures of the day met frequently, sharing their ideas, bringing the arts. Henrik Steffens was perhaps the most effective proponent of the Romantic idea, in a series of lectures in Copenhagen, he successfully conveyed the ideas behind German romanticism to the Danes. Influential thinkers, such as Oehlenschläger and Grundtvig were quick to take up his views and it was not long before Danes from all branches of the arts and sciences were involved in a new era of Romantic nationalism, later known as the Danish Golden Age. Especially in the field of painting, change became apparent, grand historical art gave way to more widely appealing but less pretentious genre paintings and landscapes. The Golden Age is generally believed to have lasted until about 1850, around that time, Danish culture suffered from the outbreak of the First Schleswig War. In addition, political reforms involving the end of the monarchy in 1848
