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Was hat das Alte Reich im Innersten zusammen gehalten? Waren es die Reichsinstitutionen wie beispielsweise das Reichskammergericht, der Reichshofrat und der Reichstag? Oder waren es die Reichsgrundgesetze wie der Westfälische Friede? Einen entscheidenden integrativen Faktor des Alten Reiches stellten gewiss die Personen und Personengruppen dar, die Aufgaben und Funktionen für Kaiser und Reich wahrnahmen. Inwieweit besaßen diese Personen eine spezifische Mentalität, die über das Zugehörigkeitsgefühl zu einer Reichsinstitution hinausging? Diesen und anderen Fragen gehen die Autoren nach, wobei das Spektrum der Beiträge von den Reichskammergerichtsboten, über Anwälte an den beiden höchsten Gerichten bis zu den kaiserlichen Kommissaren am Reichshofrat reicht.
Beginning several generations before Schubert, the Lied first appears as domestic entertainment. In the century that follows it becomes one of the primary modes of music-making. By the time German song comes to its presumed conclusion with Richard Strauss's 1948 Vier letzte Lieder, this rich repertoire has moved beyond the home and keyboard accompaniment to the symphony hall. This is a 2004 introductory chronicle of this fascinating genre. In essays by eminent scholars, this Companion places the Lied in its full context - at once musical, literary, and cultural - with chapters devoted to focal composers as well as important issues, such as the way in which the Lied influenced other musical genres, its use as a musical commodity, and issues of performance. The volume is framed by a detailed chronology of German music and poetry from the late 1730s to the present and also contains a comprehensive bibliography.
This superbly authoratitive new work provides a comprehensive A-Z guide to some 1000 years of Western music. It explores in detail the lives and achievements of a vast range of composers, as well as looking at such key topics as music history (from medieval plainchant to contemporary minimalism), performers, theory and jargon. Throught Griffiths skilfully blends lightly worn scholarship with personal insight, whether examining the emotional colouring that different musical keys achieve or charting the rise and development of the symphony.
Richard Strauss is an outlier in the context of twentieth century music. Some consider him a composer of the late romantic period, while others declare him a traitor of modernity for his role in National Socialism. Despite the controversy surrounding him, Strauss's works--even beyond his most well-known operas Elektra and Rosenkavalier--are present in the repertories of concert halls worldwide and continue to enjoy large audiences. The details of the composer's life, however, remain shrouded in mystery and gossip. Laurenz Lütteken's Strauss presents a fresh approach to understanding this elusive composer's life and works. Dispensing with stereotypes and sensationalism, it reveals Strauss to be a sensitive intellectual and representative of modernity, with all light and shade of the turn of the twentieth century.