Music Manuscript Jurg Baur German Classical Composer Handwritten 1951 Symphony

$1,155.90 Buy It Now, FREE Shipping, 30-Day Returns, eBay Money Back Guarantee
Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US, Item: 176299957841 Music Manuscript Jurg Baur German Classical Composer Handwritten 1951 Symphony. This auction is for an original 1951 music man uscript by Jürg Baur, a German composer -- one of the last of the old school -- whose works include Incontri  and Mutazioni. Jürg Baur was a German composer whose works include Incontri and Mutazioni. Baur studied at the Cologne University of Music and taught there in his later years. Baur was also awarded the Federal Cross of Merit.  Jürg Baur(1918–2010) Concerto for Viola and Orchestra (Leihmaterial) Instrument ListViola, Orchestra Year (created)1951/1952



Jürg Baur (11 November 1918 – 31 January 2010) was a German composer whose works include Incontri and Mutazioni. Baur studied at the Cologne University of Music and taught there in his later years. Baur was also awarded the Federal Cross of Merit. Contents 1 Education 2 Compositional career 3 Teaching career 4 Honours 5 Last years 6 References 7 External links Education Baur was born in Düsseldorf, where he achieved early recognition as a composer at the age of 18, when his First String Quartet was premiered at the Düsseldorf Hindenburg Secondary School by the then-famous Prisca Quartet. He studied from 1937 to 1948 (interrupted by army service from 1939 to 1945, including several months as a Russian prisoner of war) at the Hochschule für Musik Köln (Cologne University of Music): composition with Philipp Jarnach, piano with Karl Hermann Pillney, and organ and sacred music with Michael Schneider.[1][2][3] Even before completing his conservatory studies, he was appointed lecturer in music theory at the Düsseldorf Conservatory in 1946.[2] He did postgraduate studies in musicology with Karl Gustav Fellerer and Willi Kahl from 1948 to 1951 at the University of Cologne.[1] In 1952 he was appointed choirmaster and organist at the St Paulus-Kirche in Düsseldorf, a post he left in 1960 when he was awarded a scholarship from the German Academy to study for six months at the Villa Massimo in Rome. He twice returned to Rome for extended visits, in 1968 and 1980.[2] The vivid impression made by the Italian city is reflected in the Italian-titled works he composed there, including the Concerto romano for oboe and orchestra.[1] Compositional career Baur was one of the last composers of the old school. After the war, he remained faithful to his teacher Jarnach's conservative stance, and never became an extreme avant-gardist.[3] Widespread recognition as a composer came comparatively late. Béla Bartók was his strongest stylistic influence at first, but in the 1950s he began to use twelve-tone technique. Anton Webern’s music became his model in works such as the Third String Quartet (1952), the Quintetto sereno for wind quintet (1958)—which also uses aleatory techniques—the Sonata for two pianos (1957), and the Ballata romana (1960).[2] Later, he developed a marked propensity for quotations from earlier music. Particularly striking examples include Heinrich Isaac's "Innsbruck, ich muss dich lassen" in the Concerto da camera, a theme from Bach’s Musical Offering in the Ricercari for organ, as well as in the Kontrapunkte 77 for three woodwinds, and Schumann themes in Sentimento del tempo and, especially, in Musik mit Robert Schumann.[1] Other composers whose works Baur has quoted include Dvořák, Strauss, Gesualdo, Mozart and Schubert.[2] Primarily a composer of orchestral and instrumental music, Baur also produced a number of works for less mainstream instruments such as the recorder and the accordion.[4][2] He was one of the first composers to introduce the recorder to the new musical trends of the post-war era, with Incontri (1960), for recorder and piano, Mutazioni (1962) and Pezzi uccelli (1964), both for unaccompanied alto recorder, and the virtuosic Concerto da camera "Auf der Suche nach der verlorenen Zeit", for recorder and chamber orchestra of 1975.[3] In his 87th year, Baur completed his only opera, Der Roman mit dem Kontrabass, to a libretto by Michael Leinert after the story by Anton Chekhov. Commissioned on the occasion of the composer's 85th birthday in 2003 by the Deutsche Oper am Rhein, it was premiered at the Partika-Saal of the Robert Schumann Hochschule, Düsseldorf, on 25 November 2005, with Marco Vassilli and Kerstin Pohle singing the two main roles (Smychkov and the Countess Anastasia), Szymon Marciniak as the solo contrabassist, and Thomas Gabrisch conducting. Teaching career In 1965 Baur became director of the Robert Schumann Hochschule in Düsseldorf, where he was appointed professor in 1969. After Bernd Alois Zimmermann's death in 1971, Bauer succeeded him as teacher of composition at the Cologne Musikhochschule, where he remained until retiring in 1990.[2] Honours Baur's many distinctions include the Recklinghausen Young Generation Prize (1956), the Robert Schumann Prize of the city of Düsseldorf (1957), the Federal Cross of Merit (first class, 1970), and honorary membership of the German Music Council (1988), the North Rhine–Westphalia Service Award and the Duisburger Musikpreis (1994).[2] Last years In the summer of 2009, Baur and his wife Brunhild celebrated their 65th wedding anniversary. A few months later, however, Brunhild died and a change came over Baur, who until then had never appeared frail. He died in Düsseldorf on 31 January 2010 at the age of 91, just a few months after his wife, who was the same age.[3] References Hesse, Lutz-Werner, Armin Klaes, and Arnd Richter (eds.). 1993. Jürg Baur: Aspekte seines Schaffens. Wiesbaden: Breitkopf & Härtel. ISBN 3-7651-0288-1. Krellmann, Hanspeter, and Jürg Baur. 1968. Ich war nie Avantgardist: Gespräche mit dem Komponisten Jürg Baur. Wiesbaden: Breitkopf & Härtel. Lang, Klaus. 1983. "Komponieren Heute: Interview mit Jürg Baur". Neue Zeitschrift für Musik 144, no. 10 (October): 17–20. Juerg Baur Juerg Baur   resume Jürg Baur, born on November 11, 1918 in Düsseldorf as the only child of his parents Maria, née Schulte, and Ernst Baur, director of the Gymnasium (German and Romance studies), came into contact with a wide variety of musical styles at an early age. The sheet music available at home gave the young Jürg Baur, who at the age of eight had his first piano lessons with Adelheid Kroeber and later also organ lessons with Albert Thate, the opportunity to study piano works by Johann Sebastian Bach intensivelyand piano pieces by Béla Bartók, Igor Stravinsky, Paul Hindemith, Ernst Krenek and Ernst Toch, which inspired him to compose. His string quartet in D minor (1935), partially premiered there by the Prisca Quartet shortly before graduating from high school in 1937 at the Düsseldorf Hindenburg Gymnasium, paved the way for Baur to enter Philipp Jarnach's composition class at the Cologne University of Music, where he graduated in autumn 1937 began his studies. He also studied piano with Karl Hermann Pillney and organ with Michael Schneider. Due to being called up for military service in 1939, Jürg Baur had to interrupt his studies after four semesters. medical Hilde Wolfstieg had married, and after returning from Russian captivity, and as early as 1946 became a lecturer in music theory at the Robert Schumann Conservatory in Düsseldorf. In the same year he passed his state examination for composition and piano; a year later he completed his composition studies with the completion of the artistic maturity examination. He completed his musicology studies with Karl-Gustav Fellerer at the University of Cologne in 1951, which he began in 1948, but the dissertation he was working on fell victim to various extensive occupations: In addition to his teaching activities, he was cantor at the Pauluskirche in Düsseldorf-Unterrath (1952- 66) and for several years he wrote incidental music for the Düsseldorfer Schauspielhaus in the Gustav Gründgens era. The end of his exams was the church music A exam in 1954. 1959-66 Baur was a guest lecturer at the Protestant State Church Music School in the Rhineland. In 1955 Baur received the sponsorship award of the Robert Schumann Prize from the city of Düsseldorf, in 1956 the sponsorship prize for the young generation of Recklinghausen and one year later the Düsseldorf Robert Schumann Prize in recognition of his overall work. The most significant and most important award was the Rome scholarship of the Deutsche Akademie Villa Massimo in 1960. In 1965 Jürg Baur succeeded Joseph Neyses as director of the Düsseldorf Robert Schumann Conservatory and in 1969 he was appointed professor. A trip to the USSR on behalf of the German Music Council, a second Villa Massimo scholarship (both in 1968) and the award of the Federal Cross of Merit, 1st class (1969), also took place during this period. In 1971 Baur took over the composition class of Bernd Alois Zimmermann at the Cologne Music Academy, which he then led until 1990 (after his retirement as a lecturer); In 1975 he declined an appointment to the Munich Music Academy. A second trip to the USSR followed in 1979, before he stayed a year later as a guest of honor at the Villa Massimo and in 1984 took part as a guest of honor at the Moscow International Music Festival. In 1990 Jürg Baur received the Order of Merit of the State of North Rhine-Westphalia and in 1994 the Music Prize of the City of Duisburg. Baur has been a member of the GEMA evaluation committee since 1973, to which he has belonged since 1947; since 1977 he has been an individual member and since 1988 an honorary member of the German Music Council. He was also 1st from 1971 to 1993. Chairman of the North Rhine-Westphalian state association VDMK [today: DTKV] and from 1962 to 1997 1st chairman of the VDMK district association in Düsseldorf, of which he is now honorary chairman. In 1997 Jürg Baur received the music prize of the Gerhard Maasz Foundation for his complete works as well as the ring of honor of the German Schubert Society. Jürg Baur died on January 31, 2010 in Düsseldorf. Title in the Dohr Edition Music for keyboard instruments chamber music vocal music Literature in the publishing house Dohr Publication series on Jürg Baur essay Other literature on Baur CDs Compositions in the Edition Dohr Music for keyboard instruments ADE Stockhausen Moments for piano and organ (2008) score M-2020-1941-2 EURO 15.80 available immediately ADE Stockhausen version for organ solo (Ulrich Leykam; 2008) M-2020-1942-9 EURO 7.80 available immediately Archaic Variations on the Chorale "Give Us Peace" (1997) for organ (large and small version in one volume) M-2020-0527-9 EURO 13.80 available immediately Three chorale preludes (1946/1990) on "How beautifully the morning star shines on us" for organ M-2020-0094-6 EURO 4.80 available immediately Three Early Piano Pieces (1943/57) ed. by Oliver Drechsel M-2020-0507-1 EURO 8.80 available immediately Three Pieces (1994) for harpsichord M-2020-0184-4 EURO 6.80 available immediately Fabula Rasa (2006) Mosaic for piano. In search of Robert Schumann M-2020-1343-4 EURO 7.80 available immediately Fabula Rasa (2006) Mosaic for organ. In search of Robert Schumann M-2020-1379-3 EURO 7.80 available immediately Prelude (1949) for harpsichord (from the "Suite for Harpsichord") M-2020-0179-0 EURO 5.80 available immediately ritorno Five short pieces for organ (2001) M-2020-0896-6 EURO 7.80 available immediately All chorale preludes for organ (in one volume), ed. by Reinhard Kluth M-2020-0248-3 EURO 19.80 available immediately Two early organ fantasies Fantasia on BACH (1935) Fantasia in E minor (1941) ed. by Reinhard Kluth M-2020-0317-6 EURO 7.80 available immediately   chamber music Album leaf "Hommage à Schönberg " for flute quartet (1992) playing score M-2020-0097-7 EURO 4.80 available immediately "A little man stands in the forest" (1946) for string quartet (3rd movement of String Quartet No. I) score and parts M-2020-0247-6 EURO 14.80 available immediately Perpetual motion machine (1950) from the "Music for Violoncello and Piano" score and voice M-2020-0175-2 EUR 9.80 available immediately Petite Suite for Four Flutes (1992) (Little Suite for Flute Quartet) score and parts M-2020-0197-4 EURO 19.80 available immediately Five Polyphonic Miniatures (1998) for viola or viola quartet score and parts M-2020-0552-1 EURO 29.80 available immediately Sonatina (1940/2000) for piano trio score and parts M-2020-0508-8 EURO 49.80 available immediately String Quartet No. II (1941/46) score and parts M-2020-0096-0 EURO 34.80 available immediately   vocal music Lonely Songs (1941/43) Ten songs for voice and piano M-2020-0093-9 EURO 14.80 available immediately Six Early Songs for voice and piano (1942/49) ed. by Oliver Drechsel M-2020-0323-7 EURO 8.80 available immediately Two Bell Sayings (1953) for three-part mixed choir a cappella (SAM) score, incl. choral score M-2020-0257-5 EUR 5.80; from 15 copies each EURO 2.80; from 25 copies per EURO 2.20 immediately available Back to top Literature in the publishing house Dohr Publication series on Jürg Baur Annotations to the Music . Selected writings, essays and lectures ed. by Oliver Drechsel 287 pp., illustrations, sheet music examples, index, hardcover ISBN 978-3-936655-01-8 EURO 24.80 available immediately Jürg Baur: catalog raisonné ed. by Oliver Drechsel 160 p., 53 sheet music examples, hardcover ISBN 978-3-925366-59-8 EURO 24.80 available immediately Oliver Drechsel Jürg Baur: The piano work 173 p., 6 illustrations, 140 sheet music examples, facsimiles of two piano pieces by Jürg Baur. hardcover ISBN 978-3-925366-60-4 EUR 22.80 Matthias Güdelhoefer Jürg Baur: The late chamber music 160 p., 99 sheet music examples, hardcover ISBN 978-3-925366-84-0 EURO 22.80 available immediately Lars Wallerang Jürg Baur's orchestral works as a dialogue between tradition and modernity 224 p., 40 sheet music examples, hardcover ISBN 978-3-936655-02-5 EURO 29.80 available immediately   essay Meeting with Stockhausen Twelve facets of a relationship between composers in: fermata 3/2008, p. 42   Other literature on Baur covers Jorg Abbing Interview with Jürg Baur (November 1, 2006) in: Jörg Abbing (ed.): ... it blooms back and forth . Festschrift for Almut Rößler 213 p., numerous illustrations, some in colour, indexes. hardcover ISBN 978-3-936655-45-2 out of print Lars Wallerang Jürg Baur - biographical highlights in: Almanac for Music I (2011), ed. by Christopher Dohr 304 p., numerous, partly colored illustrations, index, linen ISBN 978-3-936655-79-7 EURO 49.80 available immediately Back to top CDs covers with changing key piano songs by Jürg Baur contains five song cycles as well as individual songs Matthias Güdelhöfer , baritone Oliver Drechsel , piano DCD 008 - (P) 2001 EURO 19.80 available immediately Back to top   Press | Sitemap | Contact | Terms and Conditions | Privacy Policy | Imprint | Newsletter The Order of Merit of the Federal Republic of Germany (German: Verdienstorden der Bundesrepublik Deutschland, or Bundesverdienstorden, BVO)[2] is the only federal decoration of Germany. It is awarded for special achievements in political, economic, cultural, intellectual or honorary fields. It was created by the first President of the Federal Republic of Germany, Theodor Heuss, on 7 September 1951. Colloquially, the decorations of the different classes of the Order are also known as the Federal Cross of Merit (Bundesverdienstkreuz). It has been awarded to over 200,000 individuals in total, both Germans and foreigners. Since the 1990s, the number of annual awards has declined from over 4,000, first to around 2,300–2,500 per year, and now under 2,000, with a low of 1752 in 2011. Since 2013, women have made up a steady 30–35% of recipients.[3] Most of the German federal states (Länder) have each their own order of merit as well, with the exception of the Free and Hanseatic Cities of Bremen and Hamburg, which reject any orders (by old tradition their citizens, particularly former or present senators, will refuse any decoration in the form of an order, the most famous example being former Chancellor Helmut Schmidt).[4] Contents 1 History 2 Classes 3 Insignia 4 Gallery 5 Recipients 6 See also 7 References 8 External links History The order was established on 7 September 1951 by the decree of Federal President Theodor Heuss.[5] Signed by Heuss, German Chancellor Konrad Adenauer, and Minister of the Interior Robert Lehr, the decree states: Desiring to visibly express recognition and gratitude to deserving men and women of the German people and of foreign countries, on the second anniversary of the Federal Republic of Germany, I establish the Order of Merit of the Federal Republic of Germany. It is awarded for achievements that served the rebuilding of the country in the fields of political, socio-economic, and intellectual activity, and is intended to be an award for all those whose work contributes to the peaceful rise of the Federal Republic of Germany. Classes The Order comprises four groups with eight regular classes and one special (medal) class (hereafter enumerated in English):[6] Grand Cross (German: Großkreuz) Grand Cross special class (Sonderstufe des Großkreuzes); the highest class of the Order reserved for heads of state. Grand Cross 1st class, special issue (Großkreuz in besonderer Ausführung); equivalent to Grand Cross 1st class, but with laurel wreath design (awarded only twice in history, to Konrad Adenauer and Helmut Kohl) Grand Cross 1st class (Großkreuz); Grand Cross Great Cross of Merit (Großes Verdienstkreuz) Grand Cross (Großes Verdienstkreuz mit Stern und Schulterband); Great Cross with Star and Sash Knight Commander's Cross (Großes Verdienstkreuz mit Stern); Great Cross with Star Commander's Cross (Großes Verdienstkreuz); Great Cross of Merit Cross of Merit (Verdienstkreuz) Officer's Cross (Verdienstkreuz 1. Klasse); Cross of Merit 1st Class Cross (Verdienstkreuz am Bande); Member Medal of Merit (Verdienstmedaille) Medal (Verdienstmedaille) The President of the Federal Republic holds the Grand Cross special class ex officio. It is awarded to him in a ceremony by the President of the Bundestag, attended by the Chancellor of Germany, the President of the Bundesrat, and the Supreme Court President. Other than the German president, only a foreign head of state and their spouse can be awarded with this highest class. There is also the provision of awarding the Grand Cross 1st class in a "special issue" with laurel wreath design (Großkreuz in besonderer Ausführung), in which the central medallion with the black eagle is surrounded by a stylized laurel wreath in relief. This Grand Cross 1st class, special issue has been awarded so far only twice, to former German chancellors Konrad Adenauer and Helmut Kohl.[7] Insignia Comparison showing the similarities and same basic design of the various stars of the Bundesverdienstkreuz and the Prussian Order of the Black Eagle, The Third Reich Order of the German Eagle, The Third Reich Red Cross of Honour and the Prussian Pour le Mérite. Except for the lowest class, the medal, the badge is the same for all classes, but with slightly different versions for men and women (slightly smaller badge and ribbon for women): The badge for the Member and Officer classes however are only enamelled on one side, and flat on the reverse. The badge of the Order is made up of a golden four-armed cross enamelled in red, with a central gold disc bearing a black enamelled German federal eagle (Bundesadler). The star is a golden star with straight rays, its size and points vary according to class, with the badge superimposed upon it. An interesting fact about the stars, of which no less than four grades use one, is that they all have the same basic shape as various other breast stars from German history.[8] 8-pointed golden Star: Grand Cross special class - the same shape as the Prussian Order of the Black Eagle 6-pointed golden Star: Grand Cross 1st class (and special issue design if golden oak crown between the cross branches around the medallion) - the same shape as the Third Reich Order of the German Eagle 4-pointed golden Star: Grand Cross (Grand Cross of Merit with Star and Sash) - the same shape as the Third Reich Social Welfare Decoration silver Square-upon-point: Knight Commander (Grand Officer) - the same shape as the Grand Cross of the Pour le Mérite The reasoning behind this is not clear. It is not known if this is deliberate or coincidence, as the tools used to make the stars were in short supply after the war, and using stamping dies that were readily available and could be reused or acquired from other manufacturers would have been a good way of cutting costs and simplifying production in a Germany only just starting to experience the Wirtschaftswunder. It is of course possible that this could have been deliberate, and a way to celebrate German history in the design of the new honour for the Federal Republic. This is unlikely however as two stars represent decorations awarded during the Third Reich, and the other two are of Prussian origin. Prussia itself had only been recently abolished and the legacy of so called "Prussian militarism" was not something openly celebrated in the new Federal Republic of Germany. The riband of the Order is made up of the colours of the German flag. The pattern is a large central band of red, edged on both sides in a smaller band of gold-black-gold.[9] Gallery Insignia of the Grand Cross special class Insignia of the Grand Cross special class   Insignia of the Grand Cross 1st class Insignia of the Grand Cross 1st class   Badge and riband of the class "Grand Cross" (without showing the star) Badge and riband of the class "Grand Cross" (without showing the star)   Star of the class "Grand Cross" Star of the class "Grand Cross"   Star of the class "Knight Commander's Cross" Star of the class "Knight Commander's Cross"   Badge suspended on neck riband of the class "Commander's Cross" Badge suspended on neck riband of the class "Commander's Cross"   Medal of Merit, the lowest class of the Order Medal of Merit, the lowest class of the Order   Certificate of Bestowal Certificate of Bestowal   Foreign head of state Queen Elizabeth II with the Grand Cross special class, 1992 visit in Brühl (Rhineland), Germany Foreign head of state Queen Elizabeth II with the Grand Cross special class, 1992 visit in Brühl (Rhineland), Germany   The gold foil German Bundesadler found on the inner lid of the Order The gold foil German Bundesadler found on the inner lid of the Order   Grand Cross with Star and Sash Grand Cross with Star and Sash   Grand Cross with badge Grand Cross with badge   Grand Cross with Star and Sash in case Grand Cross with Star and Sash in case   Grand Cross with Star and Sash set Grand Cross with Star and Sash set   Grand Cross Star Grand Cross Star   Commanders Cross set Commanders Cross set   Commanders Class in case Commanders Class in case   Commanders Class Commanders Class Recipients For a more comprehensive list, see List of recipients of the Order of Merit of the Federal Republic of Germany. See also Iron Cross Order of Karl Marx Pour le Mérite Knight's Cross of the Iron Cross Awards and decorations of the German Armed Forces Abstracts Georg Mohr: »Sehen wir doch die Musiksituation unserer Zeit nicht zu eng und einseitig an«. Philosophical Review of the Composer Jürg Baur and the Musical Avant-Garde »If you’re a composer of new music, how come you’re not an avant-garde musician?« This variation of a famous paper title by political philosopher G.A. Cohen can be read as a provocative rendition of a prominent issue in music aesthetic debates during the second half of the 20th century. Some of the most powerful statements of the musical avant-garde sounded like »Il faut être absolument moderne« (Adorno citing Rimbaud), »Burn down the opera houses«, »Schoenberg is dead« (both famously uttered by Pierre Boulez). But not each and every innovative and imaginative composer, however, was willing to literally subordinate her music under avant-garde vocabulary. »I have never been an avant-gardist« Jürg Baur answered in 1968 to an interviewer. What was the very point of this statement? * Rainer Nonnenmann: Visualizations. Handling Historical Material at Zimmermann, Baur, Killmayer, Schnebel and Zender By behaving towards the traditional, for centuries composers decided whether something was perceived as new or old, alien or own. The representatives of the serial post-war avant-garde broke temporarily with this universal practice. But already since the 1960s the same composers along with many other began to compose new music in a targeted relation to the age. Citation, collage and allusion techniques became a sign of the music of the 1960s and following years. Behind the external similarity of the use of historical material, however, hide huge differences in its selection, processing, function and effect. The particularity of the visualization of traditional music in the work of Jürg Baur is therefore to be worked out in comparison to other varieties of relational music by Bernd Alois Zimmermann, Wilhelm Killmayer, Dieter Schnebel and Hans Zender. Jürg Baur in den Stadtrat Brugg Brugg, Ende Januar 2018 Liebe Bruggerinnen und Brugger, liebe Freunde, liebe Bekannte Am 4. März finden die Ersatzwahlen für den Brugger Stadtrat statt. Ich traue mir zu, mich aktiv und engagiert für die Stadt Brugg einzusetzen Über Ihre Unterstützung würde ich mich freuen. Besten Dank! Ihr Jürg Baur Was sind meine Ziele? Unsere Stadt soll als Lebens -, Arbeits - und Kulturort für Alte und Junge, für Familien und für Gäste weiter an Attraktivität gewinnen. Ich setze mich für eine lebensfrohe und farbige Stadt ein. Ich zeige Bereitschaft Chancen zu erkennen und anzugehen. Brugg ist das Zentrum einer wunderbaren Region und für die zukünftigen Herausforderungen braucht es die umliegenden Gemeinden; aber die Region braucht auch ein starkes Brugg. Ein e hohe Bildungsqualität, attraktive Arbeitsplätze und ein bedürfnis - orientiertes Betreuungsangebot sind mir wichtig. Nutzen wir dazu das grosse Innovationspotenzial im Umfeld der FHNW, dem Technopark , dem PSI und dem zukünftigen Park Innovare. Ich werde mich für den Langsam - verkehr und für ein angepasstes Verkehrsmanagement einsetzen. Die Aufwertung der Überbauung Bahnhofplatz –Neumarkt zusammen mit der Verbindung zum Campus muss vorangetrieben werden. Das funktionierende Vereinsleben, ein vielfältige s Kultur- und Sportangebot tragen zu einer hohen Lebensqualität bei. Wie kann man mich unterstützen? Über eine Empfehlung bei Freunden, Nachbarn und im Verein freue ich mich. Gerne kann man Flyer verteilen, einen anerkennenden Leserbrief in der Zeitung veröffentlichen oder mich materiell unterstützen. Weitere Infos unter Kasparov has won prizes at numerous composition and piano competitions such as the Second Prize at the Sergei Prokofiev International Composition Competition in Moscow and the Albert Roussel Prize at the Orléans International Piano Competition. He has been a recipient of various awards, including ASCAP, the Indiana Arts Commission Fellowship and a grant from the Yvar Mikhashoff Trust for New Music. In addition to Albany Records, Kasparov’s music and performances are featured on labels such as Atlantic Music Artist Agency in Ukraine, Vienna Modern Masters, and Contemporary Record Society. His compositions and articles have been published by the KompozitorPublishing House in Moscow, Russia and Hungarian Music Quarterly in Budapest, Hungary, among others. Oksana Lutsyshyn was born in the city of Lviv, Ukraine. A graduate of the Moscow State Conservatory, Lutsyshyn gave a New York debut in the Weill Recital Hall at Carnegie Hall and a Chicago debut in the Preston Bradley Hall at Chicago Cultural Center. She is presently on the faculty at Old Dominion University in Norfolk, VA, teaching Piano and Music Theory. She is also an Artistic Co-Director of the Norfolk Chamber Consort and a founding member of the Invencia Piano Duo who recently won the 2014 Veer Magazine Local Artists Award in the best classical music category. As a chamber musician, Lutsyshyn has played in ensembles with such prominent musicians as a tenor James King, tubist Harvey Phillips and violinist Joshua Bell, with whom she has made a recording for the BBC. An internationally acclaimed recording artist, she is featured on labels such as Naxos, Albany Records, Vienna Modern Masters and Contemporary Record Society labels. Lutsyshyn won the second prize at the Vienna Modern Masters’ Third International Performers’ Recording Award. She also won the Prince George Council County Art Prize at the William Kapell International Piano Competition in College Park, Maryland. OLD DOMINION UNIVERSITY Department of Music Old Dominion University New Music Ensemble Andrey Kasparov, Director Oksana Lutsyshyn, Guest Artist Diehn Fine and Performing Arts Chandler Recital Hall Monday, April 28, 2014 7:30 PM Modern Harpsichord Program Declamation: Fantasy Variations (2004) Randal Faust (b. 1947) Lauren White, French horn Andrey Kasparov, piano Con-tra-con (1971) Helmut Bieler (b. 1940) Sarah Bass, clarinet Andrey Kasparov, harpsichord Sonatine en Trio for harpsichord (or piano)  flute and clarinet, Op. 85 (1934-1935) I. Assez animé  II. Assez vif  III. Très lent  iv. Animé Florent Schmitt (1870-1958) Hyeshin Yoon, flute Sarah Bass, clarinet Andrey Kasparov, piano Divertimento (3 Fantasien) (2000)  I. Allegro agitato  ll. Andante  III. Allegro Jürg Baur (1918-2010) Anthony Carlton, percussion Andrey Kasparov, harpsichord Sonata, H306 (1945) Bohuslav Martinů (1890-1959) I. Allegro Moderato Hyeshin Yoon,flute Oksana Lutsyshyn, piano A Day in the Life of Bingo (the Dog)  for horn, piano and toy instruments (1991) Ellsworth Milburn (1938-2007) Lauren White, French horn Andrey Kasparov, piano& harpsichord ODU New Music Ensemble Hyeshin Yoon,flute Sarah Bass, clarinet Anthony Carlton, percussion Lauren White, French horn Andrey Kasparov, piano Dr. Andrey Kasparov was born in the former Soviet Union to a family of Armenian descent. At fifteen, he moved to Moscow, where he later entered the Moscow State Conservatory, graduating with honors in Music Composition and Piano in 1989 and 1990, respectively. He also holds a Doctor of Music degree in Music Composition from the Indiana University School of Music in Bloomington. Presently, Kasparov is Associate Professor of Music at Old Dominion University in Norfolk, Virginia. He is also Artistic Co-Director of the Norfolk Chamber Consort and a founding member of the award winning Invencia Piano Duo. In addition to the New Music Ensemble, that he founded, Kasparov teaches undergraduate and graduate Music Composition, Piano, and all levels of undergraduate Music Theory. He also coordinates the departments of Composition, Piano and Music Theory. Kasparov’s works have been performed at Moscow Autumn; International Forum of Composers in Kiev, Ukraine; Internationale Ferienkurse für Neue Musik in Darmstadt, Germany; the Encuentrosfestival in Buenos Aires, Argentina, and many other festivals and venues in Moscow, New York, Paris, Yerevan, Ottawa, Chicago, Cleveland, San Francisco, and other cities in the world. Kasparov has appeared in concerts as a recitalist, soloist with orchestras and chamber musician throughout the former Soviet Union, Europe and the Americas. In 1994, he was a soloist with the Columbus Indiana Philharmonic in the world premiere of the newly discovered revised edition of Béla Bartók's Piano Concerto No. 3. Music critics describe Kasparov’s solo and chamber performances as “flawless,” “phenomenal,” “dazzling,” “electrifying” and “authoritative.” Reviewing the CD Hommages musicaux in the American Record Guide, James Harrington wrote, “Hats off to the KasparovLutsyshyn piano duo team for bringing these fascinating pieces to us in their original forms.” Kasparov’s and Lutsyshyn’s CD with piano music by Adolphus Hailstork was released by Albany Records in May 2009 and recognized by the Fanfare Magazine as “a significant release.” He and Lutsyshyn have recently recorded the entire works by Florent Schmitt for piano duo. Released by Naxos Records, this set has been met with more than 25 laudatory reviews in four languages around the world. A composer is a person who writes music.[1] The term is especially used to indicate composers of Western classical music,[2] or those who are composers by occupation.[3] Many composers are, or were, also skilled performers of music. Contents 1 Etymology and Definition 2 Role in the Western world 2.1 Relationship with performers 2.2 History of employment 2.3 Role of women 2.4 Clustering 3 Modern training 3.1 Undergraduate 3.2 Masters 3.3 Doctoral 3.4 Other routes 4 See also 5 References 6 Sources 7 Further reading 8 External links Etymology and Definition The term is descended from Latin, compōnō; literally "one who puts together".[4] The earliest use of the term in a musical context given by the Oxford English Dictionary is from Thomas Morley's 1597 A Plain and Easy Introduction to Practical Music, where he says "Some wil [sic] be good descanters [...] and yet wil be but bad composers".[1] 'Composer' is a loose term that generally refers to any person who writes music.[1] More specifically, it is often used to denote people who are composers by occupation,[3] or those who in the tradition of Western classical music.[2] Writers of exclusively or primarily songs may be called composers, but since the 20th century the terms 'songwriter' or 'singer-songwriter' are more often used, particularly in the tradition of popular music.[5] In other contexts, the term 'composer' can refer to a literary writer,[6] or more rarely and generally, someone who combines pieces into a whole.[7] Across cultures and traditions composers may write and transmit music in a variety of ways. In much popular music, the composer writes a composition, and it is then transmitted via oral tradition. Conversely, in some Western classical traditions music may be composed aurally—i.e. "in the mind of the musician—and subsequently written and passed through written documents.[8] Role in the Western world Relationship with performers In the development of European classical music, the function of composing music initially did not have much greater importance than that of performing it.[citation needed] The preservation of individual compositions did not receive enormous attention and musicians generally had no qualms about modifying compositions for performance. In the Western world, before the Romantic period of the 19th century, composition almost always went side by side with a combination of either singing, instructing and theorizing.[9] Even in a conventional Western piece of instrumental music, in which all of the melodies, chords, and basslines are written out in musical notation, the performer has a degree of latitude to add artistic interpretation to the work, by such means as by varying his or her articulation and phrasing, choosing how long to make fermatas (held notes) or pauses, and — in the case of bowed string instruments, woodwinds or brass instruments — deciding whether to use expressive effects such as vibrato or portamento. For a singer or instrumental performer, the process of deciding how to perform music that has been previously composed and notated is termed "interpretation". Different performers' interpretations of the same work of music can vary widely, in terms of the tempos that are chosen and the playing or singing style or phrasing of the melodies. Composers and songwriters who present their music are interpreting, just as much as those who perform the music of others. The standard body of choices and techniques present at a given time and a given place is referred to as performance practice, whereas interpretation is generally used to mean the individual choices of a performer.[citation needed] Although a musical composition often has a single author, this is not always the case. A work of music can have multiple composers, which often occurs in popular music when a band collaborates to write a song, or in musical theatre, where the songs may be written by one person, the orchestration of the accompaniment parts and writing of the overture is done by an orchestrator, and the words may be written by a third person. A piece of music can also be composed with words, images, or, in the 20th and 21st century, computer programs that explain or notate how the singer or musician should create musical sounds. Examples of this range from wind chimes jingling in a breeze, to avant-garde music from the 20th century that uses graphic notation, to text compositions such as Aus den Sieben Tagen, to computer programs that select sounds for musical pieces. Music that makes heavy use of randomness and chance is called aleatoric music, and is associated with contemporary composers active in the 20th century, such as John Cage, Morton Feldman, and Witold Lutosławski. The nature and means of individual variation of the music are varied, depending on the musical culture in the country and time period it was written. For instance, music composed in the Baroque era, particularly in slow tempos, often was written in bare outline, with the expectation that the performer would add improvised ornaments to the melody line during a performance. Such freedom generally diminished in later eras, correlating with the increased use by composers of more detailed scoring in the form of dynamics, articulation et cetera; composers becoming uniformly more explicit in how they wished their music to be interpreted, although how strictly and minutely these are dictated varies from one composer to another. Because of this trend of composers becoming increasingly specific and detailed in their instructions to the performer, a culture eventually developed whereby faithfulness to the composer's written intention came to be highly valued (see, for example, Urtext edition). This musical culture is almost certainly related to the high esteem (bordering on veneration) in which the leading classical composers are often held by performers. The historically informed performance movement has revived to some extent the possibility of the performer elaborating seriously the music as given in the score, particularly for Baroque music and music from the early Classical period. The movement might be considered a way of creating greater faithfulness to the original in works composed at a time that expected performers to improvise. In genres other than classical music, the performer generally has more freedom; thus for instance when a performer of Western popular music creates a "cover" of an earlier song, there is little expectation of exact rendition of the original; nor is exact faithfulness necessarily highly valued (with the possible exception of "note-for-note" transcriptions of famous guitar solos). In Western art music, the composer typically orchestrates his or her compositions, but in musical theatre and pop music, songwriters may hire an arranger to do the orchestration. In some cases, a pop songwriter may not use notation at all, and instead, compose the song in his or her mind and then play or record it from memory. In jazz and popular music, notable recordings by influential performers are given the weight that written scores play in classical music. The study of composition has traditionally been dominated by examination of methods and practice of Western classical music, but the definition of composition is broad enough the creation of popular and traditional music songs and instrumental pieces and to include spontaneously improvised works like those of free jazz performers and African percussionists such as Ewe drummers. History of employment During the Middle Ages, most composers worked for the Catholic church and composed music for religious services such as plainchant melodies. During the Renaissance music era, composers typically worked for aristocratic employers. While aristocrats typically required composers to produce a significant amount of religious music, such as Masses, composers also penned many non-religious songs on the topic of courtly love: the respectful, reverential love of a great woman from afar. Courtly love songs were very popular during the Renaissance era. During the Baroque music era, many composers were employed by aristocrats or as church employees. During the Classical period, composers began to organize more public concerts for profit, which helped composers to be less dependent on aristocratic or church jobs. This trend continued in the Romantic music era in the 19th century. In the 20th century, composers began to seek employment as professors in universities and conservatories. In the 20th century, composers also earned money from the sales of their works, such as sheet music publications of their songs or pieces or as sound recordings of their works. Role of women Main articles: Women in music § Composers, and List of female composers by birth date Nineteenth-century composer and pianist Clara Schumann In 1993, American musicologist Marcia Citron asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?"[10] Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers.[10] According to Abbey Philips, "women musicians have had a very difficult time breaking through and getting the credit they deserve."[11] During the Medieval eras, most of the art music was created for liturgical (religious) purposes and due to the views about the roles of women that were held by religious leaders, few women composed this type of music, with the nun Hildegard von Bingen being among the exceptions. Most university textbooks on the history of music discuss almost exclusively the role of male composers. As well, very few works by women composers are part of the standard repertoire of classical music. In Concise Oxford History of Music, "Clara Shumann [sic] is one of the only female composers mentioned",[11] but other notable women composers of the common practice period include Fanny Mendelssohn and Cécile Chaminade, and arguably the most influential teacher of composers during the mid-20th century was Nadia Boulanger.[citation needed] Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts."[11] Women today are being taken more seriously in the realm of concert music, though the statistics of recognition, prizes, employment, and overall opportunities are still biased toward men.[12] Clustering Famous composers have a tendency to cluster in specific cities throughout history. Based on over 12,000 prominent composers listed in Grove Music Online and using word count measurement techniques, the most important cities for classical music can be quantitatively identified.[13] Paris has been the main hub for western classical music in all periods. It was ranked fifth in the 15th and 16th centuries but first in the 17th to 20th centuries inclusive. London was the second most meaningful city: eighth in the 15th century, seventh in the 16th, fifth in the 17th, second in the 18th and 19th centuries, and fourth in the 20th century. Rome topped the rankings in the 15th century, dropped to second in the 16th and 17th centuries, eighth in the 18th century, ninth in the 19th century but back at sixth in the 20th century. Berlin appears in the top ten rankings only in the 18th century and was ranked third most important city in both the 19th and 20th centuries. New York City entered the rankings in the 19th century (at fifth place) and stood at second rank in the 20th century. The patterns are very similar for a sample of 522 top composers.[14] Modern training Professional classical composers often have a background in performing classical music during their childhood and teens, either as a singer in a choir, as a player in a youth orchestra, or as a performer on a solo instrument (e.g., piano, pipe organ, or violin). Teens aspiring to be composers can continue their postsecondary studies in a variety of formal training settings, including colleges, conservatories, and universities. Conservatories, which are the standard musical training system in France and in Quebec, Canada provide lessons and amateur orchestral and choral singing experience for composition students. Universities offer a range of composition programs, including bachelor's degrees, Master of Music degrees, and Doctor of Musical Arts degrees. As well, there are a variety of other training programs such as classical summer camps and festivals, which give students the opportunity to get coaching from composers. Undergraduate Bachelor's degrees in composition (referred to as B.Mus. or B.M) are four-year programs that include individual composition lessons, amateur orchestra/choral experience, and a sequence of courses in music history, music theory, and liberal arts courses (e.g., English literature), which give the student a more well-rounded education. Usually, composition students must complete significant pieces or songs before graduating. Not all composers hold a B.Mus. in composition; composers may also hold a B.Mus. in music performance or music theory. Masters Master of Music degrees (M.mus.) in composition consists of private lessons with a composition professor, ensemble experience, and graduate courses in music history and music theory, along with one or two concerts featuring the composition student's pieces. A Master's degree in music (referred to as an M.Mus. or M.M.) is often a required minimum credential for people who wish to teach composition at a university or conservatory. A composer with an M.Mus. could be an adjunct professor or instructor at a university, but it would be difficult in the 2010s to obtain a tenure track professor position with this degree. Doctoral To become a tenure track professor, many universities require a doctoral degree. In composition, the key doctoral degree is the Doctor of Musical Arts, rather than the PhD; the PhD is awarded in music, but typically for subjects such as musicology and music theory. Doctor of Musical Arts (referred to as D.M.A., DMA, D.Mus.A. or A.Mus.D) degrees in composition provide an opportunity for advanced study at the highest artistic and pedagogical level, requiring usually an additional 54+ credit hours beyond a master's degree (which is about 30+ credits beyond a bachelor's degree). For this reason, admission is highly selective. Students must submit examples of their compositions. If available, some schools will also accept video or audio recordings of performances of the student's pieces. Examinations in music history, music theory, ear training/dictation, and an entrance examination are required. Students must prepare significant compositions under the guidance of faculty composition professors. Some schools require DMA composition students to present concerts of their works, which are typically performed by singers or musicians from the school. The completion of advanced coursework and a minimum B average are other typical requirements of a D.M.A program. During a D.M.A. program, a composition student may get experience teaching undergraduate music students. Other routes Some composers did not complete composition programs, but focused their studies on the performance of voice or an instrument or on music theory, and developed their compositional skills over the course of a career in another musical occupation.
  • Type: Handwritten Manuscript
  • Language: German

PicClick Insights - Music Manuscript Jurg Baur German Classical Composer Handwritten 1951 Symphony PicClick Exclusive

  •  Popularity - 1 watcher, 0.1 new watchers per day, 7 days for sale on eBay. Normal amount watching. 0 sold, 1 available.
  •  Best Price -
  •  Seller - 808+ items sold. 0% negative feedback. Great seller with very good positive feedback and over 50 ratings.

People Also Loved PicClick Exclusive