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Moser, Franz: Euro-Musical. Buch und AudioCD
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Erscheinungsdatum: 01/1996, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: Euro-Musical. Buch und AudioCD, Titelzusatz: Eine musikalische Begegnung mit Europa für Kinder ab 6 Jahre. Musik - Spiel - Info's. Paket mit Buch und CD, Autor: Moser, Franz // Mairinger, Hans D., Verlag: Helbling Verlag GmbH // Helbling Verlagsgesellschaft m.b.H., Sprache: Deutsch, Schlagworte: Euro // Währung // Kinderliteratur // Jugendliteratur // Europa // Kindersachbuch // Jugendsachbuch // Musical // Musik-CD // Musik-Cassette für Kinder // Musicaltexte // Kinder // Jugendliche: Romane // Erzählungen // Tatsachenberichte // Jugendliche: Sachbuch, Rubrik: Musik // Sonstiges, Abbildungen: zahlreiche Ill. und Abbildungen, 1 CD, Gewicht: 243 gr, Verkäufer: averdo

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Einstürzende Neubauten
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High Quality Content by WIKIPEDIA articles! High Quality Content by WIKIPEDIA articles! Einstürzende Neubauten is a German experimental rock band, originally from West Berlin, formed in 1980. The group currently comprises Blixa Bargeld (lead vocals, guitar, keyboard), Alexander Hacke (bass, guitar, vocals), N. U. Unruh (custom-made instruments, percussion, vocals), Jochen Arbeit (guitar and vocals), and Rudi Moser (custom-built instruments, percussion, and vocals). The band is often classified as industrial rock. One of their "trademarks" is the use of custom-built instruments, predominantly made out of scrap metal and building tools, and noises, in addition to standard musical instruments. Neubauten has always experimented with sounds, originally in noise rock and recently in very diverse styles

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Hans Joachim Moser
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Hans Joachim Moser was a German musicologist, composer and singer. Moser was the son of the music-professor Andreas Moser, a pupil and important early biographer of Joseph Joachim. He studied the History of Music, German phililogy and Philosophy in Marburg, Berlin and Leipzig, and studied violin with his father. With the work Musical Confederations in the German Middle Ages he obtained his doctorate in 1910 at Rostock. He took part as a Lieutenant during the First World War, was officially accepted as part of the University of Halle in 1919, and in 1922 became extraordinary Professor. In 1925 he followed a call to Heidelberg. From 1927 to 1933 he was Director of the State Academy for Church and School Music in Berlin. In 1933 Moser was forcibly pensioned off on political grounds. In 1938 he became the representative leader of the Reichs-authority for Musical Activities in the Reichs-Ministry of Public Enlightenment and Propaganda, from 1940 until 1945 he was its General Secretary

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Konzertante Werke
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Carl Maria von Weber‘s fame rests mainly on ‚Der Freischütz‘. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ‚Preciosa‘, ‚Oberon‘, and ‚Euryanthe‘, the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber‘s influential and substantial oeuvre was wasted in the 1920s, when a complete edition – begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss – failed after the third volume. Ever since there have been numerous attempts to restart a complete edition of Weber‘s works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber’s work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities. Since the German re-unification both working-parties concerned – at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn – have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6–8 vols.) are edited in Berlin and the letters (8–10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber‘s music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. Instrumentation: piano and orchestra WeV N.12 und WeV N.17

Anbieter: Orell Fuessli CH
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Konzertante Werke
199,00 CHF *
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Carl Maria von Weber‘s fame rests mainly on ‚Der Freischütz‘. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ‚Preciosa‘, ‚Oberon‘, and ‚Euryanthe‘, the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber‘s influential and substantial oeuvre was wasted in the 1920s, when a complete edition – begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss – failed after the third volume. Ever since there have been numerous attempts to restart a complete edition of Weber‘s works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber’s work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities. Since the German re-unification both working-parties concerned – at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn – have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6–8 vols.) are edited in Berlin and the letters (8–10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber‘s music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. Instrumentation: piano and orchestra op. 32 WeV N.15

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Das französische Chanson im Licht medialer (R)e...
48,90 CHF *
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F. Hörner / U. Mathis-Moser: Einleitung - Introduction - 1. Das Chanson wird Untersuchungsgegenstand. La chanson devient objet d’études – U. Mathis-Moser: Pour une „cantologie germanophone“. Bilan et nouvelles perspectives - 2. Das Chanson lebt auf der Strasse. La chanson vit dans la rue – D. Rieger: Chansonperformanz und Autoreferenzialität in der Frühen Neuzeit: Der Fall des Pont-Neuf - 3. Das Chanson betritt die Bühne. La chanson entre sur scène – J.-M. Jacono: La mise en scène de la chanson: l’exemple de Barbara – A. Oberhuber: Robert Charlebois und Diane Dufresne. Show und Bühnenperformanz – A. Bonnermeier: Quand la chanson fait son show du récital à l’événement multimédia? - 4. Das Chanson fängt an zu zwitschern. Ornithologischer Exkurs. La chanson se met à gazouiller. Digression ornithologique – R. Klenk-Lorenz: Im Netz - die Nachtigall. Zur Ambiguität der technischen Reproduzierbarkeit - 5. Das Chanson wird Filmstar. La chanson devient star de cinéma – F. Hörner: Brigitte Bardot chante. Une révolution du regard? – R. Lagabrielle: De la chanson au film musical, avec un détour par le clip: à propos de Christophe Honoré et Alex Beaupain – T. Obergöker: Mémoire et intermédialité dans ,Les chansons d’amour’ (2007) de Christophe Honoré - 6. Das Chanson spielt mit Multimedia. La chanson joue avec le multimédia – F. Hörner: Le scopitone. Une (r)évolution audiovisuelle? – S. Hirschi: Le lyrisme écologique de Richard Desjardins: entre intimisme et multimédiascope – J. Ebert: Die etwas andere mediale Revolution: Bebilderte und animierte Chansons – E. Kimminich: Rap als Mitteilungsmedium: Vom ,Chanson enragée’ zum soziopolitischen Multimedium

Anbieter: Orell Fuessli CH
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Konzertante Werke
197,00 CHF *
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Carl Maria von Weber‘s fame rests mainly on ‚Der Freischütz‘. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ‚Preciosa‘, ‚Oberon‘, and ‚Euryanthe‘, the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber‘s influential and substantial oeuvre was wasted in the 1920s, when a complete edition – begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss – failed after the third volume. Ever since there have been numerous attempts to restart a complete edition of Weber‘s works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber’s work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities. Since the German re-unification both working-parties concerned – at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn – have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6–8 vols.) are edited in Berlin and the letters (8–10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber‘s music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. Instrumentation: piano and orchestra WeV N. 9

Anbieter: Orell Fuessli CH
Stand: 29.03.2020
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Klaviersonaten
351,00 CHF *
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Carl Maria von Weber‘s fame rests mainly on ‚Der Freischütz‘. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ‚Preciosa‘, ‚Oberon‘, and ‚Euryanthe‘, the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber‘s influential and substantial oeuvre was wasted in the 1920s, when a complete edition – begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss – failed after the third volume. Ever since there have been numerous attempts to restart a complete edition of Weber‘s works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber’s work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities. Since the German re-unification both working-parties concerned – at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn – have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6–8 vols.) are edited in Berlin and the letters (8–10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber‘s music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. Instrumentation: piano op. 24+39+49+70 WeV Q-2, 3, 4, 5

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Easy Concert Pieces. Alt-Saxophon und Klavier B...
27,90 CHF *
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The Easy Concert Pieces series for alto saxophone and piano provides easy to intermediate pieces from the Renaissance to the modern era for music lessons, concert performances or private music-making. The volumes with accompanying CD add to the not very extensive repertoire of performance pieces for saxophone. They were carefully selected according to technical and musical requirements and are arranged in three volumes according to their level of difficulty. All pieces are included on the accompanying CD as demo and play-along versions (piano accompaniment). The piano part contained in the volume is very easy so that it can even be played by a pupil, e.g. at a music school concert. Volume 1 (ED 22553) contains easy pieces which mainly range from d‘ to c‘‘‘, occasionally even to d‘‘‘. The keys range from C to D major or the respective minor keys. This volume contains works by Charpentier, Vivaldi, Handel, Bach, Haydn, Mozart, Beethoven, Smetana, Pütz, Moser, and others. Volume 2 (ED 22554) contains intermediate pieces ranging from c‘ to e‘‘‘, with unusual metres and demisemiquavers appearing occasionally. Including works by Wolkenstein, Peuerl, Schein, Purcell, Telemann, Handel, Mozart, Beethoven, Gounod, Humperdinck, Elgar, and others. Volume 3 (ED 22942) – in preparation: Will contain pieces at even higher levels of difficulty and add further works to the repertoire. Instrumentation: alto saxophone and piano

Anbieter: Orell Fuessli CH
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