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The Gulliphon has been used in various projects to date — both as a solo instrument and as part of an ensemble with other instruments:. Composer Bernd Alois Zimmermann has taken a singular concept of time as the basis for his work — one in which past, present and future are not bound by the process of succession. Travel Guide To Newark Airport.
This piece was inspired by the many circles and cycles in the Garden of Earthly Delights by Hieronymus Bosch. Hieronymus Bosch is often associated with the teachings of the Cathars and their belief in reincarnation. In Catharism, the soul is trapped or rather becomes entangled in the delights of our earthly life, and is reincarnated again and again until it is liberated from the spirit. The player of this work also functions as a sound designer, creating a complete ensemble of unfamiliar instruments through a careful balancing of the stops.
Premiere performance by Henry Fairs on 15 November This composition was commissioned by architects Dirk Boländer and Gido Hülsmann of soan architekten It was premiered by the composer to mark the reconsecration of St. The refurbished church walls are finished in alabaster. This material creates a diffuse, white light, in which the lighting source can only be surmised — a metaphor for the transcendental world. It determines the structure, melody and rhythm of the piece.
Mimicking the alabaster used in the church interior, the sounds are intended to represent a materialisation of the infinite, of eternal light. Commissioned work for the Orgelbüchlein Project, an international composition project that completes the Orgelbüchlein of J. This composition describes a spherical expansion out into the universe over lightyears.
The structure of the piece conforms with the position of individual stars, starting from the sun of our solar system. The brightness and category of these stars are converted into sounds with artistic licence. From a certain point on, the light rays from the stars become superimposed to create a glistening sound.
The project fathoms possible interactions between human performers and genetic algorithms. The instrument not only directs how the algorithm develops, it also provides the tonal base for the performance. Genetic algorithms are based on the principle of biological evolution. The iterative refinement process of a functioning solution is based on genetic operators such as crossing and mutation. The algorithm reacts in different ways to input from a human player.
The aim of this project is not to produce a finished piece, but to experience the acoustic results of the algorithm as it moves towards its predefined goal. The goal remains flexible, however, and can be redefined by the player at any given time. Since spirit is a phenomenon not only confined to the church, and art, culture, philosophy and science also have spirit, the scientists are concerned with questions of spirit and consider the question: Petri board of trustees on Whitsun Saturday 14 May in St.
The music consisted of a Gregorian chorale and sonifications of irrational and transcendental numbers, of animal behaviour and the Dow Jones Index as the spirit of the free markets. An interaction between human and artificial intelligence revealed that humans can enter into emotional bonds with a virtual being. Heartbeat, respiratory sounds, voice and brainwaves were recorded from a test subject. These sounds and currents were converted into data streams that directed the sounds of an artificial intelligence sound machine.
Its sounds influenced the test person in turn, through which a feedback loop was formed. Alexander Münchau University of Lübeck Prof. Semjon Kalinowsky Viola www. Elohenu — Hebraic Song takes its listeners on a journey through the world of Jewish organ and chamber music of the 19th and 20th centuries. The repertoire of Jewish and non-Jewish composers traverses the European axis — from Ukraine in the east, to France in the west, to England in the north and Switzerland in the south — right up until American mass emigration.
Thirty people suffering from a serious illness described how their illness evolved in texts, images and video interviews. They reflected on how they themselves and their immediate environment dealt with the disease, and confronted themselves and the public with existential questions about life. Students from the University of Music Lübeck set these texts to music and initiated a speaking chorus of participants.
Data relating to disease progression, as well as rising and falling lab results, were also implemented in sound for the performance. Vocalist Lauren Newton reacted to different aspects of the evening performance with spontaneous vocal improvisations. Paintings of participants and interviews with them were projected onto the pillars and vault during the performance.
It renders you speechless. We wanted to give this speechlessness a form. Franz Danksagmüller Anne Michel Interviews music: Students from the MHL Choir director: Anne Michael Lighting design: The project received financial support from the Possehl Foundation, the Charitable Sparkassen Foundation of Lübeck, the Horizonte association, the Prof. Julius Edelhoff Foundation and the Parish of St.
Leonore Matouschek Art therapist Everything about the performance of Resonances in Lübeck was amazing: After all sounds and image projections had ceased, the minute-long silence in the filled church was an impressive and wonderful response to what we had all experienced.
Photos and film sequences cannot do justice to the atmosphere created in the space during the performance. The entire project and the skilled and human development involved — together with all protagonists — is certain to leave a very special and lasting impression on participants and audience alike.
For me it was a wonderful encounter with people, who have had different experiences of life-threatening illness. We were given space to express our feelings together, and all had a great deal of pleasure and joy from taking part in this musical project.
The project was a wonderful time for me with many different and wonderful people. During the meeting to prepare for the concert, we discussed our own experience with our own form of cancer, and this produced an incredible sense of solidarity among us contributors.
These interviews provoked a kind of flashback in me and in many others. By no means in a negative sense, yet we relived all the experiences and events that had happened to us in those minutes, all over again. When I saw those recordings for the first time, I realised that the whole thing would be a great success.
As the concert was in progress and St. Jakobi Church was packed with — people, you could really feel how this topic resonates with people and automatically animates them to engage with the issues involved.
This project was and is something very special to me. Which is why I recommend continuing it and taking it out into the world, because I think you can reach many people with this concept. The project was inspired by the 16th century song Flow my tears by John Dowland. The singing voice is accompanied on three tonal levels: Within the sound spectrum of the music, the soloist appears as the only human entity in a world of machines or futuristic garden: The sombre mood of the ancient song is thereby transposed into a futuristic sound scenario, in which machine entities appear able to learn human emotions.
Composer Bernd Alois Zimmermann has taken a singular concept of time as the basis for his work — one in which past, present and future are not bound by the process of succession. Time curves and its ends come together to form a spherical shape. Sphaera is inspired by this concept of time and combines the sound of the organ with the complexity of our contemporary soundscape. In our daily lives, we people of the 20th and 21st centuries move between and through sounds of very different origins, which are compressed to form a present the place and the time, in which we currently find ourselves.
The organ is often equated with the human body: The graphic tablet serves as the controller for the live electronics, while the traces left on it result in a graphic score being created. Mai in St. The programme graphic scores comprises of compositions that have been written down as graphic scores. Graphic notations use symbols, texts and colours in additional to conventional musical notation. This gives players greater free play in their interpretation.
This kind of score is in part more an inspiration for improvisation than exact instructions on how to play. The compositions by Ligeti and Hambraeus are among the first graphically notated organ works and are classics in the organ canon of the 20th century. Fontana Mix by John Cage is a tool for generating aleatoric compositions. In this case the resultant parameters are used for programming the algorithm that creates the electronic sounds.
To give the audience an insight into the thinking and approach of the interpreter, the scores by Franz Danksagmüller have been animated or brought into chronological sequence. These animated scores can thus be projected onto a screen or wall. For the premiere in St. Jakobi in Lübeck, the animated scores were projected onto the ceiling vault. Fontana Mix and Souvenir. She sent me a link to an eBay auction of an old Schoenhut toy piano.
I instantly fell in love with this charming instrument. I began improvising and ideas simply poured out. This is how this little suite came about. The composition describes an apocalyptic scenario: The latter are searching through the rubbish for mementoes and remembering old songs and dances as they do so. The creatures with artificial intelligence observe the humans and then begin singing themselves — attempting in this way to get closer to human nature.
The electronics on this occasion are controlled by Wiimote and Nunchuck. In this way the singing tempo of the artificial creatures, for example, can be synchronised with the tempo of the conductor.
Controlled via a computer and the game console, he created electronic sounds that distorted human voices and the sounds of real instruments, thus providing the background for an apocalyptic world that is animated by machines. Choir soloists speakers string quartet organ and congregation Duration: The composition is based on the Passion according to John and is specifically written for the liturgy. This is a reworking of an earlier version for choir, soloists, speakers, drums and live electronics.
A recording can be heard on the CD Vielstimmig 5 zu hören. This composition is on the CD Vielstimmig 2 enthalten. Between and Franz Danksagmüller was organist and resident composer at the Cathedral of St. The following choral compositions were written during this period:. Beginning with one of the last pupils of J.
This period in the history of organ music is a particularly fascinating one: Thus we find the beginning of the postlude No. And it appears as if Franz Liszt adopts the theme of the fugue in No. September Festival Musica Sacra St.
Sie sprechen vielleichtz schon gut Deutsch? Sie möchten aber noch besser sprechen? Dann machen Sie mit! Infos zum Trostteddy e. Silva Berger, 0 22 02 — 8 61 Himmel un Ääd cafe himmel-un-aeaed. Himmel un Ääd Altenberger-Dom-Str. Sie sind eingeladen, sich daran zu erfreuen. Sie sind aber auch eingeladen, ihre eigenen Ideen einzubringen und selbst eine Veranstaltung zu gestalten. Gabriele Van der Mehr, Dipl. Depressionen Die häufigste psychische Erkrankung, die Depression, nimmt den Willen zum Leben und schafft.
Die häufigste psychische Erkrankung, die Depression, nimmt den Willen zum Leben und schafft viel Leid für die Betroffenen. Hier finden zahlreiche Konzerte und Karnevalsveranstaltungen statt; auch der Politische Stammtisch des Bürgerportals ist hier zuhause. Eine Führung für Personen mit Demenz und Angehörige. Begegnung mit Kunst und praktischem Arbeiten im Atelier. Das Kunstmuseum vereinbart aber gerne Sondertermine auf Anfrage!
Sie ist das kulturelle Zentrum der Stadt, mit einer Vielzahl von Ausstellungen, Konzerten und externen Veranstaltungen. Die russische Ballettkunst in Vollendung! In seiner fantasievollen Inszenierung erfüllt das Russische Klassische Staatsballett unter der Leitung von Konstantin Ivanov die alte Legende mit neuen glänzenden Farben. Bei aller im besten Sinne konservativen Grundhaltung zum klassischen Ballett ist die Aufführung modern — dank dem innovativen Bühnenbild und den perfekt entworfenen Kostümen.
Meisterhaft werden die Sprache des klassischen Tanzes mit seiner Geschmeidigkeit und die Ausdrucksformen des modernen Tanzes zusammengeführt. Auf diese Weise zeigt das Ensemble, wie die traditionelle und über viele Jahre bewährte Kunst auch für den modernen Zuschauer erfrischend und spannend sein kann. Neben dem eigenen Theater- und Kulturprogramm finden hier viele Events externer Veranstalter statt.
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