Podcasts about heinichen

Im neuen Krimi von Bestsellerautor Veit Heinichen geht es um die Machenschaften eines russischen Oligarchen. Heinichen deutete an, dass sich nach dem nun zwölften Roman langsam das Ende seiner Hauptfigur, Commisaro Laurenti, ankündigt. Heinrich, Veit www.deutschlandfunkkultur.de, Lesart

Im neuen Krimi von Bestsellerautor Veit Heinichen geht es um die Machenschaften eines russischen Oligarchen. Heinichen deutete an, dass sich nach dem nun zwölften Roman langsam das Ende seiner Hauptfigur, Commisaro Laurenti, ankündigt. Heinrich, Veit www.deutschlandfunkkultur.de, Lesart

Im neuen Krimi von Bestsellerautor Veit Heinichen geht es um die Machenschaften eines russischen Oligarchen. Heinichen deutete an, dass sich nach dem nun zwölften Roman langsam das Ende seiner Hauptfigur, Commisaro Laurenti, ankündigt. Heinrich, Veit www.deutschlandfunkkultur.de, Lesart

En Hoy Toca nos gusta tanto la música relacionada con la Pasión de Jesucristo que nos hemos animado a hacer una segunda parte de música con origen en oratorios, pasiones y cantatas, compuestas por autores tan conocidos como Johann Sebastian Bach o Giovanni Pergolesi o por algunos casi desconocidos como Sebastiani, Heinichen o Scharmann. Sus obras recrean diferentes momentos de una historia apasionante, que algunos creerán real y otros supondrán creada por la imaginación humana. Para acompañarnos en este “Via Crucis Musical”, contamos con la presencia de un invitado habitual como Nacho Maroto, miembro del coro Francis Poulenc, fascinado como Carlos y Ana Laura por la profundidad de la música relacionada con la Pasión de Cristo. Así de sentida es la nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

BACH/KUHNAU: Der Gerechte kommt um (adaptación y arr. para coro y orq. del motete “Tristis est anima mea” de Kuhnau) (7.09). Coro Monteverdi, English Baroque Soloists. Dir.: J.-E. Gardiner. Sonata para tecla nº 4 en Do menor “El lamento de Ezequías” (6.59). B. Alard (clv.). Weich, ihr Sorgen, aus dem Hertzen (15.57). M. Feuersinger (sop.), Capricornus Consort Basel. Dir.: P. Barczi. In te Domine speravi (8.22). B. Steude (sop.), Concerto con voce. Dir.: J. Katzschke (órg.). HEINICHEN: Loure (Concierto en Sol mayor) (1.42). Musica Antiqua Köln. Dir.: R. Goebel.Escuchar audio

Johann David Heinichen zählte neben Händel und Hasse zu den drei großen Hs der Barockmusik. Dann geriet er in Vergessenheit. Doch seine Kirchenmusik und seine italienischen Kantaten sind immer noch hörenswert. Und seine farbigen Concerti sind geradezu wegweisend.

Seine Wahlheimat Triest ist eine "Schnittstelle Europas" und Modell fürs Zusammenleben der Kulturen, sagt Veit Heinichen. Der Autor gesellschaftskritischer Kriminalromane ist überzeugt: "Nationalismus ist hanebüchen - Diversität führt zu Wohlstand in Europa".

Synopsis For most music lovers, the towering genius of Johann Sebastian Bach far overshadows all but a handful of other Baroque composers. But in his own time, there were many other composers far more famous than Bach.Take the case of Johann David Heinichen, who was buried in Dresden on today's date in 1729. At the time, his royal patron, August the Strong of Saxony, made no attempt to fill the vacant post of Dresden court composer because, to his ears, no one could possibly be as good as Heinichen.The great 18th century music historian Charles Burney, impressed by Heinichen's skill at colorful instrumentation, called him “the Rameau of Germany,” and in 1739, ten years after Heinichen's death, another contemporary music historian coined the phrase "the three H's” to describe the importance of Hasse, Handel, and Heinichen” to 18th century German music. During most of the 19th century, Heinichen's music lay forgotten in a Dresden Library. Miraculously, these scores survived the Dresden fire-bombing of World War II. In 1993, a recording of some of Heinichen's “Grand Concertos” performed by Musica Antiqua of Cologne won – belatedly – several awards and some renewed attention for the long-neglected Johann David Heinichen. Music Played in Today's Program Johann David Heinichen (1683 – 1729): Concerto in C (Musica Antiqua of Cologne; Reinhard Goebel, cond.) Archiv 437 549

Synopsis For most music lovers, the towering genius of Johann Sebastian Bach far overshadows all but a handful of other Baroque composers. But in his own time, there were many other composers far more famous than Bach.Take the case of Johann David Heinichen, who was buried in Dresden on today's date in 1729. At the time, his royal patron, August the Strong of Saxony, made no attempt to fill the vacant post of Dresden court composer because, to his ears, no one could possibly be as good as Heinichen.The great 18th century music historian Charles Burney, impressed by Heinichen's skill at colorful instrumentation, called him “the Rameau of Germany,” and in 1739, ten years after Heinichen's death, another contemporary music historian coined the phrase "the three H's” to describe the importance of Hasse, Handel, and Heinichen” to 18th century German music. During most of the 19th century, Heinichen's music lay forgotten in a Dresden Library. Miraculously, these scores survived the Dresden fire-bombing of World War II. In 1993, a recording of some of Heinichen's “Grand Concertos” performed by Musica Antiqua of Cologne won – belatedly – several awards and some renewed attention for the long-neglected Johann David Heinichen. Music Played in Today's Program Johann David Heinichen (1683 – 1729): Concerto in C (Musica Antiqua of Cologne; Reinhard Goebel, cond.) Archiv 437 549

Incontro con Veit Heinichen e Alessandro Perissinotto. Modera Luca Crovi Due giallisti a confronto. Veit Heinichen parte della sua Trieste per esplorare il crimine di tutta Europa, firmando un thriller politico di ampio respiro, senza confini, come il crimine del nostro tempo. Mentre Alessandro Perissinotto indaga le realtà dimenticate, le rimozioni collettive, ma questa volta decide di dare al racconto del vero i ritmi implacabili del thriller e di scandirli con una scrittura fredda e precisa. Edizione 2020 www.pordenonelegge.it

My guest today is Music Theorist, Organist and Composer, Derek Remeš. He is known for his research into the pedagogy behind Johann Sebastian's Bach method of composition and improvisation. He also is the admin for Facebook group that he started,”Composition and Improvisation in J.S. Bach's Germany”. ----- 0:36 What is your musical background? 2:37 Has anyone in Bach research looked at his craft of improvisation? 4:47 Do all organists have to improvise? 5:47 Did you have a background in improvisation before learning the organ? 6:45 The terminology of thoroughbass 7:49 Would Bach have used the term thoroughbass? 7:58 What do we know of Bach the teacher? Did he have many students and how long did he teach in his career? 10:09 How does thoroughbass relate to Counterpoint and did they talk about Counterpoint much? 15:18 CPE Bach mentioning that JS Bach avoided the “dry” exercises of species counterpoint 16:43 LM 4665, the anonymous manuscript that contained thoroughbass fugues 19:04 How did Bach begin teaching new students? 19:53 Did Bach expect strict counterpoint in thoroughbass? 21:06 How about parallel movement in the middle voices? 22:40 Did he stay with 4 voices or did he eventually shrink down to 3 or 2 voices? 25:17 Was there any instruction in how to write melodies? Like how the Italians practiced Solfeggio. 26:49 The Italian partimenti eventually had no figures, was that the same for Bach? 28:27 Did Heinichen, Niedt and Bach share the same conception of thoroughbass? 31:51 Heinichen updated treatise, after his trip to Italy and the connection to Bach 33:07 What are the differences between Heinichen's first treatise and his later updated version? 39:35 Is Heinichen an innovator? 42:03 After thoroughbass, the student moves on to chorales 43:40 The same melody in chorales but multiple, different basses with figures 45:37 Did they use solfeggio syllables like Do, Re Mi, Fa Sol, La? 49:01 Modes vs Major/Minor 49:35 What temperament are we supposed to play Bach's music in? 50:44 Going from chorales to fugues, when does the study of imitation happen? 53:56 Does being good at thoroughbass prepare you well for fugues? 54:51 Do you find that the study of thoroughbass has helped you in understanding tonal music of other eras? 56:09 What's the best way in your opinion, to learn counterpoint? 57:46 How would you reform music education? 1:02:22 On the modern use of “tonal” as a flippant, pejorative 1:03:43 Wrapping Up

My guest today is the great Professor Ludwig Holtmeier, who is a music theorist, musicologist, pianist and the president of the Hochschule für Musik Freiburg! ----- 0:23 What's your musical background? 3:37 Did you have a typical classical training or did you ever improvise as a young musician? 4:18 Do you have perfect or absolute pitch? 4:29 Did you learn music theory and counterpoint as a young musician? 4:59 Moving to Freiburg 7:37 When did you discover partimento? 10:10 How did you break away from Riemannian theory? 12:36 How did you find these older methods? 13:24 Were a lot of treatises lost during WWII? 14:02 What was inside that library of note? 14:45 Continuing the story of how he discovered Fenaroli 15:50 Was it the Fenaroli Regole? 16:10 What date was that manuscript of Fenaroli? 17:12 Why did no one want to teach music theory at the piano at the University of Freiburg? 18:10 How did you fill in the gaps of information in Fenaroli's regole? 20:57 Is Rameau one of the most misunderstood music theorists? 22:46 What are people getting wrong about Rameau? 27:01 How do you integrate partimento theory with the modern curriculum? 28:08 Is it based around Fenaroli or other teachers as well? 28:43 Do most students come to you not knowing anything about partimento? 29:21 What are some of the best exercises you use? 31:50 Are there theories that you exclude at the University? 33:31 How do you balance partimento with other theories in analysis? 34:42 How would you analyze the music of Wagner? 37:08 What do you mean by arabic numerals? 37:52 What is your perspective on Riemann? 43:22 How about Heinrich Schenker? 45:18 What's the best way to learn counterpoint? 47:41 Should Harmony be separated from counterpoint? Should they be 2 separate subjects? 48:50 Do you have a preference for Fixed Do, Moveable Do or Hexachordal Solfeggio? 50:16 On Music Schema 53:46 What is the importance of David Heinichen in music theory in the 18th century? 54:46 Did he codify the methods of the Italians? 55:34 Did Bach use Heinichen's treatise? 57:08 The intriguing unity of the methods of the 18th century 1:00:25 Can partimento and 18th century pedagogy help us understand newer composers like Rachmaninoff, Debussy and Ravel? 1:01:40 What is your advice for parents who will start music lessons for their children? 1:02:49 How can people find you and your work? 1:03:45 Wrapping Up

On Ep 136 host Paco Romane sits down with comedian Brooke Heinichen to recap and discuss the Netflix documentary Miss Americana. Brooke guides Paco thru the life and albums (seriously, Brooke made a album to album synopsis) of Taylor Swift. They also talked about being a woman in entertainment, technology, ageism, Brooke’s pet peeve and you get to hear Paco do a horrible British accent!Watching Miss Americana you get the feeling that the entire documentary wants you to see Taylor Swift as we first see her – sitting relaxed and drinking coffee, looking through her journal and talking about her past relationships and what kind of person she sees herself being in the future. These quiet solo moments are a world removed from her giant, arena shows that are packed with adoring fans. In one telling moment we see Taylor look from behind a curtain as if she is still surprised that fans come see her shows. This documentary can feel like its made more for long time fans of Taylor’s. If you watch Miss Americana as someone that doesn’t yet know much about her you’ll leave with a feeling that there is much more to talk about what makes Taylor Swift...Taylor Swift.Here is Taylor Swift's full Billboard 2019 Woman Of The Decade speech.Listen to Brooke's handpicked Taylor Swift Spotify Playlist.Aaaaaaaaand Brooke's Album to Album Taylor Swift info sheet!Follow Brooke Heinichen on:Twitter: @brookeheinichenInstagram: @brookeheinichenFollow Sup Doc on:Twitter: @supdocpodcastInstagram: @supdocpodcastFacebook: @supdocpodcastsign up for our mailing listAnd you can show your support to Sup Doc by donating on Patreon.

durée : 00:25:10 - Heinichen, Lamentations de Jérémie - par : Anne-Charlotte Rémond - L'orchestre de Dresde et ses musiciens venus de France, d'Italie, et d'Allemagne, est réputé partout en Europe pour son homogénéité et sa virtuosité. Voyageur invétéré, le maître de chapelle Heinichen incarne à merveille le cosmospolitisme du style dresdois. - réalisé par : Philippe Petit

Brooke Heinichen is a comedian based in San Francisco.  You have seen her at The Punchline and various other comedy clubs.  We have a great chat about seriously serious things. See acast.com/privacy for privacy and opt-out information.

Ira and Josh debate the worthiness of the JJ-verse, Kirk demands “No blah blah blah!,” and Ensign McClenney and Heinichen realize there’s NO ONE LEFT UP ON THE SHIP.

Sylvia Schreiber stellt Johann David Heinichens Dresdner Concerto in F-Dur zusammen mit Reinhard Goebel von der Musica Antiqua Köln vor.

Also there were these catalogs of pieces by Weiss, so I had at least a sense of a taste preference.

A look at the recordings by esteemed German ensemble Musica Antiqua Köln, including music by Telemann, Heinichen, and five Italian composers.

Wirtschaftskriminaliät steht im Mittelpunkt von Veit Heinichens neuem Buch. Ob nicht in jedem Unternehmer ein kleiner Wirtschaftskrimineller steckt, erfahren Sie hier.