Podcasts about sangerhausen

In dieser Radioreise nimmt Sie Alexander Tauscher mit auf eine Tour durch Sachsen-Anhalt. Wir sind unterwegs auf den Spuren großer Herren und wichtiger Ereignisse. Martin Luther und Thomas Müntzer spielen die Hauptrollen auf den Spuren des Bauernkrieges vor 500 Jahren. Diese Radioreise führt von Mansfeld in den Südharz. Sie streft die Lutherstatdt Eisleben und macht eine lange Rast in der Gemeinde Stolberg am Eingang zum Harz. Claudia Hacker, die Leiterin der Tourist-Information, spricht über die großen Söhne der Stadt und die malerischen Fachwerkhäuser. Sie gibt Tipps für Ausflüge vom Brocken bis zum Kyffhäuser, vom Josephskreuz bis Sangerhausen. Ortsbürgermeister Frank Siebering empfiehlt einen Besuch im Museum Alte Münze. Dort erklärt Gesine Kulow, wie gerade Kinder und Jugendliche selbst einmal beim Münzprägen Hand anlegen können. Von Stolberg aus reisen wir ostwärts ins Manfelder Land und legen eine Station am Schloss Mansfeld ein. Volker Schmidt, Leiter der Jugendbildungsstelle im Schloss, lebt in diesem historischen Gemäuer. Wir sprechen mit ihm über die Bedeutung des Bauernkrieges und seinen Verlauf hier in der Region. Nebenbei erzählt er von seinem Hobby Hörfunk. Denn in regelmäßigen Abstanden liest er bei Radio hbw in Aschersleben das Wort zum Tage. An das Wirken des Reformators Martin Luther erinnert Maria Moos, Mitarbeiterin in den Luthermuseen der Lutherstadt Eisleben. Auch Eisenbahnromantiker kommen in dieser Sendung auf ihre Kosten. Wir starten am Bahnhof Benndorf – Klostermannsfeld mit der historischen Mansfelder Bergwerksbahn zu einer Fahrt bis nach Kupferkammerhütte bei Hettstedt und schauen dabei auf die markanten Kegel in der Landschaft. Toni Modesti vom Verein Mansfelder Bergwerksbahn e. V. erklärt uns, wie die Bahn früher das Leben der Bergarbeiter erleichtert hatte. Uwe Gajowski, der Pressesprecher des Landeskreis Mansfeld-Südharz, zeigt uns am Ende der Radioreise noch zwei besondere Orte im Mansfelder Land: Im Kloster Helfta sehen wir Nonnen beim Mittagsgebet und am Süßen See erleben wir die entspannte Seite dieser Region. Er spricht von Mitteldeutschland als Wiege der Menschheit. Viel Spaß bei dieser Reise durch das Bundesland, in dem man modern denkt!

Pfarrer Bahrke, Jörg www.deutschlandfunk.de, Gottesdienst

Tue, 08 Oct 2024 07:24:58 +0000 https://pflegedigitaljetzt.podigee.io/122-new-episode d73377f2784217e3381490648430dffa full Erste Erfahrungen mit der 4-Tage-Woche in der Sozialwirtschaft no Christoph Schneeweiß

Peter Weishaupt ist ein beeindruckendes Beispiel für eine erfolgreiche Karriere im Fahrradhandel. Mit über 25 Jahren Branchenerfahrung teilt er seine Erlebnisse aus den Filialen in Hohe Börde bei Magdeburg, Großpösna bei Leipzig und Sangerhausen. Zudem berichtet Robert Peschke, CEO von Little John Bikes, wie der Kontakt entstand und warum die Übergabe für Peter Weishaupt der ideale Schritt war.

Die Stadt Sangerhausen ist bekannt für ihr Rosarium und für Mifa-Fahrräder, die dort produziert werden. Die Stadt hat aber auch ein Wahrzeichen, um das sich viele Sagen ranken - das Kobermännchen.

In Mansfeld-Südharz steht eine Kreistagswahl an, bei der die AfD gute Chancen hat, erneut zur stärksten Kraft gewählt zu werden. 2019 erzielte die Partei knapp mehr Stimmen als die CDU. Die jüngste Oberbürgermeisterwahl in Sangerhausen, die in eine Stichwahl mündete, zeigt ebenfalls eine starke Unterstützung für die AfD. Trotz vergangener interner Konflikte und Wechsel in der Fraktion, hat sich die AfD breiter aufgestellt und die Linke als Hauptprotestpartei abgelöst. Im Podcast „Wahl lokal“ beleuchtet Joel Stubert nicht nur die politische Lage, sondern auch lokale Themen wie die medizinische Versorgung in Mansfeld-Südharz.

It's Quentin Flores here, and I'm about to take you on a no-holds-barred ride through the raw truths of entrepreneurship. Together with my guest Eric Sangerhausen, we unravel his remarkable transition from a humble pest control operative to a real estate mogul. Buckle up for an episode that peels back the curtain on the hustle, growth, and resilience required to carve your path in the business world.Eric's story is one for the books – from navigating the twists and turns of a pest control startup to flipping land and revolutionizing the real estate game. Our chat isn't just about success; it's about the personal touch in business, embracing technological advances, and cultivating genuine customer connections. We're sharing the kind of wisdom that can only come from years in the trenches, so expect to walk away armed with insights that could redefine your approach to entrepreneurship.But what's a journey without its community? We don't just cover the triumphs; we tackle the challenges of community building, from launching an innovative fly shop to growing White Line Realty into a diverse and resilient tribe. From taking that all-important first step to scaling new heights in business, our conversation is a testament to the spirit of those willing to leap towards their dreams. Join us for an episode that promises to ignite your ambition and possibly set you on the path to your next big venture.

An den Autobahnen gibt es Schilder, die auf Sehenswürdigkeiten in der Nähe verweisen. Die Autobahn GmbH des Bundes will sie erneuern, verlangt dafür von den Kommunen viel Geld. Ein Beispiel aus Sangerhausen an der A38.

Einige Orte in Sachsen-Anhalt setzen diese Woche die Schulpflicht aus. Am Standort in Kelbra sei aktuell die Präsenzpflicht aufgehoben, erklärt Schulleiter Jens Peter aus Sangerhausen, weil der Transport der Kinder nicht gewährleistet werden könne. Hong, Elenawww.deutschlandfunk.de, Campus & Karriere

Sangerhausen in Mansfeld-Südharz ist nicht nur die Heimat des Comedy-Duos „Elsterglanz“, sondern auch der 16. Staffel der beiden Suspensoriumträger Basti & Hannes. Es geht um „geile, regionale Küche“, das noch immer rollende „R“ von Bastis aktueller Frau und die zwei fetten Loser im Exil. Warum man niemals Anno1900 essen sollte, das Brau- und Tafelhaus Mälzer in Lüneburg aber immer einen Besuch wert ist und weshalb Basti nur seinen Fachanwalt für Steuerrecht bei Google bewertet, ist Inhalt dieser Folge. Und spätestens, seit Kai Pflaume die CAPONES hört, spuckt der dachdeckende Bodo Wartke keine Liebeslieder mehr aus seinem Generator. Klingt vollständig verwirrend? Nunja… Regisseur dieser Folge ist Christopher Nolan - zumindest gefühlt…Social MediaBasti findest du als @Geekpunkt auf Twitch, YouTube & Instagram. Hannes findest du als @LambertsTacheles auf Twitch, YouTube & Facebook.Titletrack "Jammern auf niedrigem Niveau"performed by Hannes Lambert & Bastian Hagermusic by Jules Gaialyrics by Bastian Hagermixed by Jules Gaia & Bastian Hagercopyright by Epidemic SoundDein Support hilftDamit wir dir auch weiterhin beste Jammer-Unterhaltung bieten können, brauchen wir deine Unterstützung! Wenn du uns finanziell supporten willst, so werde jetzt Steady-Unterstützer auf https://steadyhq.com/jammernaufniedrigemniveau/Empfehle uns gerne in deinem Freundeskreis oder bewerte den Podcast positiv. Wir freuen uns auch über dein Feedback, am liebsten per Whatsapp unter 0151-24088906 oder https://whatsapp.jammernaufniedrigemniveau.de/Unser Dank geht an unsere Jammerlappen auf Steady:Andreas, Anja, Christiane, Christoph, Elke, Julia, Jonas, Kathrin, Konni, Lars, Nicole, Marco, Markus, Matthias, Melanie, Michael, Miriam, Sam, Sandra, Sissy, Stefan und Tobias

Regine Hartkopf begleitete die Sanierung des Kunstmuseums Kloster Unser Lieben Frauen in Magdeburg. Was sie am Denkmal begeistert und welchen Herausforderungen sie sich als nächstes stellt, erzählt sie bei MDR KULTUR.

Im Rosarium Sangerhausen gibt es die größte Rosensammlung der Welt. Gegründet wurde sie vor 120 Jahren während des ersten Kongresses des Vereins Dt. Rosenfreunde im Jahr 1903. Conny Müller erinnert.

10.06.2023 Psalm 32 gelesen von Christa Funda, Sangerhausen by Gemeinschaftsverband Sachsen-Anhalt

06.06.2023 Psalm 23 gelesen von Ruth Schmidt, Sangerhausen by Gemeinschaftsverband Sachsen-Anhalt

10.06.2022 Psalm 32 gelesen von Christa Funda, Sangerhausen by 1189 Stimmen für 365 Tage

06.06.2022 Psalm 23 gelesen von Ruth Schmidt, Sangerhausen by 1189 Stimmen für 365 Tage

IS-Rückkehrerin Leonora M. aus der Nähe von Sangerhausen ist zu einer Jugendstrafe auf Bewährung verurteilt worden. Mehr dazu und zu anderen Themen im Podcast "Der Tag in Sachsen-Anhalt" – heute mit Christoph Dziedo.

Heute wird es rosig! Hanna war im Europa-Rosarium in Sangerhausen, mit seinen etwa 80.000 Rosensträuchern und hat sich mit dem Chef-Gärtner Kevin Mölzner unterhalten.

06.02.2022 2. Mose 33 gelesen von Grete Fiedler, Sangerhausen by 1189 Stimmen für 365 Tage

Leonora M. aus Sangerhausen steht wegen Mitgliedschaft in einer terroristischen Vereinigung vor Gericht. Mit diesem Thema beginnt der Podcast „Der Tag in Sachsen-Anhalt“. Am Mikrofon ist Uli Wittstock.

Leonora M. aus Sangerhausen steht wegen Mitgliedschaft in einer terroristischen Vereinigung vor Gericht. Mit diesem Thema beginnt der Podcast „Der Tag in Sachsen-Anhalt“. Am Mikrofon ist Uli Wittstock.

15.01.2022 1. Mose 34 gelesen von Siegfried Thiel, Sangerhausen by 1189 Stimmen für 365 Tage

Eine IS-Anhängerin aus Sangerhausen wird wegen Terrorunterstützung angeklagt. Das ist eines der Themen im Podcast präsentiert von Uli Wittstock.

Eine IS-Anhängerin aus Sangerhausen wird wegen Terrorunterstützung angeklagt. Das ist eines der Themen im Podcast präsentiert von Uli Wittstock.

In this part of our series tracing the work of this significant rose breeder, we ask experts in Europa Rosarium, Sangerhausen, Germany, Rosenkultivarium in Baden, Austria, and Technical University in Zvolen, how to identify the origin of the rose.

In this part of our series tracing the work of this significant rose breeder, we ask experts in Europa Rosarium, Sangerhausen, Germany, Rosenkultivarium in Baden, Austria, and Technical University in Zvolen, how to identify the origin of the rose.

Am Streit um Corona zerbrechen Freundschaften: In Sangerhausen im Südharz demonstrieren "Querdenker" regelmäßig gegen die Hygienemaßnahmen. Karoline Spröte will die Spaltung der Stadtgesellschaft nicht hinnehmen. Mit einer Initiative hält sie dagegen. Von Anh Tran www.deutschlandfunkkultur.de, Länderreport Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Generalbundesanwaltschaft legt Anklageschrift gegen ehemalige IS-Anhängerin aus Sangerhausen vor. Am Mikrofon ist Uli Wittstock

Generalbundesanwaltschaft legt Anklageschrift gegen ehemalige IS-Anhängerin aus Sangerhausen vor. Am Mikrofon ist Uli Wittstock

Die Stadt Sangerhausen liegt in einer Region mit sehr vielen Bodenschätzen. Die Abraumhalden türmen sich im Mansfelder Land. Die Bergleute haben bei ihrer Arbeit viele historische Funde gemacht, darunter Fossilien und Überreste vom Leben aus der Bronzezeit. Ein besonderer Fund ist zum Wahrzeichen der Stadt geworden. Was ein Tischlermeister damit zu tun hat, hören Sie in dieser Folge. Herzlich willkommen – wir wünschen viel Spaß beim Lauschen!

1990, 14 Jahre nach seiner Republikflucht, kehrte Einar Schleef erstmals in seinen Geburtstort Sangerhausen zurück. Das Feature begleitet den Theatermann bei Rundgängen durch die Kleinstadt im Südharz. Von Gerhard Ahrens

In this part of our series about the significant rose breeder, we ask experts in Europa Rosarium, Sangerhausen, Germany, Rosenkultivarium in Baden, Austria, and Technical University in Zvolen, how to identify the origin of the rose.

In Mitteldeutschland gibt es zwei traditionsreiche Fahrradhersteller: Diamant im sächsischen Hartmannsdorf und Sachsenring Bike (Mifa) in Sangerhausen. Bei den Sachsen brummt das Geschäft, in Sachsen-Anhalt noch nicht.

Nils Heinrich war sehr verwundert, als er damals nach Wende und Grenzöffnung in Kassel landete. Das sollte der Westen sein? Mittlerweile hat er sich umsehen können und weiß, dass der wie ein typisches DDR-Essen aussehende Döner keine nordhessische Spezialität ist. Überhaupt hat der Kabarettist uns einiges zu erzählen über die alte ostdeutsche Republik und die schöne neue Republik nach der Wiedervereinigung. Beim Thema Ökologie sind wir beispielsweise wieder ganz vorn mit dabei: Der Meeresspiegel steigt – also bauen wir die Autos höher. Des Weiteren berichtet Nils Heinrich vom kalten Intimitätsentzug der Corona-Ferien. Er hat nicht nur Tagebuch geführt, sondern auch seine geheime Fähigkeit entdeckt: Ei-Hypnose! Auch kennt er jetzt alle Seriennummern der heimischen CD-Sammlung auswendig und kann mit seiner Frau Dialoge aus „Frauentausch“ nachspielen. Die Corona-Krise, so erfährt der geneigte Leser, bietet Familien Gelegenheit zu heiteren Spaßbad-Besuchen, Klopapierbasteln oder dazu, der Schwiegermutter das Skypen beizubringen – eine Krise kann so lustig sein! Über den Autor: Nils Heinrich wurde 1971 in Sangerhausen geboren. Nach einer umfassenden Ausbildung und Ausbeutung zum Konditor, erlebt er ohne größere Schäden zum ersten Mal in seinem Leben den Zusammenbruch eines politischen Systems, assimiliert sich danach aber gekonnt in die neue Gesellschaftsordnung. Weitere Karriereschritte als Zivildienstleistender, Fachabiturient, Hochzeits-DJ und Animateur zeichnen seinen Weg. 2003 gründet er mit anderen die Lesebühne »Brauseboys« in Berlin. Es folgen einige CD-Veröffentlichungen, und der Band »Vitamine sind die Guten« erscheint. Heinrich gewinnt zahlreiche Poetry Slams, den Jurypreis des Bremer Comedy Clubs, den Rostocker Koggenzieher, den Kleinkunstpreis Baden-Württemberg, das Schwarze Schaf vom Niederrhein, den Salzburger Stier und den Mindener Stichling. Zahlreiche Auftritte in Radio und Fernsehen (u.A. »Mitternachtsspitzen«, »Die Anstalt«, »Olaf's Klub«). 2013 erscheint das Buch »Wir hatten nix, nur Umlaute«. 2016 erscheint »Sei froh, dass du nicht Joghurt heißt«. Heute lebt er mit seiner Frau und zwei Kindern in Berlin.

Sachsen-Anhalt beginnt nun auch Lehrer und Erzieher gegen Covid-19 zu impfen. In Burg wurden heute 1000 Dosen verabreicht. Ein Thema heute im Podcast „Der Tag in Sachsen-Anhalt“. Am Mikrofon ist Doreen Jonas

Seit kurz vor Weihnachten ist die IS-Anhängerin Leonora aus Syrien zurück in Deutschland. Am Freitag entschied der BGH in Karlsruhe, sie aus dem Gefängnis zu entlassen. DER TAG in Sachsen-Anhalt, heute mit Norma Düsekow.

Eine Kita-Erzieherin wurde beurlaubt, nachdem sie auf einer Querdenker-Demo auffällig wurde. Ob das arbeitsrechtlich haltbar ist, klärt diese Folge. Außerdem gehts um Geldsorgen beim Mifa-Nachfolger in Sangerhausen.

In this part of our series tracing the work of this significant rose breeder, we ask experts in Europa Rosarium, Sangerhausen, Germany, Rosenkultivarium in Baden, Austria, and Technical University in Zvolen, how to identify the origin of the rose.

Nach Vorwürfen von Vetternwirtschaft und Geldwäsche müssen die Geschäftsführer von Lotto Sachsen-Anhalt mit sofortiger Wirkung gehen. Die Hintergründe im Podcast mit Marcel Roth.

In Sangerhausen pochte einst das Bergbau-Herz vom Südharz. Im August 1990 dann die letzte Schicht im 500 Meter tiefen Thomas-Münzer-Schacht. Theo M. Lies erzählt vom Alltag im DDR-Kupferbergbau.

Die Stadt Sangerhausen ist bekannt für ihr Rosarium und für Mifa-Fahrräder, die dort produziert werden. Die Stadt hat aber auch ein Wahrzeichen, um das sich viele Sagen ranken - das Kobermännchen.

Teil 5 der Miniserie zum Mauerfall Aus dem kleinen Dörfchen Kütten nahe des Petersbergs entstammen ganz augenscheinlich Menschen, die sich dem Schreiben verschrieben haben. Einer von ihnen gilt als der große Sohn des Ortes: Schriftsteller Christian Reuter, der vor mehr als 350 Jahren hier seine Wurzeln schlug. Reuter gilt als Begründer der deutschen Komödianten-Literatur, wie es Helmut Dawal kurz und bündig zusammenfasst. Er ist Journalist und kümmert sich im Ort mit dem Heimatverein um das Andenken Reuters. Lesungen, Theaterstücke und ein umbenannter Platz erinnern an Reuter. Sogar eine Straße trägt inzwischen den Namen der von ihm erschaffenen Figur Schelmuffsky. Ob Helmut Dawal mal eine ebenso große Ehre erfahren wird, umtreibt den ehern  bescheidenen wirkenden Zeitungsmann wahrscheinlich nicht. Dabei engagiert er sich in seinem zur Heimat gewordenen Kütten sehr stark, wenngleich er erst 1994 mit seiner Familie hierherkam. Das Licht der Welt erblickte der kleine Helmut in Wittenberg und seine Kindheit verbrachte er in Teutschenthal. Später wohnte er in einem Plattenbau in Halle-Neustadt. Diesem entfloh er, als er ein ansprechendes Grundstück in Kütten fand und hier ein Häuschen erbaute. Gearbeitet hat Helmut Dawal gut 25 Jahre lang für die Lokalredaktion der Mitteldeutschen Zeitung (MZ) in der Region Köthen. Als sein Hausbau in Kütten begann, bot sich eine freie Stelle in Köthen an. Kleine Kriminal- und Abenteuergeschichten hat er als Kind schon gern zu Papier gebracht. Gelernt hat er seinen Beruf von der Pike auf. Eine Jugendweiheveranstaltung in Teutschenthal trug ihren Teil dazu bei, denn er schrieb einen Text darüber, der in der Freiheit (Vorgängerzeitung der MZ zu DDR-Zeiten) abgedruckt wurde und ihm fünf Mark Honorar bescherte. Das erfreute so sehr, dass er sich sagte, das Schreiben einmal zu seinem Beruf zu machen. Bei der Freiheit in Halle arbeitete Helmut Dawal in unterschiedlichsten Abteilungen wie Wirtschaft, Landwirtschaft oder auch bei der Wochenendbeilage Blick. Das Lokalgeschehen betrachtete er später als Leiter der Lokalredaktion in Halle sowie als Redakteur in Gräfenhainichen und Sangerhausen. Das war dann aber bereits die MZ. Über den Journalismus zu DDR-Zeiten sagt er, dass dieser sehr von der SED geleitet gewesen ist. Nach der Wende war das Arbeiten frei. Im Sachsen-Anhalt Podcast erzählt Helmut Dawal ausführlich darüber. Wohin seine erste Reise nach der Grenzöffnung ging und was er sich vom Begrüßungsgeld kaufte, verrät er ebenfalls in der aktuellen Folge von “Was wäre Wende!? - Menschen im Osten”. Darin erfahren die Zuhörer außerdem einige Anekdoten aus seinem Reporterleben im Köthener Land und er spricht über eine seiner großen Leidenschaften, die Musik. Denn Helmut Dawal singt und musiziert gern - vom Chor bis zur Kapelle. Gute Unterhaltung bei “Was wäre Wende!? - Menschen im Osten“. Wer Meinungen zum aktuellen Thema oder auch Vorschläge für zukünftige Podcast-Inhalte hat, der kann diese gern (auch per Sprachnachricht) senden per E-Mail an redaktion@wochenspiegel-dessau.de, Kennwort Wende. Anfragen, Anregungen und Hinweise zum Podcast gern per E-Mail an: sachsen-anhalt-podcast@outlook.de. Produktion, Redaktion: Stefan B. Westphal, Volker Schwenke, Torsten Waschinski Bearbeitung: Torsten Waschinski Musik: Christian Hoffmann Sprecher: Hans-Jürgen Müller-Hohensee Ein Podcast der Wochenspiegel-Verlags-Gesellschaft mbH & Co. KG Delitzscher Straße 65 in 06112 Halle (Saale) Ein Unternehmen der Mediengruppe Mitteldeutsche Zeitung Sachsen-Anhalt --- Send in a voice message: https://anchor.fm/sachsen-anhalt-podcast/message

Well, it's time to get serious about remaking our containers – especially on the front porch and around the front door.   Editing containers from time to time is essential to keep them looking great.   Sometimes combinations don’t work well, other times plants can grow in unexpected ways – too tall, too bushy, or just an abject failure.    With the arrival of fall, it’s the perfect time to remove spent plants and replace them with selections that are more seasonally appropriate.   Fall pansies are wonderful to incorporate if you live in a cold climate. They can take the colder temperatures with no problem. Of course mums and asters and even grasses are wonderful in fall pots.   I always like to look for bargains at my local nurseries and big box stores. Sometimes those finds get placed in containers temporarily before they find a home in the garden.   And don’t forget you can include houseplants when you’re working with your fall containers. Pathos and Croton, even chopped up sections from an overgrown Boston fern are tremendous additions to fall containers.     Brevities #OTD Today is the anniversary of the death of the Irish botanist and friend of Linnaeus, Patrick Browne who died on this day in 1790.  There are no photographs of Patrick Browne - who was also a physician; but we was described this way: “The Doctor is a tall comely man, of good address and gentle manners, naturally cheerful, very temperate and in general health.” Browne's major work was The Civil and Natural History of Jamaicapublished in 1756 in which he described 104 new species. In fact, Browne's work was the first book in the English language to use Linnaeus' classification system. Linnaeus was very pleased with Browne's work. He told the botanist Peter Collinson (who was friends with John Bartram and Benjamin Franklin) that after he had read Browne's book he reflected “No author did I ever quit more instructed" and he gushed that Browne, "ought to be honored with a Golden Statue.” Browne named the genus to which cloves belong: Syzygium aromaticum.      #OTD   Today is the birthday of the German Austrian rosarian Rudolf Geschwind who was born on this day in 1829. As a child, Geschwind loved gardening. As a young man, he studied Forestry and his first job was working for the Austro-Hungarian Department of Forestry. Although he performed excellent work in the field of forestry, Geschwind's true passion was roses. At the age of 30, Geschwind began experimenting with breeding roses.  It was a pursuit he would perfect over the next five decades. Geschwind's speciality was breeding roses that were frost resistant. Geschwind created close to 150 rose cultivars. His prized collection of climbing roses were displayed at the 1889 World's Fair in Paris. When Geschwind died in 1910, the Countess Maria-Henrieta Chotek, known as "The Countess of Roses,"  or "The Pink Countess," purchased Geschwind's entire collection - including some which had never been made public. As a member of one of the most distinguished families of the Czech nobility, Chotek had the means to handle this impressive transfer. In fact, Chotek was so serious about the effort to preserve Geschwind's work that she sent two of her gardeners to oversee the transfer of the collection. It was no small affair - it involved packing and moving over 2,000 roses to her estate - the Manor House or Castle known as Dolna Krupa. Over a century before Dolna Krupa was the place where Beethoven is presumed to have written his Moonlight Sonata. Maria-Henrieta's great grandfather, Jozef, was friends with Beethoven and he allowed Beethoven to live at Dolna Krupa for nearly a decade. Maria-Henrieta Chotek was born almost 60 years after Beethoven's stay at Dolna Krupa in 1863. As a woman who never married, her inheritance allowed her to pursue her passion for roses with abandon - and she did. She was in her 30's when she inherited Dolna Krupa. Once it was all hers, she set about creating one of the top three rosaria in Europe. During its prime, the rosaria at Dolna Krupa rivaled the roseria in France and the Rosarium of Sangerhausen in Germany. Chotek was a woman of action and she didn't just direct activities - she was very hands on. As a rosarian herself, Chotek developed new cultivars and conducted experiments. One time while visiting an exhibition, Chotek watched as a German horticulturist named Johannes Böttner presented a rambling rose called the Fragezeichen which means the "Question Mark" (What a great name!) The rose intrigued Henrieta Chotek so much, that she immediately left for Frankfurt to see the Fragezeichen trials personally. The year 1914 marked a turning point in Chotek's life and in the fate of many of Geschwind's roses. That year, in June, the Rose Congress was held at Zweibrücken. Chotek's work and rosaria were honored. But in the days following the event, Marie Henrieta's cousin, Sophie Chotek Ferdinand, wife of the Archduke Franz Ferdinand, was murdered alongside her husband in Saraevo and World War I had begun. Chotek swung in to action; this time as nurse caring for wounded soldiers. When the war was over, her rosarium was destroyed. Chotek immediately set about rebuilding her rosarium. She even began a rose breeding school right on the grounds pf Dolna Krupa. But, lacking the means and the energy of youth, Chotek was never able to restore Dolna Krupa to its former glory. During WWII, Dolna Krupa was ransacked by the Russian Army. In February, 1946, destitute and sick, Chotek died while in the care of nuns. She was 83 years old. Today, the Music Museum at Dolna Krupa holds a Rose Celebration in honor of Chotek. Tourists visit Dolna Krupa, primarily to see the place Beethoven lived. Visitors bring their own baskets and collect leaves of the wild garlic that grows rampant on the grounds of the estate.         Unearthed Words Here's an excerpt from a poem called A Year's Windfallsby the English poet, Christina Rossetti: "In the parching August wind,  Cornfields bow the head,  Sheltered in round valley depths,  On low hills outspread.  Early leaves drop loitering down Weightless on the breeze,  First-fruits of the year's decay  From the withering trees."  Christina Rossetti wrote the words to two of my favorite Christmas Carols: "In the Bleak Midwinter" and "Love Came Down at Christmas". It was Christina Rossetti who said, "My garden cannot be anything other than "my self."     Today's book recommendation: Colors from Nature by Bobbi McRae Colors from Nature was published in 1993. McRae shares how to grow plants to collect, prepare and use natural dyes.   Today's Garden Chore Now's the perfect time to relocate your hostas to improve the aesthetic of your garden. It's hard to know sometimes when you plant a hosta how you will feel about it once it's matured. When they are little, we often place hostas in a haphazard fashion - here's an empty spot - let's stick a hosta there. If you're not careful, the garden can end up looking like the hosta version of a patchwork quilt. And while you're placing them, remember that your blue or darker hostas like more shade - while the lighter colors of the yellowy green hostas and variegated hostas can take more sun.     Something Sweet  Reviving the little botanic spark in your heart #OTD On this day in 1915 Ingrid Bergman, the actress, was born in Stockholm, Sweden. (She also died on the same day in 1982 at the age of 67.) Bergman appeared in a number of films including the iconic Casablanca. In 1969, Bergman appeared in a movie called Cactus Flower. Bergman was portraying a nurse named Stephanie Dickinson working in a Dentist's office. The dentist was played by Walter Matthau. Gardeners adore the movie Cactus Flower for the following lines read by Bergman: Early in the film Bergman is talking to Matthau and she puts him in his place by saying, "Doctor, you once compared me to my cactus plant. Well, every so often, that prickly little thing puts out a flower." Then, later in the film she memorably exclaims, "My cactus! It's blooming!"     Thanks for listening to the daily gardener, and remember: "For a happy, healthy life, garden every day."

Ein Rundumschlag durch Vergangenheit und Zukunft der Versicherungsbranche: Warum junge Makler nicht besser sein müssen als ältere und umgekehrt, wie man trotz steigender Anforderungen als Vermittler den Feierabend sichern und genießen kann, und warum die Haudegen der Vertriebsära früherer Jahre genauso wie Herr Kaiser Geschichte sind: Über diese und weitere Themen haben wir mit Unternehmensberater und Brancheninsider Steffen Ritter gesprochen. Und bei der Gelegenheit das liebenswerte Sangerhausen am Südrand des Harzes kennengelernt. Viel Freude beim Rein- und Zuhören!

Heute gibt es eine Spezialfolge in der Change Show. In der letzten Woche war ich auf einem meiner ausgewählten Charityvorträge in Sangerhausen in Sachsen-Anhalt am Institut Ritter zu Gast. Der geplante Vortrag ist kurzerhand zu einem Live-Interview geworden. Mit meinem Kollegen Steffen Ritter habe ich darüber gesprochen, was Mustafas Gemüsedöner und Curry 36 mit den Themen Change, Branding und Marketing zu tun haben. Das Interview kannst du dir hier heute in dieser Podcast-Episode anhören. Viel Spaß!

Die Stadt Sangerhausen ist bekannt für ihr Rosarium und für Mifa-Fahrräder, die dort produziert werden. Die Stadt hat aber auch ein Wahrzeichen, um das sich viele Sagen ranken - das Kobermännchen.

Besuch im Europa-Rosarium in Sangerhausen

Besuch im Europa-Rosarium in Sangerhausen

JS Bach's - Goldberg Variations #5Our version of JS Bach's - Goldberg Variations #5blessings,Shiloh Worship MusicThe Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variationsare named after Johann Gottlieb Goldberg, who may have been the first performer.Johann Sebastian Bach from WikipediaJohann Sebastian Bach[1] (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque Period. He enriched many established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach wrote much music that was revered for its intellectual depth, technical command, and artistic beauty. Many of his works are still known today, such as the Brandenburg Concertos, the Mass in B minor, the Well-Tempered Clavier, and his cantatas, chorales, partitas, passions, and organ works.Bach was born in Eisenach, Saxe-Eisenach into a very musical family; his father, Johann Ambrosius Bach was the director of the town's musicians, and all of his uncles were professional musicians. His father taught him to play violin and harpsichord, and his brother, Johann Christoph Bach taught him the clavichord and exposed him to much contemporary music.[2][3] Bach also sang, and he went to the St Michael's School in Lüneburg because of his skill in voice. After graduating, he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of Thomasschule in Leipzig, and Royal Court Composer to August III.[4][5] Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.[6][7][8]Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque period, and as one of the greatest composers of all time.[9]LifeChildhood (1685–1703)Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[10] He was the eighth child of Johann Ambrosius; the eldest son in the family was 14 at the time of Bach's birth.[11] His father taught him violin and harpsichord.[12] His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family".[13]Bach's mother died in 1694, and his father died eight months later.[5] Bach, 10, moved in with his oldest brother, Johann Christoph Bach (1671–1721), the organist at the Michaeliskirche in Ohrdruf, Saxe-Gotha-Altenburg.[14] There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly.[15][16] He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied)[2] and Johann Jakob Froberger; North German composers;[3] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time, he was taught theology, Latin, Greek, French, and Italian at the local gymnasium.[17]At the age of 14, Bach, along with his older school friend George Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg in the Principality of Lüneburg.[18] Although it is not known for certain, the trip was likely taken mostly on foot.[17] His two years there were critical in exposing him to a wider facet of European culture. In addition to singing in the choir he played the School's three-manual organ and harpsichords.[17] He came into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in other disciplines.Although little supporting historical evidence exists at this time, it is almost certain that while in Lüneburg, Bach visited the Johanniskirche (Church of St. John) and heard (and possibly played) the church's famous organ (built in 1549 by Jasper Johannsen, and played by Georg Böhm). Given his musical talent, Bach had significant contact with prominent organists of the day in Lüneburg, most notably Böhm, but also including organists in nearby Hamburg, such as Johann Adam Reincken.[19]Weimar, Arnstadt, and Mühlhausen (1703–08)In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,[20] Bach was appointed court musician in the chapel of Duke Johann Ernst in Weimar. His role there is unclear, but likely included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at St. Boniface's Church in Arnstadt, located about 40 km southwest of Weimar.[21] In August 1703, he became the organist at St Boniface's, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composer Dieterich Buxtehude and his Abendmusiken at the Marienkirche in the northern city of Lübeck. The visit to Buxtehude involved a 400 kilometre (250 mi) journey on foot each way. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works. Bach wanted to become amanuensis (assistant and successor) to Buxtehude, but did not want to marry his daughter, which was a condition for his appointment.[22]In 1706, Bach was offered a post as organist at St. Blasius's in Mühlhausen, which he took up the following year. It included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who both became important composers as well. Bach was able to convince the church and city government at Mühlhausen to fund an expensive renovation of the organ at St. Blasius's. Bach, in turn, wrote an elaborate, festive cantata—Gott ist mein König, BWV 71—for the inauguration of the new council in 1708. The council paid handsomely for its publication, and it was a major success.[17]Return to Weimar (1708–17)In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and concertmaster at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.[17] Bach moved with his family into an apartment very close to the ducal palace. In the following year, their first child was born and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729.Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor-rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still played in concert often. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.[24]In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble.[17] He also began to write the preludes and fugues which were later assembled into his monumental work Das Wohltemperierte Clavier ("The Well-Tempered Clavier"—Clavier meaning clavichord or harpsichord),[25] consisting of two books, compiled in 1722 and 1744,[26] each containing a prelude and fugue in every major and minor key.Also in Weimar Bach started work on the Little Organ Book for his eldest son, Wilhelm Friedemann, containing traditional Lutheran chorales (hymn tunes) set in complex textures to train organists. In 1713 Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Marktkirche Unser Lieben Frauen. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[27][28] Musicologists debate whether his first Christmas cantata Christen, ätzet diesen Tag, BWV 63, was premiered here in 1713[29], or if it was performed for the bicentennial of the Reformation in 1717.[30] Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary's report, jailed for almost a month before being unfavourably dismissed:“On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.[31]”Köthen (1717–23)Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular,[32] including the Orchestral Suites, the Six Suites for Unaccompanied Cello, the Sonatas and Partitas for Solo Violin, and the Brandenburg Concertos.[33] Bach also composed secular cantatas for the court such as the Die Zeit, die Tag und Jahre macht, BWV 134a.Despite being born in the same year and only about 80 miles apart, Bach and Handel never met. In 1719 Bach made the 20 mile journey from Köthen to Halle with the intention of meeting Handel, however Handel had recently departed the city.[34] In 1730, Bach's son Friedmann travelled to Halle to invite Handel to visit the Bach family in Leipzig, however the visit did not eventuate.[35]On 7 July 1720, while Bach was abroad with Prince Leopold, Bach's first wife suddenly died. The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years younger than he was who performed at the court in Köthen; they married on 3 December 1721.[36] Together they had 13 more children, six of whom survived into adulthood: Gottfried Heinrich, Johann Christoph Friedrich, and Johann Christian, all of whom became significant musicians; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnikol; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).[37]Leipzig (1723–50)In 1723, Bach was appointed Cantor of the Thomasschule at Thomaskirche in Leipzig, and Director of Music in the principal churches in the town, namely the Nikolaikirche and the Paulinerkirche, the church of the University of Leipzig.[38] This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for 27 years until his death. It brought him into contact with the political machinations of his employer, Leipzig's city council.Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ a deputy to do this instead. A cantata was required for the church service on Sundays and additional church holidays during the liturgical year. He usually performed his own cantatas, most of which were composed during his first three years in Leipzig. The first of these was Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.[39] Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only Chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 61, and Wie schön leuchtet der Morgenstern, BWV 1.Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets, at least five of which are for double choir.[40] As part of his regular church work, he performed other composers' motets, which served as formal models for his own.[17]Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by the composer Georg Philipp Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions".[41] Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Zimmermannsches Caffeehaus, a Coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and harpsichord concertos.[17]In 1733, Bach composed the Kyrie and Gloria of the Mass in B minor. He presented the manuscript to the King of Poland, Grand Duke of Lithuania and Elector of Saxony, August III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer.[4] He later extended this work into a full Mass, by adding a Credo, Sanctus and Agnus Dei, the music for which was almost wholly taken from his own cantatas. Bach's appointment as court composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig Council. Although the complete mass was probably never performed during the composer's lifetime,[42] it is considered to be among the greatest choral works of all time. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach took over the directorship of the Collegium Musicum.In 1747, Bach visited the court of the King of Prussia in Potsdam. There the king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on Frederick's pianoforte, then a novelty, and later presented the king with a Musical Offering which consists of fugues, canons and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration. Bach wrote another fugue, The Art of Fugue, shortly before his death, but never completed the final fugue. It consists of 18 complex fugues and canons based on a simple theme.[43] It was only published posthumously in 1751.[44]The final work Bach completed was a chorale prelude for organ, entitled Vor deinen Thron tret ich hiermit (Before thy throne I now appear, BWV 668a) which he dictated to his son-in-law, Johann Altnikol, from his deathbed. When the notes on the three staves of the final cadence are counted and mapped onto the Roman alphabet, the initials "JSB" are found.[45]Death (1750)Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Gottlob Harrer, fill the Thomascantor and Director musices posts "upon the eventual ... decease of Mr. Bach."[29] Bach became increasingly blind, so the British eye surgeon John Taylor operated on Bach while visiting Leipzig in March or April of 1750.[46]On 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported "the unhappy consequences of the very unsuccessful eye operation" as the cause of death.[47] Modern historians speculate that the cause of death was a stroke complicated by pneumonia.[6][7][8] His son Emanuel and his pupil Johann Friedrich Agricola wrote an obituary of Bach.[48]Bach's estate included five Clavecins, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, and 52 "sacred books", including books by Martin Luther and Josephus.[49] He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. In 1894 his coffin was finally found and moved to a vault in St. John's Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach's remains were taken to their present grave at Leipzig's Church of St. Thomas.[17]LegacyA detailed obituary of Bach was published (without attribution) four years later in 1754 by Lorenz Christoph Mizler (a former student) in Musikalische Bibliothek, a music periodical. The obituary remains probably "the richest and most trustworthy"[50] early source document about Bach. After his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashioned compared to the emerging classical style.[51] Initially he was remembered more as a player and teacher.During the late eighteenth and early nineteenth century, Bach was widely recognised for his keyboard work. Mozart, Beethoven, Chopin, Robert Schumann, and Felix Mendelssohn were among his most prominent admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.[52] Beethoven described him as the "Urvater der Harmonie", "original father of harmony".[53]Bach's reputation among the wider public was enhanced in part by Johann Nikolaus Forkel's 1802 biography of Bach.[54] Felix Mendelssohn significantly contributed to the revival of Bach's reputation with his 1829 Berlin performance of the St Matthew Passion.[55] In 1850, the Bach Gesellschaft (Bach Society) was founded to promote the works; in 1899 the Society published a comprehensive edition of the composer's works with little editorial intervention.During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the Cello Suites by Pablo Casals, the first major performer to record these suites.[56] Another development has been the growth of the "authentic" or "period performance" movement, which attempts to present music as the composer intended it. Examples include the playing of keyboard works on harpsichord rather than modern grand piano and the use of small choirs or single voices instead of the larger forces favoured by 19th- and early 20th-century performers.[57]Bach's music is frequently bracketed with the literature of William Shakespeare and the teachings of Isaac Newton.[58] In Germany, during the twentieth century, many streets were named and statues were erected in honour of Bach. His music features three times - more than any other composer - on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[59]WorksIn 1950, a thematic catalogue called Bach Werke Verzeichnis (Bach Works Catalogue) was compiled by Wolfgang Schmieder.[60] Schmieder largely followed the Bach Gesellschaft Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1905: BWV 1–224 are cantatas; BWV 225–249, large-scale choral works including his Passions; BWV 250–524, chorales and sacred songs; BWV 525–748, organ works; BWV 772–994, other keyboard works; BWV 995–1000, lute music; BWV 1001–40, chamber music; BWV 1041–71, orchestral music; and BWV 1072–1126, canons and fugues.[61]Organ worksBach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues.[17] At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed several pairs of preludes and fugues and toccatas and fugues, and the Orgelbüchlein ("Little organ book"), an unfinished collection of 46 short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although his best-known works (the six trio sonatas, the "German Organ Mass" in Clavier-Übung III from 1739, and the "Great Eighteen" chorales, revised late in his life) were all composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[62][63]Other keyboard worksBach wrote many works for harpsichord, some of which may have been played on the clavichord. Many of his keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion. • The Well-Tempered Clavier, Books 1 and 2 (BWV 846–893). Each book consists of a prelude and fugue in each of the 24 major and minor keys in chromatic order from C major to B minor (thus, the whole collection is often referred to as 'the 48'). "Well-tempered" in the title refers to the temperament (system of tuning); many temperaments before Bach's time were not flexible enough to allow compositions to utilise more than just a few keys.[64] • The 15 Inventions and 15 Sinfonias (BWV 772–801). These short two- and three-part contrapuntal works are arranged in the same chromatic order as the Well-Tempered Clavier, omitting some of the rarer keys. These pieces were intended by Bach for instructional purposes.[65] • Three collections of dance suites: the English Suites (BWV 806–811), the French Suites (BWV 812–817), and the Partitas for keyboard (BWV 825–830). Each collection contains six suites built on the standard model (Allemande–Courante–Sarabande–(optional movement)–Gigue). The English Suites closely follow the traditional model, adding a prelude before the allemande and including a single movement between the sarabande and the gigue.[66] The French Suites omit preludes, but have multiple movements between the sarabande and the gigue.[67] The partitas expand the model further with elaborate introductory movements and miscellaneous movements between the basic elements of the model.[68] • The Goldberg Variations (BWV 988), an aria with thirty variations. The collection has a complex and unconventional structure: the variations build on the bass line of the aria, rather than its melody, and musical canons are interpolated according to a grand plan. There are nine canons within the 30 variations, one every three variations between variations 3 and 27.[69] These variations move in order from canon at the unison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, third and sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities. • Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831), Chromatic Fantasia and Fugue (BWV 903), and the Italian Concerto (BWV 971).Among Bach's lesser known keyboard works are seven toccatas (BWV 910–916), four duets (BWV 802–805), sonatas for keyboard (BWV 963–967), the Six Little Preludes (BWV 933–938), and the Aria variata alla maniera italiana (BWV 989).Orchestral and chamber musicBach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001–1006), six cello suites (BWV 1007–1012) and Partita for solo flute (BWV 1013), are among the most profound works in the repertoire.[70] Bach composed a suite and several other works for solo lute. He wrote trio sonatas; solo sonatas (accompanied by continuo) for the flute and for the viola da gamba; and a large number of canons and ricercare, mostly with unspecified instrumentation. The most significant examples of the latter are contained in The Art of Fugue and The Musical Offering.Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful.[17] These works are examples of the concerto grosso genre. Other surviving works in the concerto form include two violin concertos (BWV 1041 and BWV 1042); a Concerto for Two Violins in D Minor (BWV 1043), often referred to as Bach's "double" concerto; and concertos for one to four harpsichords. It is widely accepted that many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost.[71] A number of violin, oboe and flute concertos have been reconstructed from these. In addition to concertos, Bach wrote four orchestral suites, and a series of stylised dances for orchestra, each preceded by a French overture.[72]Vocal and choral worksCantatasAs the Thomaskantor, beginning mid of 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week.[17] Although Bach performed cantatas by other composers, he composed at least three entire annual cycles of cantatas at Leipzig, in addition to those composed at Mühlhausen and Weimar.[17] In total he wrote more than 300 sacred cantatas, of which approximately 200 survive.[73]His cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, or grand orchestras. Many consist of a large opening chorus followed by one or more recitative-aria pairs for soloists (or duets) and a concluding chorale. The recitative is part of the corresponding Bible reading for the week and the aria is a contemporary reflection on it. The melody of the concluding chorale often appears as a cantus firmus in the opening movement. Among his best known cantatas are: • Christ lag in Todes Banden, BWV 4 • Ich hatte viel Bekümmernis, BWV 21 • Ein feste Burg ist unser Gott, BWV 80 • Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus Tragicus) • Wachet auf, ruft uns die Stimme, BWV 140 • Herz und Mund und Tat und Leben, BWV 147In addition, Bach wrote a number of secular cantatas, usually for civic events such as council inaugurations. These include wedding cantatas, the Wedding Quodlibet, the Peasant Cantata and the Coffee Cantata.[74]PassionsBach's large choral-orchestral works include the grand scale St Matthew Passion and St John Passion, both written for Good Friday vespers services at the Thomaskirche and the Nikolaikirche in alternate years, and the Christmas Oratorio (a set of six cantatas for use in the Liturgical season of Christmas).[75][76][77] The two versions of the Magnificat (one in E-flat major, with four interpolated Christmas-related movements, and the later and better-known version in D major), the Easter Oratorio, and the Ascension Oratorio are smaller and simpler than the Passions and the Christmas Oratorio.Mass in B minorMain article: Mass in B minorBach assembled his other large work, the Mass in B minor, near the end of his life, mostly from pieces composed earlier (such as the cantatas Gloria in excelsis Deo, BWV 191 and Weinen, Klagen, Sorgen, Zagen, BWV 12). The mass was never performed in full during Bach's lifetime.[78] All of these movements, unlike the six motets (Singet dem Herrn ein neues Lied; Der Geist hilft unser Schwachheit auf; Jesu, meine Freude; Fürchte dich nicht; Komm, Jesu, komm!; and Lobet den Herrn alle Heiden), have substantial solo parts as well as choruses.Musical styleBach's musical style arose from his skill in contrapuntal invention and motivic control, his flair for improvisation, his exposure to North and South German, Italian and French music, and his devotion to the Lutheran liturgy. His access to musicians, scores and instruments as a child and a young man and his emerging talent for writing tightly woven music of powerful sonority, allowed him to develop an eclectic, energetic musical style in which foreign influences were combined with an intensified version of the pre-existing German musical language. From the Period 1713-14 onward he learned much from the style of the Italians.[79]During the Baroque Period, many composers only wrote the framework, and performers embellished this framework with ornaments and other elaboration.[80] This practice varied considerably between the schools of European music; Bach notated most or all of the details of his melodic lines, leaving little for performers to interpolate. This accounted for his control over the dense contrapuntal textures that he favoured, and decreased leeway for spontaneous variation of musical lines. At the same time, Bach left the instrumentation of major works including The Art of Fugue open.[81]Bach's devout relationship with the Christian God in the Lutheran tradition[82] and the high demand for religious music of his times placed sacred music at the centre of his repertory. He taught Luther's Small Catechism as the Thomascantor in Leipzig,[83] and some of his pieces represent it;[84] the Lutheran chorale hymn tune was the basis of much of his work. He wrote more cogent, tightly integrated chorale preludes than most. The large-scale structure of some of Bach's sacred works is evidence of subtle, elaborate planning. For example, the St Matthew Passion illustrates the Passion with Bible text reflected in recitatives, arias, choruses, and chorales.[85] The structure of the Easter Oratorio, BWV 249, resembles The Crucifixion.[86]Bach's drive to display musical achievements was evident in his composition. He wrote much for the keyboard and led its elevation from continuo to solo instrument with harpsichord concertos and keyboard obbligato.[87] Virtuosity is a key element in other pieces, such as the Prelude and Fugue in E minor, BWV 548 for organ in which virtuosic passages are mapped onto alternating flute and reed solos within the fugal development.[88]Bach produced collections of movements that explored the range of artistic and technical possibilities inherent in various genres. The most famous example is the Well Tempered Clavier, in which each book presents a prelude and fugue in every major and minor key. Each fugue displays a variety of contrapuntal and fugal techniques.[89]PerformancesPresent-day Bach performers usually pursue one of two traditions: so-called "authentic performance practice", utilising historical techniques; or the use of modern instruments and playing techniques, often with larger ensembles. In Bach's time orchestras and choirs were usually smaller than those of later composers, and even Bach's most ambitious choral works, such as his Mass in B minor and Passions, were composed for relatively modest forces. Some of Bach's important chamber music does not indicate instrumentation, allows a greater variety of ensemble.Easy listening realisations of Bach's music and their use in advertising contributed greatly to Bach's popularisation in the second half of the twentieth century. Among these were the Swingle Singers' versions of Bach pieces that are now well-known (for instance, the Air on the G string, or the Wachet Auf chorale prelude) and Wendy Carlos's 1968 Switched-On Bach, which used the Moog electronic synthesiser. Jazz musicians have adopted Bach's music, with Jacques Loussier, Ian Anderson, Uri Caine and the Modern Jazz Quartet among those creating jazz versions of Bach works.[90]See also • List of fugal works by Johann Sebastian Bach • List of transcriptions of compositions by Johann Sebastian Bach • List of students of Johann Sebastian BachReferences 1. German pronunciation: [joˈhan] or [ˈjoːhan zeˈbastjan ˈbax] 1. ^ a b Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton and Company, Inc., 2000), 19. 2. ^ a b Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 46. ISBN 0-393-04825-X. 3. ^ a b "BACH Mass in B Minor BWV 232" 
. www.baroquemusic.org. Retrieved 21 February 2012. 4. ^ a b Russell H. Miles, Johann Sebastian Bach: An Introduction to His Life and Works (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1962), 86–87. 5. ^ a b Breitenfeld, Tomislav; Solter, Vesna Vargek; Breitenfeld, Darko; Zavoreo, Iris; Demarin, Vida (3 Jan. 2006). "Johann Sebastian Bach's Strokes" 
(PDF). Acta Clinica Croatica (Sisters of Charity Hospital) 45 (1). Retrieved 20 May 2008. 6. ^ a b Baer, Ka. (1956). "Johann Sebastian Bach (1685–1750) in medical history". Bulletin of the Medical Library Association (Medical Library Association) 39 (206). 7. ^ a b Breitenfeld, D.; Thaller V, Breitenfeld T, Golik-Gruber V, Pogorevc T, Zoričić Z, Grubišić F (2000). "The pathography of Bach's family". Alcoholism 36: 161–64. 8. Blanning, T. C. W.The triumph of music: the rise of composers, musicians and their art 
, 272: "And of course the greatest master of harmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music' 9. Jones, Richard (2007). The Creative Development of Johann Sebastian Bach. Oxford University Press. p. 3. ISBN 0-19-816440-8. 1. "Lesson Plans" 
. Bach to School. The Bach Choir of Bethlehem. Retrieved 8 March 2012. 1. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 6 2. Printed in translation in The Bach Reader (ISBN 0-393-00259-4) 3. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 7–8. 4. Mendel et al (1998), 299 5. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 45. ISBN 0-393-04825-X. 1. ^ a b c d e f g h i j k l m "Johann Sebastian Bach: a detailed informative biography" 
. baroquemusic.org. Retrieved 19 February 2012. 1. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company