Bernd Ganter

C.H.Beck Wissen vermittelt gesichertes Wissen und konzentrierte Information über die wichtigsten Gebiete aus den Kultur- und Naturwissenschaften.Die Autorinnen und Autoren sind anerkannte Wissenschaftlerinnen und Wissenschaftler, die ihr Fach souverän beherrschen und darüber hinaus in der Lage sind die wesentlichen Themen und Fragestellungen auch dem Laien verständlich darzustellen. C.H.Beck Wissen wendet sich an Leserinnen und Leser, die sich anspruchsvoll, knapp und kompetent informieren wollen.

No figure in 20th century American classical music had as prominent or controversial a career – or did more to sell classical music to the general public as something genuinely exciting, and worth getting into a sweat over – than Leonard Bernstein. For more than 30 years, from his assumption of the post of Music Director of the New York Philharmonic in 1958 until the final concerts that he conducted in obviously failing health near the end of his life in 1990, he was the most prominent and widely recognized American-born conductor in the world, and the dominant personality in American classical music as both a conductor and, to a lesser degree, a composer. A flamboyant public figure, he burst three different times on the musical world – twice in classical with a rush of success on Broadway in between – in a blaze of glory, in the space of 15 years; and over a career lasting from the early '40s until the beginning of the '90s, he never lost an opportunity to advance his reputation as well as the cause of music.

Frank Ripploh is a bit of a rascal: he's a bearded and shaggy-haired teacher, and he's gay with a very active sex life and an interest in making films. He keeps his personal life and teaching separate, but he sometimes corrects student papers in public toilets as he waits to score. He cruises constantly, and one evening, he meets Bernd. They become lovers. While Bernd is attentive and caring, Frank gets bored and continues his polymorphously perverse ways. For how long will Bernd and Frank tolerate each other's habits, and for how long can Frank keep his sexual orientation out of the classroom? Things come to a head during Berlin's annual Queen's Ball and the morning after.

THE GERMAN PRISON SYSTEM – a topic that interests politicians when elections are looming, and the media whenever scandal is involved – is expensive and largely ineffective: over half of the people released from prison re-offend within five years. Locking people up does not rehabilitate them. Instead, the influences of prison subculture prevail.

Carl Orff (German:[ɔʁf]; 10 July 1895 – 29 March 1982) was a German composer and music educator, best known for his cantata Carmina Burana (1937). The concepts of his Schulwerk were influential for children's music education.
Orff studied at the Munich Academy of Music and with the German composer Heinrich Kaminski and later conducted in Munich, Mannheim, and Darmstadt. His Schulwerk, a manual describing his method of conducting, was first published in 1930. Orff edited some 17th-century operas and in 1937 produced his secular oratorio Carmina Burana. Intended to be staged with dance, it was based on a manuscript of medieval poems. This work led to others inspired by Greek theatre and by medieval mystery plays, notably Catulli carmina (1943; Songs of Catullus) and Trionfo di Afrodite (1953; The Triumph of Aphrodite), which form a trilogy with Carmina Burana. His other works include an Easter cantata, Comoedia de Christi Resurrectione (1956); a nativity play, Ludus de nato infante mirificus (1960); and a trilogy of “music dramas”—Antigonae (1949), Oedipus der Tyrann (1959), and Prometheus (1966). Orff’s system of music education for children, largely based on developing a sense of rhythm through group exercise and performance with percussion instruments, has been widely adopted. In 1924 in Munich he founded, with the German gymnast Dorothee Günther, the Günther School for gymnastics, dance, and music.