Donau

The title piece, "Donau So Blue", is a blues on which Austrian pianist-composer Friedrich Gulda is accompanied by two seasoned jazz musicians: Hans Rettenbacher on bass and Manfred Josel on drums. Gulda felt himself to be an outsider in the jazz world. He was a renowned Mozart and Beethoven interpreter, but did not want to be tied down to the world of classical music. And who was the singer Albert Golowin? Gulda describes him as "a dropout, a certain type of Viennese, a highly talented dilettante, a bungled baritone with an aversion to the concert hall". Actually, Golowin was a pseudonym that Gulda used for singing performances. The pianist was celebrated as brilliant and criticized as infant terrible. Often, Gulda would not stick to the announced program; once he performed playing the recorder naked.

Ein majestätisch dahinströmender Strom durch diese beliebte Etikette wurde die Donau im 19. Jahrhundert wie von Natur aus in den Rang einer imperialen Landschaft erhoben. Wenn dieses Attribut dem größten Fluss Mitteleuropas immer schon zukam, so wurde es um diese Zeit geradezu inflationär.

Florian Christl's album "Donau", which will be released in 2024, is a musical journey from the source to the mouth of the river that connects ten countries in twelve new, atmospheric compositions.

Here we report on a 25-year long-term sequence of measures to return a deteriorated recreational urban lake, Alte Donau in Vienna to acceptable water quality. Metropolitan waters require focused ecosystem management plans and intensive in-lake efforts. We explored physico-chemical conditions, food web from viruses to fish and water birds, the sediments, the littoral zone and the catchment, management and urban planning, and global warming. Several restoration techniques were tested and critically evaluated. The final management plan was based on bi-stable theory. During the recovery phase, numerous surplus adjustments had to be implemented to secure sustainable achievement.

Im Verlauf des 13. Jahrhunderts v. Chr. bildete sich in Mitteleuropa eine neue Kultur, in der die Leichenverbrennung vorherrschte und die nach der zumeist ublichen Niederlegung der Knochenreste in einem Gefass – einer Urne – Urnenfelderkultur genannt wird. Der Wandel, die Toten nicht in Korpergrabern, sondern verbrannt in Urnen beizusetzen, vollzog sich im Verlauf der europaischen Bronzezeit in unterschiedlicher Intensitat und in unterschiedlicher Auspragung. Es ist wahrscheinlich, dass sich hinter dem Wandel des Bestattungsrituals weitreichende Veranderungen der Gesellschaft und der religiosen Vorstellungen verbergen, ohne dass es uns moglich ware, diese im Einzelnen zu benennen.