Die Gesamtwirtschaftliche Problematik Steigender Verkehrsunflle

Humbert Lucarelli has been hailed as "America's leading oboe recitalist" (The New York Times). The New York Daily News wrote that he "has proven his preeminence among oboists today." Prof. Lucarelli has performed extensively throughout the United States, Canada, Mexico, South America, Europe, Japan, Australia and Asia.

Wie lebten die Menschen im späten Mittelalter? Was waren ihre Wünsche, was ihre Nöte und Sorgen? Die fünf Sendungen der Reihe "Die Stadt im späten Mittelalter" vermitteln einen Eindruck vom städtischen Dasein in der Zeit um das Jahr 1500. Aufwändige Spielszenen, Dokumentationsteile und authentische Abbildungen veranschaulichen das alltägliche Leben von Handwerkern, Nonnen oder Kaufleuten.

My interest and fascination for the work of Joseph Haydn date back to 1960-64, when I was completing my music and cello studies at the Barcelona Conservatoire and had the opportunity to discover and study some of the composer’s most beautiful quartets. During that time, two special pocket scores always accompanied in my apprenticeship of musical forms and the fascinating discovery of great masterpieces of musical creation: one was J. S. Bach’s The Art of Fugue and the other Haydn’s The Seven Last Words of Christ on the Cross. Two wonderful works that I later recorded under the ASTRÉE label a few years after having founded and prepared the appropriate music ensembles: L’Art de la Fugue, recorded in March, 1986, with 4 solo wind instruments and 4 violas da gamba from the ensemble HESPÈRION XX, following a year of concerts throughout Europe to celebrate the 300th anniversary of Bach’s birth. It was followed four years later, in December, 1990, by the recording of Haydn’s Seven Last Words of Christ on the Cross, two years after the creation of the orchestra LE CONCERT DES NATIONS.

Jordi Savall leads La Capella Reial de Catalunya and Le Concert des Nations in Haydn's The Creation. The composer confessed that while composing he had "felt an extraordinary religious fervor." However, this work was also inspired by the spirituality of the Viennese Masonic lodges of his day. It is above all the first secular oratorio, in the sense that its message is addressed to all mankind, exactly like The Magic Flute, in operati.

During the more recent past, finds in libraries have made it clear that Johann Sebastian Bach held his Gotha colleague Gottfried Heinrich Stölzel in high regard. But what was it about Stölzel’s music that made Bach and some of his contemporaries so interested in it? As in the text of the famous Brockes-Passion, which was set to music by Telemann and Handel and then later by Stölzel, what is involved here is not a biblical text expanded by arias but a free poetic composition based on the Passion.While the Evangelist, like a live reporter, documents Jesus’s last hours, the “Faithful Soul” and the “Christian Church” act from the perspective of knowledge of how events will turn out. The oratorio is divided into twenty-two “Reflections” concentrating the various perspectives of the three allegorical figures on particular moments in the action. This impressive music beyond doubt will have a very individual effect on each and every hearer – as was also the case with Bach, who some years later once again took the manuscripts from his music library and used the aria of the thirteenth meditation, Dein Kreuz, o Bräutigam meiner Seele, as the basis for his own aria Bekennen will ich seinen Namen (BWV 200).

Die Bremer Formation DIE GRENZGÄNGER präsentiert auf ihrem neuen Album ausgewählte Liedtexte und Gedichte des späteren Philosophen, Journalisten, Wirtschaftsund Gesellschaftswissenschaftlers. ´Die Wilden Lieder Des Jungen Marx´ erscheint im Digipack-Format inklusive 22-seitigem Booklet auf MÜLLER-LÜDENSCHEIDT. Von MICHAEL ZACHCIAL Ende der achtziger Jahre in Bremen gegründet, avancierten DIE GRENZGÄNGER mit bislang acht Albumveröffentlichungen zu einer der profiliertesten Formationen des (bevorzugt politischen) Folk-Genres, die in der Vergangenheit bereits mehrfach für das Goethe-Institut in diversen europäischen Ländern zu Gast war. Anlässlich des 200.