Huber

L'arpa Festante Period-instrument ensemble L'Arpa Festante gives new life to neglected instrumental and choral works from the Baroque to the Romantic eras. The group has recorded for various German labels. L'Arpa Festante is a durable survivor among German historical instrument groups, having been founded in 1983 by violinist Michi Gaigg. She remained its director and concertmaster until 1995. The group was sometimes known as the Barockorchester L'Arpa Festante ("Baroque Orchestra L'Arpa Festante") or even BOLAF, but since its repertory expanded forward into the Classical and Romantic eras, this has been used less often.

"Frage" is the new album by sensational baritone Christian Gerhaher. This new album is the first of many highly anticipated projects to record all of Robert Schumann’s songs. This project will be the first time since the 1970s where a singer has devoted themselves to comprehensively perform and record Robert Schumann’s complete lieder output. Frage is produced by the Bayerischer Rundfunk and the Deutsches Liedzentrum Heidelberg.

The Zappa Band features former touring members of Frank Zappa‘s backing band (Mike Keneally, Scott Thunes, Ray White, and Robert Martin) as well as Joe Travers, who played in Dweezil and Ahmet Zappa‘s band Z in the early 1990s.

Das Handbuch leistet eine umfassende historische und systematische Darstellung des Phänomens Erzählen und seiner Erforschung unter Berücksichtigung der internationalen Narratologie. Neben der Betrachtung von grundlegenden Begriffen und Fragestellungen des literarischen und intermedialen Erzählens bietet der Band auch eine Einführung in transdisziplinäre Aspekte des Erzählens in Recht, Medizin und Wirtschaft.

Communicating construction and expression is a central aspect in Alfred Huber's musical oeuvre. Themes, rhythms and their execution determine the musical development, ensuring the music's linguistic quality. Alfred Huber's music is composed with an addressee in mind: it wants to be understood and comprehended. Nevertheless, the composer uses his musical material freely and away from any traditional ties, consistently coming up with new solutions for creating musical orders and systems. In works such as Phi, Op. 27, or Pi, Op. 32, he extracts formats and proportions from numbers and numerical series. In Impossibile, Op. 20, poetic models inform his composition, while in the Piano Trio, Op. 35, he utilises an almost classical approach in his thematic development - a tribute to Ludwig van Beethoven, "the hero of my youth" (Alfred Huber).

The two piano quintets, composed seven years before and seven years after 1900, point to two special features in Huber’s development as a composer. If in the earlier quintet he was still endeavoring to find his place in the European music world in keeping with the best of his times, then in the later quintet he self-confidently went his own way as a Swiss composer who did not hesitate even to incorporate native folk songs into his music. The fact that the earlier quintet was first performed some eight years after its composition possibly had to do with Huber’s recognition that during his earlier years he had much too thoughtlessly published compositions that had proven to be not quite finished.