Reinardus Vulpes. Carmen epicum seculis IX et XII conscriptum.

Latin poem composed about 1148 by Nivardus of Ghent, better known under the title adopted by E. Voigt and later editors: Ysengrimus or Isengrimus. Not to be confused with a shorter Latin poem (688 l.) edited by Grimm under the name Isengrimus, now known as Isengrimus abbreviatus.

Die überreste vorweltlicher riesenthiere in beziehung zu ostasiatischen sagen und chinesischen schriften ...

"Gelesen in der Akademie der wissenschaften."

The martyrdom of an empress;

Mode of access: Internet.

A recital of selected repertoire for the mezzo-soprano voice

JOHANN SEBASTIAN BACH Buss und Reu, St Matthew Passion Es ist vollbracht, St John Passion FRANZ JOSEPH HAYDN O luna lucente, Il Mondo della luna ROBERT SCHUMANN Gedichte der Königin Maria Stuart Abschied von Frankreich Nach der Geburt ihres Sohnes An die Königin Elisabeth Abschied von der Welt Gebet STEFAN WOLPE Simeini kahotam al libeha, Two Songs for Alto and Piano SRUL IRVING GLICK "...i never saw another butterfly... " To Olga Yes, That's The Way Things Are The Little Mouse On A Sunny Evening Narrative The Butterfly LEILA LUSTIG Wretched Highway WILLIAM BOLCOM The Actor George

Die Immunitätsprivilegien der Kaiser aus dem sächsischen Hause für italienische Bistümer : eine krit. Vorstudie

von Karl Rieger

Nächtliche Abentheuer des Herrn von Hohenstein : Lustspiel in einem Aufzug

verfaßt von Franz Joseph Schild

Antonio Salieri's La calamita de' cuori (1774): Sources, Form, Context

Antonio Salieri’s La calamita de’ cuori (1774) warrants musicological attention for what it can tell us about Salieri’s compositional craft and what it reveals about the development of form in Viennese Italian-language comic opera of the mid- and late-eighteenth century. In Part I of this dissertation, I explore the performance history of La calamita, present the first plot synopsis and English translation of the libretto, and describe the variants between Carlo Goldoni’s 1752 libretto and the revised version created for Salieri’s opera. I have collated Salieri’s holograph score, Österreichische Nationalbibliothek, Vienna, Mus. Hs. 16.508, with four copies having different relationships to it, and I propose a stemma that represents the relationships between these five sources. The analyses in Part II contribute to our understanding of formal practices in eighteenth-century drammi giocosi. My study of Salieri’s La calamita reveals his reliance on a clearly defined binary structure, referred to in this dissertation as “operatic binary form,” in almost half of the arias, ensembles, and instrumental movements of this opera. Salieri’s consistent use of operatic binary form led me to explore its use in drammi giocosi by other prominent composers of this time, including Baldassare Galuppi’s La calamita de’ cuori (1752), Wolfgang Amadeus Mozart’s Il dissoluto punito, ossia Il Don Giovanni (1787), and selected arias by Pasquale Anfossi, Florian Leopold Gassmann, Giuseppe Gazzaniga, Franz Joseph Haydn, Giovanni Paisiello, and Niccolò Piccinni dating from 1760 to 1774. This study showed that Salieri and his peers adhered to a recognizable tonal plan and set of design elements in their operatic binary forms, and that their arias fall into three distinct categories defined by the tonality at the beginning of the second half of the binary structure. The analysis presented here adds to our present understanding of operatic form in mid- and late-century drammi giocosi and shows that in La calamita de’ cuori, Salieri was following the normative formal procedures of his time.

Boletim de Cultura da Câmara Municipal de Évora, A Cidade de Évora

Franz Joseph Haydn (1732-1809) confirma-se como o compositor modelar para uma avaliação dos circuitos cosmopolitas da música instrumental ao mais alto nível da aristocracia, complementando alianças e compromissos selados pela partilha de um gosto musical. Entre outros estudos, refiram-se as conclusões recentes de Stephen C. Fischer sobre a circulação das Sinfonias de Haydn em Espanha. Neste trabalho o musicólogo demonstra que a corte, a Casa de Alba e a Casa de Osuna y Benavente estavam entre as Livrarias da aristocracia europeia que recebiam novas obras de Haydn por via directa do compositor em finais do século XVIII. Em Portugal também a reputação da música de Franz Joseph Haydn se situou ao mais alto nível no período compreendido entre as décadas de 1780 e de 1820, tanto na sinfonia, como música de câmara, sobretudo para tecla.

Warianty realizacji austriackości w wybranych autorów (Joseph Roth, Stefan Zweig, Franz Theodor Csokor i Ődön von Horváth) w odniesieniu do kategorii granicznych starego i nowego świata

Wydział Neofilologii:Instytut Filologii Germańskiej

Kaiser Franz und Metternich : ein nachgelassenes Fragment

Boberach: Metternich wird vorgeworfen, schon vor 1815 eine verhängnisvolle Politik betrieben zu haben

Reise-Protokoll der Reichstagsdeputation nach Innsbruck: Deputations-Mitglieder: 1. Herr Franz Schmitt, für Nieder-Oesterreich ...: Die drei sub 3 bis 5 verzeichneten Deputations-Mitglieder reiseten Montags den 31. Juli 1848 ...

Welsch (Projektbearbeiter): Eingehende Schilderung der Reise einer Reichstagsdeputation nach Innsbruck (31. Juli - 9. August 1848) anläßlich der bevorstehenden Rückkehr Kaiser Ferdinands I. nach Wien

Gesang für die Judenschaft zu Deßau : bei Gelegenheit des in der dortigen Synagoge feyerlichst begangenen siebenzigsten hohen Geburtsfestes Sr. Herzogl. Durchlaucht Herrn Leopold Friedrich Franz, den 10. August 1810

Joseph Wolf

Don Joseph Nassi, Herzog von Naxos

Franz Jaffe

Pflanzenvorkommnisse in der Umgebung der Franz-Schlüterhütte im Villnöstale (Südtirol)

von Joseph Ostermaier