Musical commonplace book : manuscript, [approximately 1790-approximately 1810]

Contains songs, partly from English operas, and instrumental music.

3 Lieder für eine tiefere Stimme mit Begleitung des Pianoforte

Die Diebin mit der Rosenwange / Gedicht von G.E. Lessing - Vor dem Feinde / Gedicht von Adolf Gad -- Wie ist diese Welt doch so schön / Gedicht von L.R.

Fervaal: action musicale en trois actes et un prologue

poème et musique de Vincent d'Indy ; partition chant et piano réduite par l'auteur.

Der Wildschütz, oder, Die Stimme der Natur: komische Oper in drei Akten

Musik von Albert Lortzing ; vollständiger Klavierauszug [von F.L. Schubert.]

Euryanthe: grosse romantische Oper in 3 Aufzügen

Dichtung von Helmine von Chezy, geb. Freyinn von Klencke ; in Musik gesetzt ... von Carl Maria von Weber ... ; vollständiger vom Componisten verfertigter Clavier-Auszug.

Oberon, or, The elf king's oath: the popular romantic and fairy opera

the poetry by J.R. Planché ; composed & arranged with an accompaniment for the piano forte by Carl Maria von Weber.

The Tyrolien lyre: a glee book, consisting of easy pieces arranged mostly for soprano, alto, tenor, and base [sic] voices, with and without piano-forte accompaniments; comprising a complete collection of solos, duetts, trios, quartetts, quintetts, choruses, &c. for the use of societies, schools, clubs, choirs, and the social circle,

Mode of access: Internet.

The sleeping beauty : a cantata for female voices (solo and chorus) with accompaniment of piano and harmonium : Vocal score /

Setting of Tennyson's The day-dream, the Prologue omitted.

Albert Einstein with violin, Josef Schwarz at piano, and Boris Schwarz in background; Haberlandstrasse 5, Berlin Portraits Groups; Men

Digital Image

Musicologist and philosopher Albert Schweitzer at a piano with cellist and conductor Pablo Casals Portraits Groups Men

Verso: Handwritten inscription to Martin U. Heiman in grateful appreciation signed Hans Moldenhauer 1/8/60

GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

Secular trends in daily precipitation characteristics: greenhouse gas simulation with a coupled AOGCM

Secular trends of daily precipitation characteristics are considered in the transient climate change experiment with a coupled atmosphere-ocean general circulation model ECHAM4/OPYC3 for 1900-2099. The climate forcing is due to increasing concentrations of the greenhouse gases in the atmosphere. Mean daily precipitation, precipitation intensity, probability of wet days and parameters of the gamma distribution are analyzed. Particular attention is paid to the changes of heavy precipitation, Analysis of the annual mean precipitation trends for 1900-1999 revealed general agreement with observations with significant positive trends in mean precipitation over continental areas. In the 2000-2099 period precipitation trend patterns followed the tendency obtained for 1900-1999 but with significantly increased magnitudes. Unlike the annual mean precipitation trends for which negative values were found for some continental areas, the mean precipitation intensity and scale parameter of the fitted gamma distribution increased over all land territories . Negative trends in the number of wet days were found over most of the land areas except high latitudes in the Northern Hemisphere. The shape parameter of the gamma distribution in general revealed a slight negative trend in the areas of the precipitation increase. Investigation of daily precipitation revealed an unproportional increase of heavy precipitation events for the land areas including local maxima in Europe and the eastern United States.

The menorah : from Theodore Herzl ; for solo, tenor or soprano, violin and piano ; with 4 texts: Hebrew, Jewish, English and German

composed by A. Haitmann

The Ghetto song : Rachel oh Rachel ; for solo, tenor or soprano, violin and piano ; with 4 texts: Hebrew, Jewish, English and German

composed by A. Haitmann. [Words] from Hugo Zuckermann

Working with A Secular Age. Interdisciplinary Perspectives on Charles Taylor's Master Narrative

Charles Taylor’s monumental book A Secular Age has been extensively discussed, criticized, and worked on. This volume, by contrast, explores ways of working with Taylor’s book, especially its potentials and limits for individual research projects. Due to its wide reception, it has initiated a truly interdisciplinary object of study; with essays drawn from various research fields, this volume fosters substantial conversation across disciplines.