Aus meinem Leben 1899-1918

The memoir was written between 1899 and 1918. Family history going back to the early 18th century. Recollection of the author's childhood in Hildesheim. Moritz was the youngest child of Joseph and Bena Guedemann. Early death of his father in 1847. Moritz attended the Jewish elementary school prior to the age of five. In 1843 he was enrolled in the episcopal "Josephinum Gymnasium", where he was the only Jewish student in the entire school. He had friendly relationships with students and teachers and was not confronted with antisemitism during his school years. Moritz Guedemann graduated in 1853 and enrolled in the newly established Jewish Theological Seminary in Breslau. Description of teachers and colleagues in the seminary. Doctorate in 1858 and continuation of rabbinic studies. Occasional invitation to preach at the high holidays in Berlin, where Moritz got acquainted with the famous rabbi Dr. Michael Sachs. Position as a rabbi in Magdeburg in 1862. Small publications of studies in Jewish history. Engagement with Fanny Spiegel. In 1863 Moritz and Fanny Guedemann got married. Offer to succeed rabbi Michael Sachs in Berlin. Division and intrigues in the Jewish community and withdrawing from the position. Invitation to give a sermon in Vienna. In 1866 Moritz Guedemann was nominated to succeed rabbi Mannheimer at the Leopoldstadt synagogue in Vienna. Austro-Prussian war and defeat of Austria in Koeniggraetz. Initial difficulties and cultural differences. Criticism toward his orthodox conduct in the Vienna Jewish press ("Neuzeit"). Cultural life in Vienna. Welfare institutions and philanthropists. Difference within the Jewish community. Crash of the stock exchange and rise of antisemitism. Publication of sermons and studies in Jewish history. In 1891 Max Guedemann became chief rabbi of Vienna. Speeches against antisemitism and blood libel trials. He was awarded with the title "Ritter" of the Kaiser Franz Joseph order for these achievements. Death of his wife in

Abraham Ettlinger, Portrait. ( 1726-1811 )

This portrait is chronologically first in a series of members of the Ettlinger-Bielefeld family, Acc. 78.50 and 78.53

AUSTRO-GERMAN VIOLIN REPERTORIE FROM BAROQUE THROUGH ROMANTIC PERIOD

At the end of the sixteenth century, Germany had become one of the most active centers of early Baroque music, and therefore Austro-German music came to dominate Western music. An investigation of violin works written during this period reveals the ways in which Austro-German compositions are extraordinary contributions to the violin repertoire. This research warranted further study and performance of these works in order to determine what influence these composers had on the violin repertoire as a whole. For my dissertation recital project, I trace the history of works for violin focusing the violin concerto repertoire in particular. A genre which remained popular throughout the century, the nineteenth-century concerto served primarily as a vehicle for virtuosic display of the violin and piano as never before. For my research I studied and performed works selected from the Baroque through the Romantic period in three recorded recitals with collaborative pianists Ilya Sinaisky, Sun-ha Yun, and Seyon Lee at the Gildenhorn Recital Hall, Clarice Smith Performing Arts Center. I selected particularly prominent pieces which represent the work of significant composers from each period. The composers discussed include Johann Sebastian Bach (1685-1750), owing to the fact that his works are the culmination of the Baroque era during the first half of the eighteenth century; from the Classical period, Wolfgang Amadeus Mozart (1756-1791) all of whom emerged mixing German and Italian traditions into his own style, and Ludwig van Beethoven (1770-1827), the bridge composer between the Classical and the Romantic periods; Romantic composers, Franz Schubert (1979-1828), Johannes Brahms (1833-1897), Robert Schumann (1810-1856), Felix Mendelssohn (1809-1847), and Max Bruch (1838-1920), all who tended to mix Classic and Romantic elements. As a violinist, I learned that their own original sound, rich harmonies and unique expression made these works worthy of becoming masterpieces. I have relished the opportunity for musical and professional growth in exploring these substantial compositions.

VARIATION FORMS: A SURVEY THROUGH FOUR CENTURIES OF VIOLIN REPERTOIRE

Variation, or the re-working of existing musical material, has consistently attracted the attention of composers and performers throughout the history of Western music. In three recorded recitals at the University of Maryland School of Music, this dissertation project explores a diverse range of expressive possibilities for violin in seven types of variation form in Austro-German works for violin from the 17th through the 20th centuries. The first program, consisting of Baroque Period works, performed on period instrument, includes the divisions on “John come kiss me now” from The Division Violin by Thomas Baltzar (1631 – 1663), constant bass variations in Sonate Unarum Fidium by Johann Heinrich von Schmelzer (1623 – 1680), arbitrary variation in Sonata for Violin and Continuo in E Major, Op. 1, No. 12 “Roger” by George Friedrich Händel (1685 – 1759), and French Double style, melodic-outline variation in Partita for Unaccompanied Violin in B Minor by Johan Sebastian Bach (1685 – 1750). Theme and Variations, a popular Classical Period format, is represented by the Sonata for Piano and Violin in G Major K. 379 by Wolfgang Amadeus Mozart (1756 – 1791) and Sonata for Violin and Piano in A Major, Op. 47 No. 9 the “Kreutzer” by Ludwig van Beethoven (1770 – 1827). Fantasy for Piano and Violin in C Major D. 934 by Franz Schubert (1797 – 1828) represents the 19th century fantasia variation. In these pieces, the piano and violin parts are densely interwoven, having equal importance. Many 20th century composers incorporated diverse types of variations in their works and are represented in the third recital program comprising: serial variation in the Phantasy for Violin and Piano Op.47 of Arnold Schoenberg (1874 – 1951); a strict form of melodic-outline variation in Sonate f��r Violine allein, Op. 31, No. 2 of Paul Hindemith (1895 – 1963); ostinato variation in Johan Halvorsen’s (1864 – 1935) Passacaglia for Violin and Viola, after G. F. Handel’s Passacaglia from the Harpsichord Suite No. 7 in G Minor. Pianist Audrey Andrist, harpsichordist Sooyoung Jung, and violist Dong-Wook Kim assisted in these performances.

THE PIANO FANTASY FROM BACH TO DANIELPOUR

The Fantasy, as the term suggests, is a genre that composers have found congenial for exploring innovative and imaginative processes. Works in this genre are numerous in the solo piano literature, and extend even to works for piano and orchestra and to chamber music with piano. I was curious to explore how a specific genre of music maintained similar characteristics but evolved over time. A fantasy is primed to be inventive and I wanted to see how composers from different eras and backgrounds would handle their material in this genre. I have learned that composers worked through formal developments while making innovations within this genre. The heart of my dissertation is presented through the recording project. Because ofthe abundance ofpiano fantasies, many works had to be excluded from this project for time's sake. On two compact discs, I have recorded approximately two hours of solo piano music. I have included some shorter fantasies to magnify significant developments from era to era, country to country, and composer to composer. The first disc has recordings of eighteenth and nineteenth-century fantasies: Chromatic Fantasy and Fugue, BWV 903 by J.S. Bach (1685-1750); Fantasia inC major, H. XVII, 4 by Franz Joseph Haydn (1732-1809); Fantasy inc minor, K. 475 by Wolfgang Amadeus Mozart (1756- 1791); Fantasia inf-sharp minor, Op. 28 by Felix Mendelssohn (1809-1847); and Polonaise-Fantaisie in A-flat major, Op. 61 by Frederic Chopin (1810-1849). On the second disc I have included mid-19th, 20th and 2151-century piano fantasies: Fantasy and Fugue on the Theme B-A-C-H by Franz Liszt (1811-1886); Fantasia Baetica by Manuel de Falla (1876-1946); Three Fantasies by William Bergsma (1921-1994); Fantasy, Aria and Fugue by Frederic Goossen (1927-2011); and Piano Fantasy ("Wenn ich einmal sol! scheiden") by Richard Danielpour (b. 1956). The accompanying document includes program notes for each of the pieces recorded. They were recorded on a Steinway "D" in Dekelboum Concert Hall at the University of Maryland by Antonino D'Urzo ofOpusrite Productions. This document is available in the Digital Repository at the University of Maryland and the CO's are available through the Library System at the University of Maryland.

Der Beitrag der Mehrsprachigkeitsdidaktik f��r den Tertiärsprachenunterricht: Eine kritische Analyse aktueller Spanischlehrwerke

Das Konzept der Mehrsprachigkeitsdidaktik wurde Mitte der neunziger Jahre des vergangenen Jahrhunderts von Franz-Joseph Meißner vor allem f��r den Tertiärsprachenunterricht entwickelt. Da der Lerner in diesem bereits über breitere Sprachlernerfahrungen und ein breiteres Sprachwissen verf��gt als ein Lerner der ersten Fremdsprache, ist eine Verknüpfung vor- und nachgelernter Sprachen sowie des gesamten Sprachlernwissens, der so genannten language learning awareness, essentiell und lernökonomisch f��r den Erwerb einer weiteren Fremdsprache, besonders wenn es sich um einer Sprache gleichen Sprachfamilie handelt. So profitiert ein Schüler, der als dritte Fremdsprache Spanisch lernt, vor allem von bereits existierenden Französischkenntnissen. Demnach untersucht die vorliegende Arbeit den Beitrag der Mehrsprachigkeitsdidaktik f��r den Tertiärsprachenunterricht und fokussiert vor allem das Potential aktueller spanischer Lehrwerke f��r einen ebensolchen Unterricht. In Anlehnung an diese Analyse und die im theoretischen Teil der Arbeit dargelegten Besonderheiten eines mehrsprachigkeitsdidaktischen Tertiärsprachenunterrichts erfolgt in einem weiteren Schritt die Erstellung von Zusatzmaterialien f��r das Lehrwerk Encuentros, welche diese Anforderungen erf��llen.

¿Como acelerar el auge de competencia en ELE? : experiencias con intercomprensión en contextos escolares no-románicos : aspectos fundamentales - fundamentos metodológicos.

Título del congreso: 'Una lengua, muchas culturas'

Die Mainzer Karmeliter-Chorbücher - Studien zur mittelrheinischen Buchmalerei des 15. Jahrhunderts

In der vorliegenden Arbeit sind erstmals die Karmeliterchorbücher des Mainzer Dommuseums - ein f��nfbändiges Antiphonar und ein Graduale - kodikologisch und kunsthistorisch untersucht worden. Dabei stellte sich heraus, dass diese bislang in der Literatur nur bruchstückhaft bekannten Handschriften zwei eigenständige Werke sind, deren Bildinitialen nicht - wie bislang angenommen - von dem in einer Widmung genannten Frater Nycolaus angefertigt worden sind. Dieser konnte lediglich als Schreiber von drei Bänden des Antiphonars identifiziert werden. Die neun Bildinitialen des handwerklich solide angefertigten Graduales folgen altbekannten böhmischen Vorbildern und bestechen durch ihre Erzählfreude und Detailgenauigkeit. Kunsthistorisch bedeutsamer sind die f��nf erhaltenen Bildinitialen des Antiphonars, das wahrscheinlich von dem Mainzer Juristen und Geschichtsforscher Franz Joseph Bodmann im 19. Jahrhundert um mindestens zehn weitere Bildinitialen beraubt wurde. Die Qualität der verbliebenen Bildinitialen, die teilweise weit entwickelte Landschaften, eine hochmoderne Verkündigungsszene und Mustergrundinitialen zeigen, die in enger Verbindung zum Göttinger Musterbuch stehen, sichern dem Antiphonar einen bedeutenden Rang in der Mittelrheinischen Kunst. Beide Liturgika überraschen durch die qualitative und quantitative Ausstattungsf��lle beim einzeiligen Initialschmuck. Zwei in die Jahre 1430 und 1432 datierte Widmungen im Antiphonar nennen als Auftraggeber einen Johannes Fabri aus dem Mainzer Handwerk, der 17 Jahre später zum Prior des Mainzer Karmeliterklosters aufgestiegen ist. Ein dargestelltes Stifterpaar im Graduale lässt auch dort auf Auftraggeber aus dem Bürgertum schließen, die die Handschrift wahrscheinlich im zweiten Viertel des 15. Jahrhunderts in Auftrag gaben. Die in der Literatur postulierte Karmeliterwerkstatt muss bezweifelt werden, da die ihr zugewiesenen Werke einer kritischen Überprüfung nicht standhalten.

Eine Karriere im Schatten von Rosalba Carriera. Felicita Sartori / Hoffmann in Venedig und Dresden

Felicita Sartori, nata a Pordenone nel 1714 ca. come figlia del notaio Felice Sartori e di Tommasa Scotti, ricevette la sua prima formazione artistica intorno al 1724 da suo zio, il calcografo Antonio dall'Agata a Gorizia. Tramite lo zio la quattordicenne si trasferisce a Venezia dove entra nella bottega-casa di Rosalba Carriera per perfezionarsi nella miniatura e nella pittura a pastello senoché nelle varie tecniche della grafica. Durante gli anni seguenti Felicita diventa, accanto alle sorelle di Rosalba, la collaboratrice piú stretta della Carriera che in questi anni tocca il colmo della fama artistica, dovuto soprattutto al suo strepitoso successo riscosso durante il soggiorno a Parigi dal 1720 al 1721. I numerosissimi incarichi che le giungono da tutta l'Europa incrementano la produttivitá e lasciano supporre che la bottega abbia contribuito in misura notevole a contentare tali richieste. Negli anni dopo il 1730 l'attività di Felicita oltre le varie attività pittoriche entro la bottega della Carriera si estende alla produzione di incisioni per le pubblicazioni di Gaspare Stampa e di Jacques-Bénigne Bossuet. Incide inoltre le stampe dai disegni di Giovanni Battista Piazetta, pubblicati da Antonio Maria Zanetti. La finora anonima collaboratrice della famosa veneziana esce dall'ombra quando, nel 1741, viene nominata artista di corte da Augusto III, principe elettore di Sassonia e ré di Polonia. Trasferitosi a Dresda, si unisce poche settimane dopo la nomina in matrimonio al consigliere di corte Franz Joseph von Hoffmann, che probabilmente aveva concosciuto nel 1740 nello studio veneziano di Rosalba spesso frequentato dall'elettore e del suo seguito. Felicita continua la su attività a Dresda dove nella Gemäldegalerie Alte Meister si conservano tuttora 15 miniature di sua mano. Grazie alle ricerche dedicate a queste opere è stato possibile di aumentare l'œuvre della Sartori di altre opere tra cui una Betsabea al bagno (coll. priv. München) già nelle collezioni reali sassoni. Sembra che l'artista dopo la morte del marito nel 1749, si sia trasferito con un secondo marito a Bamberg ma altre fonti citano la sua presenza a Dresda nel 1753 dove secondo le notizie fornite da Jean Pierre Mariette muore nel 1760 all'età di soli 46 anni.

Impact of overlapping newer generation drug-eluting stents on clinical and angiographic outcomes: pooled analysis of five trials from the international Global RESOLUTE Program

BACKGROUND Overlapping first generation sirolimus- and paclitaxel-eluting stents are associated with persistent inflammation, fibrin deposition and delayed endothelialisation in preclinical models, and adverse angiographic and clinical outcomes--including death and myocardial infarction (MI)--in clinical studies. OBJECTIVES To establish as to whether there are any safety concerns with newer generation drug-eluting stents (DES). DESIGN Propensity score adjustment of baseline anatomical and clinical characteristics were used to compare clinical outcomes (Kaplan-Meier estimates) between patients implanted with overlapping DES (Resolute zotarolimus-eluting stent (R-ZES) or R-ZES/other DES) against no overlapping DES. Additionally, angiographic outcomes for overlapping R-ZES and everolimus-eluting stents were evaluated in the randomised RESOLUTE All-Comers Trial. SETTING Patient level data from five controlled studies of the RESOLUTE Global Clinical Program evaluating the R-ZES were pooled. Enrollment criteria were generally unrestrictive. PATIENTS 5130 patients. MAIN OUTCOME MEASURES 2-year clinical outcomes and 13-month angiographic outcomes. RESULTS 644 of 5130 patients (12.6%) in the RESOLUTE Global Clinical Program underwent overlapping DES implantation. Implantation of overlapping DES was associated with an increased frequency of MI and more complex/calcified lesion types at baseline. Adjusted in-hospital, 30-day and 2-year clinical outcomes indicated comparable cardiac death (2-year overlap vs non-overlap: 3.0% vs 2.1%, p=0.36), major adverse cardiac events (13.3% vs 10.7%, p=0.19), target-vessel MI (3.9% vs 3.4%, p=0.40), clinically driven target vessel revascularisation (7.7% vs 6.5%, p=0.32), and definite/probable stent thrombosis (1.4% vs 0.9%, p=0.28). 13-month adjusted angiographic outcomes were comparable between overlapping and non-overlapping DES. CONCLUSIONS Overlapping newer generation DES are safe and effective, with comparable angiographic and clinical outcomes--including repeat revascularisation--to non-overlapping DES.

Revascularisation versus medical treatment in patients with stable coronary artery disease: network meta-analysis

OBJECTIVE To investigate whether revascularisation improves prognosis compared with medical treatment among patients with stable coronary artery disease. DESIGN Bayesian network meta-analyses to combine direct within trial comparisons between treatments with indirect evidence from other trials while maintaining randomisation. ELIGIBILITY CRITERIA FOR SELECTING STUDIES A strategy of initial medical treatment compared with revascularisation by coronary artery bypass grafting or Food and Drug Administration approved techniques for percutaneous revascularization: balloon angioplasty, bare metal stent, early generation paclitaxel eluting stent, sirolimus eluting stent, and zotarolimus eluting (Endeavor) stent, and new generation everolimus eluting stent, and zotarolimus eluting (Resolute) stent among patients with stable coronary artery disease. DATA SOURCES Medline and Embase from 1980 to 2013 for randomised trials comparing medical treatment with revascularisation. MAIN OUTCOME MEASURE All cause mortality. RESULTS 100 trials in 93 553 patients with 262 090 patient years of follow-up were included. Coronary artery bypass grafting was associated with a survival benefit (rate ratio 0.80, 95% credibility interval 0.70 to 0.91) compared with medical treatment. New generation drug eluting stents (everolimus: 0.75, 0.59 to 0.96; zotarolimus (Resolute): 0.65, 0.42 to 1.00) but not balloon angioplasty (0.85, 0.68 to 1.04), bare metal stents (0.92, 0.79 to 1.05), or early generation drug eluting stents (paclitaxel: 0.92, 0.75 to 1.12; sirolimus: 0.91, 0.75 to 1.10; zotarolimus (Endeavor): 0.88, 0.69 to 1.10) were associated with improved survival compared with medical treatment. Coronary artery bypass grafting reduced the risk of myocardial infarction compared with medical treatment (0.79, 0.63 to 0.99), and everolimus eluting stents showed a trend towards a reduced risk of myocardial infarction (0.75, 0.55 to 1.01). The risk of subsequent revascularisation was noticeably reduced by coronary artery bypass grafting (0.16, 0.13 to 0.20) followed by new generation drug eluting stents (zotarolimus (Resolute): 0.26, 0.17 to 0.40; everolimus: 0.27, 0.21 to 0.35), early generation drug eluting stents (zotarolimus (Endeavor): 0.37, 0.28 to 0.50; sirolimus: 0.29, 0.24 to 0.36; paclitaxel: 0.44, 0.35 to 0.54), and bare metal stents (0.69, 0.59 to 0.81) compared with medical treatment. CONCLUSION Among patients with stable coronary artery disease, coronary artery bypass grafting reduces the risk of death, myocardial infarction, and subsequent revascularisation compared with medical treatment. All stent based coronary revascularisation technologies reduce the need for revascularisation to a variable degree. Our results provide evidence for improved survival with new generation drug eluting stents but no other percutaneous revascularisation technology compared with medical treatment.

Ueber die Aufhebung des Judenleibzolls : nebst einer skizzirten Geschichte d. Juden, ihrer Schicksale und staatsrechtlichen Verhältnisse, besonders in Teutschland, u. einer moralischen, rechtlichen u. politischen Beurteilung d. Abgabe d. Leibzolls insbesondere, mit Urkunden

von Franz Joseph K. Scheppler