Joachim Vadian, der Reformator und Geschichtschreiber von St. Gallen

Includes bibliographical references.

Judas Nazarei. Vom alten und neuen Gott, glauben und lehre. (1521.)

On cover: Neudrucke deutscher litteraturwerke des XVI. und XVII. jahrhunderts, no. 142-143.

Pomponii Melae de orbis sitv libri tres, accuratissime emendati, una cum Commentariis Joachimi Vadiani Heluetii castigatioribus, & multis in locis auctioribus factis : id quod candidus lector obiter, & in transcursu facile deprehendet; adiecta sunt praeterea loca aliquot ex Vadiani comentarijs summatim repetita, & obiter explicata : in quibus aestimandis censendisq doctissimo uiro Ioanni Camerti ordinis minorum theologo, cum Joachimo Vadiano non admodum conuenit, rvrsvm, Epistola Vadiani, ab eo penè adulescente ad eo pene adulescente ad Rudolphum Agricolam iuniorem scripta, non indigna lectu, nec inutili ad ea capienda, quae aliubi in Commentarius suis libare magis, quàm longius explicare voluit

A obra De orbis sitv (descrição do mundo), também chamada De chorographia (corografia), foi escrita em três partes, por volta de 43 d.C. Situa a Terra no centro do universo e descreve regiões, costumes e artes da África, Europa e Ásia, sem contudo detalhar suas distâncias e sistemas administrativo. É o único tratado de geografia da Antiguidade escrito em latim clássico. Esta edição traz extensos comentários de Joaquim Vadiano e observações do teólogo João Camerti e de Rodolfo Agrícola.

Paul Speratus von Rötlen evangelischer Bischof von Pomesanien in Marienwerder /

Includes bibliographical references.

Adolpf Molling, Janet Krakauer nee McColl, Hymie Joachim and Thomas Krakauer (l-r); Weggis, Switzerland Portraits Groups

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Studio portrait of Joseph Molling and business partner Ernst Joachim (?); Hannover, Germany.

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Adolpf Molling, Janet Krakauer nee McColl, Hymie Joachim and Thomas Krakauer (l-r); Weggis, Switzerland Portraits Groups

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Studio portrait of Joseph Molling and business partner Ernst Joachim (?); Hannover, Germany.

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JOACHIM, BRAHMS, AND SCHUMANN: THE FLOURSHING OF NINETEENTHCENTURY VIOLIN REPERTOIRE

The cultivation of violin repertoire and its ultimate dominance of the late Nineteenth-Century orchestral library are best examined through the analysis and study of the works of Joseph Joachim (1831-1907), Johannes Brahms (1833-1897), and Robert Schumann (1810-1856). Each of these men, in their own right, made significant contributions to the development of violin repertoire during the latter half of the Nineteenth Century. Yet their achievements were also the result of a collaborative effort and shared influence, the absence of which would have yielded a diminutive musical landscape, especially in the concerti of Brahms and Joachim. This dissertation explores Joachim’s technical dexterity and its influence on Brahms and Schumann, and further studies the vital role Brahms and Schumann played in forming Joachim as both composer and editor. The pieces examined in this dissertation evidence the significant influence each of these composers shared. Three chamber compositions stand as guideposts in the analysis and establish a stylistic foundation to collaborative efforts among Joachim, Brahms, and Schumann. The preliminary recital focuses on these chamber pieces which illustrate the individual style of each composer, featuring Joachim’s Romance, Op. 2, written between 1848 and 1852, Schumann’s Second Sonata, Op. 121, written in 1851, and Brahms’ Second Sonata, Op. 100, written in 1886. A second performance includes the enigmatic F-A-E Sonata of Brahms, Schumann, and Albert Deitrich, Schumann’s pupil, as well as Joachim’s Second Concerto. A collaborative effort, the F-A-E Sonata represents Brahms’ and Schumann’s efforts to write with Joachim’s unbridled style and technique in mind. An even greater musical offering, Joachim’s Second Concerto, a gift to Brahms in 1860, has been called the “Holy Grail” of concertos, and is considered the preeminent display of Joachim’s creative genius by incorporating demanding technical challenges and Hungarian-like overtones. The third and final program features Brahms’ Concerto in D Major. A fitting response to Joachim’s gift 17 years later, Brahms’ Concerto was written for Joachim at the height of his career, bearing the performer’s stylistic elements throughout. The recital also includes various Hungarian Dances by Brahms. While the Dances were not original to Brahms, they further illustrate the underlying idiom of Hungarian folk music in both Brahms’ and Joachim’s art.

Le prince Joachim de Prusse : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 59373

1.° Vita sancti Martini, Confessoris : authore Sulpitio Severo. — 2.° Vita sancti Gregorii, Papae. — 3.° Passio sanctorum Tiburtii et Valeriani. — 4.° Vita sanctae Waltburgae, Virginis. — 5.° Gesta Domini nostri Jesu Christi quae invenit Theodosius Magnus, Imperator, in Hierusalem, in Praetorio Pontii Pilati : sive evangelium Nicodemi. — 6.° Anonymi sermo de vindicta Domini. — 7.° Sermo de sancto Joachim. — 8.° Sermo de assumptione beatae Mariae Virginis. — 9.° Fragmentum de inventione sanctae Crucis. — 10.° Vita Adae et Evae. — 11.° Vita sancti Basilii Magni : authore Amphilochio, Iconiensi Episcopo. — 12.° Vita sancti Eligii : authore Dadone, Rothomagensi Episcopo. — 13.° Vita sancti Joannis Evangelistae : authore Miletone, Laodicensi. — 14.° Vita sancti Arnulfi, Episcopi. — 15.° Anonymus de palatio, de quo narratur in passione sancti Thomae, Apostoli. — 16.° Passio sancti Andreae, Apostoli.

Tellerianus