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New Music at Darmstadt explores the rise and fall of the so-called 'Darmstadt School,' through a wealth of primary sources and analytical commentary. Martin Iddon's book examines the creation of the Darmstadt New Music Courses and the slow development and subsequent collapse of the idea of the Darmstadt School, showing how participants in the West German new music scene, including Herbert Eimert and a range of journalistic commentators, created an image of a coherent entity, despite the very diverse range of compositional practices on display at the courses. The book also explores the collapse of the seeming collegiality of the Darmstadt composers, which crystallised around the arrival there in 1958 of the most famous, and notorious, of all post-war composers, John Cage, an event Carl Dahlhaus opined 'swept across the European avant-garde like a natural disaster.'

NEOS presents the fourth box from the Internationales Musikinstitut Darmstadt archives, collecting key works performed through the decades by the key ensembles that have appeared at that famous institution. Pianists include: David Arden, Kristi Becker, Pierre Boulez, Niccol Castiglioni, Pi-Hsien Chen, Massimiliano Damerini, Anna D'Errico Andor Foldes, Werner Fsser, Erika Haase, Kaya Han, Claude Helffer, Herbert Henck, Nicolas Hodges, Martine Joste Benjamin Kobler, Aloys Kontarsky, Helmut Lache

New Music at Darmstadt explores the rise and fall of the so-called 'Darmstadt School,' through a wealth of primary sources and analytical commentary. Martin Iddon's book examines the creation of the Darmstadt New Music Courses and the slow development and subsequent collapse of the idea of the Darmstadt School, showing how participants in the West German new music scene, including Herbert Eimert and a range of journalistic commentators, created an image of a coherent entity, despite the very diverse range of compositional practices on display at the courses. The book also explores the collapse of the seeming collegiality of the Darmstadt composers, which crystallised around the arrival there in 1958 of the most famous, and notorious, of all post-war composers, John Cage, an event Carl Dahlhaus opined 'swept across the European avant-garde like a natural disaster.'

550 Seiten mit 1 Frontispiz u. einigen Porträttafeln. Buch ist neu, aus priv. Vorbesitz, ungelesen,originalverschweißt ISBN: 9783763233229 Wir senden umgehend mit beiliegender MwSt.Rechnung. Sprache: Deutsch Gewicht in Gramm: 798

The Porcelain Collection of the Grand Dukes of Hesse is admired worldwide. It comprises about one hundred and fifty objects, making it an important source of Frankenthal porcelain. The Frankenthal factory was one of the leading European porcelain makers in the latter half of the 18th century. Founded by Paul Anton Hannong in Strasbourg in 1721 as a faience manufactory, it moved to Frankenthal in 1755. The factory flourished after it was taken over by Carl Theodor, the Elector Palatine, in 1762. Modellers such as Franz Conrad Linck, Johann Friedrich L ck and Karl Gottlieb L ck enriched the stock of figurines by adding original and elegant models. Production at Frankenthal concentrated on court scenes, hunting scenes, allegories and the chinoisierie so popular in the Rococo period. The factory was disbanded in 1800 after a turbulent history. All pieces of porcelain in the porcelain collection of the grand dukes of Hesse are reproduced in colour and described. Introductory texts on the factory, techn

The Porcelain Collection of the Grand Dukes of Hesse is admired worldwide. It comprises about one hundred and fifty objects, making it an important source of Frankenthal porcelain. The Frankenthal factory was one of the leading European porcelain makers in the latter half of the 18th century. Founded by Paul Anton Hannong in Strasbourg in 1721 as a faience manufactory, it moved to Frankenthal in 1755. The factory flourished after it was taken over by Carl Theodor, the Elector Palatine, in 1762. Modellers such as Franz Conrad Linck, Johann Friedrich L ck and Karl Gottlieb L ck enriched the stock of figurines by adding original and elegant models. Production at Frankenthal concentrated on court scenes, hunting scenes, allegories and the chinoisierie so popular in the Rococo period. The factory was disbanded in 1800 after a turbulent history. All pieces of porcelain in the porcelain collection of the grand dukes of Hesse are reproduced in colour and described. Introductory texts on the factory, techn

During the Napoleonic Wars the region of Hesse was divided between Hessen-Kassel and Hessen-Darmstadt. Under Napoleon's patronage, in 1806 Hessen-Darmstadt received all remaining imperial possessions within its borders and was elevated to a Grand Duchy. That same year, Hessen-Kassel, under Imperial Elector Wilhelm I, was dissolved and incorporated into Jerome Bonaparte's Kingdom of Westphalia, resulting in significant political, administrative and sartorial changes. This richly illustrated book details the organization, campaigns, uniforms, and colours and standards of the forces of Hessen-Darmstadt and Hessen-Kassel from 1792 to Napoleon's defeat in 1813.

Die Sammlung mittelalterlicher Elfenbeinarbeiten des Hessischen Landesmuseums Darmstadt gehort zu den grossten ihrer Art. Sie umfasst Prachteinbande, Tragaltare, Reliquiare, Kasten, Pyxiden und einzelne Reliefs vom 5. bis zum 15. Jh. Im Begleitband zur Ausstellung wird erstmals der reiche Bestand vollstandig publiziert und mit zahlreichen Farbabbildungen aller Ausstellungsstucke prachtig illustriert und ausfuhrlich dokumentiert.

Darmstadt Aural Documents Box 1 / Various Various Artists - CD 4260063110603

Darmstadt Aural Documents - Box 3 / Various Various Artists - CD 4260063112300

ALL WILL KNOW consists of six musicians from Darmstadt, who share the same vision: Innovative and modern Melodic Death Metal. Mixed with an old school attitude and electronic influences, the band creates a unique sound. Since 2010 they share their music with the world and have shared the stage with well-known acts like Debauchery, Emil Bulls or A Traitor Like Judas. Their debut album "contact." was released via Deafground Records in March 2012. After extensive touring and festival appearances, t

The trio Argo was formed in Darmstadt in 1985 by Hans Essel (violin), Marit Hoffmann (viola), and Thomas Stett (clarinet). It existed until 2016 when it was forced to an end by the untimely death of Stett. Argo set out to explore new ways of free collective improvisation that were aimed neither at personal expressivity, nor at the evocation of a certain mood or atmosphere. Eschewing any compositional agreements, they experimented with musical forms and processes that emerged spontaneously betwee

2017 release. What is beyond the horizon? All Will Know have a clear vision: innovative and contemporary melodic metal! The six guys from Darmstadt blend their sound with a good dash of old school attitude and electronic influences. The recipe works: more than a hundred shows and festivals played since 2010, as well as gigs in Spain, Poland, the Czech Republic, the Netherlands and Switzerland (i.a. with Amorphis, Xandria, Debauchery or Emil Bulls) bear witness to the intoxicating impact of this

On September 11th, 2015 the audience of the stunning "Rotor" concert series witnessed the first live appearance of John Grtler and Phillip Sollmann underneath a highway bridge in Offenbach, Germany. Hosted by International Music Institute Darmstadt alongside Institut fr Klangforschung Offenbach and HfMDK Frankfurt, the newly formed duo performed an aural conversation on stage within the incredible architectural environment. A year later, an extract of these live recordings became part of the S

British Envoys to the Kaiserreich, 1871-1897 concentrates on Anglo-German history prior to German Weltpolitik. The first volume presents official diplomatic reports from the British embassy at Berlin (German Empire) and from the four minor - however still independent - diplomatic missions in Darmstadt (Hesse and Baden), Dresden (Saxony), Stuttgart (Württemberg), and Munich (Bavaria) during the years 1871 to 1883. The selection reveals the attitudes of British observers and their perceptions of a wide variety of political, social and cultural developments in a period of great diplomatic activity and changing Anglo-German relations. The dispatches offer new perspectives on Bismarck's imperial chancellorship, on the integration of the federal states into the new Kaiserreich, and on the varied British interests in Germany and its regional peculiarities. This title is also available as Open Access.

Hardcover. A year after the end of the Second World War, the first International Summer Course for New Music took place in the Kranichstein Hunting Lodge, near the city of Darmstadt in Germany. The course, commonly referred to later as the Darmstadt course, was intended to familiarize young composers and musicians with the music that, only a few years earlier, had been denounced as degenerate by the Nazi regime, and it soon developed into one of the most important events in contemporary music. Having returned to Germany in 1949 from exile in the United States, Adorno was a regular participant at Darmstadt from 1950 on. In 1955 he gave a series of lectures on the young Schoenberg, using the latters work to illustrate the relation between tradition and the avant-garde. Adornos three double-length lectures on the young Schoenberg, in which he spoke as a passionate advocate for the composer whom Boulez had declared dead, were his first at Darmstadt to be recorded on tape. The relation between tradition and the avant-garde was the leitmotif of the lectures that followed, which continued over the next decade. Adorno also dealt in detail with problems of composition in contemporary music, and he often accompanied his lectures with off-the-cuff musical improvisations. The five lecture courses he gave at Darmstadt between 1955 and 1966 were all recorded and subsequently transcribed, and they are published here for the first time in English. This volume is a unique document on the theory and history of the New Music. It will be of great value to anyone interested in the work of Adorno and critical theory, in German intellectual and cultural history, and in the history of modern music. "The first publication in English of Adorno's most sustained analysis of modern music"-- Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Neuware -Der Film 'Mädchen in Uniform', zum besten Film der Weltproduktion von 1931 erkoren, machte Christa Winsloe fast weltweit bekannt. Heute ist 'Mädchen in Uniform' vor allem durch die dritte Verfilmung (1958) mit Romy Schneider, Lilli Palmer und Therese Giehse berühmt. 1888 in Darmstadt geboren, ging Winsloe 1909 nach München, um Bildhauerei zu studieren. 1913 heiratete sie den ungarischen Schriftsteller und Mäzen Baron Ludwig von Hatvany und lebte mit ihm in Paris, Ungarn, Berlin und Wien. Nach ihrer Scheidung kehrte sie 1924 nach München zurück, wo sie als Tierbildhauerin arbeitete, aber auch zur Münchener Literaturszene gehörte. Sie war u.a. mit Erika und Klaus Mann sowie mit Kurt Wolff befreundet. Zudem widmete sie sich dem Schreiben und veröffentlichte in der Vossischen Zeitung, Tempo, Querschnitt und im Berliner Tageblatt. Ihr erster Erfolg als Schriftstellerin war 1930 die Aufführung ihres Theaterstücks 'Ritter Nérestan' über Mädchen in einem preußischen Internat, das im folgenden Jahr erstmals verfilmt wurde. Es folgten Romane in englischer und deutscher Sprache. 1932 traf Winsloe die nordamerikanische Journalistin Dorothy Thompson wieder, mit der sie eine leidenschaftliche Affäre hatte. Nach zwei Amerikaaufenthalten blieb sie jedoch wieder in Europa und zog sich 1939 zunächst ins französische Cagnes-sur-Mer, später nach Cluny zurück. Dort wurde sie im Juni 1944 erschossen. 320 pp. Deutsch

XXIV, 563 S. Lw. gut erhalten, textsauber (Sonderausg. f. d. Wiss. Buchgesellschaft, Darmstadt)

Neuware -Ein Jahr nach Kriegsende fanden in Schloss Kranichstein bei Darmstadt zum ersten Mal die »Internationalen Ferienkurse für Neue Musik« statt. Sie markierten den Beginn des »musikalischen Wiederaufbaus« in einem Land, in dem die Neue Musik noch kurz zuvor als »entartet« galt, und entwickelten sich rasch zur international bedeutendsten Veranstaltung zeitgenössischer Musik.Seit 1950 nahm Theodor W. Adorno regelmäßig an den »Ferienkursen« teil und wurde für mehr als ein Jahrzehnt zu einer ihrer bestimmenden Figuren. 1955 hielt er dort seine erste Vorlesung - unter den Hörern waren Pierre Boulez und Stockhausen - und lotete am Beispiel des jungen Schönberg das Spannungsfeld zwischen Tradition und Avantgarde aus. Dies blieb das Leitmotiv auch der weiteren Vorlesungszyklen, etwa dem über »Kriterien der Neuen Musik«. Daneben geht es immer wieder um jene kompositorischen Probleme zeitgenössischer Musik, die Adorno 1954 in seinem berühmten Vortrag über »Das Altern der Neuen Musik« benannt hatte und der die Kranichsteiner Diskussionen befeuerte.Die in diesem Band versammelten Vorlesungen, nicht selten von Adorno mit teilweise von ihm selbst auf dem Flügel improvisierten Musikbeispielen begleitet, sind ein einzigartiges Dokument zur Theorie und Geschichte der Neuen Musik. Man kann sie nun erstmals im Zusammenhang und im Wortlaut lesen - und dank des beigegebenen Tonträgers auch hören! 600 pp. Deutsch