Wer hie zu etwas kommen will - Score

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The soldier agrees and the devil obtains for him a big store in the capital where many valuable goods are sold. He then bids him good-bye again. He was to go through three times nine countries to the three times tenth realm, where there was a king whose beautiful daughter, Marja by name, whom he wished to torment. They get together to ask him who he was and whether he was even allowed to trade here.

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In order to gain time, the soldier pretends to be extraordinarily busy and asks them to return on the next day, when he would answer their questions. Meanwhile he collects all his money, leaves his shop and follows the devil to the three-times-tenth-realm. When asked where he comes from at the town gate he pretends to be a doctor come to cure the Princess who was very ill. The king promises to let him marry his daughter if he can fulfil his claim. The soldier asks for three sets of cards, three bottles of sweet wine, three bottles of red-hot spiritus, three pounds of nuts, three pounds of lead shot and three pounds of candles.

He himself goes to buy a violin. On the last chime of midnight the devil appears and greets the soldier.

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Asked what he is drinking, the soldier says it is kvass. The devil wants to join him in his drinking and the soldier hands him a glass of red-hot spiritus. Under the pretence that he is offering nuts, the soldier gives the devil lead-shot to eat. The devil cracks the shot and breaks all his teeth. The second night is the same as the first. Before the third night the soldier asks the king to have a 50 puds 1 pud equals approx.

All this is done. Again, the Evil One appears. He sees the tongs and asks what it is for. The soldier explains it was a tool to straighten crooked fingers. He had been taken into employment by the king as a violin teacher, but had to straighten the musicians fingers first, as they were all crooked, like those of his guest.

The devil looks at his crooked fingers and believes it is for this reason he still cannot play the violin. He calls the soldier brother and asks him to straighten his fingers. The devil begs to be freed and promises not to come nearer the Palace than about 30 werst approx. The soldier however does not leave off his beating.

The devil makes his escape and his parting words to the soldier are that he would yet get him, even if he married the Princess. As soon as he would put more than 30 werst between himself and the town, he would come and fetch him away. After many years he — while taking a walk in the castle grounds with his wife — comments on the beauty of the gardens.

His wife thereupon tells him of another, much more beautiful garden 30 werst outside town. They go to see it in a carriage. The soldier has hardly set foot on the ground outside the carriage, when the Evil One appears. Had he forgotten his words, is the question he puts to the former soldier. The soldier remains calm. It seemed to be his fate after all, he replies. Could he say farewell to his wife at least? The devil permits this but urges him to hurry.

The ending of the tale leaves everything open — the story does not really end, it breaks off. In the original only the soldier descends from the carriage, not the queen, and the carriage is standing on the border, as the garden begins exactly 30 werst outside of the town. What would happen if he, by pretending to say good-bye to his wife, remounts the carriage and retreats back from the banned area? Why should the devil win in just this of all stories, when he has already behaved clumsily and acted stupidly as in the drinking scene and is quite obviously no match for the clever soldier who has learnt a lot from him!

By introducing his dream or vision Strawinsky also bestowed upon the piece a metaphysical aspect. Only beings having a soul can play the violin. The soldier, however, has sold his soul for money, without yet knowing to whom. He becomes rich and powerful but loses his self in the process. He therefore cannot cure the Princess, whose illness is lack of love. He needs his violin. But the devil has taken possession of it. The reader, his only real friend in this version of the tale, tells him about himself. As long as he still owns money from the sale of his soul, he cannot retrieve his violin.

He must not even give away the money as an act of charity or of desperation, but must lose it and become as poor as he was before. The action must be rolled up backwards. There is only one way in which to achieve this which moreover seems to suit the Russian mentality, namely by gambling, which from a Christian point of view always entails a meeting with the devil, no matter which way the story ends.

Thus the soldier loses all his money which has made him rich but brought him nothing else. With each win, however, the devil loses and the soldier may take the violin away from him, once he is in a drunken stupor. By playing for the sick Princess, the soldier may breathe soul into her by means of the soul of the violin, thus bringing her back to life. The devil on the other hand cannot bear living souls, and is forced into a kind of convulsive dance when the soldier plays for him trying to ward off his attempts at stealing his soul anew. Thus the story ends. The devil may instal as many border posts as he likes, he will achieve nothing.

Crossing a border is an act of the free will, borne out by rational action. The turn in the story towards a tragic ending did not come as a surprise to the modern literary world of pre-war Europe. The soldier is quite contented with his existence as Prince Consort.

All he wants to do is to embrace his wife. The Princess, however, refuses herself to him as long as he does not agree to their joint return to the past. The soldier has no choice left: If he goes, hell awaits him, which is to say, a life without love. If he does not go, his wife will turn away from him. Both of them leave together, but really only the soldier crosses the border markings, while his wife remains standing at a safe distance; she does not follow the soldier even when he beckons her to him.

Here the catastrophe sets in. The soldier is again betrayed.

His wife has, for whatever reason, sent him straight to hell. Despite the fact that he has freed himself from the fangs of evil in the past, he does not want to go on. He is beyond caring about which side of the border post he may find himself. And if one is willing to identify the soul of the soldier with the violin now in possession of the devil, it evidently makes scenic sense. Strawinsky refused a translation into English when he detected Anglo-Saxon sentimental and moralistic undertones.

The teaching of reason says that a human being may not return to the past nor run ahead to a future without leaving his present, thereby forfeiting it. Viewed thus, both author and composer complemented each other in an artistically stringent work which met with great success. In a letter dated 20 th August he remarks with unusual sharpness on the fact that his work on the piece was in no way restricted to the composition of the music, but had also had a determinable effect on the scenarium. Without his — i.

Construction: The stage work consists of two series of independent yet interrelated spoken scenes and thirteen musical scenes individually lettered and with the exception of numbers 10 and 11 individually figured but not numbered with the march scene repeated several time [ 1. Szene — Music to scene I; [ 3. Szene — Music to scene II ; [ 4. Szene — Music to scene III ; [ 5. Instruments: Tutti Clarinet and Cornet in A with rhythmically scanning speech. La musique Batterie continue.

Andauernde Musik Schlagwerk. Die Szenerie gibt das Ufer eines. Baches wieder. Der Soldat tritt auf. The music Batterie. The scene shows the banks of a stream. Enter the Soldier. Die Geige ist total verstimmt. Instruments: Tutti Clarinet and Cornet in B. Szene — Music for the close of Scene II.

Instruments: Tutti with rhythmically scanning speech. Going to see the King! Le diable en tenue de violoniste mondain. Der Teufel steht als Geigenvirtuose verkleidet da. The Devil is there dressed as a Virtuoso Violonist. Le Soldat: Ah! Instruments: Tutti Clarinet and Cornet in A. Instruments: Clarinet in A, Violin, Percussion. The Princess rises from her couch]. Instruments: Percussion, Violin, Double Bass. Der Soldat nimmt die. Prinzessin bei der Hand. Dann, auf.

Sie kommen wieder und fallen. Einsatz des kleinen Chorals. They return, take up their position in the centre of the stage and fall. Le Soldat et pa princesse se tiennent. The Soldier and the Princess are still ambraced]. Marche du Soldat. Le Violon du Soldat. Marche royale. Petit concert. Trois Danses. Danse du Diable. Marche triomphale du Diable. The Little Concert. Tango, Waltz, Ragtime. Style: The speaker is not just a story-teller but also announces, reads and reports, admonishes and draws morals.

He gets involved in the action office scene , moves the action forward court scene and even intrudes in it card game scene. Almost every scene has a different structure. It seems that Strawinksy sought to avoid formal repetitions or at least to restrict them to a minimum.

There is a close relationship between words and music. The music helps to clarify situations and by repetition of musical motifs and echoes sets free associations of action even where there is a standstill, but does not express contextual meanings confined to language. Whether the corresponding and all-inclusive motifs are meant to awaken pictorial associations must remain an open question.

The same applies to the choice of the three dances which in those days would have served as a societal factor helping to determine the degree of education of the soldier and the state of mind of the Princess. Here, rhythm is frequently detached from the melodic line.

Strawinsky wrote a number of rhythmic models consisting of quavers and semiquavers which — like isorhythmic miniatures — keep recurring and may be easily joined together or combined in other way because of their simple structure. These rhythmic figures, exchangeable as they are, may be superimposed on the most varied melodic models. Therefore, not one rhythm in this piece of music is related to a specific melody and vice versa. The composer himself did not think so and stylistic and historic analysis underpins his statement. What fascinated him about ragtime which incidentally he did not identify with jazz was merely the phenomenon of syncopation which he carried into almost all of his compositions.

The march is not a grotesque but is stylistically made to fit in with the whole. They do not form a suite in the strict sense, with three independent pieces following one upon the other, but a compositional whole with increasing intensity towards a fortissimo ending in the ragtime.

That is why they blend one into the other and are not individually numbered but arranged in continuous numbering whereby a kind of transitional grouping and re-grouping of instruments prepares the following dance. All dances are subject to specific ordering by means of bar notation, an order broken up again and again by intentional rearranging on the part of the composer. Moreover, part III is worked out as a permutation of part I.

Part I therefore is the only original section of the composition, which, together with part II is developed from a toccata-like construct of interchanging chords over a driving rhythm, the connection of which is broken in parts II and IV. The devil. Neither chorale in the work is meant as a parody. Rather, Strawinsky composed in the style of the brass section which he preferred at the time and fitted the small scene to the other numbers of his stage play.

Since the devil has no ear for music, he cannot sing; as he was duped, anger had made him lose his power of speech. All that is left is a pressed, violent, isorhythmic form of speech consisting of threats with interspersed instrumental references to the march of the soldier.

The couplet ends with a vengeful gargling sound which the French original [ro-ti- rr ra] and the English translation [r rr oasts! The march tune harks back to the introductory march, but is in retrograde motion thus ending with a dissolution of musical sound into disharmonious noise, where in the beginning it had developed into musical harmony from noise.

Date of origin: Stage version: Morges February [April] until September [using earlier sketchbooks begun for other works left incompleted dating back to ] ; Trio: Morges November until to autumn ; C oncert Suite: finished 1 st December The earliest sketches date back to , but most of them were composed in One of its motifs was inserted into the music for scene one two bars before fig.

The greatest part of the music for the second scene was sketched Some of it already had its final form. Strawinsky had worked on this dedicatedly from June through to December Russian folk tunes were also included. The musical theme at fig. The small chorale was probably the last piece to be composed.


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The war had destroyed the existence of many artists now isolated in Switzerland. The circles of Ansermet, Ramuz, Auberjonois and Strawinsky therefore joined in planning a travelling stage play with a miniature ensemble and a much reduced orchestra. It was intended to travel from place to place with a show, to earn money. Originally, only one violin was to be used. The project grew at first, then threatened to collapse for lack of funding and due to exorbitant costs. When the problems culminated, Werner Reinhart stepped in.

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Still, there was only one performance in all, since all members of the ensemble came down with influenza. Immediately after its first performance Strawinksy began extensive corrections, a process that was to take more than five years, hardly left a single bar of the original score in place and which resulted not only in changes to the orchestration but partly also to the composition itself, which permits us to speak of a re-composition. Only the river bank scene and the tango remained as in the original, as Robert Craft is able to show in his own study of the piece.

It laid the foundations for what was later to be called New Music Theatre, as it would no longer be fitted into traditional categories or descriptive terms. Moreover, it ran counter to any previous concept of expression in music. Whoever wished to approach music history with traded down terms of style or school called this new musical form — its highly complex interior structure notwithstanding — by the name of neo-primitivism, thus creating a new compositional category.

As regards successive performances, Strawinsky corrected essential aspects of the composition and transferred these to the fragmentary concert version, from which he extrapolated a suite for violin and piano which later became a suite for clarinet, violin and piano.

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This piano trio appeared at J. Chester publishers in and was the first printed edition of the piece. The editors published a set of orchestral parts which did not survive in any of the large libraries of the world, followed by piano reduction and a full conducting score, and, in a pocket score. The subsequent editions differ on occasion by the subdivisions of the generously included trilingual interior title leaf.

The recording no. The autograph of the trio version is also in the collection of the Town Library of Winterthur signature dep RS Copyright: by J. Chester, Ltd. Great Marlborough Street, London, W. Chester Ltd.

It is without corrections. It contains notes on performance. Les Cinq Doights. It corresponds to the Hofmeister cataloguing. The former Prussian State Library dates it as Zu lesen, zu spielen und zu tanzen, in zwei Teilen. Orchesterstellung: Die Orchesterstellung ist vorgeschrieben. Graphisch gesehen ergibt sich ein etwa gleichschenkliges Dreieck, auf dessen linkem Schenkel Leiter Dirigent , Geiger, Kontrabassist und Posaunist, auf dessen rechtem Schenkel Leiter, Schlagzeuger, Trompeter und Klarinettist, auf dessen Grundlinie, vom Dirigenten aus gesehen von links nach rechts, Posaunist, Fagottist und Klarinettist angeordnet sind.

Das Schlagzeug ist mit harten Filzschlegeln zu spielen. Ziffer 3 1 1 Tambour sans timbre [Trommel ohne Schmarrsaite — Side drum without snare]. Ziffer 7 1 Batt. Ziffer 8 1 Batt. Ziffer 10 1 T. Kopf aus Kapok — Cane stick with fibre head]. Ziffer 2 1 T. Ziffer 8 4 C. Ziffer 1 1 G. Ziffer 1 2 Caisse cl. Kapok — Stick with fibre head].

Ziffer 3 2 C. Ziffer 5 2 C. Ziffer 6 3 C. Ziffer 8 1 Vl. Ziffer 8 6 Gr.

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Ziffer 8 7 C. Ziffer 8 7 Vl. Ziffer 10 1 : Piatti bois [Becken Holz — Cymbals wood ]. Ziffer 10 1 Gr. Ziffer 10 5 Gr. Ziffer 15 1 C. Ziffer 15 3 Gr. Ziffer 15 6 C. Ziffer 16 1 C. Ziffer 16 2 Piatti : bois [Holz — Wood]. Ziffer 16 5 Gr. Ziffer 17 4 Gr. Ziffer 17 4 : Piatti bois [Becken Holz — Cymbals wood ]. Ziffer 17 7 C. Ziffer 19 1 C. Ziffer 19 2 C. Ziffer 19 4 C. Ziffer 20 1 : Cymb. Ziffer 20 1 Gr.

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Ziffer 11 3 Gr. Ziffer 11 4 Gr. Ziffer 12 1 Gr. Ziffer 13 6 Vl. Ziffer 14 1 Vl. Ziffer 14 4 Vl. Ziffer 15 6 T. Ziffer 16 3 T. Ziffer 17 1 Vl. Ziffer 18 2 Vl. Ziffer 23 1 C. Ziffer 23 2 Vl. Ziffer 27 4 T. Ziffer 3 1 Violino : au talon [Am Frosch — At the heel]. Ziffer 1 1 Vl. Ziffer 4 1 Vl. Ziffer 5 4 Vl. Ziffer 7 8 Cymb. Ziffer 9 2 Vl. Ziffer 12 4 Vl. Ziffer 13 1 Vl. Ziffer 32 1 C. Ziffer 33 1 2 C. Ziffer 34 1 2 C. Ziffer 3 11 2 C. Ziffer 5 4 Gr. Ziffer 5 6 Gr. Ziffer 6 1 Gr. Ziffer 7 2 Trb. Ziffer 10 11 Tmb.

Takt 14 Tmb. Takt 17 Gr. Takt 31 C. Takt 31 Gr. Takt 33 C. Takt 33 Gr. Takt 39 C. Ziffer 2 1 Grosse Caisse : 1. Note: au milieu [In der Mitte — Centre]. Ziffer 1 1 C. Ziffer 1 2 C. Ziffer 1 4 Tamb. Ziffer 2 1 Tamb. Ziffer 2 2 petite [Kleine Trommel — Small side-drum]. Ziffer 2 9 Gr. Ziffer 3 1 Gr. Ziffer 3 2 Tamb.

Ziffer 3 10 Gr. Ziffer 3 11 Gr. Note : au milieu [In der Mitte — Centre]. Ziffer 6 3 Gr. Ziffer 6 4 Gr. Ziffer 7 1 Vl. Ziffer 7 1 C. Ziffer 7 2 C. Ziffer 7 4 Tamb. Ziffer 8 1 Tamb. Would you like to visit our German website? Would you like to visit our Danish website? Would you like to visit our Swedish website? Would you like to visit our Norwegian website? Mini Guides. Alle Themen. Organisational Fit. Sinnstiftende Arbeit. Engaging Stakeholders Firstly, the stakeholders of the OKRs should be identified and should be a part of the whole OKR definition, execution and tracking process.

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