Bin am Meer 2020 (Spiralbindung)

Maße(B/H): 44,5 x 60 cm, Wandkalender
ISBN/EAN: 9783863342326
Sprache: Deutsch
Umfang: 14 S.
Format (T/L/B): 0.5 x 60 x 44.2 cm
Einband: Spiralbindung
20,00 €
(inkl. MwSt.)
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"Bin am Meer" - dieses Schild hängt nahezu jeden Tag am Gartentor der Familie Schroeter. Udo hat sich Angelrute, Köder, Tagebuch und Fotoapparat geschnappt und sich auf den Weg gemacht. Weit ist es nicht, dann steht er an seinem Lieblingsstrand an der Bornholmer Südküste. Sein gleichnamiges Buch wurde zum Bestseller, seine Bilder und Texte laden ein, das Meer mit allen Sinnen zu erleben: die Weite, den Wind, das Tiefblau des Wassers, den klaren Himmel. Udo Schroeter macht Mut, Herausforderungen anzugehen und das Leben so anzunehmen, wie es ist: mal stürmisch, mal ruhig, rau und lebendig. 807280807998LangtextBeethoven wrote his Piano Concerto No. 3 around 1800, at a time in which the ambitious composer had created his first important works in Vienna, such as the "Pathétique" Sonata and the "Moonlight" Sonata - personal works full of power and passion, with which he distanced himself from his mentor and model, Haydn. This performance of Beethoven's Piano Concerto No. 3 with the Symphonieorchester des Bayerischen Rundfunks under the direction of its principal conductor Mariss Jansons stars the distinguished pianist Mitsuko Uchida, who is known the world over for her outstanding interpretations of the piano works of Schubert, Mozart and Beethoven, as well as of 20th-century masters such as Schoenberg, Berg, Webern and Boulez. Richard Strauss wrote his tone poem for large orchestra "Ein Heldenleben" ("A Hero's Life") in 1898, shortly before he left Munich for the Berlin Court Opera, where he was appointed house conductor. In the imaginary hero whose eventful life is described in the work, the young Strauss apparently envisioned the freelance artist of his time, who was exposed to considerable hostility during the Wilhelminian era, just as Strauss himself in his early Munich period.
lebt seit 2006 mit seiner Familie am Meer auf der dänischen Insel Bornholm. Er ist an einem Punkt in seinen Leben umgekehrt und arbeitet heute als Autor, Fotograf und Naturcoach auf der Insel mitten in der Ostsee. In seinen Büchern und Seminaren will er die Menschen inspirieren, aus der Höher-Schneller-Weiter-Spirale auszusteigen und sich wieder den Dingen im Leben zuzuwenden, die wirklich wichtig sind. www.udoschroeter.com Foto: Justine Hoegh 807280807899LangtextWhen it comes to shaping a musical event for the ears and the eyes, the monumental majesty of Anton Bruckner's (1824-1896) symphonies and the exhilarating vibrancy of St. Florian's monastery in Austria are a perfect match - especially when they are captured on film so thrillingly by such an eminent director as Brian Large. The "Fourth Symphony" marks a major milestone in Bruckner's attempt to establish a symphonic design suitable to sustain his innovative musical thought. Not surprisingly, the score was subjected to extensive revisions. The "Fourth", in fact, represents the most convoluted revision history of all his symphonies - and this for a composer for whom variant editions of a work, often involving substantial changes, became the norm. The result is that the identification of the "authentic" final score that should be performed is a matter of ongoing debate for many of his symphonies - in particular the "Fourth". Franz Welser-Möst, the Music Director of The Cleveland Orchestra and General Music Director of the Vienna State Opera, is an acknowledged Bruckner specialist who has developed a passion for the composer's "Fourth Symphony" - called the "Romantic" by its creator - in its infrequently played first edition (1888/89).