{"id":3210,"date":"2017-03-16T13:42:09","date_gmt":"2017-03-16T12:42:09","guid":{"rendered":"http:\/\/www.struhal.com\/?page_id=3210"},"modified":"2023-10-29T16:48:22","modified_gmt":"2023-10-29T15:48:22","slug":"blog","status":"publish","type":"page","link":"https:\/\/www.struhal.com\/de\/blog\/","title":{"rendered":"Blog"},"content":{"rendered":"
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\n Ludwig van Beethoven \u201eF\u00fcr Elise\u201c, eine Beobachtung, eine Annahme, eine Untersuchung<\/a>\n <\/div>\n\n
Gerda<\/a> | 17, Oktober<\/div>\n

Vorwort: Den folgenden Blogpost schickte ich nach Ver\u00f6ffentlichung an Dr. Jochen Reutter, den f\u00fcr die<\/p>\n<\/div>\n

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\n Versuch eines Zuganges zur Interpretation<\/a>\n <\/div>\n\n
Gerda<\/a> | 30, Mai<\/div>\n

Diese Korrespondenz mit Prof. em. G\u00fcnter Pichler, Geiger, Dirigent und Primarius des Alban Berg Quartetts enth\u00e4lt G\u00fcnter Pichlers Text „Versuch eines Zuganges zur Interpretation“, in dem er 1998 zentrale Punkte in der Erarbeitung eines Werkes und dessen Interpretation festhielt.<\/p>\n<\/div>\n

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\n Rede anl\u00e4sslich der Verleihung des W\u00fcrdigungspreises der Bundesministerin f\u00fcr Bildung, Wissenschaft und Kultur im Juni 2000<\/a>\n <\/div>\n\n
Gerda<\/a> | 18, Mai<\/div>\n

Vor zwei Tagen, am 16. Mai 2020, hielt Bundespr\u00e4sident Van der Bellen eine Rede, die<\/p>\n<\/div>\n

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\n J. S. Bach, The Becoming of Fugue in C, BWV 846, WTC 1<\/a>\n <\/div>\n\n
Gerda<\/a> | 29, M\u00e4rz<\/div>\n

How Bach developed the theme of his first Fugue in Well-tempered Clavier, Book 1. This essay compares a full developed pre-version of the Fugue with the final version, recording both versions, and discussing the differences and their effects on interpretation.<\/p>\n<\/div>\n

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\n J. S. Bach Inventionen und Sinfonien als p\u00e4dagogischer Ansatz f\u00fcr Analyse und Interpretation<\/a>\n <\/div>\n\n
Gerda<\/a> | 18, Oktober<\/div>\n

Anl\u00e4sslich des Symposiums „Ist Musiktheorie praktisch?“ an der MDW im April 2018\u00a0hielt ich den Vortrag<\/p>\n<\/div>\n

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\n Frederic Chopin, Richard Wagner and the Tristan Chord<\/a>\n <\/div>\n\n
Gerda<\/a> | 02, Juli<\/div>\n

Fr\u00e9d\u00e9ric Chopin – Richard Wagner Mazurka op. 68\/4 and the Tristan Chord In this clip<\/p>\n<\/div>\n

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\n …zum Nachdenken, \u00fcber Kunst<\/a>\n <\/div>\n\n
Gerda<\/a> | 21, Februar<\/div>\n

Was Fernando Pessoa \u00fcber Kunst schrieb…<\/p>\n<\/div>\n

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\n „Alla breve“ in J S Bach’s Fugue in E flat Major WTC II…<\/a>\n <\/div>\n\n
Gerda<\/a> | 08, Januar<\/div>\n

While studying different Urtext editions,  Henle Urtext and B\u00e4renreiter Urtext, of the above mentioned Fugue,<\/p>\n<\/div>\n

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\n Gedanken zu Thomas Bernhard, ein Reisebericht<\/a>\n <\/div>\n\n
Gerda<\/a> | 24, August<\/div>\n

Dieser Blogpost basiert auf meiner Leseleidenschaft, die immer auch mit der Musik zu tun hat.<\/p>\n<\/div>\n

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\n Interpretation, einige Gedanken zu Vortragszeichen bei Beethoven<\/a>\n <\/div>\n\n
Gerda<\/a> | 01, August<\/div>\n

Gedanken zu Vortragszeichen bei Beethoven… …Kommunikationsmedium mit uns Interpretinnen und Interpreten? fester Bestandteil des thematischen<\/p>\n<\/div>\n

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\n Beethoven der Dirigent und Pianist in den Jahren 1808 bis 1815 nach Erinnerungen Louis Spohrs<\/a>\n <\/div>\n\n
Gerda<\/a> | 18, Juli<\/div>\n

Beethoven der Dirigent und Pianist in den Jahren 1808 bis 1815 nach Erinnerungen Louis Spohrs<\/p>\n<\/div>\n

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\n Zur Organisation eines Konzertes im 19. Jahrhundert…Take 2, Friedrich Wieck<\/a>\n <\/div>\n\n
Gerda<\/a> | 09, Juni<\/div>\n

Nun kommt Friedrich Wieck zu Wort. Wieck, der Vater der Pianistin und Komponistin Clara Schumann,<\/p>\n<\/div>\n

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\n Zur Organisation eines Konzertes im 19. Jahrhundert…Take 1 Hector Berlioz \u00fcber Franz Liszt<\/a>\n <\/div>\n\n
Gerda<\/a> | 08, Juni<\/div>\n

Wir lassen hier den Komponisten, Musikliteraten und Rezensenten Hector Berlioz\u00a0 zu Wort kommen. Er beschreibt<\/p>\n<\/div>\n

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