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After School Kids Club Art Session Fall. 2022 Grp

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Boris Zimin
Boris Zimin

ALPEN MUSIC


Alpine folk music (German: Alpenländische Volksmusik; German's Volksmusik means "people's music" or as a Germanic connotative translation, "folk's music"[1]) is the common umbrella designation of a number of related styles of traditional folk music of the Germanosphere, particularly in the Alpine regions of Slovenia, Northern Croatia, Germany, Austria, Switzerland and South Tyrol (Italy).




ALPEN MUSIC



Alpine folk continues to be performed by many local ensembles and bands throughout the European Alps and should not be confused with Volkstümliche Musik, which is largely to be found in broadcasting media and on ancillary merchandise. Since the 1970s, artists of a Neue Volksmusik genre, such as Werner Pirchner or Biermösl Blosn, attempt to combine traditional styles with jazz, folk, electronic music, rock et al. as a kind of world music. Popular proponents include Hubert von Goisern, Attwenger and Christine Lauterburg.


AlpenFolk presents the music and folklore of the Alps with authentic instruments, singing and yodeling. We offer alpine music the way it was meant to be played - the way it is played today in rustic inns and mountain chalets of Bavaria, Tyrol, Styria and throughout the Alps!


Alpen Schatz has put together a collection of some of the most beautiful Advent Calendars to offer it's European loving fans. From the classic artistic paper version to our magnificent heirloom musical calendar house - all of our calendars are made by Germany's leading producers of this fine tradition.


The Alpen Spielers are a dynamic and energetic German polka band from the Kansas City area. They perform the various styles and vast repertoire available to polka bands with enthusiasm that draws the audience into the music. Formed in October 1982, The Alpen Spielers have performed in and around Kansas City for parties and events.During the last twelve years, the group has been featured at polka festivals thoughout the United States, including the notable Wurstfest. Betty Jo Simon, Steve Patke, and Paul Rodabaugh form the nucleus of the Alpen Spielers; however, the group often expands to include drums and trumpet for larger festivals.From Waltzes to Marches, Ballads to Tangos, Schottisches to Polkas--the Alpen Spielers' music is for toe-tapping, dancing or just listening.


It is with a heavy heart, that the Alpen Spielers bid farewell to our friend, fellow musician, woodwind artist, and one of the original "Spielers", Steven Patke on June 25, 2005. Steve helped coin our name and his versatility and expertise on reeds added so much to our music. He was truly a musician's "musician". We are grateful we knew Steve and will forever cherish the time we had with him.


Chandos Records is one of the world's premier classical music record companies, best known for its ground breaking search for neglected musical gems. The company has pioneered the idea of the 'series' and proudly includes series of such composers as Prokofiev, Tchaikovsky, Parry, Walton, Grainger, Berkeley and Bridge. Renowned for its superb sound quality, Chandos has won many prestigious awards for its natural sound.


As the oldest still-active series founded on the idea of musicalmonuments, the Denkmaler der Tonkunst in Osterreich (DTO: Monuments of ArtMusic in Austria) has published substantial works of Austria's musichistory over the period of 120 years. At the beginning of his career, GuidoAdler (1855-1941), one of the founders of musicology as an academicdiscipline, wanted to initiate a new series of musical monuments comprisingGermany and all the Habsburg Empire. Hungarian and German scholars whointended to establish their own national series resisted Adler's plan ofan international project. Thus the first appearance of Denkmaler deutscherTonkunst in 1892 propelled Adler to resize his project, and to found a purelyAustrian series.


Several factors happily coincided. Two volumes of works byemperors from the Habsburg family who composed music, edited by Adler in 1892and 1893, (1) preceded the founding of DTO. The edition guaranteed thesupport of the ruling family, even for the subsequent and much biggerproject. Adler directed the music historical department of the InternationalExhibition for Music and Theater (Internationale Ausstellung fur Musik- undTheaterwesen) that took place in Vienna in 1892. (2) As director, heinitiated extended research on musical sources in the Habsburg Empire, thusanticipating the business of DTO. Further, the Austrian Ministry of Religionand Education intended to edit the Trent Codices that had been transferred toVienna not long before. Certainly a national musical series would provide theideal forum for such a plan. With sensitivity and diplomacy, Guido Adlermanaged to make DTO a part of the Austrian cultural policy, and to provide itwith an official mission. In the late years of the Habsburg Empire,Adler's project corresponded with the strategy of the Austriangovernment to use musical heritage in order to create and boost nationalidentity. To add even more emphasis to the enterprise, Adler managed toattract prominent composers such as Johannes Brahms, Gustav Mahler, andRichard Strauss to become one after another members of the editorial board(Leitende Kommission) established to support Adler, who was the head ofpublications (Leiter der Publikationen) in his decisions.


The society (Gesellschaft zur Herausgabe von Denkmalern derTonkunst in Osterreich) was founded in a constituent meeting in 1893. Musiccritic and historian Eduard Hanslick (1825-1904) was elected president. Theeditorial board consisted of Johannes Brahms; the conductor Hans Richter;Joseph Bohm, a reformer of church music and pioneer in early-musicperformances; Albert von Hermann, a government official, journalist, andcomposer; DTO's first publisher Carl August Artaria; and finally two ofHanslick's colleagues at the University of Vienna: the historianEngelbert Milhlbacher and the classical philologist Wilhelm von Harte1. (3)One year later, Adler and the editorial board started a continuing series ofeditions, two volumes a year. After twenty-five years, in 1918, fifty volumeshad been published; this was an incredible achievement, unhindered even bythe disturbances and troubles of World War I. When the society was founded,Adler was still professor in Prague. The successful establishment of DTOcertainly supported his appointment at the University of Vienna in 1898,accomplished against some resistance. (4) Consequently Adler founded theDepartment of Music at this school.


Adler retired as a professor of music in 1927. Therefore, andprobably also because of the difficult economic situation, the editorialactivity was slightly reduced. In the period between the wars, only onevolume appeared per year instead of the regular two. (5) Editing only a fewmore volumes, Adler made way for his students to take over this function evenmore than before. For the first time, music of the nineteenth century waspublished in DTO: dances by Joseph Lanner (DTO 65) and the Strauss family(DTO 63, 68, 74). Even today, waltzes by the two brothers Johann and JosefStrauss from the 1860s represent the most recent music published in theseries.


The series continued to be supported by influential groups. Thearchbishop of Vienna, Theodor Cardinal Innitzer, was elected president of thesociety in 1932. Soon after the annexation of Austria by Germany in 1938,Adler resigned as the head of publication. The National Socialistadministration suspended the editorial board and installed musicologistAlfred Orel (1889-1967) as an interim director. Orel--one of Adler'spupils, and a notorious anti-Semite--was associate professor of music at theUniversity of Vienna: he had become a member of DTO's editorial board in1920. Editorial activity ceased during the war.


Replacing the DTO society, the Gesellschaft fill- ostmarkischeMusik-forschung (6) was founded in 1939 (Ostmark being a code for formerAustria). The presidency of this society was a subfunction of the fullprofessor of music at the university. Robert Lach, a declared anti-Semite andone of Adler's opponents, (7) had succeeded Adler in the position ofprofessor of music. He took over presidency of the new society in 1939. Afterhe retired in the fall of the same year, his successor Erich Schenk becamepresident (and at the same time head of publications). Only two persons fromthe DTO board, scholars in the fields of German and his-tory, (8) wereappointed members of the new board together with four supporting members(Wirkende Mitglieder) of the former society who had edited several volumes.(9) The series Das Erbe deutscher Musik was founded in 1935 in Germany underthe Nazi government. In order to replace DTO, a subseries for the"Alpen- und Donau-Reichsgaue" was initiated, finally publishingonly one volume, which appeared in 1942)"


A few weeks before. the war ended, Erich Schenk took steps toreinstate the former DTO Society. Cardinal Innitzer refused to take overpresidency once again. (11) Therefore, when the society was re-established in1946, Joseph Marx (1882-1964), the composer and professor at the Vienna MusicAcademy, was elected president. In 1947 the first volume after the warappeared (DTO 85, containing keyboard music of Johann Josef Fux). From theeditorial board of the Gesellschaft filr ostmarkische Musikforschung a numberof members now faced charges of political involvement in the Nazi regime,(12) and could therefore not be elected to the re-established editorialboard. Only Erich Schenk (full professor of music), two of Adler'sstudents (Franz Kosch and Leopold Nowak), and a government official (13)provided continuity between the board of the national socialist society andthe new board. After Adler's death in Vienna in 1941, Schenk had playeda major role in the confiscation of his library. He had joined theNSD-Dozentenbund, the Nazi organization for university professors, withoutbeing a member of the Nazi Party. Nevertheless, he passed the denazificationprocess without major problems, and in 1957 was even elected president of theUniversity of Vienna. During the Nazi regime, Schenk had shared theprevailing idea of a great German empire. In contrast, right after World WarII, he rapidly adopted the idea of an Austrian nation. (14) 041b061a72


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