Synonyms for getreue or Related words with getreue

griechischer              unterbrochene              begriffe              abenteuerliche              beweis              einfachen              anweisung              zeugen              emotionen              teutschen              wirken              schlagen              beschrieben              andern              beleuchtung              pflichten              bildhauer              musikalisch              zeugnisse              unsre              originalausgabe              enthaltend              tragische              ansichten              asthetik              gewidmet              unseren              welchem              verliebte              seinem              ihres              beziehung              fassung              einander              bildwelten              kritisch              ihren              ihrem              genannt              grundbegriffe              vornehmsten              einzug              nutzen              philosophen              jahrhunderte              theologe              deutung              gewissen              geistlichen              unseres             

Examples of "getreue"
Additionally, Telemann's 1728-1729 periodical ""Der getreue Music-Meister"" contains an idiomatic ""Duetto"" in four movements (TWV 40:107).
Dido, Konigin von Carthago (Singspiel, 1707), Il fido amico, oder Der getreue Freund Hercules und Theseus (1708),
Additionally, Telemann's 1728-1729 periodical "Der getreue Music-Meister" contains an idiomatic "Duetto" in four movements, TWV 40:107.
In addition, Johann Friedrich von Brandt concerned the continuation of the work "Getreue Darstellung und Beschreibung der in der Arzneykunde gebräuchlichen Gewächse" of Friedrich Gottlob Hayne.
In addition, Julius Theodor Christian Ratzeburg continued Friedrich Gottlob Hayne's work "Getreue Darstellung und Beschreibung der in der Arzneykunde gebräuchlichen Gewächse."
Stretching over a period of some 30 years, Hayne produced 13 volumes of ""Getreue Darstellung und Beschreibung der in der Arzneykunde gebräuchlichen Gewächse"" each with 48 copper engravings of pharmaceutically interesting plants, mostly done by Friedrich Guimpel and Peter Haas. Hayne was an honorary member of the Berlin Society of Friends of Natural Science.
Among the late Baroque and early Classical composers who used the instrument are Johann Sebastian Bach (1685–1750); Suite in D Major, BWV 1012 (designated ""a cinq cordes""), Georg Phillip Telemann (1681–1767; two sections of Der Getreue Musikmeister), Johann Gottlieb Graun (c. 1703–1771; a double concerto with flute), Christian Joseph Lidarti (1730–1795; at least two sonatas).
Canon for four voices, BWV 1074, first published in Georg Philipp Telemann's "Der getreue Music-Meister" in 1728. The same canon was published two more times during Bach's lifetime: with two solutions in Johann Mattheson's "Der vollkommene Capellmeister" in 1739, and with three solutions in Volume 3 of Lorenz Christoph Mizler's "Neu eröffnete musikalische Bibliothek" in 1747.
The term is largely credited to Gore Vidal. In an ABC television debate during the chaos of the 1968 Democratic National Convention, Vidal described William F. Buckley, Jr. as a "crypto-Nazi", later correcting himself as meaning to say "crypto-fascist". However, the term had appeared five years earlier in a German-language book by the sociologist Theodor W. Adorno, "Der getreue Korrepetitor" (The Faithful Répétiteur).
The "Tannhauser" legend has been interpreted as a traditional folk tale which has been subjected to Christianization where the familiar story of the seduction of a human being by an elf or fairy leads to the delights of the fairy-realm but later the longing for his earthly home is overwhelming. His desire is granted, but he is not happy, and in the end returns to the fairy-land. Handed down orally, the Venusberg myth was first attested by the French writer Antoine de la Sale about 1430 and propagated in ballads from 1450. It was included in the "Des Knaben Wunderhorn" folksong collection by Clemens Brentano and Achim von Arnim in 1806 and adopted by Ludwig Tieck ("Der getreue Eckart und der Tannhäuser", 1799) and Heinrich Heine (1836).
Mangold was born in Darmstadt and received his initial musical education from his father. In 1831 he entered the orchestra of the ducal chapel at Darmstadt. A journey to London in 1834 acquainted him with the work of Handel. From 1835 he appeared in Darmstadt not only as a violinist, but also as a singer. Between 1836 and 1839 he studied at the Paris Conservatory and made the acquaintance of Berlioz, Chopin, Meyerbeer, Liszt, and Clara Wieck. After his return to Darmstadt in 1839 he became the director of the local "Musikverein", which in the course of the following years performed all of his major oratorio and cantata works. In 1848, he was made "Hofmusikdirektor" (court music director) at Darmstadt Castle. His second opera, "Tannhäuser" (1845), was written at the same time as Wagner's work of the same title, but without mutual knowledge. Apparently, performances of Mangold's work beyond Darmstadt were hampered out of consideration for Wagner. After Mangold's death the music was refitted to a new libretto by Ernst Pasqué as "Der getreue Eckart" (1892). Mangold was a co-founder of the regional music festival "Mittelrheinische Musikfeste" and conducted there in 1856 and 1868. He died in Oberstdorf.
According to Richard Taruskin, the active concert life of late 18th-century London meant that "the role and the function of arts criticism as we know it today were the creations of the English public." However, the first magazines specifically devoted to music criticism seem to have developed in Germany, for example Georg Philipp Telemann's "Der getreue Music-Meister" (1728), which included publications of new compositions, and "Der critische Musikus" which appeared in Hamburg between 1737 and 1740. In France in the 1750s, the Querelle des Bouffons (the dispute between supporters of French and Italian opera styles as represented by Jean-Philippe Rameau and Jean-Baptiste Lully respectively) generated essays from Jean-Jacques Rousseau and others, including Denis Diderot's "Rameau's Nephew" (1761). The English composer Charles Avison (1709–1770) published the first work on musical criticism in the English language - an "Essay on Musical Expression" published in 1752. In it, Avison claims that since the time of Palestrina and Raphael, music had improved in status whilst pictorial art had declined. However, he believes that George Frideric Handel is too much concerned with naturalistic imitation than with expression, and criticises the habit, in Italian operas, of 'that egregious absurdity of repeating, and finishing many songs with the first part; when it often happens, after the passions of anger and revenge have been sufficiently expressed, that reconcilement and love are the subjects of the second, and, therefore, should conclude the performance.' Typically until the late eighteenth century music criticism centred on vocal rather than instrumental music - "vocal music ... was the apex of [the] aesthetic hierarchy. One knew what music was expressing."