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Die Kunst der Markenführung - Aufbau, Pflege und Bewertung von Marken (repost)  eBooks & eLearning

Posted by interes at Oct. 14, 2017
Die Kunst der Markenführung - Aufbau, Pflege und Bewertung von Marken (repost)

Die Kunst der Markenführung - Aufbau, Pflege und Bewertung von Marken by Carsten Busch, Sonja Kastner
German | 2009 | ISBN-10: 3934424813 | 160 pages | PDF | 1,8 MB
Ensemble L'Arte della Fuga - J.S. Bach: Die Kunst der Fuge, BWV 1080 (In der Fassung von H.E. Dentler) (2017)

Ensemble L'Arte della Fuga - J.S. Bach: Die Kunst der Fuge, BWV 1080 (In der Fassung von H.E. Dentler)
Classical, Baroque, Chamber Music | WEB FLAC (tracks) & d. booklet | 94:49 min | 516 MB
Label: Oehms Classics | Tracks: 23 | Rls.date: 2017

Hans-Eberhard Dentler, a graduate medical physician but also an outstanding cellist and pupil of the renowned Pierre Fournier and founder of a Bach Society in Italy, has occupied himself with this opus over the course of many years. Because he finally wanted to realize Bach's score in a manner true to its spirit and sound, he found a concept for his ensemble „L’Arte della Fuga“ that unifies its more profound scholarly background with practical musical and artistic aspects.
Anton Batagov - Johann Sebastian Bach: Die Kunst der Fuge (1993) 2CDs

Anton Batagov - Johann Sebastian Bach: Die Kunst der Fuge (1993) 2CDs
EAC | FLAC | Image (Cue&Log) ~ 462 Mb | Mp3 (CBR320) ~ 346 Mb | Scans included
Genre: Classical | Label: SoLid Records | # SLR 0001/2 | Time: 02:28:01

The Russian composer, pianist and electronic musician, Anton Batagov, graduated from the Gnessin School and the Moscow Tchaikovsky Conservatory. He was prize-winner at the International Tchaikovsky Competition (1986) and other competitions. Anton Batagov introduced the music by John Cage, Morton Feldman, Steve Reich, and Philip Glass to Russian audiences. His discographical debut was a recording of Olivier Messiaen's Vingt regards sur l'Enfant Jesus for Melodiya. From 1989 to 1996 he was one of the leaders and organizers of the Alternativa, the annual international new music festival in Moscow. Heralded as “one of the most significant and unusual figures of Russian contemporary music” (Newsweek, Russian edition, 1997) and "a Russian Terry Riley" (Mark Swed, Los Angeles Times, 2008), Anton Batagov is one of the most influential Russian composers and performers of our time. The well-known American musicologist Richard Kostelanetz characterized Batagov's 1993 piano recording of J.S. Bach’s The Art of the Fugue (BWV 1080) as "the most stunning interpretation of Bach since Glenn Gould".
Cedric Pescia - J.S. Bach: Die Kunst der Fuge (2014) [Official Digital Download 24/96]

Cedric Pescia - J.S. Bach: Die Kunst der Fuge (2014)
FLAC (tracks) 24-bit/96 kHz | Time - 99:03 minutes | 1.51 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

Harpsichordist Gustav Leonhardt said that Bach had written his Art of Fugue for himself, without thought of performing it on any instrument in particular. In the presence of a speculative work, every musician is free to chisel the perfect lines of polyphony as he or she chooses. Up to the final canon, which continues to pose the question of its incompletion. It is the Franco-Swiss pianist Cédric Pescia, with his subtle, understated playing, who will make this sublime score sing. But he will do so on an untempered piano, which is hardly banal! After a first æon disc devoted to Cage, which created a tremendous stir, Cédric Pescia deploys a low-key art in Bach, a sense of rhythm combined with a rubato of extreme subtlety and an inventiveness in the phrasings and ornaments, both flowing and sharp, that have no equivalent in the discography. Such relief, such life!
Martha Cook - Johann Sebastian Bach: Die Kunst Der Fuge (2015) 2CDs

Martha Cook - Johann Sebastian Bach: Die Kunst Der Fuge (2015) 2CDs
EAC | FLAC | Image (Cue&Log) ~ 507 Mb | Mp3 (CBR320) ~ 293 Mb | Artwork included
Genre: Classical | Label: Passacaille | # 5425004140142 | Time: 01:23:24

Harpsichordist Martha Cook here records Bach's Kunst der Fuge, BWV 1080 (The Art of the Fugue), with a specific interpretive framework in mind. The work, Cook believes, was devotional and intimate in intent; it is, she writes, a "musical prayer," and it embodies the parables and exhortation found in the biblical Book of Luke, 14:27-35. Interested readers are invited to consult the booklet for more details. Making the supposition work involves discarding the version of the work published after Bach's death by C.P.E. Bach and others, and it also involves some of the numerology that so often seems to crop up in connection with Bach's larger works. There's some justification in earlier German music for regarding Bach's instrumental music in this programmatic way; Bach would have known the Biblische Historien keyboard sonatas of 1700 by one of his key predecessors, Johann Kuhnau. But what's missing is any evidence of why Bach, by the end of his life a revered figure, might have wanted to embed secret messages in Die Kunst der Fuge. The unalloyed good news is that you can disregard the stated method of interpretation and listen to the performance in the abstract. It's very powerful.
Amsterdam Bach Soloists - Johann Sebastian Bach: Die Kunst der Fuge (1989)

Amsterdam Bach Soloists - Johann Sebastian Bach: The Art of Fugue (1989)
EAC | FLAC | Tracks (Cue&Log) ~ 317 Mb | Mp3 (CBR320) ~ 178 Mb | Scans included
Genre: Classical | Label: Ottavo | # OTR C48503 | Time: 01:12:09

The Amsterdam Bach Soloists comprise an ensemble of ten or so musicians. They play modern instruments but base their musical approach on ''an undogmatic use of authentic interpreting practice, so that the rich potentialities of the modern instruments can be combined with the baroque way of performing, which is in keeping with the accomplishments of Nikolaus Harnoncourt with the Concertgebouw Orchestra''. Most of the players are, in fact, drawn from the Concertgebouw, though there are some from Frans Bruggen's Orchestra of the Eighteenth Century. Nowadays Bach's didactic but very beautiful The Art of Fugue, is widely regarded as a work for solo harpsichord. Bach himself left no precise indication concerning instrumentation but the music was engraved in open score which places each individual voice or strand of the texture on a separate stave. This practice was not uncommon in contrapuntal keyboard works and is one of several features pointing towards the solo harpsichord as being Bach's most likely intention. Nevertheless, since 1924, when the Swiss musician Wolfgang Graeser set the canons and fugues for various combinations of instruments, the practice of performing The Art of Fugue with a mixed ensemble has remained popular.
Akademie für alte Musik Berlin - Bach: Die Kunst der Fuge, BWV 1080 (2011) [TR24][OF]

Akademie für alte Musik Berlin - Bach: Die Kunst der Fuge, BWV 1080
Classical | FLAC (tracks) 24-bit/44.1 kHz | 77:30 min | 774 MB | Digital booklet
Label: Harmonia Mundi | Tracks: 21 | Rls.date: 2011

Since Bach was more than cryptic in indicating the instrumentation of what is often regarded as his musical testament, The Art of Fugue has been subjected to an infinite variety of arrangements for all sorts of instruments. This recording follows a series of performances in which the musicians of the Akademie für Alte Musik Berlin tested a highly unusual concept: rather than play uniformly one after the other the contrapuncti and canons that Bach left us, they have made great efforts to diversify both the instrumentarium and the macrostructure – to the point where we end up, to our delight, experiencing their interpretation as an exciting musical game for several players!
Keller Quartet, Anner Bylsma - Bach: Die Kunst der Fuge, Cello Suites 1 & 5;  Kurtág (2004/2000)

Keller Quartet, Anner Bylsma - Bach: Die Kunst der Fuge, Cello Suites 1 & 5; Kurtág (2004/2000)
NTSC 4:3 (720x480) VBR | (LinearPCM, 2 ch) | (DTS, 6 ch) | (Dolby AC3, 6 ch) | 7.53 Gb (DVD9) | 115 min
Classical | EuroArts

The two films on this DVD combine some of the most demanding chamber works ever written. Recorded at the atmospheric Academy of Sciences in Budapest, the Keller Quartet plays a version of Bach’s unfinished masterpiece The Art of the Fugue for string quartet intertwined with works by renowned contemporary composer György Kurtág – a programme that the four Hungarians developed and have successfully performed on international stages. Anner Bylsma, Dutch master cellist and world-renowned as a distinguished interpreter of Bach’s cello music, plays the solo suites. The suites, on which he has also published an authoritative book, count among the most popular baroque chamber works. Anner Bylsma plays the famous Stradivarius “Servais” and the disc was recorded in the beautiful village church St Bartholomew of Dornheim in Thuringia.
Zoltan Kocsis - Bach - Die Kunst Der Fuge (1985) [2CDs] {Philips}

Zoltan Kocsis - Bach - Die Kunst Der Fuge (1985) [2CDs] {Philips}
EAC 0.99pb5 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 365MB + 5% Recovery
MP3 CBR 320 Kbps | 231MB + 5% Recovery
Genre: Classical, Baroque

This new version by the greatly-gifted young Hungarian pianist Zoltan Kocsis, again vindicates the contention that The Art of Fugue makes its best effect as a keyboard work, even if on a modern piano. For Kocsis Bach's intellectual and technical demands seem to pose no problems: his exposition of the polyphonic conversation, whether, two, three or four participants are involved, is always admirably lucid and enables each voice to have its say. This is no doubt helped by the rather dry quality of the Hungaroton/ Philips recording on LP (the CD is appreciably fuller and brighter), and by Kocsis's very discreet use of the sustaining pedal.
Bach - Akademie für alte Musik Berlin - Die Kunst der Fuge, BWV 1080 (2011, Harmonia Mundi # HMC 902064)

Johann Sebastian Bach - Die Kunst der Fuge, BWV 1080
Akademie fur Alte Musik Berlin
EAC+LOG+CUE | FLAC: 394 MB | Full Artwork; 125 MB | 5% Recovery Info
Label/Cat#: Harmonia Mundi # HMC 902064 | Country/Year: France 2011
Genre: Classical | Style: Baroque

"Bach's unfinished Art of Fugue, published for still-debated reasons in open score, has been performed and recorded in dozens of different instrumental versions. But this one, by the veteran Akademie für alte Musik, founded in the former East Berlin, is unique; few others have differentiated the fugues by instrumental forces deployed, and perhaps in none has the overall effect been quite so kaleidoscopic as this one. (…) The sound engineering, a product of Berlin's Teldex Studio, is a major strong point." ~allmusic