Christoph Moss und Jill-Catrin Heurich betrachten das Phänomen, dass die Verfasser von Blogs eine eigene Sprache mit spezifischen Darstellungsformen entwickeln, in einer empirischen Untersuchung. Dazu werden Weblog-Texte, journalistische Kommentare in Onlinemedien sowie Corporate Blogs auf ihre sprachlichen Charakteristika untersucht. …
The first two volumes of the Silence project are credited to Pete Namlook and Dr. Atmo while the following three are by Pete Namlook alone.
Silence (1992) is the one that started it all, Fax's first album release and one which caught the ear of both seasoned electronic boffins and dance fans looking for a chilled-out tonic after a night among the thumping beats of clubland.
Both this album and Silence II (1993) are collaborations with close associate Dr. Atmo and despite being at times almost new age in their choice of themes (a voice whispers sweet cosmic nothings like "we are all part of the universe") the music is outstanding…
Beethoven as a giant of the symphony and the sonata has somewhat overshadowed Beethoven as a creator of songs. On this varied and insightful recording, tenor Werner Güra performs a program featuring Adelaide and the first song cycle in history, An die ferne Geliebte, that proves Beethoven's lieder lacked neither appeal nor originality. Accompanist Christoph Berner plays a Streicher fortepiano of 1847 that is perfectly suited to both the songs and to his solo performance of the wonderful Bagatelles of Op.126.
The 'Sinfonia Concertante in E-flat Major, K 364/320D' is one of those refined works that is so well written that it exudes genius. Composed for violin, viola, and orchestra the work is a conversation with the two instruments with a beautifully woven tapestry of comment for the orchestra. Violinist Midori and violist Nobuko Imai are not only well paired in technique and virtuosity, they find a compatibility of discourse that is refreshingly fine. Christoph Eschenbach conducts the Norddeutscher Rundfunk Sinfonieorchester with grace and sensitive collaboration. The work is a complete success. The Philip Wilby reconstruction of the accompanying concerto for violin and piano is a fine little piece, if not in the same realm as the Sinfonia Concertante. The performance of this uneven work makes up for the inconsistencies that arise when sonatas are adapted for orchestra. Midori again focuses on her pliant, clear technique and is matched by Christoph Eschenbach's piano role as well as his conducting. It is a minor work played in a major manner.
The program addresses a core issue facing men in their dating lives, efforts to succeed in their careers, as well as having a fulfilling life.