Roland Dürre
Wednesday October 17th, 2018

Arcis Vocalisten Will Sing the Mozart Requiem

I always enjoy advertising the Arcis-Vocalisten Concerts!

This time, it is the famous Reqiuem by Mozart!

Mozart’s music is so pure and beautiful that I consider it the inner beauty of the universe itself (Albert Einstein)
In Mozart’s mysterious legacy, his last composition, the masterpiece “Requiem”, his steadfast faith is just as ever-present as his constant preoccupation with death. The Requiem is probably Mozart’s most humane work – a kaleidoscope filled with emotions: hopeless and hopeful at the same time.

RMD
(Translated by EG)

Roland Dürre
Wednesday October 3rd, 2018

DIESEL

Selfie: “I cannot understand it.“

For many days, the main topic in the media and news has been nothing but “The Diesel”. I find this rather frustrating, because there are so many much more important social issues that need to be tackled. It is all Greek to me  (Ich verstehe nur noch Bahnhof).

Basically, it is very simple:

If I buy a low quality product, then I have a claim. If the transaction was a fraud, then I can try to bring the claim forward against the fraudulent salesperson.
That is something the rule of justice in a country should guarantee. If this no longer works because the concerns have become too powerful, then that is just too bad.
This is probably true for all goods, no matter if we are talking food or other products and also for services – and it should also apply to cars.

There are many things I no longer understand!

Why has nobody come up with the idea, especially when we are talking the current Diesel discussion, to simply abolish the subsidies on the Diesel tax? I mean, if the Diesel is such a bad product? After all, it is 22 Euro-Cent per litre in subsidies (in Germany, you have to pay 22 Euro-Cent less for Diesel than for petrol) that lets our “greed is great“ society crave for Diesel vehicles. Regardless of the fact that, in general, the “Diesel car” is more expensive than the competition, but in a state of greed, you do not tend to be very good with calculations.
Isn’t it normal, rather than a national emergency, if the greedy people will, once in a while, be the losers? Mind you, this is not meant to be gloating.

Neither do I understand that there seems to be nobody left who introduces a speed limit. Both on motorways and highways, this would considerably economize on fuel (and on human lives). And it has been obvious for a long time that, in cities, the rule of “driving 30” should be a matter of course. And that the “50” and “60” should be the exception to the rule.

I also do not understand why the Diesel is now such a huge topic. After all, we have a situation where, de facto, all combustion motors in individualized traffic (and, so I hope, not only where cars and motorbikes are concerned, but also where lawnmowers and leaf-blowers are concerned) will (hopefully soon) face their exodus.

Don’t we agree that, today, the discussion is not about whether my SUV has a Diesel or a petrol motor. Instead, it is all about whether you still drive a car at all. Because a) perhaps the climate catastrophe is real after all and b) I do not wish to have all those exhaust fumes in my lungs. It is not even necessary for me to ride my bike on the Rosenheimer Strasse in Munich during rush hour if I want to suffer. Even riding to the bakery on a Sunday morning on the Putzbrunner Strasse in Ottobrunn will do the job!

Neither do I understand that kerosene for airplanes and heavy oil for ships is taxed in the same way as petrol, although we know full well that we need to fly less. And why do they want to build still more runways? And why do we still burn brown coal (Hambacher Forst), thereby making life unnecessarily hard for alternative energies.

And I also do not understand why we celebrate the German Unity Day today. Wouldn’t it be better to use the day for working towards a decent Europe of Regions where people can live in confidence and courage?

These days, there is a lot I do not understand. Not only with respect to mobility, we are surrounded by mania. Is it already too late for our planet (Permafrost). I almost tend towards resignation?

RMD
(Translated by EG)

Roland Dürre
Tuesday September 25th, 2018

The Arcis-Vocalisten Will Sing CARL LOEWE (on October, 22nd, 2018)

Once again, there will be a concert by the Arcis-Vocalisten. And as always, it is my pleasure to do some advertising for the choir. After all, I personally know at least two of the singers.

Ropes of Death – the passion oratory by Carl Loewe.

Most of the musically interested people will know Carl Loewe (1796-1869) as a prolific composer of songs and master of ballads who was quite adept at mirroring character. Only few people know that his major profession was that of cantor at Stettin’s main church, St. Jacobi, where he also worked as the town’s musical director. We have 17 clerical and secular oratories that document his work. The passion oratory “Das Sühneopfer des Neuen Bundes”, which he probably wrote in 1847, is one of the central pieces.

The Arcis Vocalisten will present this concise and penetrative music that is well worth re-discovery with an excellent set of soloists and the renown orchestra in original pitch “L’arpa Festante”. They will also make a recording with the Bayerischer Rundfunk and the label OehmsClassics in a time-consuming studio production.

Loewe’s language of sound expertly combines the power and suggestiveness of Händel’s choirs with the sound of Bach’s passions, especially in the words of Jesus, and with his own melodious and sensual song artistry in the arias and ensembles. The composer made a conscious effort at creating something meaningful that lies between opera and oratory.

 

 

 

 

RMD
(Translated by EG)

Roland Dürre
Wednesday September 12th, 2018

Culture Engineering. Terminology. Methods, Tools

Wearing my new Hanseatic hat after my return from #PMCampBER in the Grosshesselohe forest restaurant.

Let me give you a short report on the PM Camp Berlin session on Culture Engineering before I will write about the “contradictions” in social systems. It was one of many exciting sessions I participated in at the anti-conference #PMCampBER.

The topic was “Culture Engineering” – as a method and tool that helps to influence, change and control the culture in a social system that has an economic goal, i.e., in an enterprise.

The person who had initiated the session himself had felt suspicious about the term “Culture Engineering”. His “feeling uncomfortable” was due to his scepticism about question if a culture can actually be actively influenced with an “engineering-approach“. He feared that such a concept could or would easily end in manipulation with negative or at least unpredictable results.

One session participant said that there is a successful “Culture Engineering“ stream of studies in Leipzig and that the graduates of this school are actually quite sought after by the human resources departments of companies, especially huge companies. I find this rather exciting, which means that we are in the middle of the world of culture engineering and human resource (HR).

As far as titles are concerned, I constantly get visiting cards with job titles such as engineer, officer, manager or president on them. And I must admit that, of all these titles, the one I like best is the engineer who, for instance, is in charge of a project. But “German-English“ is modern, so I am getting into it. Now we have the CEO, CTO and CIO  and, more and more often, also the CHRO (HR as an abbreviation for human resources). That is where you will find the innovation manager and the culture engineer. In general, I am quite suspicious of officers and managers, and the same is true for presidents and vice presidents.

In our session, the first thing we approached was terminology. Someone proposed that maybe we could say “culture gardening”, instead of “culture engineering”. I found this rather appealing. But then I thought that, in analogy to “garden cultivation”, the task could be called “cultural cultivation”.

Then we discussed the definition of entrepreneurial culture. We found the answer (from entrepreneurial theory):

Entrepreneurial culture is the memory of an enterprise.

😉 Honi soit qui mal y pense, but, for me, this is immediately associated with “memory manipulation”.


When I looked up the term in Wikipedia, I discovered a Wikipedia call on copyright.

I support this call with all my heart and consequently I publish it here.
However, I am not sure that it will suffice if you contact your representative in the European Parliament. You will probably have to do more than that.

Yet this is a good example for controlled change in values and rules. And the motives are very capitalist.


Back to Culture Engineering. As with many buzzwords, I find the term a little ridiculous. The same is true for a culture engineer or innovation manager at HR.

I certainly believe that you should be aware of and actively live the culture of an enterprise, just like that of all other social systems. And it is also quite legitimate to use modern technology and methods. But it is a something that must happen between the leaders and all the others. Leadership as defined in Google (see the article article by Dr. Marcus Raitner).

However, culture cultivation will only be a success if as many people as possible participate in the cultivation process – and I mean with a lot of attention and actively.

RMD
(Translated by EG)

Hans Bonfigt
Wednesday June 6th, 2018

Digital, bekloppt, banal

Sorry, this entry is only available in German.

Munich is a big city. In Munich, there is also a great theatre tradition. In former times, the “Resi“ (Residenztheater with various locations) and the Kammerspiele  dominated and fascinated me. Today, you get top theatre especially in the Volkstheater and perhaps also at an outsider in Freimann: the Metropoltheater.

However, we also have a huge variety of amateur theatres in Munich. I find the theatre troupe tgsm especially outstanding. With this opinion, I certainly do not want to discredit all the many other ambitioned “amateur actors“ in Munich who play with enormous enthusiasm on many stages. On the contrary, with theatre, it is just like in real life – the amateurs (people who do it because they love it, rather than for money) often need not feel inferior to the professionals.

Yesterday, I had the pleasure of a very special experience at the tgsm. It was a play that, unfortunately, is only rarely performed. Perhaps because it is unpleasant and because it hurts.

Fear and Misery in the Third Reich

by Bertolt Brecht (1898 – 1956)

Here is what it says in the tgsm brochure:

In 30 scenes, Brecht describes 30 moments of life in the Third Reich. Initially, he wanted to call the piece “Germany – a Horror Story“. The premiere was in 1938 in Paris with eight scenes. The individual scenes are separate units and are not combined to become a linear story. Yet, taken together, they are an image of life under the national-socialist regime. If you look closely enough, you will understand the mechanism of all dictatorships: polarisation, fear, defamation of minorities (enemy image) and demonstration of the government’s power on a daily basis. This is why the issue is also a current issue today and will always remain one.


I was worried when this evening started. Simply because I know that all the misery and atrocities of that time depress me. A short time ago, even riding my bike along the premises of the Dachau KZ gave me a sleepless night.
In the evening (at 10.30 p.m.), I rode home with a profound feeling of happiness. Which was totally the opposite of what I had expected. Because I had experienced great and precious theatre.

It made me particularly happy to have seen so many people (around 25 actors and around 15 supporters) who, in their free time and on a totally honorary basis, worked extremely hard to make something so great happen. And because I felt that those people saw the world like I see it.

Many thanks!


Here is the good news:
There are still a few performances, so you can watch the play! Here are the performance times:

June, 1st, 2018 (Friday)
June, 2nd, 2018 (Saturday)
Pasinger Fabrik, starting at 7.30 p.m.

June, 7th, 2018 (Thursday )
June, 8th, 2018 (Friday)
June, 9th, 2018 (Saturday)
Pepper Theater, Neuperlach, starting at 7.30 p.m.

June, 14th, 2018 (Thursday)
Neubiberg, Aula der Volksschule, Am Rathausplatz, starting at 8 p.m.

For tickets, click here.

And here are a few links to whet your appetite: a long comment on the debut at the end of which Konstantin Wecker sang a song. Naturally, he will not be present during all the other performances. You will then hear his song SAG NEIN as a recording. When we saw the performance, everybody sang along, so it was a great experience even without the master.

RMD
(Translated by EG)

On May, 6th, you can again hear them: the ARCIS VOCALISTEN will sing in the Munich-Sendling Himmelsfahrtskirche.

Together with famous soloists, they will sing the PAULUS by FELIX MENDELSON BARTHOLDY, which is a theological oratorio in two parts.

 

“Rise Up, Arise and Shine!“

In 1836, the then 26-year-old musical genius Felix Mendelssohn Bartholdy presented his first monumental biblical oratorio, the history of the apostle Paul. Beginning with his origins as Saul, the hunter of Christians, the story is about his Damascus experience, his crisis of faith and his new religious conviction, until he is finally described during his missionary travels.
Great representative choir movements, sensitive chorales, memorable arias are form a unit that finally becomes a huge, two-hour theological opera in Mendelssohn’s sensually romantic expression.

The Arcis-Vocalisten will present PAULUS in maximum choir strength and will be joined by young and exquisite soloists such as Judith Spiesser, who was last successful as Lucia di Lammermoor at the Landestheater Niederbayern. The other soloists are the mezzo soprano Florence Losseau, the tenor Christian Zenker who spent many years performing in the Innsbruck and Graz theatres, and the basso-baritone Alban Lenzen in the title role.

The accompanying orchestra is the Konstanz Südwestdeutsche Philharmonie. The director is Thomas Gropper.

The concert on Sunday, May, 6th, 2018, at 7 p.m. is in one of the churches most suited for the performance of this kind of music, the Himmelfahrtskirche in München-Sendling, Kidlerstr.15.

The musical director will give an introduction to the work at 6 p.m. Tickets are available at MünchenTicket and directly before the concert. For IF-Blog.de readers who want to enjoy the concert, we can arrange a small bonus. If you are interested, just send an email to me under the title “Arcis-Vocalisten.
🙂 I will reply!

RMD

October, 22nd was a rather challenging yet nice day for us (Christian, Knud and yours truly). We met in Nuremburg in the morning because we wanted to try something in the evening. The idea was to “communicate in a really creative manner”. We simply wanted to say a few things that would remain with us and be sustainable.

We, that is Christian Botta, Knud Johanssen and me. We met in a small apartment at the Nuremburg congress centre. Because on this Wednesday, we wanted to star in a small show in the evening. Consequently, we had to practice a little bit.

Before that day, we had met exactly three times. We had worked on the idea and then developed the content and the dramaturgy in a “shared document”, because that seemed the best way to overcome the space-time-distribution.

Starting at 11:00 hours, we practiced “jamming”. It took until 16:00 hours, then we relaxed. At 17:00 hours, the time had come: as the finishing number of the DOAG Yearly Conference #DOAG17 “soft tracks”, we went onstage. With “creative communication”.

On this photograph, you can see us after hard work:
Christian,  our “host” Dietmar Neugebauer, Knud and yours truly
(from left to right).

But before that, the motto was:

“Yesterday, Today and Tomorrow” and above all 
“Do not lament, instead jam!“



Here is the premiere of November, 22nd, 2017.

With and by us: (man with the pen), (with ALTO, the alto saxophone, or rapper and ventriloquist). And I ( – at the “speech“) was also part of the team!

RMD
(Translated by EG)

P.S.
Here is the link to the video:
https://youtu.be/JZPp_OCiZPU
And for those who prefer reading about it I will publish my texts in my next post.

 

Christmas is near!!!

 

What would Christmas be without music?
Music without singing?
Singing without a choir?
And the choir without the Christmas Oratorio?

Johann-Sebastian Bach’s Christmas Oratorio is part of the Festive tradition as much as the lights sparkling in the tree and the butter cookies. As early as the first alto-aria “Bereite dich Zion!” and the following choral “Wie soll ich dich empfangen?”, Bach’s great music gives fulfilment with every year anew. Beating drums, blaring trumpets, magnificent flutes and oboes, the murmur of the bassoon, the satin sound of the violins, violas, celli and contrabass will welcome Christ the child.

RMD
(Translated by EG)

Quite a few musicologists consider this piece the greatest of all!

 

They practiced hard and long – the Arcis-Vocalisten. And now they will perform it – along with great and unique singers and musicians!

 

Translation:


In the last ten years, the Arcis-Vocalisten under the singing teacher Thomas Gropper have, due to their elastic sound and acute musical understanding, become a choir the Munich classics scene can no longer ignore.
The Missa in B-Minor is considered the Mount Everest of choir music. Both the number and the level of difficulty of the choirs are enormous. Johann Sebastian Bach transferred Luther’s wish to “sing and preach” the Christian faith like no other. The manner in which J.S. Bach translates the texts into music shows a true genius who, in the process, also expects to hear more than top quality from the soloists, choir and orchestra.


And to top it all:
IF Blog readers who would like to delight in the concert can get a special discount. If you are interested, just send me an email with reference to “Arcis-Vocalisten”.