#tutzing

[vintagepromotions]

Poster for the famous Forsthaus Ilkahöhe lodge and restaurant in Oberzeismering, Tutzing (c. 1930).

[rosemarie-elli]

[gutachter]

Nach Wasserschaden: Würmseehalle Tutzing mit Warnsystem

Tutzing: „…Rund 14 Monate nach einem Wasserschaden in der Tutzinger Würmseehalle sind die Arbeiten abgeschlossen. Unter anderem wurde ein Warnsystem eingebaut, um eindringendes Wasser schnellstmöglich zu erkennen – das könnte immer wieder passieren. Die gute Nachricht vorweg: Die Sanierungsarbeiten in der Würmseehalle lagen mit 450 000 Euro unter dem Haushaltsansatz von 600 000 Euro. Die…

[thegunmaybetheperfectweapon]

THIS PICTURE IS SO SCARY IM SHITTING MY PANTS AND SOBBING

[obtuse-goose]

Check your professor's email....

[vath-and-such-vinluv-s-stuff]

A painting of Tutz Honeychurch

[bantennews]

Tutz Bread, Bakery Home Made dengan Kualitas Premium

TANGERANG – Tutz Bread merupakan salah satu penghasil berbagai macam roti dengan kualitas premium asal Larangan, Kota Tangerang, Banten. Owner Tutz Bread, Astuti menceritakan, perjalan usaha roti yang dikembangkannya telah dirintis sejak tahun 2010-2011 silam. Berawal dari kegemaran seluruh anggota keluarga dengan beragam jenis roti, ia memilih mengembangkan diri dengan ikut les sampai demo…

[archie-sunshine]

Archie the typa guy to see an old man and ask ‘Is anyone gonna sexualize that?’ Then not wait for an answer

you know it, tutz.

[pibtard]

what yall know abt tutz honeychurch 😭🤔

[rosemarie-elli]

Es sind noch Plätze frei

[gutachter]

Neue Unterkunft in Tutzing: Wohnraum für Geflüchtete

Tutzing: „…24 Wohnungen, je circa 60 Quadratmeter, für insgesamt 144 Geflüchtete. In jeder sind drei Schlafzimmer für jeweils zwei Personen, ein Bad, eine Wohnküche. Die Räume sind hell. Gemeinschaftsräume mit Waschmaschinen und Trocknern sind extra angelegt, ebenso Räume zum Lernen, für die Unterkunftsbetreuerin, für Sozialpädagogen und den Unterstützerkreis. Auf der Klosterwiese in Tutzing…

[sindiconfissoes]

Eu detesto ser essas pessoas que viram e falam q "ai pq antigamente as coisas eram melhores" pq isso é enganação, mas todo mundo tem q admitir q pelo menos o sertanejo era melhor quando eles soltavam um:

"Esse foi meu último beijo, satifiz o meu desejo, o pior foi te perder. Não lamentamos a vida, nosso destino é sofrer"

Ao invés de um:

"Dentro da Hilux, ela movimenta no beat do tutz tutz"

.

[goedelescherbach]

I made a thing a few days ago,

and I'm kinda proud of it? Lots of cool stuff to unpack in these 18 minutes of music! Hope you enjoy :D <3 ~

In 1870, librarian C. F. Pohl of the "Gesellschaft der Musikfreunde" in Vienna showed the then 37-year-old Johannes Brahms a manuscript titled "Chorale St. Antoni" scored for two oboes, two horns, three bassoons, and a serpent horn. Seemingly charmed by the theme and its eccentricities (simple yet solid harmonic structure, gently swinging and swaying rhythm, as well as irregular phrase structures [2 x 5 bars (!) + 4 x 4 bars + 3 bars]), Brahms copied it down to keep around as potentially fruitful compositional material.

Brahms was no stranger to theme-and-variations form, having written similar works like his Schumann Variations (Opp. 9 and 23), the Händel Variations (Op. 24), and the daunting Paganini Variations (Op. 35) up until then. On vacation in Tutzing (Bavaria, roughly 40 km south-west of Munich) in June and July of 1873, Brahms began work on a set of eight variations and a finale (in the form of a passacaglia on a five-bar ostinato based on the bass that supports the theme throughout the set) for two pianos to accompany the lighthearted St. Anthony of Padua theme, at the time misattributed to Haydn.

Briefly after the version for two pianos was finished Brahms decided to orchestrate the work (which was catalogued as Op. 56a and published in January of 1874, two months after the version for two pianos), if that wasn't the idea from the start. The variations are a work defined by "Brahms's singular melding of historicism and originality: a piece in concept like none ever written (…) that begins with Haydn, in its course touches on Beethoven and the expressive high noon of Romanticism, and ends by evoking Bach [likely referring to the Passacaglia in C minor, BWV 582, or the Ciaccona from the Violin Partita No. 2 in D minor, BWV 1004]." (Jan Swafford – "Johannes Brahms: A Biography", p. 380). Moreover, the St. Anthony Variations served as his final orchestral study before working on his sketches for what would later become his First Symphony.

~

I stumbled across this recording about two years ago and have been obsessed with it ever since. It's the only recording Lupu and Perahia made of the piece. For reasons unknown, the pianos were tuned a bit sharp (A ≈ 450Hz), were voiced differently than we've come to expect from our Steinway Model Ds nowadays, and were mic'd (from the audience, presumably) in a seemingly subpar way, but the result is stunning. It may not be as technically perfect as other renditions by, say, Argerich/Freire or Gilels/Zak (with Lupu literally missing the first entrance and playing the wrong but still harmonically appropriate octaves at 17:10…), but I find that the Brahmsian warmth, the duo's brilliant and noble tone, their understanding of the piece's clever whimsical wit (giggling staccato texture at 3:16 in Perahia's eighths, those dancing polyrhythms immediately after and scattered all throughout, not to mention the implied hemiolas in his right hand in the finale at 16:35), L. and P.'s astute awareness of the work's architecture, and the stable sense of pace, lilt, and tempo they play with are irresistible.

Something else I noticed in looking for other interpretations (Argerich/various, Ránki/Kocsis, Ax/Bronfman, Solti/Perahia, Fournel/Kouyoumdjian, etc.) before editing was how L. & P. stay the closest to Brahms' original written articulation of all the aforementioned renditions while achieving remarkable textural depth and variety (e.g.: compare the entrance of Freire in Variation VI with Perahia's more staccato entrance at 9:19). The tempi L. & P. take perfectly suit the piece's alternating moods and faces: The chorale is taken at a beautifully gentle walking pace, basking in its own beauty (unlike other recordings that seem to racewalk their way through the work); the flow throughout all of the slower variations is ethereal (notice how P. brilliantly voices the implied upper line in the sixteenths at 04:31 to complement L.'s crystalline singing tone), as opposed to A. & F.'s seemingly rushing tempo and constant changes in lilt and pace in comparison; and the faster variations are full of zest and contrast in tone color (13:49) without ever stumbling over/collapsing in on themselves. The cherry on top is the way L. and P. masterfully balance the counterpoint in the final variation and the finale (take note of the far more metrically strict ossia L. sings with a hypnotically lovely tone at 15:47).

[lesser-known-composers]

Eugène Walckiers (1793-1866) - Quatrième Quatuor op. 48

Academia de los Afectos

Natural horn: Couturier Breveté, ca. 1852 Lyon, France. Original.

Clarinet in B flat, 6 keys: A. Grenser, ca. 1780 Nuremberg, Germany. Copy made by Rudolf Tutz, Innsbruck.

Flute, 8 keys: A. Grenser, ca. 1790 Dresden, Germany. Copy made by Martin Wenner, Singen.

Bassoon, 8 keys: H. Grenser, ca. 1800, Dresden, Germany. Copy made by Pau Orriols, Barcelona.

[wyndahorror]

The Strange Emails From Tutz Honeychurch