Protected: Demo Tracks

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Three Antiphonal Fanfares (2008)

Composed: March & May 2008
Duration: 4:15 minutes
Premiere: June 19, 2008
Forces: 2 Tuba-Euphonium Quartets, staged opposite each other

NOTES

Following the success of “Meditation and Madness” (2007), this short composition of 3 compact fanfares scored for dual tuba-euphonium quartets was commissioned, in part, by Adam Frey for the 2008 International Euphonium Institute (IEI) at Emory University in June 2008.

(More information will follow shortly.)

Sextet for Winds and Percussion (2008)

Composed: May-July 2008
Duration: approx. 15 minutes
Premiere: February 20, 2009
Forces: Flute, Clarinet (B-flat), Tenor/Baritone Saxophone, Trombone, Tuba, Percussion (2 players)

NOTES

The composition of this piece in 3 movements scored for wind quintet and percussion was made possible through a commission from Dr. Kevin Wass of the Texas Tech School of Music.

(More information will follow shortly.)

Protected: German 202 (ASC)

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German 2002

Herzlich Willkommen!

Kursbuch:
Kaleidoskop (7th Edition)
Student Text with In-Text Audio CDs (ISBN 0-618-71460-X)

Syllabus:
N/A

Kursinhalt:
Kapitel 6-10

Kaleidoskop im Internet
(Online-Übungen, thematische Links und mehr;
zur Testvorbereitung, klicken Sie auf “ACE the Test”)

Arbeitsblätter (Wortschatz/Grammatik):

Vokabelblätter (Kapitel 6-10)

Unregelmäßige Verben im Deutschen
German Case Endings
The 4 Cases in German - Overview

Schriftliche Hausaufgaben:
2 Aufsätze pro Lektion (20% der Semesternote) +
Kurzantworten zum Einreichen (10%)

Thema 6: Die Welt der Arbeit
Aufsätze: 1. Seite 133/C2; 2. Seite 142/L2+3 (EIN Aufsatz) ODER Seite 325/2+3 (EIN Aufsatz)
Kurzantworten (korrekte Formen, bitte! - Antworten bitte auf die Antwortblätter, die Sie von mir bekommen): 141/I+J, 142/K, 150/F, 151/G
Hausaufgaben (Vorbereitung zu Hause; werden im Kurs besprochen/korrigiert): 313/A, 314/B+C, 317/F, 318/G, 320/H

Thema 7: Multikulturelle Gesellschaft
Aufsätze: 1. 164/J 1 ODER 2 ODER 3 (wählen Sie bitte EIN Thema); 2. Seite 173/J 1+2 (EIN Aufsatz)
Kurzantworten: 162/F, 163/G, 163/H, 171/D, 172/E
Hausaufgaben: 327/A, 329/B, 330/C, 331/D, 332/E, 335/H

Thema 8: Jung und alt
Aufsätze: 1. 186/L1 ODER 2 (wählen Sie bitte EIN Thema); 2. 355/M1 ODER 2+3 (EIN Aufsatz)
Kurzantworten: 184/H, 185/I, 191/D, 192/E
Hausaufgaben: 185/J, 346/C, 346/D, 347/E+F, 348/G

Thema 9: Stereotypen
Aufsätze: 1. 202/E + 207/L2 (EIN Aufsatz); 2. 207/L1
Kurzantworten: 205/H+I, 211/D, 212/E+F
Hausaufgaben: 206/J+K, 359/A, 361/D, 366/H-J, 368/K

Thema 10: Umwelt
Aufsätze: 1. 219/D1-4 (EIN Aufsatz) ODER 224/H1+2 (EIN Aufsatz); 2. 221/F1 ODER 390/N2
Kurzantworten: 227/J+K, 233/D
Hausaufgaben: 224/G, 376/A+B, 377/C, 387/H+I

Themen für Abschlussreferate:
(ersetzen schriftliche Abschlussprüfung; 20% der Semesternote)

1. Das deutsche Militär (die Bundeswehr) nach dem zweiten Weltkrieg: Ursprünge, Geschichte, Aufgaben, Wehrdienst (siehe 158/C3+4)
2. Das Ruhrgebiet: Lage, Geschichte, Industrie, Menschen (siehe 158/C6)
3. Die Revolution in Rumänien (siehe 164/J4)
4. Wien: Lage, Geschichte, etc. (siehe 213/H4)
5. Die politische Partei “Die Grünen” - Geschichte, Ziele, Politik und Kontroversen (www.gruene.de)
6. Deutsche Einwanderung nach Nordamerika

Andere Themen: nach Absprache mit mir

German 201 (ASC)

Herzlich Willkommen!

Kursbuch:
Deutsch: Na klar! (5th edition)

Kursinhalt:
 Kapitel 11-14 + Übergangskapitel “Gestern & heute”
Syllabus zum Herunterladen (Herbst 2008)

Links:
Offizielle Internetseite von “Deutsch: na klar!” [Online-Übungen und mehr!]
Alle Audio-Tracks finden Sie HIER im Internet.

QUIA ONLINE KEY INSTRUCTIONS

Schriftliche Hausaufgaben:
(2 pro Lektion, je [each] ca. 150-200 Wörter – fällig [due] am Ende jedes Kapitels)

Kapitel 11
1. Kursbuch, Seite 347: Schreiben Sie einen Aufsatz über Ihre Berufswünsche in der Zukunft! Was würden Sie (nicht) gerne machen und warum (nicht)?
2. Suchen Sie sich im Internet ein Stellenangebot, das Sie interessiert und schreiben Sie einen Bewerbungsbrief; Beispiele hierfür und Stellenangebote finden Sie unter diesen Links:
- Stellenagebote: www.stepstone.de, www.stellenmarkt.de, www.stellenanzeigen.de, www.jobscout24.de
- Beispiele für Bewerbungsbriefe: Internetseite, Word-Dokument

… oder gehen Sie zu www.google.de und suchen Sie andere Seiten unter “Stellenangebote”.

Kapitel 12
1. Welche (monatlichen/jährlichen) Ausgaben haben Sie während Ihres Studiums? Wofür geben Sie viel/wenig/kein Geld aus? Wie finanzieren Sie Ihr Studium? Arbeiten Sie nebenbei [on the side]?
2. Wenn Sie Ihr Traumhaus bauen könnten, wie würde es aussehen? Wieviele und welche Zimmer hätte es, wo läge es, was würde es kosten? Mit wem würden Sie dort leben?

Kapitel 13
1. Technologie: Segen [blessing] oder Fluch [curse]? Was denken Sie: Ist es ein Vorteil, viel Technologie in seinem Leben zu haben, oder wäre es besser, wie vor 50 oder 100 Jahren zu leben? Geben Sie Beispiele!
2. Medien und Wahrheit: Denken Sie, dass die Medien immer gerecht und wahrheitsgemäß berichten? (Geben Sie bitte konkrete Beispiele.) Wenn Sie Reporterin wären, was würden Sie anders machen?

Kapitel 14
1. Globale Probleme: Was sind für Sie die wichtigsten Probleme, die wir derzeit [currently] in der Welt haben? Warum sind diese Themen für Sie so wichtig? Wählen Sie ein Thema aus und beschreiben Sie, was man dagegen tun könnte/müsste?
2. Kursbuch, Seite 429/C+D (oben)

Referatsthemen für die 5-minütige Semesterabschlusspräsentation
(wählen Sie eines und arbeiten Sie mit einer Partnerin zusammen):
Benotung: 50 Punkte insgesamt; 30 für den Vortrag und 20 für das Handout mit den Haupt-Vortragselementen und dem wichtigsten Vokabular (siehe Syllabus!)

1. Deutsche Einwanderung nach Nordamerika: Berichten Sie über eine/n bekannte/n deutsche/n Einwanderer/Einwanderin! Was wissen Sie über sein/ihr Leben? Warum ist er/sie in die USA gekommen? Ist er/sie geblieben oder wieder nach Europa zurückgekehrt? Was hat er/sie erreicht? Wofür ist er/sie berühmt? (Natürlich können Sie auch über österreichische oder schweizer Immigranten schreiben!)

2. Geschichte Deutschlands/Österreichs/der Schweiz: Wählen Sie sich ein wichtiges historisches Ereignis aus, das Sie interessiert. Berichten Sie nun darüber: Wie kam es dazu? Was ist passiert? Welche Personen waren dabei besonders wichtig? Welche Folgen hatte dieses Ereignis?

3. Geschichte Deutschlands/Österreichs/der Schweiz: Wählen Sie sich ein wichtiges historisches Ereignis aus, das Sie interessiert. Berichten Sie nun darüber: Wie kam es dazu? Was ist passiert? Welche Personen waren dabei besonders wichtig? Welche Folgen hatte dieses Ereignis?

(mögliche weitere Themen nach Absprache mit Ihrem Lehrer)

Typical Traps and Pitfalls of the German Language (for English speakers)

NOTE: English words are written in italics, German words or phrases in “quotes” when occurring in a text or in explanations.

all summer (long) 
Even though you might be having fun all summer, weekend, or day, Germans make sure that they enjoy their entire summer, weekend, or day by using the adjective “ganz”: Germans do have “Spaß”, but “den ganzen Sommer/Tag/Monat/ Nachmittag” or “das ganze Wochenende/Semster”, etc.

also / also 
Always a source of utter confusion, the German word “also” does NOT mean also–or too–in English, but rather so, hence, therefore. So/hence/therefore (German “also”!), make sure that you use the friendly but often forgotten German word “auch” when expression that one thing is the case in addition to another. I, too (German “auch”!), will thank you profusely!

bekommen 
Does not, no matter how much you’d like for it to, mean to become.  This honor, rather, is given to the irregular verb “werden”: to become, turn (into), get, etc.
“Bekommen” means to get or to receive: “Mein Vater bekommt einen Mantel zum Geburtstag.” – After all, wouldn’t it be rather strange for a grown man to turn into a coat … on his birthday…?

class 
Don’t we all wish we had class–just like Grace Kelley or Cary Grant, Princess Diana or Frank Sinatra? Because that’s exactly what “Klasse” in the sense of “Ich habe heute um 12 Uhr Klasse.” means. To indicate that you are going to indulge in a mentally more or less stimulating academic experience, you need to use the word “(der) Unterricht”: “Wir haben heute um halb drei Unterricht.”, “Wie war der Unterricht gestern?”, or “Oh nein, ich habe den Unterricht verpasst!”
The other – more academic – meaning of the word “Klasse” (or, in this case, “Kurs”) refers to a group of students that share a room during (a) specified time(s) of day; so you and your fellow students in your German class can truthfully say: “Wir alle sind in einer Klasse.”

dann vs. denn
The conjuntions “dann” and “denn” are often mixed up; luckily, they don’t have any similarity in meaning: where “dann” is used in the sense of then or afterwards (“Zuerst gehen wir einkaufen und dann gehen wir ins Kino.”), “denn” is directly related to “weil” in its reason-giving meaning as because, since, or as: “Wir gehen heute nicht einkaufen, denn das Wetter ist so schlecht.”

first, second, third … last
Of course, there is “erst-”, “zweit-”, “dritt-”, etc. (with their respective endings), but make sure you use “zuerst” and “zuletzt” to express that you do something first(ly) and last(ly).

gefallen 
For those ‘hispanophiles’ among you, “gefallen” functions pretty much like the Spanish verb gustar: Even though in English you might say that you like something, “gefallen”–to split hairs–means that something appeals to you; this is also why you had better use the dative case with this elusive verb: “Das Auto gefällt mir sehr.” Note, though, that “gefallen” is hardly ever used in a different form than “gefällt” or “gefallen”, as a thing or things appeal to you … and not you to them. – Also see entry below for like.

Haus, ¨-er (das) 
Only refers to a house as a building or structure. Often students want to express something along the lines of to my house or at my house: in this case, use the expressions “nach Hause” (home, toward home) and “zu Hause” (at home), respectively.

it 
Oh dear–here we go again: Why can’t German be like English? Why does it have to be so … interesting? Or rather confusing?  In any event, remember that ANYthing–or rather any WORD–in German is either masculine (“der”), feminine (“die”) or neuter (“das”)–not male, female, or … well, neuter. Even inanimate things! Therefore, you may need to refer to any German IT as he, she, him, her … or it–the latter only, however, if the word is actually neuter (“das”): “Wie war der Film?”-“Oh, ER war ausgezeichnet!”

like 
All right, you really like something. But how to say it in German? Just as in English, where you might like, love, or dig something–all the while this thing might also appeal to you–German offers several options, as well: With things, objects and people you can either use the irregular verb “mögen” (“Ich mag Tee, aber Kaffee mag ich nicht besonders.”) or the expression “gern haben”: “Peter hat Beate sehr gern.” The third option in this category is the verb “gefallen” (see entry above), which literally expresses that something has an appeal to someone; this is also why even though Peter may like the shirt in English, while in German “das Hemd gefällt ihm” would be the way to go (mind the correct use of the dative case!).
It’s a slightly different story, however, when you like doing something when you have to use the adverb “gern” after the main verb: “Ich lese gern Gedichte von Goethe.” (see how the “gern” refers to and defines the verb “lesen”?).
Now, how about like in the sense of “This tastes like sh.. well, something bad.”  Here you’re making a comparison and must use the word “wie”: “Das Bier schmeckt wie Wasser.”

must 
Must I or mustn’t I? – Or rather: Do I have to or am I not allowed to? … The latter two more accurately reflect the correct use of the German modal (and therefore irregular) verbs “müssen” (have to) and “dürfen” (may or be allowed to); “nicht müssen” therefore means that you don’t have to do something, whereas “nicht dürfen” indicates that something is forbidden.

Schule, -n (die) 
Refers solely to a school as a primary or secondary educational institution; anything past high school or German “Abitur” is referred to as “Universität” or, in short, “Uni”.
To be going to school (primary/secondary) is “in die Schule” or “zur Schule gehen/fahren”; to express that you are at school (primary/ secondary) you’d use the expression “in der Schule”.
Concurrently, going to college is “zur Uni”, at college “an/in der Uni”.
(also see: Student/in)

Student, -en (der) / Studentin, -nen (die) 
The German word “Student” and its female counterpart “Studentin” with their respective plural forms refer exclusively to college or university students; when nonchalantly stating “Ich bin Student/in.”, you are de facto saying that you are enrolled at a college or university.
When talking about primary or secondary school student, use the word “Schüler” or “Schülerin”, respectively (see entry for Schule above).

study 
Studying–in the sense of ‘cramming information into your brain’–equates to the German verb “lernen”, whether it be studying for a test or generally studying a field or subject.
The verb “studieren” is used in 2 different ways, both, however, referring only to college studies: (a) to major in a specific field or discipline (“Ich studiere Psychologie.” – I’m a psychology major.), and (b) to be enrolled at a higher learning institution: “Was bist du von Beruf?” – “Ich studiere (noch).”

suchen
I know, I know: in English you look for something. In German, however, you don’t: all you do is seek something (without the for). Prepositions, such as for, to, at, by, etc. most often do not, or only poorly, translate. Another example of a “for-less” verb is “einkaufen” (to shop for something), but there are many more … believe me!

when 
“O, wenn das Wörtchen wenn nicht wär’…” – As a rule of thumb, use “wenn” whenever English calls for the word when. But unfortunately, things aren’t quite as easy: the German “wenn” equates to the English when as in whenever, but NOT to the question word when…? which is “wann…?” in German; “wenn” is also a synonym for the conjunction “falls”, meaning if or in case, as in If I had a million dollars … (“Wenn ich eine Million Dollar hätte, …”)
Last, but not least, don’t use “wenn” when(ever) referring to a past event: Talking about when you were a child demands the use of the German conjunction “als” as in “Als ich ein Kind war, …” — Makes perfect sense, doesn’t it? (Not!)

will / will 
Oh no – don’t even think about it: the German word “will” is the first (ich) and third person (er/sie/es) form of the verb “wollen” (to want)!
The English auxiliary verb will as used primarily in the future tense (Don’t worry, I will do that. or What will you do after you finish school?) is expressed by the irregular German verb “werden” (see also: bekommen), followed by an infinitive.

I hope this helps a little; there is more to come, so hang on tight … and always dot your i’s, cross your t’s, capitalize your nouns – and “lern” your “Deutsch”!

Mass in C-Minor (1991)

Composed: June-August 1991
Duration: ca. 16 minutes
Premiere: December 21, 1991 (Orchestra Collegium Noricum Nurnberg; Chorale of the Martin-Behaim-Gymnasium Nurnberg; Kurt Karl, conductor)
Orchestral Forces: 2 Flutes, 2 Oboes, 2 Bassoons, 2 Horns (F), 2 Trumpets (C), Timpani, Solo Soprano, Solo Tenor, Choir (SATB), Strings

NOTES

(Coming soon.)
“Gloria” added in 1994
“Kyrie” reworked and extended in 1995-1996

LITURGY

1. Kyrie

Kyrie eleison; Christe eleison; Kyrie eleison.
Lord have mercy; Christ have mercy; Lord have mercy.

2. Sanctus

Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth;
pleni sunt coeli et terra gloria tua.
Osanna in excelsis.
Benedictus, qui venit in nomine Domini.
Osanna in excelsis.
Holy, holy, holy Lord,
God of power and might,
heaven and earth are full of your glory.
Hosanna in the highest.
Blessed is he who comes in the name of the Lord.
Hosanna in the highest.

3. Agnus Dei

Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Lamb of God, you take away the sins of the world, have mercy on us.
Lamb of God, you take away the sins of the world, grant us peace.

Stabat Mater (1997)

Composed: October 1990-February 1997
Orchestrated: 1997-1998 (initial); March 21 - July 4, 2007 (final)
Duration: ca. 36 minutes
Premiere: TBD
Orchestral Forces: 3 Flutes (incl. 1 Piccolo), 2 Oboes, English Horn, 2 Clarinets (A), Bass Clarinet, 2 Bassoons, 4 Horns (F), 3 Trumpets (B-flat), 3 Trombones, Tuba, Percussion (Timpani, Bass Drum, Tam-Tam, Chimes), Harp, Solo Baritone, Choir (SATB), Strings

Please visit the Works and Sounds page for score and sound clip.

NOTES

(Coming soon.)

LITURGY

Stabat mater dolorosa
iuxta Crucem lacrimosa,
dum pendebat Filius.
At the Cross her station keeping,
stood the mournful Mother weeping,
close to Jesus to the last.

Cuius animam gementem,
contristatam et dolentem
pertransivit gladius.
Through her heart, His sorrow sharing,
all His bitter anguish bearing,
now at length the sword has passed.

O quam tristis et afflicta
fuit illa benedicta,
mater Unigeniti!
O how sad and sore distressed
was that Mother, highly blest,
of the sole-begotten One.

Quae maerebat et dolebat,
pia Mater, dum videbat
nati poenas inclyti.
Christ above in torment hangs,
she beneath beholds the pangs
of her dying glorious Son.

Quis est homo qui non fleret,
matrem Christi si videret
in tanto supplicio?
Is there one who would not weep,
whelmed in miseries so deep,
Christ’s dear Mother to behold?

Quis non posset contristari
Christi Matrem contemplari
dolentem cum Filio?
Can the human heart refrain
from partaking in her pain,
in that Mother’s pain untold?

Pro peccatis suae gentis
vidit Iesum in tormentis,
et flagellis subditum.
For the sins of His own nation,
She saw Jesus wracked with torment,
All with scourges rent:

Vidit suum dulcem Natum
moriendo desolatum,
dum emisit spiritum.
She beheld her tender Child,
Saw Him hang in desolation,
Till His spirit forth He sent.

Eia, Mater, fons amoris
me sentire vim doloris
fac, ut tecum lugeam.
O thou Mother! fount of love!
Touch my spirit from above,
make my heart with thine accord:

Fac, ut ardeat cor meum
in amando Christum Deum
ut sibi complaceam.
Make me feel as thou hast felt;
make my soul to glow and melt
with the love of Christ my Lord.

Sancta Mater, istud agas,
crucifixi fige plagas
cordi meo valide.
Holy Mother! pierce me through,
in my heart each wound renew
of my Savior crucified:

Tui Nati vulnerati,
tam dignati pro me pati,
poenas mecum divide.
Let me share with thee His pain,
who for all my sins was slain,
who for me in torments died.

Fac me tecum pie flere,
crucifixo condolere,
donec ego vixero.
Let me mingle tears with thee,
mourning Him who mourned for me,
all the days that I may live:

Iuxta Crucem tecum stare,
et me tibi sociare
in planctu desidero.
By the Cross with thee to stay,
there with thee to weep and pray,
is all I ask of thee to give.

Virgo virginum praeclara,
mihi iam non sis amara,
fac me tecum plangere.
Virgin of all virgins blest!,
Listen to my fond request:
let me share thy grief divine;

Fac, ut portem Christi mortem,
passionis fac consortem,
et plagas recolere.
Let me, to my latest breath,
in my body bear the death
of that dying Son of thine.

Fac me plagis vulnerari,
fac me Cruce inebriari,
et cruore Filii.
Wounded with His every wound,
steep my soul till it hath swooned,
in His very Blood away;

Flammis ne urar succensus,
per te, Virgo, sim defensus
in die iudicii.
Be to me, O Virgin, nigh,
lest in flames I burn and die,
in His awful Judgment Day.

Christe, cum sit hinc exire,
da per Matrem me venire
ad palmam victoriae.
Christ, when Thou shalt call me hence,
by Thy Mother my defense,
by Thy Cross my victory;

Quando corpus morietur,
fac, ut animae donetur
paradisi gloria. Amen.
When my body dies,
let my soul be granted
the glory of Paradise. Amen.

Meditation & Madness (Euphonuim Quartet, 2007)

Composed: December 2006-January 2007
Duration: ca. 5:45 min
Premiere: June 16, 2007 (International Euphonium Institute 2007; Richard Prior, conductor)
Forces: 3 euphoniums, tuba

NOTES

This short piece scored for 3 euphoniums and tuba was commissioned by Adam Frey for the International Euphonium Institute in June of 2007.

It consists of 2 major parts of about equal duration:
The first movement (”Meditation”) explores the lyrical and melodic qualities of the euphonium and features a chorale-like setting with all four voices moving in counterpoint, alternating in their individual rendering of the main motif and ending in a suspended chord that leads, attacca, into the second movement.
“Madness” is a fast and march-like movement with strong, often syncopated, rhythmic elements that incessantly drive the movement to its grand finale, which includes a brief restatement of the original lyrical theme from the first movement. - A truly fun and challenging piece.

Utica Sketches (2007) for Wind Band

Composed: January 2007-
Duration: ca. 16 minutes
Premiere: TBD
Orchestral Forces: Piccolo, Flutes (1+2), Oboes (1+2), Clarinet in Eb, Clarinets in Bb (1-3), Bass Clarinets in Bb, Bassoons (1+2), Alto Saxophones in Eb, Tenor Saxophone in Bb, Baritone Saxophone in Eb, Trumpets in Bb (1-3), French Horns in F (1-4), Trombones 1-3, Euphoniums, Tubas, String Bass; Percussion: Timpani (4), Glockenspiel, Marimba, Vibraphone, Xylophone, Chimes, Tam-Tam, Cymbals (susp. & crash), Triangle, Wind Chimes, Snare Drum, Bass Drum

Movements:
1. Sister Mountain
2. The Swift Plains
3. Canyon of Names

Sehnsucht (2005) for Chorus (SATB)

Composed: April 2005
Duration: ca. 5:30 min.
Premiere: August 28, 2005 (DeKalb Choral Guild; Tim Jansa, conductor)

ABOUT “Sehnsucht”

“In the spring of 2005, Bryan Black, Music Director of the DeKalb Choral Guild and a long-time friend and collaborator, approached me with the suggestion that I compose a piece for the Guild’s upcoming European concert tour that summer. Since Bryan had just recently spent a couple of weeks in the German city of Weimar - home to J.W. von Goethe and Friedrich Schiller, the 200th anniversary of the latter was being celebrated that year - Bryan suggested that I use one of Schiller’s poems for this endeavor.
After briefly consulting with Dr. Lowell Bangerter at the University of Wyoming, Schiller scholar and former professor of mine, I eventually decided to use Schiller’s 1801 poem “Sehnsucht”. Something in this text struck a “chord” with me, and even while reading the poem for the very first time, the main theme and overall structure of the piece quickly took shape. Considering that several performances throughout Europe were planned, I further decided against using any accompaniment and in favor of employing the full possibilities of an a cappella choral setting.
The actual composition took place over about 2 weeks in April of 2005, and on August 28 of that year - coincidentally Goethe’s 256th birthday - I had the pleasure of conducting the premiere of Sehnsucht, which was then repeatedly sung in several venues in Germany and the Czech Republic, most notably the St. Nicolas Church in Prague, the Berlin Cathedral in Berlin, St. Jacobs Church in Weimar where Schiller was first entombed in 1805 - and at the Frauenkirche in my hometown of Nurnberg with my own grandmother in attendance.”

ANALYSIS

The poem Sehnsucht (Longing), written in 1801 by the great German poet and playwright Friedrich Schiller (1759-1805), is uncharacteristically strong in its following of the Romantic literary tradition of the late 18th and early 19th centuries. Schiller is probably best known for his Classicist, highly idealized style and, in his later years, close collaboration with literary behemoth Johann Wolfgang von Goethe (1749-1832). In Sehnsucht, however, Schiller adheres more to the tradition established by writers like Friedrich and August Wilhelm Schlegel or Friedrich von Hardenberg (a.k.a. Novalis) with their longing prose and tendency to abandon reality in lieu of a better, natural existence in far-away lands and the realm of dreams and imagination. Schiller, however, cannot do without a certain interim return to reality even though the poem ends on an ambiguous, yet cautiously positive and transcendent note as will be shown below.

The speaker (the “ich” of the poem) begins with a sigh of despair – the ubiquitous “ach” that forms somewhat of a common thread running through the entire piece. Starting off in the gloom of C minor, the main theme alternates in the lower and middle voices (“Oh, from this deep valley’s bottom [“Tales Gründe(n)”]”) before being taken over by the sopranos after a modulation into E minor, yet maintaining the rhythmic integrity of the motif. The damp fog (“kalte[r] Nebel”) is so oppressing that, in measure 8, it leads to an outburst in the tenors and altos: a cry for guidance to find a way out of this dreadful situation. It is immediately answered (by some higher power?) in the pickup to measure 11 where the sopranos announce the sudden sight of beautiful hills (“schöne Hügel”) which loom, eternally young and green (”ewig jung/ewig grün”), far in the distance. The descending fifths symbolize their perceived power of transfiguration, and the speaker’s spirit rises, moving upward in the altos, sopranos and tenors (measures 15-18), leaving behind the gloom of reality and culminating in entering a dream-like state in measure 19: If only he had wings (“Schwingen”, “Flügel”) he would take to the skies and fly over to these hills.

After a few powerful beats of these imaginary wings (measure 19), he begins–in his mind–to soar through the skies and take in the wondrous sights and sounds of the hills: sweet harmonies promising heavenly peace (“Harmonien […]/Töne süßer Himmelsruh”), light fragrant breezes (“leichte Winde […]/der Düfte Balsam”), golden fruit beckoning from lush trees (“gold’ne Früchte […]/winkend zwischen dunklem Laub”) and flowers (“Blumen”) that even the cold of winter cannot harm (“werden keines Winters Raub”). Another “ach” (pickup to measure 29) introduces a sequence in which the narrator, obsessed with this vision of happiness and bliss in eternal sunshine (“ew’gen Sonnenschein”) winds himself through ascending chromatic modulations, rhythmically alternating between the outer and inner voices, into a trance-like state of almost fanatic frenzy (measures 34-35), conjuring up the invigorating (“labend”) powers of the hills’ lofty heights.

But earthly reality cannot be ignored. With an abrupt blow we are back in C minor where we began and the main motif engulfs us in despair once more: crashing waves (“Wellen”) of a raging river (“des Stromes Toben”) bring a sudden end to the blissful vision we had only moments before. There is no way to reach those hills without first facing the hardships and overcoming the dangers posed by the rushing waters–and, in realization of what lies ahead, the soul trembles (“die Seele ergraust”).

All hope seems lost when, seemingly out of nowhere, a small boat (“Nachen”) comes into sight, bobbing (“schwanken”) on the swift waters–portrayed by a variation of the opening theme. But its ferryman is missing (“der Fährmann fehl[t]”), so it is up the narrator alone to muster all his courage (measures 48-49) to raise the sails (“Segel”) and, propelled by a spirited (“beseelt”) breeze, begin to glide away into the distance (measures 50-51) and an unknown fate, symbolized by a suspended, almost ethereal E-flat minor chord.

Here the narrative perspective shifts from the first-person “ich” to a second-person “du” in measure 52/53: a heavenly voice from afar reminds the listener that without faith (“glauben”) and the will to take chances (“wagen”) the seemingly impossible cannot be attained. The powers-that-be will only help those who take heart (“die Götter leih’n kein Pfand”), and only through their miraculous intervention (“nur ein Wunder”) can one reach the promised land (“Wunderland”) that one has glanced from afar. The tenors echo the familiar descending fifths promising eternal youth, and the piece ends on a strangely ambiguous chord somewhere between B-flat and D major: the end of the journey that has just begun is unknown, but whatever the outcome, we are already a step away from the original C at the beginning of the piece – whether it be forward toward the hills or back into the Valley of Mist.

LYRICS

“SEHNSUCHT”
by
Friedrich Schiller
(1759-1805)

Ach, aus dieses Tales Gründen,
Die der kalte Nebel drückt,
Könnt’ ich doch den Ausgang finden,
Ach wie fühlt’ ich mich beglückt!
Dort erblick’ ich schöne Hügel,
Ewig jung und ewig grün!
Hätt’ ich Schwingen, hätt’ ich Flügel,
Nach den Hügeln zög ich hin.

Harmonien hör’ ich klingen,
Töne süßer Himmelsruh,
Und die leichten Winde bringen
Mir der Düfte Balsam zu.
Gold’ne Früchte seh’ ich glühen,
Winkend zwischen dunklem Laub,
Und die Blumen, die dort blühen,
Werden keines Winters Raub.

Ach, wie schön muß sich’s ergehen
Dort im ew’gen Sonnenschein,
Und die Luft auf jenen Höhen,
O wie labend muß sie sein!
Doch mir wehrt des Stromes Toben,
Der ergrimmt dazwischen braust,
Seine Wellen sind gehoben,
Daß die Seele mir ergraust.

Einen Nachen seh’ ich wanken,
Aber ach! Der Fährmann felt.
Frisch hinein und ohne Wanken,
Seine Segel sind beseelt.
Du mußt glauben, du mußt wagen,
Denn die Götter leih’n kein Pfand,
Nur ein Wunder kann dich tragen
In das schöne Wunderland.
(1801)

Study for Winds (2006) for Wind Band

Composed: August-October 2006
Duration: ca. 8 minutes
Premiere: TBD
Orchestral Forces: Piccolo, Flutes (1+2), Oboes (1+2), Clarinet in Eb, Clarinets in Bb (1-3), Bass Clarinets in Bb, Bassoons (1+2), Contrabassoon, Alto Saxophones in Eb, Tenor Saxophone in Bb, Baritone Saxophone in Eb, Trumpets in Bb (1-3), French Horns in F (1-4), Trombones (1-3), Euphoniums, Tubas, String Bass; Percussion: Timpani (5), Glockenspiel, Marimba, Vibraphone, Xylophone, Chimes, Tam-Tam, Cymbals (susp. & crash), Triangle, Wind Chimes, Snare Drum, Bass Drum

Symphony Nr. 1 “Pillars of Wisdom” (2007)

Composed: August 2005-December 2007
Orchestrated: September-December 2007
Duration: ca. 46 minutes
Premiere: TBD
Orchestral Forces: Piccolo, 2 Flutes, 2 Oboes, 1 English Horn, 2 Clarinets (A), 2 Bassoons, 4 Horns (F), 3 Trumpets (C), 3 Trombones (2 tenor, 1 bass), Tuba, Percussion (5 players: Timpani, Cymbals [crash & suspended], Triangle, Snare Drum, Tenor Drum, Bass Drum, Tam-Tam, Chimes), 2 Harps, Strings

You can view the full score here.

INTRODUCTION

A large work, and especially one as extensive as a symphony, marks a milestone in the life of any composer. After contemplating writing my first symphony and loosely collecting themes and material for quite some time, the final inspiration arrived in early 2005, when I came across T. E. Lawrence’s autobiographical account of the Arab Revolt during World War I – “Seven Pillars of Wisdom: A Triumph”. Lawrence explicitly states in the preface to the 1926 edition that “the title was originally applied […] to a book of his about seven cities” which “he decided not to publish […] because he considered it immature”; yet, he later “transferred the title as a memento” (ibid.) to the accounts of his well-publicized exploits as ‘Lawrence of Arabia’ between 1917 and 1918.
The very title and its implications, none withstanding, struck a certain chord with me and promised to provide the overall thematic, structural and emotional framework onto which I could weave the entire work.

The source of the Seven Pillars of Wisdom can be found in the Bible, in the Book of Proverbs (9:1): “Wisdom hath builded a house: she hath hewn out her seven pillars.” Even though there are various interpretations of this verse, I found one reference to the 9 Beatitudes (Matthew 5:3-9) the most fertile; 7 of which can be considered “active”, indicating characteristics for which to strive and which to make one’s own:
- “Blessed are the Poor in Spirit: for theirs is the kingdom of heaven.”
- “Blessed are they that Mourn: for they shall be comforted.”
- “Blessed are the Meek: for they shall inherit the earth.”
- “Blessed are they which do hunger and thirst for Righteousness: for they shall be filled.”
- “Blessed are the Merciful: for they shall obtain mercy.”
- “Blessed are the Pure in heart: for they shall see God.”
- “Blessed are the Peacemakers: for they shall be called the children of God.”

Wanting to adhere to a traditional 4-movement structure for this symphony, I grouped these 7 Beatitudes into 3 pairs and gave the one closest to my heart, the Peacemakers, its own section and glorious finale:
1. The Poor in Spirit and the Mournful
2. The Meek and the Seekers of Righteousness
3. The Merciful and the Pure
4. The Peacemakers

Despite all these religious underpinnings, this symphony is to be seen as a secular, albeit deeply spiritual, work. It is, by and large, a musical meditation on what it is that makes one “wise”, a better, enlightened person. Enlightenment does, however, not come without tremendous struggle – and this work is vastly about the eternal conflict between what is good and wise and its opposing forces. In the end hope prevails, but it doesn’t come easy and requires much anguish and sacrifice.

Beyond its conventional structure, “Pillars of Wisdom” uses a rather traditional and approachable musical language, more reminiscent the of the late and neo-romantic periods than might be expected of a “modern” work at the dawn of the 21st century. In spite of its overall tonality, however, this work extensively uses techniques and explores realms of harmony and orchestration that ground it solidly in 20th century musical tradition.

The almost two and a half years it took me to compose and orchestrate this Symphony were filled with a number of amazing and life-changing events. I believe the music reflects this and grants the listener an insight not only into my own life and soul, but – more importantly, I hope – into his or her own.

Weiterführendes Lese- und Lernmaterial für Lerner von Deutsch als Fremdsprache

(Listing in order of level of difficulty)

Schaum’s Easy Outline: German
by Elke Gschossmann-Hendershot
Publisher: McGraw-Hill; 1 edition (October 11, 1999)
ISBN: 0070527172

English Grammar for Students of German
by Cecile Zorach & Charlotte Melin
Publisher: Olivia & Hill Press,U.S.; 2Rev Ed edition (March 1991)
ISBN: 0934034141

Essential German Grammar
by Martin Durrell, Katrin Kohl, Gudrun Loftus
Publisher: McGraw-Hill; 1st Edition (April 2003)
ISBN: 0071413383

Practice Makes Perfect: German Verb Tenses
by Astrid Henschel
Publisher: McGraw-Hill; 1st edition (March 2006)
ISBN: 0071451374

Mastering German Vocabulary: A Thematic Approach
by Veronika Schnorr & Gabriele Forst
Publisher: Barron’s Educational Series (September 21, 1995)
ISBN: 0812091086

Practice Makes Perfect: German Pronouns and Prepositions
by Ed Swick
Publisher: McGraw-Hill; 1st edition (March 2006)
ISBN: 007145392X

Using German: A Guide to Contemporary Usage
by Martin Durrell
Publisher: Cambridge University Press; 2 edition (October 27, 2003)
ISBN: 0521530008

Developing Writing Skills In German
by Annette Duensing & Uwe Baumann
Publisher: Routledge; 1 edition (July 27, 2006)
ISBN-10: 0415397464

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A Word About Dictionaries:

Students often ask me what dictionary to get. Before I answer this question, I always stress that the vocabulary and associated lists in the German book(s) used in class are generally enough; anything beyond that will confuse a beginning learner of German more than it will help him or her.

Ok, but since you asked: I personally use the “PONS Globalwörterbuch Deutsch-Englisch” (unfortunately out of print) from Ernst Klett Verlag; the most recent successors of this 2-volume edition is the “PONS Wörterbuch für Schule und Studium”, Vol. 1 and Vol. 2. This book might be a bit over the top for what you need, though. I know that there is a PONS Kompaktwörterbuch (German-English) and also one for Deutsch als Fremdsprache, the latter being a monolingual dictionary, i.e. one where the explanations are in (simplified) German, which has tremendous pros but also, as you can imagine, also a few cons.
I personally like the PONS series by Klett, simply because it’s very easy to look up words and find abundant - and good - examples how to use words and phrases; plus I’ve been using them for over 15 years and have gotten used to them. The only problem with this series is that they are somewhat hard to get in the US (I always bought my dictionaries in Germany), but you might be able to get them from the International Book Import Service (IBIS) - tell Barbara, the owner, that you’re a student of mine; we’ve known each other for many years going back to my days at the Goethe-Institut.

The other alternative are the Langenscheidt dictionaries; they’ve become somewhat of a standard over the years and can easily be bought on sites like Amazon.com.
So here are a couple I would recommend:
- Langenscheidt Großwörterbuch Deutsch als Fremdsprache
- College Dictionary German-English, German-English

German 2001

Herzlich Willkommen!

Kursbuch:
Kaleidoskop (7th Edition)
Student Text with In-Text Audio CDs (ISBN 0-618-71460-X)

Syllabus:
N/A

Kursinhalt:
Kapitel 1-5

Link:
Kaleidoskop im Internet
(Online-Übungen und mehr;
zur Testvorbereitung, klicken Sie auf “ACE the Test”)

Arbeitsblätter (Wortschatz/Grammatik):
Vokabelblätter (Kapitel 1-5)

Unregelmäßige Verben im Deutschen
German Case Endings
The 4 Cases in German - Overview
“Deutsch: Na klar!” Flash Cards at flashcardexchange.com

Thematische Links
Berlin (Tourismus)
Berlin (Stadtplan)

Schriftliche Hausaufgaben:
(2 pro Lektion [20% der Semesternote] + Hausaufgaben zum Einreichen [10%])

Thema 1
1. Seite 6; Seite 7/A1-4 + B1: Beschreiben Sie die Statistik (siehe Handout für Redemittel)!
2. Seite 23/P1 ODER P2
Multiple choice Aufgaben: 17/I, 20/L-N, 27/B, 29/G

Thema 2
1. Seite 35/C1 ODER Seite 51/H
2. Seite 40/H1 ODER H2
Multiple choice Aufgaben: 41/J, 42/K, 49/D, 50/E

Thema 3
1. Seite 69/J3
2. Seite 84/I5
Multiple choice Aufgaben: 67/G, 68/H, 81/D, 82/E+F

Thema 4
1. Seite 97/O2 ODER Seite 51/H
2. Seite 105/H1 ODER H2
Multiple choice Aufgaben: 95/I-K, 103/C, 104/D

Thema 5
1. Seite 109/3 UND 4 (ein Aufsatz; siehe auch: S. 120/L)
2. Seite 115/2 UND 3 (ein Aufsatz)
Multiple choice Aufgaben: 119/H-J, 126/D, 127/E

German 1002

Offizielle Internetseite von “Deutsch: na klar!” [lots of online exercises!]
You can find all audio-tracks HERE.

SYLLABUS:
Spring 2009 - 1002 - Monday/Wednesday - 1:30 pm
Spring 2009 - 1002 - Tuesday/Thursday - 2:30 pm
Spring 2009 - 1002 - Tuesday/Thursday - 5:30 pm

LECTURES & WORKSHEETS

ALL 1002 LECTURES - click here!

“Deutsch: Na klar!” Flash Cards at flashcardexchange.com
Unregelmäßige Verben im Deutschen (German irregular Verbs; list)
German Case Endings
The 4 Cases in German - Overview

Kapitel 5
grmn1001-worksheet-05-thema1_falle_endungen.pdf
grmn1001-worksheet-05-thema1_falle_ubersicht.pdf
Powerpoint: Ist das normal?

Kapitel 6
grmn1001-worksheet-06-akkdat_prap.pdf
grmn1001-worksheet-06-akkdat_prap_2.pdf

Kapitel 7
grmn1002-worksheet-07-einfuhrungperfekt.pdf
grmn1002-worksheet-07-thema12.pdf
grmn1002-worksheet-07-verben-im-perfekt-haben-sein.pdf
Übung – Setzen Sie den Text in die Vergangenheit (Angabe)
Übung – Setzen Sie den Text in die Vergangenheit (Lösung)

Kapitel 8
grmn1002-worksheet-08-konjunktionstypen.pdf
grmn1002-worksheet-08-thema2-indirektefragen.pdf
grmn1002-worksheet-08-thema3-morgenroutinereflexiv.pdf

Kapitel 9
grmn1002-worksheet-09-adjektivendungen.pdf
grmn1002-worksheet-09-falle.pdf
grmn1002-worksheet-09-genitiv.pdf
grmn1002-worksheet-09-thema3adjektivendungen.pdf

————————————————————————-

Kapitel 10
grmn1002-worksheet-10-komparativsuperlativ.pdf

Kapitel 11
grmn1002-worksheet-11-futur.pdf
grmn1002-worksheet-11-relativsatze-relativpronomen.pdf
grmn1002-worksheet-11-relativsatze-ubung_1.pdf

Kapitel 12
german-1002-lectures-kapitel-12.pdf

German 1001

Official Website for “Deutsch: na klar!” (5th Edition) [lots of online exercises!]
You can find all audio-tracks HERE.

SYLLABUS:
Spring 2009 - 1001 - Tuesdays/Thursdays - 11:00 am

LECTURES & WORKSHEETS

ALL 1001 LECTURES - click here!
“Deutsch: Na klar!” Flash Cards at flashcardexchange.com

Einführung
Landkarte von Europa (map of Europe)
Das Alphabet (Pronunciation) I
Das Alphabet (Pronunciation) II
grmn1001-worksheet-00-a13_interview.pdf

Kapitel 1
grmn1001-worksheet-01-thema1_qa.pdf
grmn1001-worksheet-01-thema2_studienfaecher.pdf

Kapitel 2
grmn1001-worksheet-02-thema1_nomen.pdf
grmn1001-worksheet-02-thema1+2_der&ein.pdf
grmn1001-worksheet-02-thema3_moebelsuche_nom_akk.pdf
grmn1001-worksheet-02-thema3_verben.pdf
grmn1001-worksheet-02-wiederholung.pdf

Kapitel 3
grmn1001-worksheet-03-thema1_possessivpronomen.pdf
grmn1001-worksheet-03-thema2_personalpronomen.pdf

Kapitel 4
grmn1001-worksheet-04-thema3_modalverben.pdf
grmn1001-worksheet-04-u13_einladungen.pdf

Herr Jansa’s Page for German Students

Herr JansaHerzlich willkommen auf meiner Heimseite für Deutschlerner!

Hier finden Sie alle wichtigen Dateien und Links für meine Deutschkurse an der Georgia State University und dem Agnes Scott College.

Kontaktinformationen (GSU):
Tim Jansa, M.A.
Department of Modern & Classical Languages
Georgia State University
Office: Room 838, General Classroom Building
Phone: (404) 413-6596
Cell: (678) 524-0844 [emergencies only!]
E-Mail: tjansa@gsu.edu

Quick-Links zu den Seiten für die Kurse:
GRMN 1001, GRMN 1002,
GRMN 2001, GRMN 2002,
GRMN 201 (ASC).

QUIA ONLINE KEY INSTRUCTIONS

Information Video clips:
8 REASONS WHY GERMAN IS 4U

Allgemeine Links für Deutschlerner:

Sprachkurse:

Grammatik:

Vokabular:

Diverses:

Verschiedene Link zu deutschsprachigen Internetseiten:

Internetseiten zur deutschen Kultur:

Internetseiten zur deutschen Literatur:

Herr Jansa’s Master’s Thesis:
“The Critical Treatment of the Church in the Works of Friedrich Schiller” (1998)

Photos





Links

Please check out the following links; by and large, they represent organizations and people who have played an important role in Tim’s life, especially as a musician, composer and conductor:


Other Links:

News

Tim Jansa, composer

July 25, 2008:
Tim completes work on his Sextet for Winds and Percussion. The premiere is scheduled for February 20, 2009.

April 2008:
Tim is granted a commission by Dr. Kevin Wass of the Texas Tech School of Music to compose a work in 3 movements with a total duration of 12-15 minutes for wind quintet and percussion to be completed by late summer of 2008.

March 2008:
Consortium commission to compose fanfare for the 2008 International Euphonium Institute at Emory University, resulting in a set of 3 short fanfares for double antiphonal tuba-euphonium quartet to be premiered (in part) during IEI in June 2008.

December 19, 2007:
Completion final orchestration of Jansa’s Symphony Nr. 1, “Pillars of Wisdom”.

September 29, 2007:
Completion of Jansa’s String Quartet Nr. 2, “Ghost”.

September 18, 2007:
Publication of Tuba-Euphonium Quartet Meditation and Madness on Euphonium.com.

August 24, 2007:
Work begins on String Quartet Nr. 2.

July 4, 2007:
Tim wraps up massive re-orchestration project of his Stabat Mater (1991-1997) and finalizes this composition that had been nearly 17 years in the making.

June 16, 2007:
Premiere of Meditation and Madness for euphonium quartet during the 2007 International Euphonium Institute at Emory University in Atlanta, GA.

March 2007:
A comprehensive re-orchestration project of Jansa’s oratorio Stabat Mater begins.

January 2007:
Work begins on a larger piece for wind band: Utica Sketches. This work in 3 movements is loosely based on the composer’s stay at a ranch near the small town of Utica in central Montana in the summer of 2004 - an effective rendition of his experiences in this beautiful, powerful and awe-inspiring part of the American West.

October 2006:
Completion of Winds of Change for wind band (written for the Atlanta Youth Wind Symphony).

August 2005:
Tim begins work on his Symphony Nr. 1 (”Pillars of Wisdom”); the first, second and third movement are completed (if not orchestrated) by early December 2005, and the 4th movement is begun.

August 28, 2005:
Tim conducts the premiere of Sehnsucht for a cappella chorus, a commission of the DeKalb Choral Guild in commemoration of the 200th anniversary of German poet ad playwright Friedrich Schiller’s death.

Anthology of Tim Jansa’s Musical Works

Legend
Adobe PDF Item Score or Score Sample (Read-only) Song MP3 Sample Music MP3/Demo Samples

Year Work and Description Multimedia
2008 Sextet for Winds and Percussion - commissioned by Dr. Kevin Wass, Texas Tech School of Music

2008 Three Antiphonal Fanfares - for double Tuba-Euphonium quartet; Consortium commission (in parts) for the 2008 International Euphonium Institute
2007 String Quartet Nr. 2: “Ghost”
I. The Ghost / II. Night / III. The Dance
2007 Symphony Nr. 1: “Pillars of Wisdom” - for symphony orchestra
I. The Poor in Spirit & The Mournful / II. The Meek & The Seekers of Righteousness / III. The Merciful & The Pure / IV. The Peacemakers
[Sound clips: Demo]
2007 “Utica Sketches” - for wind band
I. Sister Mountain / II. The Swift Plains / III. Canyon of Names
2007 “Meditation and Madness” - for Tuba-Euphonium quartet; commissioned for the 2007 International Euphonium Institute .
Score available for purchase at Euphonium.com!
2006 Study for Winds - for wind band; written for the Atlanta Youth Wind Symphony [Sound clip: Demo]
2005 “Sehnsucht” - for a capella chorus, after Friedrich Schiller (1759-1805); commissioned by the Dekalb Choral Guild, Marietta, GA
2004 “When Most I Wink” - for a capella chorus, after William Shakespeare’s Sonnet XLIII
2003 “Konzertsatz Nr. 1″ - for piano and orchestra
2003 “Songs for the People” - for piano and solo soprano; after the poem Songs for the People by Frances Ellen Watkins Harper (1895)
2002 Concerto for Violoncello and Orchestra
2001 String Quartet Nr. 1
1997 “Stabat Mater” - for large orchestra, chorus and solo baritone
[Total duration: 36 minutes / Sound clip: Preview Demo, 7:20 min]
1994 “The New Colossus” - for piano and chorus; after the poem The New Colossus by Emma Lazarus (1883)
1993 “Eine Weihnachtsgeschichte” (”A Christmas Tale”) - Symphonic poem for orchestra in 4 parts
1992 “Zwischenspiel” (Intermezzo) for strings
1992 “Im Kripplein lag ein Kindlein heut’” (”A Small Child in the Manger Lay”) for chamber orchestra, chorus and solo soprano
1992 “Freuen soll sich der Himmel” (”And Heaven Shall Rejoice”) for chamber orchestra and chorus.
1992 “Inmitten der Nacht” (”In the Midst of the Night”) for string orchestra and chorus
1991 Mass in C-Minor - in 3 parts; for orchestra, chorus, solo soprano and solo tenor
I. Kyrie / II. Sanctus / III. Agnus Dei
1990 “Fantasie” in C-Minor for piano
1988 “Andante” - for violin and piano

Biography

Tim Jansa, composerGerman-American composer Tim Jansa was born in Köln (Cologne), Germany, in 1974.

In 1983, he moved to Nuremberg, Germany, where he attended German Gymnasium from 1985 to 1994, during which time he studied music and conducting under his mentor Kurt Karl, and attended courses at the Nuremberg Conservatory of Music. During this time, he wrote his first compositions for various choral and orchestral ensembles.

After the performances of a few smaller pieces between 1988 and 1990, his Mass in C-Minor for chorus, soloists and orchestra was produced in 1991 to high acclaim, succeeded by various orchestral and choral compositions in the years to follow. In 1994, his rendition of the well-known sonnet The New Colossus (1883) by American writer Emma Lazarus (1849-1887) was performed with great success. During his high school and early college years, Jansa wrote several other works for orchestra, most notably his Stabat Mater, the initial composition of which was completed in 1997 and the score arranged for full symphony orchestra in 2007.

Jansa’s compositional endeavors underwent a longer hiatus due to his undergraduate studies in English and Geography at the Friedrich-Alexander University in Erlangen, Germany, emigration to the United States in 1996 to attend graduate studies at the University of Wyoming, and eventual relocation to the Atlanta area after graduating with a Master’s Degree in German literature in 1998.

Between 1999 and 2002, while pursuing a successful career in the field of foreign language instruction and cross-cultural training, Jansa completed his String Quartet Nr.1, followed by the Concerto for Cello and Orchestra, Songs for the People for solo soprano and piano, and eventually by the first Konzertsatz for Piano and Orchestra.

In the fall of 2004, Jansa was granted a commission by the DeKalb Choral Guild and its director, Mr. Bryan Black, to write a choral composition to commemorate the 200th anniversary of German poet and playwright Friedrich Schiller’s (1759-1805) death. The resulting work for a cappella chorus, Sehnsucht, was premiered in the summer of 2005 under the composer’s direction and performed repeatedly during the ensemble’s subsequent European concert tour.

The summer of 2006 marked the beginning of a a successful working relationship with the Atlanta Youth Wind Symphony and its conductor, Dr. Scott Stewart. To this day, this collaboration has resulted in the compositions Study for Winds (2006) and Utica Sketches (2007), both for large wind ensemble.

Mr. Jansa was a featured composer at the International Euphonium Institute 2007; the commissioned tuba euphonium quartet Meditation and Madness was premiered during the event’s gala concert on June 16, 2007, and has been published at Euphonium.com. Another work for chamber ensemble, the String Quartet Nr. 2 “Ghost”, was added to Jansa’s growing opus in the fall of 2007.

In December of 2007, Jansa completed his Symphony Nr.1 “Pillars of Wisdom”, a large work in 4 movements for traditional symphony orchestra that began its life in the summer of 2005 as a musical meditation on the title of T. E. Lawrence’s autobiographical account “Seven Pillars of Wisdom: A Triumph”, first published in 1922.

In the spring of 2008, Jansa was granted two commissions resulting in a set of 3 short fanfares for double antiphonal tuba-euphonium quartet, as well as a sextet for winds and percussion to be premiered in February of 2009.

Tim Jansa lives in Atlanta, GA, and teaches at Georgia State University and Agnes Scott College.

Home

Welcome to the Homepage of German-American composer Tim Jansa!

Tim Jansa, composer

We’re glad that you have found your way to this site and are excited to share with you the musical world of this accomplished musician!

Have fun exploring the site, and don’t forget to listen to clips of Tim’s works and view some score samples.

Enjoy your visit!