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Aktuelle Forschung zu Hans Werner Henze","type":"book_editor","status":"public","abstract":[{"text":"Der Sammelband veröffentlicht die Beiträge des internationalen Symposiums zu Hans Werner Henze, das im Dezember 2022 in Detmold stattfand und aktuelle Beiträge zur Henze-Forschung mit unterschiedlichsten inhaltlichen Schwerpunkten wie Filmmusik, Gender Studies oder Musikanalyse versammelt. Nach zwei Aufsätzen zu neuen Henze-Briefausgaben (Irmlind Capelle / Elena Minetti / Dennis Ried / Antje Tumat einerseits und Andreas Hérm Baumgartner / Wolfgang Rathert andererseits) und einem ersten Überblick über Henzes Privatbibliothek als Sondersammlung (Antje Tumat) diskutiert Adrian Kuhl Die Zusammenarbeit Tatjana Gsovskys und Hans Werner Henzes beim Ballett Der Idiot. Zafer Özgen beschäftigt sich anschließend mit Kompositionsstrategien in Henzes frühen Opern, Federica Marsico betrachtet die Figur des Orpheus bei Henze aus Gender-Perspektive und Benedikt Leßmann widmet sich Henzes Filmmusik. Den Abschluss bildet ein Roundtable mit Zeitzeugen, bei dem ehemalige Kolleginnen und Kollegen, Freunde und andere mit Henze verbundene Personen aus ihrer Zusammenarbeit mit Henze berichten. Teilnehmende waren Henzes langjähriger Freund und enger Mitarbeiter in Montepulciano Gastón Fournier-Facio (Rom) und der Regisseur, Geschäftsführer der Henze-Stiftung und letzte Lebensbegleiter Henzes Michael Kerstan (Nürnberg), Simon Obert von der Paul Sacher Stiftung (Basel), dem Aufbewahrungsort der Sammlung Hans Werner Henze, sowie Peter Petersen (Hamburg) als Stellvertreter der frühen musikwissenschaftlichen Henze-Forschung.","lang":"ger"}],"editor":[{"full_name":"Tumat, Antje","id":"72268","last_name":"Tumat","orcid":"0009-0002-9132-0925","first_name":"Antje"},{"last_name":"Minetti","full_name":"Minetti, Elena","first_name":"Elena"},{"first_name":"Dennis","last_name":"Ried","full_name":"Ried, Dennis"},{"first_name":"Irmlind","full_name":"Capelle, Irmlind","last_name":"Capelle"}],"department":[{"_id":"233"},{"_id":"856"}],"user_id":"72268","_id":"62056","project":[{"_id":"738","name":"Digitale Briefedition: Hans Werner Henzes künstlerisches Netzwerk"}],"language":[{"iso":"eng"},{"iso":"ger"}]},{"language":[{"iso":"ger"}],"department":[{"_id":"233"}],"user_id":"79660","_id":"62001","status":"public","publication":"Die Tonkunst","type":"journal_article","title":"Quelleninventare als Forschungsmittel. 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Cornelis de Vos. “‘Sohn, dein Blut muß ich vergießen’ - Ritual und Opfer in den Abraham-Oratorien des 19. Jahrhunderts.” In <i>Musik im Ritual - Rituale in der Musik</i>, edited by Julian Caskel and Jana Weißenfeld, 157–180. Würzburg, 2025.","ama":"Höink D, de Vos JC. “Sohn, dein Blut muß ich vergießen” - Ritual und Opfer in den Abraham-Oratorien des 19. Jahrhunderts. In: Caskel J, Weißenfeld J, eds. <i>Musik im Ritual - Rituale in der Musik</i>. ; 2025:157–180."},"page":"157–180","date_updated":"2025-12-17T08:59:59Z","author":[{"first_name":"Dominik","last_name":"Höink","full_name":"Höink, Dominik","id":"90389"},{"full_name":"de Vos, J. Cornelis","last_name":"de Vos","first_name":"J. Cornelis"}],"date_created":"2025-11-27T11:15:21Z","title":"\"Sohn, dein Blut muß ich vergießen\" - Ritual und Opfer in den Abraham-Oratorien des 19. 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Memering, Eds., <i>Friedrich Schneider, Christus der Meister. Oratorium in drei Teilen. Partitur</i>. Münster, 2025.","chicago":"Höink, Dominik, Regina Werbick, and Robert Memering, eds. <i>Friedrich Schneider, Christus Der Meister. Oratorium in Drei Teilen. Partitur</i>. Münster, 2025. <a href=\"https://doi.org/10.17879/41009673985\">https://doi.org/10.17879/41009673985</a>."}},{"type":"conference_abstract","status":"public","user_id":"90722","department":[{"_id":"233"},{"_id":"856"}],"project":[{"grant_number":"459602398","_id":"738","name":"Digitale Briefedition: Hans Werner Henzes künstlerisches Netzwerk"}],"_id":"51840","language":[{"iso":"eng"}],"quality_controlled":"1","citation":{"apa":"Ried, D. (2024). <i>Synergieeffekte zwischen Henze-Digital und der Carl Maria von Weber-Gesamtausgabe durch die bilaterale Weiterentwicklung der WeGA-WebApp</i>. Quo vadis DH? 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