Jascha nemtsov biography definition
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Sarah Nemtsov played flute from age 9 to 13 in concerts and recordings with Reil Trio (two flutes and harpsichord). At the age of 14, she took up the oboe. She went on to study composition in Hannover with Nigel Osborne and Johannes Schöllhorn, and, starting in 2005, in Berlin with Walter Zimmermann. An oboist and sporadisk performer of her own works, she has focused exclusively on composition since 2007.
In 2014-2015, she was composer-in-residence with the Erfurt Philharmonic Orchestra, during which her orchestral works were performed in three concerts. In 2014, she taught composition and theatrical music at the Cologne Musikhochschule, and in 2018, was a guest professor of composition at the University of haifa in Israel. Since 2022, she has taught composition at the Mozarteum University in Salzburg.
Her works have been performed by ensembles and orchestras such as Hr-Sinfonieorchester, Deutsches Sinfonieorchester, Ensemble Modern, Mosaik, Adapter, Neue Vocalsolisten Stuttgart,
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Karoline Rütter advises companies and institutions strategically in the fields of brand, innovation, user/customer experience and transformation. Under the brand Inspiring Minds, she provides transdisciplinary impulses and draws on 10 years of experience as a salon host on relevant issues from society, culture, philosophy or natural sciences.
MorePeople and organizations benefit from the mediation and moderation of impulses and changes of perspective on entrepreneurial and individual questions and processes. And it is her concern to contribute her diverse experiences and competencies to the joint creation of a better world: a world in which we support each other in unfolding our potentials.
Her clients include Deutsche Telekom, Volkswagen, IKEA and international strategy and design agencies. She works as a curator for The School of Life Berlin and the Urania Berlin. While studying media science, she helped establish the strategy agency diffferent as a member of the managemen
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Der Zionismus in der Musik
Der Zionismus in der Musik. Jascha Nemtsov. Jüdische Musik: Studien und Quellen zur jüdischen Musikkultur, vol. 6. Wiesbaden: Harrassowitz, 2009. 380 pp. ISBN 978-3-4470-5734-9
Reviewed by Klára Móricz
“Zionism was known as one of the few realized utopias in the twentieth century, probably the only one that in addition to addressing social concerns also had a distinct humanistic character,” writes Jascha Nemtsov in the epilogue to his monograph on the role of music in the Zionist movement in the first half of the twentieth century (349)[1]. A somewhat nostalgic tone permeates this truly amazing volume, which relates many facets of Jewish musical life to Zionism, commonly defined as a late nineteenth-century political movement dedicated to establishing a Jewish homeland. Nemtsov, who is well aware of the negative connotations of nationalism in the twentieth century (he quotes Ernest Gellner’s view of nationalism as “diabolical and lethal”