Josef danuser biography
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Faculty of Biology
Journal articles
Le Pennec, Jean; Makshakova, Olga; Nevola, Paola; Fouladkar, Farah; Gout, Evelyne; Machillot, Paul; Friedel-Arboleas, Mélanie; Picart, Catherine; Perez, Serge; Vortkamp, Andrea; Vivès, Romain R.; Migliorini, Elisa
Glycosaminoglycans exhibit distinct interactions and signaling with BMP2 according to their natur and localization
In: Carbohydrate Polymers Vol. 341 (2024) 122294
Online Full Text: dx.doi.org/ (Open Access)
Wülling, Manuela; Neu, Christoph; Thiesen, Andrea M.; Kitanovski, Simo; Cao, Yingying; Lange, Anja; Westendorf, Astrid; Hoffmann, Daniel; Vortkamp, Andrea
Epigenetic mechanisms mediating fängelse state transitions in chondrocytes
In: Journal of Bone and Mineral Research (JBMR) Vol. 36 (2021) Nr. 5, pp. 968 - 985
Online Full Text: dx.doi.org/Online Full Text (Open Access)
Gerstner, Matthias; Severmann, Ann-Christine; Chasan, Safak; Vortkamp,
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Kontakt · Mitarbeiter
Der 200. Jahrestag des Augsburger Religionsfriedens (1755) und die Leipziger Bach-Pflege in der zweiten Hälfte des 18. Jahrhunderts
in: Bach Jahrbuch 2000, S. 101–118.
Elias Nathusius – Ein Leipziger Komponist des 17. Jahrhunderts
in: Jahrbuch mitteldeutscher Barockmusik 2001, hrsg. von Wilhelm Seidel und Peter Wollny, Schneverdingen 2002, S. 70–98.
"Dein Ruhm wird wie ein Demantstein, ja wie ein fester Stahl beständig sein." Neues über die Beziehungen zwischen den Familien Stahl
und Bach
in: Bach-Jahrbuch 2001, S. 7–22.
[mit Peter Wollny] Quellenkundliches zu Bach-Aufführungen in Köthen, Ronneburg und Leipzig zwischen 1720 und 1760.
in Bach-Jahrbuch 2003, S. 97–141.
Johann Sebastian Bachs Besuche in der Residenzstadt Gera
in Bach-Jahrbuch 2004, S. 101–120.
Frühe Urteile über Johann Christoph und Johann Nikolaus Bach, mitgeteilt anläßlich der Besetzung der Organistenstelle an der Jenaer Kollegienk
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“One must have the right to remain a private person”: this assumption was put into the stage character Christine’s mouth by Richard Strauss, who was acting as his own librettist for the first time since GUNTRAM, and writing his first “bourgeois comedy”. Christine is the wife of the famous Court Kapellmeister Robert Storch, who has just left their house on Lake Grundlsee in the Styrian part of the Salzkammergut with routine bustle, in order to meet his conducting obligations in Vienna for the next two months. His “better half”, as – to Christine’s displeasure – a critic once called her, remains behind with their 8-year-old son within the private realm of a grand-bourgeois household, which she runs with ambition and energy. Maids, parlour maids and the cook need supervision. The fact that the new Strauss opera was a family self-portrait, or more precisely an autobiographically verified episode from his now 30-year marriage to the singer Pauline Strauss-de Ahna,