In recent years, the use of the cimbasso has gained popularity in Giuseppe Verdi opera performances throughout the world. In the past, the tuba or the bass trombone was used regularly instead of the cimbasso because less regard was given to what Verdi may have intended. Today, one expects more attention to historical precedent, which is evident in many contemporary Verdi opera performances. However, the tuba continues to be used commonly in performances of Verdi opera productions throughout the United States. The use of the tuba in the U.S. is due to a lack of awareness and a limited availability of the cimbasso. This paper demonstrates the pedagogical and aesthetic differences between the use of the tuba and the modern cimbasso when performing the works of Giuseppe Verdi operas.

In Weiterführung einer ersten baugeschichtlichen Darstellung des 14. bis 17. Jahrhunderts zeichnet der Verfasser ein Bild vom unaufhaltsamen baulichen Niedergang der Veste Stolpen. Militärische Auseinandersetzungen am Beginn des Siebenjährigen Krieges und die Ereignisse um 1813 setzen deutliche Zäsuren. Die völlige Sprengung der Veste Stolpen durch abziehende französische Truppen muss dabei relativiert werden.

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The Austrian army played a crucial role in Napoleon's decisive defeat during the War of the Sixth Coalition. Often considered a staid, hidebound institution, the army showed considerable adaptation in a time that witnessed a revolution in the art of war. In particular, changes made after defeat in the War of the Fifth Coalition demonstrate the modernity of the army. It embraced the key features of the new revolutionary way of war, including mass mobilization, a strategy of annihilation, and tactics based on deep echelonment, mobility, and the flexible use of varied formations. While the Austrians did not achieve the compromise peace they desired in 1814, this represented a political failing rather than a military one. Nevertheless, the Austrian army was critical in securing the century of general European peace that lasted until the dawn of the Great War.

This study of Verdi's choral style in the Manzoni Requiem includes an investigation of the bibliography pertaining to the subject, and a detailed study of the score to determine and verify the characteristics of each stylistic component, tabulating statistical material and listing examples demonstrating the various characteristics.

Wagner's second opera Das Liebesverbot, composed in 1835 and first performed in Magdeburg in 1836, could be termed Wagner's "Italian" opera. It represents Wagner's attitudes and feelings at the time of its composition. During this period in Wagner's life the composer had become particularly enchanted with Italian music and also with the Italian way of sensuous and carefree living. At the same time his disillusionment with German conservatism and pedantry also had an influence on the composition of this opera.

The ancient Germanic god that Richard Wagner resurrected in his operatic style Der Ring des Nibelungen was worshiped and feared from Greenland to Asia Minor for 1,000 years after the birth of Christ. This thesis examines the psychological aspects of Wotan as he appears in the opera.

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