58 Sentences With "pepping" | Random Sentence Generator

Innovation spreads faster in a unified market, pepping up productivity.

There is talk of a "reflation trade", with tax cuts in America pepping up global growth.

Based on the first several days of shows and presentations, there is no question things need some pepping up.

For years Mr Moonves impressed Wall Street by pepping up the business even as the industry of broadcast television declined around it.

I would say I am better at pepping myself up now, rather than searching for faults in the mirror — like I used to when I was in my teens.

"With this offer we are making it clear that we want to find a balance between the needs of the company and the interests of its workers," T-Systems personnel chief Georg Pepping said.

In " They Also Ran " (21940), a still entertaining study of defeated Presidential candidates, Irving Stone offers another kinetic portrait of Willkie, this time as an electricity baron in his early forties: He did not rest behind his desk on Pine Street, but went on the road himself as a sort of supersalesman, instilling confidence in local power companies, pepping up appliance firms, spending as many as two hundred days a year in small towns across the face of the nation, making friends with merchants, newspapermen, consumers, selling them the idea that the more electricity they used the cheaper it would be . . .

Patsy (born Patricia Pepping Valles on 1963 in Mexico City, Mexico) is a Mexican actress and singer.Entrevista a Patsy Pepping Consultado el 18 de febrero de 2016.

Pepping received honorary doctorates from the (1961) and the Kirchliche Hochschule Berlin (1971). He was a member of the Academy of Arts, Berlin and the Bavarian Academy of Fine Arts, Munich. 11043 Pepping, minor planet.

Born Ernst Heinrich Franz Pepping in Duisburg, Pepping first studied to be a teacher. From 1922 to 1926 he studied composition at the Berliner Hochschule für Musik with Walter Gmeindl, a pupil of Franz Schreker. Pepping composed mostly instrumental music until 1928. In 1926 his works (Little serenade for military band) and (Suite for trumpet, saxophone and trombone) were premiered at the Donaueschinger Musiktage.

' (Jesus and Nicodemus) is a sacred motet by Ernst Pepping, a setting of a passage from the Gospel of John. Pepping composed in 1937 an Evangelienmotette für vierstimmigen Chor a cappella, a motet on gospel text for four-part choir a cappella.

Hans-Jürgen Mende: Lexikon Berliner Begräbnisstätten. Pharus-Plan, Berlin 2018, . . His daughter Marianne (1900-1986) had been married to the composer Ernst Pepping since 1937.

Pepping was a composer who relied on Baroque models but wrote severe works with "uncompromising dissonance" in the 1920s. An able teacher with ties to the Confessing Church, he wrote more compromising music in the 1930s and was "left alone" by the Nazis. Afterwards, he was first regarded as a composer who had not distanced himself enough from the Nazis, as also Johann Nepomuk David and Hugo Distler. Their importance for musical innovations was neglected for a long time, as a 2013 concert program showed, "Von Kaminski bis Pepping / Kirchenmusik im Spannungsfeld der 1930er Jahre" (From Kaminski to Pepping / Church music in the area of tension of the 1930s).

Ernst Pepping (12 September 1901 – 1 February 1981) was a German composer of classical music and academic teacher. He is regarded as an important composer of Protestant sacred music in the 20th century. Pepping taught at the and the . His music includes works for instruments (three symphonies), the church (the motet , the ), and collections including the (Spandau choir book) and the three volume (Great Organ Book), which provides pieces for the entire liturgical year.

Pepping taught again at the Berliner Hochschule from 1947 to 1968. He retired in 1968 and also stopped composing. He died in Spandau and is buried in Berlin's Friedhof Heerstraße Cemetery.

Pepping is regarded as one of the most important composers of Protestant church music in the 20th century. His sacred works for choir a cappella included masses such as the , motets and chorales, for example the collection Spandauer Chorbuch (Spandau choir book). He also composed secular vocal music, organ music, orchestral works including three symphonies, and chamber music. Pepping based his church music on Protestant hymns, the vocal polyphony of the 16th and 17th century and modal keys.

Born in Bochum, Reda studied with Ernst Pepping and Hugo DistlerSiegfried Reda spielt David, Pepping und Reda on DNB at the Spandauer Kirchenmusikschule and was an organist in Bochum, Gelsenkirchen and Berlin. In 1946 he became director of the Institute for Protestant Church Music at the Folkwang University of the Arts in Essen, and also served as a professor of organ and composition. In 1953 he became church music director at the St.-Petri-Kirche in Mülheim an der Ruhr. His students included , Gisbert Schneiderand .

Patsy was born on 1963 in Mexico City, she had American descent. 7 years old moved with her family in United States.Biografía de Patsy Pepping Consultado el 18 de febrero de 2016. In 1983 she had debut in television.

Tanacetum cinerariifolium also called the Dalmatian chrysanthemum Commercial pyrethrin production mainly takes place in mountainous equatorial zones. The commercial cultivation of the Dalmatian chrysanthemum takes place at an altitude of 3000 to 6000 meters above sea level.Anonym. 1987 (March). Pepping up pesticides naturally.

Pepping also taught at the from 1935 to 1938 as a professor of church music and composition. He had ties to the Confessing Church and wrote a great deal of music on German texts. In 1938, after a 1937 Church Music Festival in which he participated, he composed a German mass, (German Mass: Kyrie God Father in Eternity), which stressed the German nation, and which also followed the Party line. During World War II, even during its final phase, Pepping was included in the Gottbegnadeten list of artists deemed crucial to the art of the Third Reich, and was therefore exempted from military service.

Pepping first wrote severe works with "uncompromising dissonance". In the 1930s he wrote more compromising music, including a in 1931, a setting not of the Order of Mass, but a series of chorales related to the functions in the liturgy of the service, comparable to Schubert's and in 1938 a German mass, (German Mass: Kyrie God Father in Eternity) for a six-part mixed choir. On October 30, 1943 his Symphony No.2 in F minor was performed to great acclaim by the Berlin Philharmonic orchestra, conducted by Wilhelm Furtwangler, in Berlin. Pepping composed no more church music until 1948, when he wrote the , possibly as a "personal plea".

Reimann was born in Berlin. He studied composition, counterpoint and piano at the Musikhochschule Berlin with Boris Blacher and Ernst Pepping, among others. During his studies, he worked as a repetiteur at the Städtische Oper. His first appearances as a pianist and accompanist were in 1957.

In 2017, remembering 500 years of the Reformation, the song was the title of a night of broadcasting by the Deutschlandfunk, focused on Luther's hymns and music derived of them. "Die beste Zeit im Jahr ist mein" was heard in settings by Ernst Pepping and Arnold Mendelssohn.

Born in Sperenberg, Stolte attended schools in Lübeck and Potsdam. She studied voice with Anneliese Buschmann in Rostock. With the Thomanerchor she started broadcasting in 1958 and recording of Bach cantatas in 1960. In 1958 she sang in the premiere of Te Deum by Ernst Pepping in Dresden.

In Munich he became involved in the youth movement reformed Hochschulgilde Werdandi. The association magazine Der deutsche Bursch of the appeared about this contact in the youth movement- oriented Bärenreiter publishing house.Karl Vötterle on Bärenreiter. Early on Vötterle published contemporary composers like Hugo Distler, Ernst Pepping and Willy Burkhard.

The ' (Mass Grant us peace) is a setting of the Latin Order of Mass by the Lutheran composer Ernst Pepping for unaccompanied choir (). The voices are divided from four-part choir SATB to two four-part choirs. Composed in 1948, the work was published by Bärenreiter in 1949.

Pepping composed no more church music until 1948, when he wrote the , possibly as a "personal plea". The musicologist Sven Hiemke who analyzed the work in a book on Pepping's mass compositions notes that the work can be understood as (confessional music) even if the composer would disagree.

Several motets and organ settings by Baroque composers are extant. Ernst Pepping used the hymn as the basis for his Partita for organ, No. 1, in 1953. Mauricio Kagel quoted the hymn in his oratorio Sankt-Bach-Passion telling Bach's life, composed for the tricentenary of Bach's birth in 1985.

Dieterich Buxtehude also wrote a chorale fantasia (BuxWV 223). In 1899 Max Reger composed an organ fantasy on "", the first of two, Zwei Choralphantasien, Op. 40. He also wrote in 1902 a chorale prelude, No. 49 in his collection of 52 Chorale Preludes, Op. 67. Ernst Pepping wrote in 1933 a partita, "'".

Charles Tomlinson Griffes wrote an organ piece in 1910. Sigfrid Karg-Elert included a setting as No. 23 of his 66 Chorale improvisations for organ, published in 1909. Ernst Pepping used it for the Gloria of his Deutsche Choralmesse, a six-part setting of 1928. Contemporary organ settings were written by Aivars Kalējs, among others.

Later composers of the chorale prelude include Johannes Brahms, for example in his Eleven Chorale Preludes, and Max Reger who composed many examples, including Wie schön leucht' uns der Morgenstern (based on the hymn by Philipp Nicolai). In the 20th century, important contributions to the genre were made by Hugo Distler and Ernst Pepping.

" In the opinion of George Martin, "At that stage 'Please Please Me' was a very dreary song. It was like a Roy Orbison number, very slow, bluesy vocals. It was obvious to me that it badly needed pepping up. I told them to bring it in next time and we'd have another go at it.

He received the composition award of the Mendelssohn Foundation. In 1929 his (Chorale suite) was first performed in Duisburg and well received. In 1934, Pepping accepted a position as teacher of harmony, and counterpoint at the of the Protestant in Spandau, where he lived until his death. Among his many students were Helmut Barbe and Erhard Egidi.

He is now recognized as "one of the most significant German composers of his generation". He is often associated with other German neo-Baroque choral composers, including Johann Nepomuk David, Ernst Pepping and Wolfgang Fortner.Strimple, p. 36 One of Distler's most prominent students, who carried on many of his rhythmic and harmonic innovations, was Jan Bender.

Rabenschlag was appointed church musician (Kantor) of der Paulinerkirche, the university church of Leipzig, in 1933, with the official title from 1939. He rediscovered medieval sacred choral music, performed Bach's oratorios and promoted the works of his contemporary Ernst Pepping. He was also director and conductor of the from 1947. In 1954, he was appointed professor of the Leipzig University.

The melody rises an octave in just two steps, in an uplifting way. Its "recitation tempo" is faster in the second half. Other songs in English sung to the same tune are "At the Lamb's High Feast We Sing", "Hail this joyful day's return" and "Come, O come with sacred lays". Ernst Pepping composed two chorale settings of the hymn for three voices for his Spandauer Chorbuch.

Ehmann focused on performing choral sacred music and pursued historically informed performance early, recording works by Dieterich Buxtehude, Heinrich Schütz and Johann Sebastian Bach, among others. He also conducted works by more recent composers such as Hugo Distler and Ernst Pepping. He founded the Westfälische Kantorei (Westphalian Chorale) which became known internationally. He published introductions to choral conducting, such as Die Chorführung in 1968.

Helmut Barbe (born 28 December 1927 in Halle) is a German composer. Barbe studied at the (Berliner Kirchenmusikschule) where he was taught by Gottfried Grote and Ernst Pepping. Between 1952 and 1975 he was the Cantor at the church in Berlin's Spandau quarter. After this he took a post as a professor at the Berlin University of the Arts in what was at that time East Berlin.

Erhard Egidi (23 April 1929 – 8 September 2014) was a German cantor, organist and composer of sacred music. He was Kantor at the Neustädter Kirche, Hannover, from 1972 to 1991, where he focused on music in church services, but also conducted concerts, with a preference for works of Johann Sebastian Bach and his own teacher Ernst Pepping. He was appointed Kirchenmusikdirektor (church music director), responsible for the church music of Hanover.

On the occasion of a trip to the Baltic States in 1932 he met Monika Hunnius in Riga. Kelletat received his doctorate in 1933 with the dissertation Zur Geschichte der deutschen Orgelmusik in der FrühklassikZur Geschichte der deutschen Orgelmusik in der Frühklassik on WorldCat and became assistant to Müller-Blattau. From 1934 on, Kelletat continued his studies (organ playing and improvisation) at the Kirchenmusikschule in Berlin-Spandau with Gerhard Schwarz, Herbert Schulze and Ernst Pepping.

Halldor and Eiki followed up their release of "Sexual Snowboarding" with another raw and funny look into their lives in the movie "Pepping", released free online in the fall of 2012. Late in 2013, Nike released their anticipated film Never Not, which Halldor Helgason was a part of. In December 2014, the brothers dropped yet another heavy free video called "NOTOBO". Halldor "sent it" again, dropping a heavy part with much "steez" in every trick.

Bach based in 1725 his chorale cantata Erhalt uns, Herr, bei deinem Wort, BWV 126, on the seven combined stanzas, retaining the text of stanzas 1, 3, 6 and 7 unchanged. Ernst Pepping composed a motet for men's chorus a cappella in 1957. Chorale preludes were written by Johann Pachelbel, Georg Böhm, and Hugo Distler, among others. Mauricio Kagel quoted the hymn in his oratorio Sankt-Bach-Passion telling Bach's life, composed for the tricentenary of Bach's birth in 1985.

El Camino Secreto (English title:The Secret Path) is a Mexican telenovela produced by Emilio Larrosa for Televisa in 1986. Daniela Romo and Salvador Pineda starred as the protagonists, while first actor Claudio Brook, Patsy Pepping and Mar Castro starred as the main antagonists. Leticia Calderón, Gabriela Rivero and Carlos Ancira co-starred in supporting roles, with Ancira receiving special billing. It was the last acting role for Carlos Ancira, eight months before his death from a brain tumor on October 10, 1987.

"'" (Ah how fleeting, ah how insubstantial) is a German Lutheran hymn with lyrics by Michael Franck, who published it with his own melody and a four-part setting in 1652. Johann Crüger's reworked version of the hymn tune was published in 1661. Several Baroque composers used the hymn, including Johann Sebastian Bach, who wrote a chorale cantata. It is part of the current Protestant hymnal Evangelisches Gesangbuch, and has also been used by 20th- century composers such as Ernst Pepping and Mauricio Kagel.

Cadenbach conceived and directed numerous interdisciplinary and cross-faculty artistic-scientific projects, symposia and congresses. Topics were the composer Dieter Schnebel (1990, 2000), Musicology in United Berlin (1991), Music and Visualization (1992), Walter Benjamin (1993), John Cage (1993), Friedrich Nietzsche (1994), Paul Hindemith (1995), Joseph Joachim (1995, 1997, 2007), surrealism and DADA (1998), Bohuslav Martinů (1999), Hermann Kretzschmar (1999), Beethoven (1996, 1999, 2001), Ernst Pepping (2001, 2006), Max Reger (2003, 2006), Richard Strauss (1999), Franz Schreker and his pupils (2003) and George Enescu (2005).

Kessler studied literature at the Universities of Zurich and Paris, followed by composition studies with Heinz Friedrich Hartig, Ernst Pepping and Boris Blacher at the Hochschule für Musik Berlin. In 1965 he founded his own electronic studio and became a member of the Gruppe Neue Musik Berlin. He encountered composers such as Luc Ferrari and Vinko Globokar. Later he was director of the Elektronik Beat Studio Berlin as well as director of music at the Centre Universitaire International de Formation et de Recherche Dramatiques in Nancy.

They had two children, Fenton Egbert who died of a brain tumor (1900–1910) and Mary Helen (1912–2011) in St. Louis, Missouri. Upon Alex Jr.'s death, Mary Helen Hubbard Strausz took her four- year-old daughter to Los Angeles, California and eventually remarried. Mary Helen Strausz married Louis Paul Crespi (1931), from the family of Father Crespí who built the California Missions with Father Junípero Serra, and had one child Shirley Louise Crespi (1932–2002). Shirley Louise Crespi married Kenneth Elden Pepping (1929–2012) and they had two daughters.

Students of the formed the base of the (Spandau chorale), a mixed choir which presented numerous concerts and radio broadcasts in Berlin. Notable teachers included composers Hugo Distler, Ernst Pepping, Winfried Radeke and Heinz Werner Zimmermann, his wife Renate Zimmermann, the organists Heinz Lohmann and Karl Hochreither, and the conductor Helmuth Rilling (until 1966). The last director was Martin Behrmann, who published a ' (manual for choral conducting). The school was suggested for university status in 1990 because of its excellent reputation, but instead it was dissolved in 1998 and became part of the Musikhochschule Berlin.

The choir was founded in 1946 by Helmut Kahlhöfer as the church choir of the Protestant reformed parish of the same name. Kahlhöfer was interested early in a small well-trained flexible group which could perform not only Baroque music but also earlier compositions from the 16th and 17th century. In 1957, the broadcaster Westdeutscher Rundfunk began a partnership with the choir which resulted in 123 recordings, from a single chorale to a contemporary oratorio by Ingo Schmitt, a dean of the Musikhochschule. The choir performed motets by Praetorius, Schütz, Bach, Mendelssohn, Brahms, Reger, Pepping and Dallapiccola, among others.

" After the film was shown at the Stockholm International Film Festival, movie critic Susanne Ljung wrote: "This film should be obligatory pepping for all young women! Women's shaky way to independence, both sexual and professional, is all too seldom portrayed as sensitively and penetratingly as in this film." The Dutch VPRO Cinema awarded the film three and a half stars out of five and wrote: "An independent production in the tradition of Sex, Lies & Videotape, [but] without this level being reached. The parallel between Helen and the film project being talked about is a bit too obvious.

Stephen Pepping is the club's most decorated player and some consider the greatest player to have ever played in Division 4. Chirnside Park have competed in the third division or the Eastern Football League since 2010. A league restructure (from four divisions to five divisions) by the Eastern Football League in 2019 moved Chirnside Park from division three to division four. This being the first year the club changed divisions since the inaugural Premiership in 2009 after it was decided the bottom six teams from division three would be relegated to make up the new division four.

Adrio was particularly active as an editor of Protestant church music works of the early baroque and baroque periods. He edited the St. Matthew Passion by Johann Georg Kühnhausen, worked on Johann Rudolph Ahle, Dietrich Buxtehude, Christoph Demantius, Johann Crüger, Melchior Franck, Tobias Michael, Johann Hermann Schein, Gottfried Heinrich Stölzel, Georg Philipp Telemann, but also on music of the 20th century, for example Ernst Pepping. In 1937, together with Helmuth Osthoff and Walter Serauky he published the Festschrift for his teacher Arnold Schering.Details according to DNB In the second half of the 20th century he wrote several essays in the Geschichte der evangelischen Kirchenmusik, which Friedrich Blume published in 1965.

Pepping was a composer who relied on Baroque models but first wrote severe works with "uncompromising dissonance". An able teacher with ties to the Confessing Church in the 1930s he wrote more compromising music and was "left alone" by the Nazis. He composed a in 1931, setting not the Order of Mass, but a series of chorales related to the functions in the liturgy of the mass, and thus comparable to Schubert's . In 1938, after a 1937 Church Music Festival in which he participated, he composed a German mass, (German Mass: Kyrie God Father in Eternity) for a six-part mixed choir, which stressed German, following the party line.

The Berlin Art Prize has been awarded since 1948 in commemoration of the March Revolution of 1848. The official name then, Berliner Kunstpreis – Jubiläumsstiftung 1848/1948 (Berlin Art Prize - 1848/1948 Jubilee Foundation), was used until 1969, the ceremony was held by the Mayor in the Charlottenburg Palace. The prize was planned to be awarded first on 18 March 1948 by the City Berlinale, to commemorate the March Revolution and the revolutionaries who fell for a new state (für einen neuen Staat gefallenen Revolutionäre). The first prize winners of 1948, shortly before the currency reform, who received awards of 10,000 Mark, were the sculptor Renée Sintenis and the composers Ernst Pepping and Wolfgang Fortner.

Born in St. Gallen, Frischknecht graduated from the Swiss Music Pedagogic Association after his school-leaving exams as a piano teacher (SMPV). From 1959 to 1962, he studied composition with Boris Blacher, counterpoint with Ernst Pepping, organ (final examination) with Michael Schneider and twelve-tone music with Josef Rufer at the Universität der Künste Berlin.Kürschners Musiker-Handbuch, 2006.Hans Eugen Frischknecht in der MusicSack-Datenbank From 1962 to 1964 he continued his training with Olivier Messiaen (courses in analysis), in organ with Gaston Litaize and in harpsichord with Robert Veyron-Lacroix at the Conservatoire de Paris. Until 1969, he studied music theory (teaching diploma) with Theo Hirsbrunner and Jörg Ewald Dähler at the Hochschule der Künste Bern.

St. Lamberti, Hildesheim, where he worked from 1954 to 1972 Born in Rheinsberg, he studied in Berlin at the Spandauer Kirchenmusikschule (Spandau academy of church music) with Gottfried Grote, Ernst Pepping and Herbert Schulze. He was cantor at St. Lamberti, Hildesheim from 1954. He included contemporary music, for example in 1957 a concert for Trinity Sunday with works including works by Johann Nepomuk David, Burkhard's Die Sintflut, and Pepping's setting of the Gospel for the Sunday, from the Gospel of John, and a setting of the Epistle, "O welch eine Tiefe des Reichtums". From 1972 Egidi was cantor at the Neustädter Kirche, Hannover, later appointed Kirchenmusikdirektor (church music director), responsible for the church music of Hanover.

Beyer was born in Berlin, the son of the author and art historian Oskar Beyer and his wife Margarete, née Löwenfeld. He spent his childhood in Dresden and on Crete, as well as in Athens and Liechtenstein and received his early training in music from his father."Beyer, Frank Michael", Baker’s Biographical Dictionary of Musicians 2001 From 1946 to 1949 he studied composition and church music at the Kirchenmusikschule Berlin, before going on to study the piano in Leipzig from 1950 to 1953. Beyer pursued his composition studies in Berlin under Ernst Pepping and 'virtuoso organ playing' under Joseph Ahrens at the Hochschule for Musik Berlin (now the Berlin University of the Arts). Johann Sebastian Bach and the Second Viennese School, especially Anton Webern, numbered among the composers who had the greatest influence on Beyer’s musical development.

Some musicologists have suggested that they were used as part of a seasonal cycle of liturgical readings, sung in place of the liturgical intonation or as an additional musical work to provide an exposition before the sermon. Motets which used the verbatim text of the Gospels may have been used to punctuate the recitation of the liturgy by the cantor or priest; at the point in the text where the motet setting began, the choir would take over, sing the motet and conclude the lesson. Alternatively they may have been related more to a tradition of exegetical and didactic practice to set out a narrative of Christ's life, thus being "attached to a broader base of devotional practice, rather than being confined to strict liturgical use", as Craig Westendorf has argued. Evangelienmotetten were still composed in the 20th century, for example by Ernst Pepping who wrote Drei Evangelienmotetten for choir a capella, including Jesus und Nikodemus, in 1937–38.