25 WELL KNOWN HEBERLE(Includes up to Papers 2011-08)

25 WELL KNOWN HEBERLE(includes up to Papers 2011-08)

Notes to use in compiling new webpage

Notes for:

Antoine

Anton

Erwin

Hans

Heberle Disposal

Joachim

Juergen

Kay

Klaus Hinrich

Patricia

Ron

Rudolf

Viviane Maria

Notes needed for:

Aldayr

David T

Gaestehaus Heberle

Gunter

Heberle Elementary

Heberle Ford

Heberle Stables

Isabelle Lucie

JM (Johann Mathias)

Heberle Meat Packing

Philippe Louis

Antoine Heberle

Filmography:
2009 Mademoiselle Chambon
2007 Last Stop 174
2007 Jellyfish
2005 Paradise Now
2003 No Rest for the Brave
2003 Mille Mois
2002 La Repentie
2001 The Girl From Paris
2000 Under the Sand
2000 Love Me
1999 Peau Neuve
1998 For Sale
1994 L'Incruste
1994 Paix et Amour
1993 Les Gens Normaux N'ont Rien d'exceptionnel
1993 O Fim Do Mundo

FILM

Jellyfish (2007)Role: Director of Photography

Last Stop 174 (2007)Role: Director of Photography

Paradise Now (2005)Role: Director of Photography

A Thousand Months (2003)Role: Director of Photography

The Repentant (2002)Role: Director of Photography

The Girl From Paris (2001)Role: Director of Photography

Under the Sand (2000)Role: Director of Photography

Love Me (2000)Role: Director of Photography

Peau Neuve (1999)Role: Director of Photography

For Sale (1998)Role: Director of Photography

Peace and Love (1994)Role: Director of Photography

Infiltrate (1994)Role: Director of Photography

O Fim Do Mundo (1993)Role: Director of Photography

There's Nothing Special About Normal People (1993)Role: Director of Photography

Un Monde sans pitie (1989)Role: Assistant Director

Moving the ArtsRole: Director of Photography

Land of OblivionRole: Director of Photography

TELEVISION

C'Etait Lady Day (1999)Role: Camera Operator

ULTIMA PARADE 174 / 2008 / BRUNO BARRETO / Drama / Director Of Photography
HIRONDELLE A FAIT LE PRINTEMPS, UNE / 2001 / CHRISTIAN CARION / Director Of Photography
PEAU NEUVE / 1999 / EMILIE DELEUZE / Director Of Photography
VOICI VENU LE TEMPS / 2005 / ALAIN GUIRAUDIE / Drama / Director Of Photography
NEW YOKER, LE / 1998 / BENOIT GRAFFIN / Director Of Photography
REPENTIE, LA / 2002 / LAETITIA MASSON / Director Of Photography
PAIX ET AMOUR / 1994 / LAURENCE FERREIRA BARBOSA / Television film / Director Of Photography
COUPABLE / 2008 / LAETITIA MASSON / Drama / Director Of Photography
CADEAU D'ELENA, LE / 2004 / FREDERIC GRAZIANI / Drama / Director Of Photography
SOUS LE SABLE / 2000 / FRANCOIS OZON / Director Of Photography
MILLE MOIS / 2003 / FAOUZI BENSAIDI / Drama / Director Of Photography
MADEMOISELLE CHAMBON / 2009 / STEPHANE BRIZE / Drama / Director Of Photography
LOVE ME / 2000 / LAETITIA MASSON / Director Of Photography
PAS DE REPOS POUR LES BRAVES / 2003 / ALAIN GUIRAUDIE / Drama / Director Of Photography
CHICAS / 2010 / YASMINA REZA / Drama / Director Of Photography
MEDUZOT / 2007 / ETGAR KERET / Comedy Drama / Director Of Photography
AL-JENNA-AN / 2005 / HANY ABU-ASSAD / Drama / Director Of Photography
FIM DO MUNDO -A TERRA, O / 1993 / JOAO MARIO GRILO / Director Of Photography
DU SOLEIL POUR LES GUEUX / 2001 / ALAIN GUIRAUDIE / Director Of Photography
A VENDRE / 1998 / LAETITIA MASSON / Director Of Photography
GENS NORMAUX N'ONT RIEN D'EXCEPTIONNEL, LES / 1993 / LAURENCE FERREIRA BARBOSA / Director Of Photography
INCRUSTE, L' / 1994 / EMILIE DELEUZE / Television film / Director Of Photography.

Quelques heures de printemps (2011)

Land of Oblivion (2011)

La Brindille (2010)

Chicas (2009)

Anton HeberleRecorder Home Page

Instrument of Torture or Instrument of Music?

by Nicholas S. Lander

Repertoire

The recorder can justly lay claim to an enormous repertoire extending from the eleventh century to the present day. Its use for medieval song accompaniments, dance tunes and instrumental part-music is well established. A choir of recorders of various sizes is an obvious choice for exploring the wealth of renaissance ensemble works, be they arrangements of vocal pieces, dances or other instrumental music. And a single recorder is invaluable as a member of an ensemble of mixed instruments. Medieval and renaissance music suitable for recorder has been usefully surveyed by Rowland-Jones (1995a). 17th -century music appropriate for recorders has been the subject of articles by Heyghen (in Lasocki 1995a: 3-63), Kuijken (in Lasocki 1995: 197-202), Lasocki (in Lasocki 1995a: 203-210), Kuijken & Lasocki (in Lasocki 1995a: 211-21), and Lasocki (1995c).

The first pieces for csakan or flûte douce were composed and published by Anton Heberle (the instrument's inventor) in 1807. Heberle's published works include 8 volumes of light pieces, a fantasy, a sonata, a Sonata Brillante (all solo works), two volumes of small duets, a concertino with string trio and two horns, and a set of variations with string quartet and two horns. Heberle's example was rapidly imitated by numerous Viennese composers of the day

Mot slutet

Compiled by Nicholas S. Lander & Christopher Short

Greensleeves

Philips 464 361-2

Hexentanz & Vogelgesang: Blockflötenmusik aus fünf Jahrhunderten

Self published

Recorder Concertos

Philips 420 243-2

Recorder Graffiti

Intim Musik IMCD 012

The Virtuoso Recorder

RCA Victor Red Seal RD87749

Indeed, the 19th-century amateur musician could play decidedly romantic music on different types of duct flute, depending on where he was. In Paris the flageolet, the galoubet, or even the flûte harmonique, in London the patent single, double or even triple flageolet, in Vienna the Wiener flageolet, csakan or flûte douce. The last was simply a recorder, like those made by the Walsh family. Indeed, an illustrated catalogue from the Markneukirchen firm of Kämpffe from ca 1835 includes a baroque style recorder and cleaning mop (repr. Betz 1992: 38). Of the others, only the csakan need concern us here since it was possessed of an octaving vent (thumbhole) and holes for seven fingers; the remainder lacked a thumbhole and, like the flute, had holes for only six fingers.

The csakan, in effect a keyed recorder, first appeared around 1807 in Vienna and was probably the invention of Anton Heberle. Initially the instrument was equipped with a d# key (as on the older transverse flute) and had a range of 2 octaves and a fifth corresponding to the notation c'-g''' but sounding ab'-eb'''', which is to say that the csakan was considered a transposing instrument in ab. By ca 1820, instrument manufacturers provided csakan modelled after other woodwind such as the oboe and clarinet. Thus the csakan sprouted additional keys for g#, f, f#, bb, a b/c trill key, a low c# ... Some csakans had up to ten keys and a range extending to a sounding g' thanks to an extended key. A

Czakan, also, at the time, called flûte douce, an early keyed recorder popular in nineteenth-century Vienna, invented by Anton Heberle. Heberle's published works for csakan include 8 volumes of light pieces, a fantasy, a sonata, a Sonata Brillante (all solo works), two volumes of small duets, a concertino with string trio and two horns, and a set of variations with string quartet and two horns.

Anton Heberle (Ende 18. Jh. - Mitte 19. Jh.) gilt als Erfinder des Csakan (auch als "Czakan" benannt), der sog. Stock-Flöte. Leider wissen wir so gut wie nichts über sein Leben. Zu seinem kompositorischen Schaffen gehörten u.a.:

Heberle spielte bei der ersten bekannten Verwendung der Stockflöte in einem Konzert am 18. Februar 1807 in Pest dieses Instrument, und wurde in Konzertankündigungen ab 1810 auch als Erfinder des Instruments bezeichnet. 1807 erschien seine Scala für den Ungarischen Csakan, und Heberle war auch der erste, der Kompositionen für den Csakan veröffentlichte.

Über sein Leben liegen kaum gesicherte Daten vor. Nach den Ergebnissen einer privaten Ahnenforschung[2] lebte er von 1807 bis 1811 in Wien. Um 1812 ließ er sich in Ungarn nieder und wurde 1813 Mitglied der Freimaurerloge von Laibach.[1]

Eine Reihe von Heberles Werken wurde in jüngerer Zeit u.a. von der Blockflötistin Michala Petri herausgegeben und eingespielt.

Zu seinem kompositorischen Schaffen gehören u.a.:

Konzert in G-Dur für Blockflöte, Streichorchester und 2 Hörner ad lib.
8 Bände leichter Stücke für die Blockflöte (Csakan)
Fantaisie (1808) für Sopranblockflöte
Sonate (1808) für Sopranblockflöte
Sonate Brillante (1810) für Sopranblockflöte
Zwei Bände kurzer Duette
ein Concertino für Streichertrio und zwei Hörner
einige Variationen für Streichquartett und zwei Hörner
Acht leichte Märsche für 2 Sopranblockflöten
Dreizehn Ländler für Sopranblockflöte
3 Petites Pièces (1807) für Sopranblockflöte

Prof. Erwin Heberle-Bors

Education:

/ PhD, 1981, Free University of Berlin, Germany

Position:

/ Professor and Section Leader
Section of Developmental Genetics and Biotechnology
University of Vienna, Austria

Research interests:

/ Molecular mechanisms of plant development and of the interaction of plants with their physical and biotic environment. In particular:
/ Signal transduction by protein kinases
/ Pollen development
/ Plant cell cycle
/ Totipotency
/ Pollen transformation and the regeneration of haploid plants from pollen.

Selected publications:

Wilson C, Heberle-Bors E (2000) MAP kinases in pollen. In: MAP kinases in plant signal transduction (H. Hirt, ed.), Springer-Verlag, Berlin Heidelberg New York, pp. 39-51.
Jérôme Joubès, Christian Chevalier, Denes Dudits, Erwin Heberle-Bors, Dirk Inzé, Masaaki Umeda, and Jean-Pierre Renaudin. (2000?) CDK-related protein kinases in plants. Plant Mol Biol. 43:607-620.
Bögre L, Meskiene I, Heberle-Bors E, Hirt H (2000) Stressing the role of MAP kinases in mitogenic stimulation. Plant Mol Biol 43:705-718.
Touraev A, Tashpulatov A, Indrianto A Katholnigg H, Barinova I, Voronin V, Akimcheva S, Ribarits A. Zhexembekova M, and Heberle-Bors E (2000) Fundamental aspects of microspore embryogenesis induction. In "Biotechnological Approaches for Utilization of Gametic Cells - COST824 (B. Bohanec, Ed.), pp. 205-214, Brussels.
Heberle-Bors E (2001) Cyclin-dependent protein kinases, mitogen-activated protein kinases and the plant cell cycle. Current Science 80: 225-232.
Touraev, A., Pfosser, M., Heberle-Bors, E. (2001). Microspores- a haploid multipurpose cell. In: "Advances in Botanical Research, in press
Heberle-Bors E, Calderini O, Voronin V, and Wilson C (2001) Signal transduction by mitogen-activated protein kinases (MAPKs). IN: Signal transduction in plants (Sopory S., ed.) Kluwer Academic/Plenum Press, in press.
Heberle-Bors E, Voronin V, Touraev A, Sanchez Testillano P, Risueño MC, & Wilson C. MAP kinase signaling during pollen development. Sex Plant Reprod., in press.

INDRIANTO A, BARINOVA A, TOURAEV A, HEBERLE-BORS E (2001) Tracking individual wheat microspores in vitro: identification of embryogenic microspores and body axis formation in the embryo. Planta 212: 163-174.
VORONIN, V., TOURAEV, A., KIEFT, H., VAN LAMMEREN, A., HEBERLE-BORS, E., WILSON, C. (2001) Temporal and tissue-specific expression of the tobacco ntf4 MAP kinase. Plant Mol. Biol. (in press)
CALDERINI, O., GLAB, N., BERGOUNIOUX, C., HEBERLE-BORS, E., WILSON C. (2001) A novel tobacco MAP kinase kinase, NtMEK1, activates the cell cycle-regulated p43Ntf6 MAP kinase. J. Biol. Chem 276, 18139-18145.

Patents

HEBERLE-BORS, E., BENITO MORENO, R.M., ALWEN, A. (1988) Verfahren zum Gentransfer in Pflanzen. Patentschrift des Patentamts der Republik Österreich Nr. 388 384 B. Europäische Patentanmeldung, Veröffentlichungsnummer: 0 301 316 A2.
HEBERLE-BORS E, BENITO MORENO RM, ALWEN A, TOURAJEW A, STÖGER EM (1998) Method for producing seeds and plants thereof involving an in vitro step. Assigne: MOGEN International nv, Netherlands. United States Patent No. 5,840,557, Nov. 24, 1998.
HEBERLE-BORS E; BÖGRE L, WEINGARTNER M (1999) Method modifying plant metabolism, morphology and development. United States Patent Application, march 1999. Assigne: CropDesign CV, Belgium.

well as descriptions of personal experiences and observations are confined by the absorbing account of the war. The selective choice of topics and the more or less complete lack of affective moments can also be explained by analyzing Heberle's writing technique. Judging from the content and formal aspects of the manuscript, the author worked on his chronicle at a considerable distance from the events. Since it is a rare example of a chronicle describing the 30 Years War from a rural perspective, the "Zeytregister" of Hans Heberle, a shoemaker from Neenstetten, is one of the best known egodocuments of the 17th century. The following essay aims to ascertain the possibilities and limits of historical understanding by taking this prominent example and testing different approaches. One of the conclusions is that it is not so much the explicit statements in an

egodocument that inform us about the individual disposition of the author. It is, on the contrary, the tendency to construct and remodel individual experience and the thus created tensions with the discursive arrangement. Methodological ideas, using an interdisciplinary combination of literary and historical approaches, follow.

the 30 Years War lasted from 1618 - 1648, leaving a devastated Central Europe. Presumably, the resulting decline of wealth and of civilized life in Germany has had a detrimental influence on the subsequent history of the region. The advent of the first year of this cataclysmic war was heralded by a threatening comet in November 1618, seen by many European and Far Eastern observers. This ominous event is mentioned, along with other astronomical portents that occurred throughout the war, on the web site:

The web site, that I stumbled on, quotes a contemporary author, Hans Heberle, who wrote in his ZEYTREGISTER: "But what gave me cause and occasion to write this booklet, it is as follows: Anno Domini 1618 a great comet appeared in the fall in and about November. Its sight was terrible and amazing and moved my soul, so that I began to write because I thought this must mean and bring to pass something great as indeed has happened and as the reader will find reported sufficiently herein."
Although three comets are mentioned for 1618, beginning in August, it is not clear to me from Yeomans, COMETS, whether these are considered to be simply three appearances of the same comet? In view of Heberle's reaction to it,
it must have been very large in the sky: Its tail measured 104 degrees. Was it particularly close to Earth so that there might have been some influence on terrestrial events? Is there anything known concerning historical fall-out (in more than one sense perhaps)?
Continuing with my translation from the above web site: "Again and again Heberle [in his autobiographical account of the 30 Years War] notes miraculous portents in the heavens, rains of blood, flames of fire, which terrified people in those days. Hardly a chronicle of the times would have failed to describe the comet of 1618, and as a signal of the entry into the war by [Swedish King] Gustav Adolf 1630

"Zeytregister" des Ulmer Chronisten Hans Heberle (1597-1677), in: zeitenblicke 1 (2002), Nr. 2.

The "Zeytregister" of Hans Heberle, a farmer and artisan from the Ulm area, is an exceptional testimony of a 17th century author with a rural background. By combining personal experiences and the description of war actions, Heberle's mental horizon reaches far beyond the narrow perspective of management and housekeeping. Taking into account the intention and practice of writing, the possibilities of using this source as an egodocument, i.e. for a closer view on the individual, are relativised. Notes on family members concerning mainly their birth and death, as well as descriptions of personal experiences and observations are confined by the absorbing account of the war. The selective choice of topics and the more or less complete lack of affective moments can also be explained by analyzing Heberle's writing technique. Judging from the content and formal aspects of the manuscript, the author worked on his chronicle at a considerable distance from the events.

RUTH-E. MOHRMANN
Everyday Life in War and Peace

"Hunted like the animals of the forest"
"The cause and occasion of my writing this small book is as follows: In the autumn month of November, Anno Domini 1618 a huge comet appeared in the sky. To see such a thing is terrible and amazing and stirred me to take up pen, certain as I was it portended some great event which indeed then came to pass and about which the reader will find ample report here within." [1]
So begins one of the most fascinating contemporary accounts of the Thirty Years War, the "Zeytregister" or chronicle of Hans Heberle, a bonded shoemaker from the small town of Neenstetten, 16 km to the north east of Ulm on the Swabian Alb. Prior to the celebration of peace and thanksgiving in Ulm on 18 November 1648, Hans Heberle repeatedly took flight to the safety of Ulm's city walls, to the woods and forests or to other hamlets and villages with wife, child, livestock, goods and chattels. The chronicler and his family celebrated the peace celebrations in Ulm "with the unshakeable conviction usually reserved for the birth of Christ" and he summed up the foregoing three decades as follows: "In summa such a wretched business might mercifully have been spared a stone to say nothing of a human heart. We have been hunted like the animals of the forest. One of our number was seized and received horrible blows, the next beaten and stabbed, a third even shot dead, while yet another was stripped and robbed of his meagre portion of bread and garments. Wherefore we cannot praise and magnify God enough for the noble peace to which we are witness. For all that we endured during the 30 flights to the city of Ulm alone. One took place in a pitch-dark night and the severest of weather, the other in snow and bitter cold, the third in peril of the soldiers such that we were dispossessed of our last poor belongings on the way, and even of life and limb." [2]
While seventeenth century autobiographical records are hardly representative, certain episodes in Hans Haberle's life nonetheless have an exemplary character. Only two of his ten children outlived him and one of his daughters who also witnessed the end of the great war died in childbed. His parents, four siblings and two of his children fell prey to the great plague of 1634/35. Hans Haberle died in 1677 almost eighty years of age having achieved a modest degree of prosperity as a craftsman and small farmer. And yet "misery and dearth, hunger and death" (1634) - the workaday monotony of years of war - neither robbed the chronicler of his faith in God nor of his sense of humour. Time and again he noted the miraculous signs in the heavens, the rains of blood and flames of fire which filled his contemporaries with terror and dread. Nearly all the chronicles of the period refer to the comet of 1618 and the battle of two warring armies in the firmament in 1630 foretelling the arrival of Gustav Adolf.

Refugees were obliged to register and to pay for the protection of "wife, children, horse and cattle". If the town was overfilled, the council required the rural population to return home under threat of financial penalties as happened to Hans Heberle in Ulm in the middle of the winter of 1643. [11]

1634: Ein Schuhmacher im Dreißigjährigen Krieg

Tod, physische und psychische Verletzungen, Angst, Vertreibung, Flucht, Elend - das sind Begriffe, die wir mit dem Krieg in Verbindung bringen. Und dies nicht erst seit den Weltkriegen des 20. Jahrhunderts.