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Arthur Fickénscher

Arthur Fickénscher was an American composer owned by the era of Ives and Ruggles. Like Ives, Fickénscher worried himself with exploration in neuro-scientific microtonality. Being a youngsters, Fickénscher examined music abroad in Munich with Ludwig Thuille and Josef Rheinberger. Having finished his span of research in 1896, Fickénscher used residence in SAN FRANCISCO BAY AREA and worked mainly being a piano accompanist — viewed one of the better available; Fickénscher toured with this capability with such performers as David Bispham, Ernestine Schumann-Heink, and Amalie Materna. Fickénscher wedded the vocalist Edith Cruzan in 1901. Furthermore to his are an accompanist, Fickénscher worked well like a vocal trainer and conductor, and made an appearance in single recitals through the entire USA. In 1911 Fickénscher founded a studio room for vocal research in Berlin; nevertheless, the outbreak of battle forced his go back to america three years later on. In 1920, Fickénscher was called music department mind at the University or college of Virginia, a post he kept until his pension in 1941. At Virginia he participated as conductor and organizer from the McIntire concerts series, which brought him into connection with lots of the musical lamps of your day, including cellist Pablo Casals, violinist Jascha Heifetz, vocalist Rosa Ponselle, while others. Fickénscher started to use microtonal tunings in the 1890s; virtually most of Fickénscher’s pre-1906 musical functions were damaged in the SAN FRANCISCO BAY AREA earthquake and open fire that yr. Fickénscher later on summarized the outcomes of his early tests in two string quintets, the Evolutionary Quintet and From your Seventh World (1939). Composer Percy Grainger acclaimed the second option are “exclusive in its suffered, rapturous mood, as well as the most religious music created at any period because of this mixture.” In Germany in 1912, Fickénscher copyrighted the first edition of his microtonal key pad, the polytone. Fickénscher used in 1941 for a fresh polytone patent; this three-manual device could play 60 shades towards the octave, and was with the capacity of making “100 % pure” intervals of fourths and fifths in just-intonation. The improved polytone Fickénscher built-in 1941 still is available at the School of Virginia, together with his documents and artifacts. Fickénscher’s making it through output includes many orchestral functions, ranging from melody cycles to symphonic poems like the Day of Wisdom (1927) and Variants on a style within a Medieval Design (1931). Fickénscher also constructed sacred music, chamber functions, songs and many pieces specifically constructed for the polytone. Quickly before his loss of life at age group 83, Fickénscher produced limited model recordings of In the Seventh World and his melody routine Willowwood (1910) for the short-lived San Francisco-based Music Library Recordings imprint.

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