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Wolfgang Fortner

A respected German composer and instructor, Wolfgang Fortner wrote in a distinctive serialist design that preserved components of continuity produced from Baroque and folk melody procedures. He started his musical education in the original Leipzig way (established with the Protestant cathedral) by learning organ, structure, and musicology on the conservatory. His initial compositions — a Toccata and Fugue for body organ (1927), an orchestral Collection after Sweelinck (1930), Fragment Mariae, a chamber cantata for soprano and eight equipment (1930), as well as the String Quartet No. 1 (1930) — present the impact of Baroque formality and spiritual elements. In functions from the ’30s, the impact of composers Hindemith and Stravinsky would also arrive towards the fore. Fortner trained on the Heidelberg Institute of Cathedral Music from 1931 and founded the Heidelberg Chamber Orchestra in 1935. During this time period, Fortner penned many spiritual functions, including Drei Geistliche Gesänge (Three Holy Music on text messages from Claudius, Verlaine, as well as the Bible) for the cappella choir (1932), Eine Deutsche Liedmesse (A German Melody Mass) (1934), and Psalm XLVI (1934). There have been also chamber orchestra parts, like the Concertino for Viola and Orchestra (1934) and a Concerto for Strings (1933). Smaller sized functions included the Preambel und Fuge for body organ (1932), a Suite for violoncello (1932), and a Piano Sonatina (1932). Following the battle, Fortner founded the Musica Viva concerts in 1947, which presented many contemporary functions. Fortner started teaching twelve-tone structure at the well-known Darmstadt summer classes in 1946; his learners included Hans Werner Henze and B.A. Zimmermann. Fortner’s very own music veered toward embracing the formalism of serialist techniques; he changed melody with unifying patterns or isorhythms and arranged the variables of pitch and amplitude dynamics regarding to reasonable means. Fortner’s postwar stage functions are the ballet, Pass away Weisse Rose (The Light Rose), after Wilde’s The Birthday from the Infanta (1950), as well as the pantomime Pass away Witwe von Ephesus (The Widow of Ephesus) (1953). One of is own most powerful functions may be the opera Die Bluthochzeit (The Bloodstream Wedding ceremony) (1957), predicated on Federico Garcia Lorca’s text message. Fortner place another text message by Lorca in the chamber opera in four moments In Seinem Garten Liebt Don Perlimplin Belisa. This function is notable because of its wide variety of amazingly orchestrated timbres and simple dramatic advancement. Fortner found brand-new expressiveness in serial methods by applying these to spiritual music in the oratorio picture Isaaks Opferung, for alto, tenor, bass solos, and 40 equipment (1952), The Creation on the text message by J.W. Johnson for mezzo soprano, baritone, and orchestra (1955), and Pass away Pfingsgeschichte (THE STORYPLOT from the Pentecost) after passages in St. Luke for voices, little orchestra, and body organ (1963). From 1957 until 1972, Fortner was a teacher on the Freiburg Musikhochschule. He was also leader from the German portion of the ICSM (1957), mind from the music portion of the Berlin Academy of Arts, and an associate from the Bavarian Academy of Great Arts. His many honours are the Schreker Award of Berlin (1948) as well as the Bach Award of Hamburg (1960).

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