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Fritsch
Mr. Fritsch attended both the University and the Musikhochschule in Cologne from 1961-65, and studied musicology, sociology and philosophy at the former and viola and composition at the latter under Bernd Alois Zimmermann. During his studies, he was an assistant to many different orchestras, he participated in the competition at the Hochschule, 1963 and he participated in the artistic school examination for viola, 1965. In addition, he was a participant in the Internationalen Ferienkursen, Darmstadt and in the Kölner Kursen für Neue Musik.
From 1965-70 he taught music theory at the Konservatorium der Stadt Köln and from 1964-70 was violist in the Stockhausen Ensemble, giving numerous concert tours and making many radio and LP recordings, and also making an appearance at the 1970 Osaka World’s Fair. In 1966 he received the Förderpreis des Landes Nordrhein-Westfalen and in 1971 the Preis der Biennale Paris.
In 1976 he was awarded the Villa Massimo Rom, in 1977 the Förderpreis der Stadt Köln and the Kammermusikpreis der Stadt Braunschweig and in 1981 the Robert-Schumann-Preis der Stadt Düsseldorf.
In 1970 he founded the Feedback Studio Köln, together with Rolf Gehlhaar and David Johnson, and in 1971 he founded the Feedback Studio Verlag, which was the first German publishing house run by composers. He then served as editor of the Feedback Papers.
From 1974-98 he was on the board of the Institut für Neue Musik and Musikerziehung Darmstadt and in 1979, 1982, 1984, and 1986 was the organizer of the WELTMUSIK-Kongresse in Vlotho (together with the Landesarbeitsgemeinschaft Musik, Ostwestfalen-Lippe and Westdeutschen Rundfunk). From 1971-84 he was the director of a composition class and the Seminar für Neue Musik at the Akademie für Tonkunst, Darmstadt, and simultaneously taught universal harmonics and media aesthetics at the Musikhochschule Köln. He was a lecturer at the Internationalen Ferienkursen für Neue Musik, Darmstadt, in 1974, 1984 and 1986. Since 1984 he has been Professor für Komposition at the Staatlichen Hochschule für Musik Köln.
In addition to the works listed below, since 1967 Mr. Fritsch has composed incidental music for theatres in Berlin, Bonn, Cologne, Düsseldorf, Frankfurt, Hamburg, Heidelberg, Karlsruhe, Kassel, Munich, Nuremberg, Stuttgart, Wuppertal, and others. Among the playwrights whose plays he has composed music for are Beckett, Brecht, Bruckner, Büchner, Gatti, Handke, Hauptmann, Jahnn, Rudkin, Sartre, Schiller, Shakespeare, Sternheim, Strauss, Strindberg, Wilde, and Williams.
CONTACT INFORMATION
Street address: Mr. Johannes Fritsch, Feedback Studio, Genter Str. 23, 50672 Köln, Germany
Telephone: + 49 221 527 763
Fax: + 49 221 510 4139
Website: http://genterstr.hypermart.net/f_comps/fritsch.html (German only)
COMPLETE LIST OF WORKS
STAGE: Die Regel war Unabänderlich – Ein Requiem (ballet, choreography by Jochen Ulrich), tape, 1975-76; Der Grosse Gesang (ballet, scenario by Pablo Neruda, choreography by Jochen Ulrich), speaker, mezzo-soprano, countertenor, guitar, trombone, amplified percussion, tape, 1979-80 (also arranged for concert performance); Litanei, actor, bass drum, tape, 1994; Aschenbrödel (2 act opera, libretto by Robert Walser), 1989-95; Grosse Litanei, actor, bass drum, flute (+ speaking), percussion (+ speaking), celesta, 2 computer-generated self-playing pianos, live electronics, 1999
ORCHESTRAL: Concerto da camera, violin (with microphone, contact microphone), 12 strings, 1964; Konzert, trumpet, orchestra, 1975; Kreuzgänge, 1983; Konzert, cello, orchestra, 1985; Passacaglia, large symphonic wind band, 1993; Herbstlicht (zwei Szenen), 1994-95; Konzertstück, 2 percussion, orchestra, 1999
CHAMBER MUSIC: Nachtmusik, violin, viola, cello, double bass, 1963; 1. Klaviertrio, 1964; Modulation 1, violin, viola, cello, double bass, piano, 1966; Concerto battuto, percussion, 3 string trios, double bass, 1967; September 70 (grand quartet after Friedrich Kuhlau), 4 flutes (2 female performers, 2 male performers), piano, 1970; Sul G (Oktober 70), flute, piano, 1970; Violectra (live electronic improvisation), viola d’amore, synthesizer, 1971; Sul B, cello (specially tuned), piano, 1972; Cello Duo, 1983; Streichquintett, 1984; Musik für Sankt Georg, double bass, 10 glass chimes, 10 Eisenbleche (instruments by Volker Staub), organ, 1985; 2. Klaviertrio, 1985; Cello Duo II, 1987; X ’88, viola, cello, double bass, 1988; Quartett, flute, 2 pianos, percussion, 1989; Trio, bass clarinet, double bass, piano, 1990; Noël für 3 Flöten, large flute (+ G-alto flute, bass flute), 1990; Wandlung (1), alto flute, bass clarinet, 1990; Quintett, alto flute, bass clarinet, viola, cello, piano, 1991; Das Bittersüsse Büchlein, oboe, accordion, double bass, 1992; Play VII, 12-24 wooden flutes, 2 anklungs, zither, 1993; VIII ’94, alto flute, temple bell, 1994; Trio, clarinet, 2 celli, 1996; Modulay für Ugly Culture, saxophone, guitar, double bass, 1996; Nachthelle, viola, cello, double bass, analog synthesizer, 1997; Transformationen, 8-10 double basses, 1997; Fremdes Lied, bass clarinet (+ soprano saxophone), hurdy-gurdy, 1997; Quintett, alto flute, bass clarinet, violin, cello, harp, 1998; Ess am Tiez, flute, oboe, English horn, clarinet, bass clarinet, bassoon, 1998; Piazza Celestina, celesta, 1999; Streichquintett, 2 violins, viola, 2 celli, 1999; Monophonie-Varianten, 3 or 4 wind instruments, 1999; Zeit, clock, 2000; 12’99-01’00, trombone, percussion, 2000; Quintet, English horn, B-flat clarinet, double bass, piano, percussion, 2000; Sonett, violin, piano, 2000; Tubae, 2 bass tubas, 2000
CHORAL: Versöhnung (text by Rose Ausländer), mixed chorus, alto flute, bass clarinet, double bass, percussion, 1981; Laudate Dominum, 5 voices, string quintet ad libitum, 1982; Epigraph (ein Grabstein für Igor Strawinsky), 5 voices, bass drum, 1982; Nagori, shamisen, voices, 1987; Prediger 3, 4, 4-part women’s/boy’s chorus, 1994
VOCAL: Bestandteile des Vorüber (text by Max Bense), soprano, bassoon, bass clarinet, French horn, trombone, bass trombone, bass tuba, 3 double basses, 1962; Filigranfalter, high voice (countertenor), 12 strings, 1963; Von anderen Planeten (text by Antoine de Saint-Exupéry), speaker, shakuhachi, orchestra, 1976; Fragmente über den Tod (text by M.A. Bustos), speaker, soprano, viola, cello, piano, 1982; Der rote Ahorn (text from Chinese fairy tales), speaker, percussion, 1983; De profundis, soprano, countertenor, alto flute, bass clarinet, 2 trombones, 2 percussion, cello, double bass, organ, 1987; Hohes Lied, mezzo-soprano, countertenor, alto flute, A-clarinet, trombone, 3 tree trunks, 1988 (also arranged for mezzo-soprano, countertenor, clarinet, organ, tree trunks); Wandlung (2), bass, alto flute, 1991; Trio vom Ende (text by Samuel Beckett), bass, alto flute, percussion, 1992; Magnificat, mezzo-soprano, countertenor, bass, alto flute, bass clarinet, viola, cello, double bass, percussion, 1995; Traum (4 Lieder, text by Federico García Lorca), speaker, soprano, English horn, French horn, cello, piano, 1998; Litanei II, flute (+ speaking)/percussion (+ speaking), 1999 (also arranged for flute [+ speaking], percussion [+ speaking]); III. ’99, soprano, percussion, 1999
PIANO: Ikonen, 3 pianos, 1964; 1. Klavierstück, 1969; Klavierstück 2, prepared piano, 1978 (also arranged for 2 pianos as Klavierstück 22, 1990); Yesterday, 1991; Klavierstück 3, 1992; Klavierstück IV, 1998
ORGAN: Übersetzung von Emotion in Proportion, 1973 (collaboration with sculptor Rudolf Knubel); IX’99X, 1999
FILM SCORES (DIRECTOR): Augenblicke, 1972 (Ottomar Domnick); Goethes Wilhelm Meister, 1978 (R. Baumgart, M. Mrakitsch); Skyline, 1978 (Volker Landsberg)
ELECTROACOUSTIC: Duett für Bratsche, viola, tape, 1961; Madrigal triste (after Charles Baudelaire), oboe, tape, 1963; Fabula rasa, 4-track tape, 1964; Partita, viola, contact microphones, magnetophones, filters, regulators (4 players), 1965-66; Modulation 2, 13 instruments, live electronics, tape, 1967; Akroasis, jazzband, 2 singers, barrel organ, music box, news anchor, large orchestra, live electronics, 1966-68; Modulation IV, 4-track tape, 1968; Lied, voice (+ piano), live electronics, 1969-70 (graphic score); Schnitte, tape, 1971; Radiostück 1 (text by A. Gatti), tape, 1971; Musica mundana, tape, 1973; Hochtöner, flute, viola, percussion, synthesizer, tape, 1974; Mattina romana (Originaltonstudie), tape, 1976; Run Tits, tape, 1977; Trio, viola, trombone, piano, ring modulator, 1977; Die Hugenotten (Konzert), violin, cimbalom, orchestra, tape, 1978; Der Grosse Gesang (text by Pablo Neruda), speaker, mezzo-soprano, countertenor, guitar, trombone, amplified percussion, tape, 1979-80 (arrangement of ballet); Ode, percussion, electronics, tape, 1980; Flute Klang, alto flute, delay system, 1981; Kyo-Mu, shakuhachi/alto flute/tenor recorder, tape, 1982; Testament Vivier, wind quintet, piano, tape, 1983; Wolfsklänge, violin, piano, 2 celli, tape, 1991; Damals (text by Samuel Beckett), speaker (on tape), organ, 1992; Trio, saxophone, guitar, double bass, electronics, 1993; RM’96, alto flute, cello, piano, ring modulator, 1996; Infra, low sounds, SPX 900 ad libitum, 1998; Haikai, 2 bass clarinets, percussion, tape, 1998; Kernspin, percussion, tape, 2000
(Last updated on June 30, 2001)
