Fodi, John, Hungarian-born Canadian composer; b. Nagyteval, March 22, 1944. He emigrated to Canada from Germany with his family in 1951, becoming a naturalized Canadian citizen in 1961. He studied theory and composition with Betts in Hamilton (1964–66), composition with Weinzweig and Beckwith and electronic music with Ciamaga at the Univ. of Toronto (B.M., 1970), and composition with Anhalt and electronic music with Pedersen at McGill Univ. in Montreal (1970–71). He then returned to the Univ. of Toronto to complete his training in composition with Weinzweig(M.Mus., 1972). He subsequently had some lessons with Davidovsky at Johnson State Coll. (1973) and later took his M.L.S. degree at the Univ. of Toronto (1990). In 1967 he founded the Contemporary Music Group at the Univ. of Toronto, serving as its artistic director until 1970. While at McGill Univ., he was co-founder of the New Music Group and in 1971 helped to organize ARRAY, a contemporary music group, later serving as its presi-dent and artistic director (1976–79). In 1974 he joined the staff of the Edward Johnson Music Library at the Univ. of Toronto, where he worked as a technical librarian and sound recordings cataloguer. He ed. a viola discography (2000). His compositions partake of multifarious techniques of ultramodern music, with an evident preoccupation with abstract textures and mathematical processes.
DRAMATIC Music Bockxd for 3 Actors or Dancers, 7 Music Boxes, and Tape (1969). ORCH.: 2 syms.: No. 1 (1964–66) and No. 2 (1987-); Symparanekromenoi (1969–71; Toronto, July 25, 1974); Concerto for Viola and 2 Wind Ensembles (1972); Dragon Day (1976); Adagio for Strings (1980); Concertino for Bassoon and Chamber Orch. (1983); Concerto Grosso for Chamber Ensemble (1984); Kootenay for Chamber Orch. (1986); Suite for Junior String Orch. (1988–89); 2 Pieces:!, Within hours… and 2, Rose crowned into darkness (1991–93); Violin Concerto (1992–96). CHAMBER: 7 string quartets: No. 1 (1963), No. 2, Short (1963), No. 3 (1965), No. 4, Fantasia (1967), No. 5, Concerto a quattro (1973), No. 6, Aus tiefer Not (1981), and No. 7, Without the spring, no wild geese (1987–89; rev. 1998); Piano Sonata (1964–66); Chamber Sym. for Flute, Horn, Piano, and String Quartet (1967); Tettares for Percussion Quartet (1968); Harpsichord Sonata (1968); 4 for 4 for Clarinet Quartet (1968); Signals for Soprano Saxophone, Tenor Saxophone, Trombone, Percussion, and Piano (1969); Ch’ien for String Quartet (1969); Elements for 1 to 5 Melody Instruments (1972); Variations II for Woodwind Quintet (1975); In campo aperto for Flute, Oboe, Percussion, 2 Pianos, and Cello (1976); Trio for Flute, Viola, and Harpsichord (1977); Concerto in 4 Parts for Accordion (1978); Dum transisset, “sonata for 5 instruments” for Flute, Trombone, Piano, Viola, and Cello (1978- ); Birds, 4 pieces for Various Instruments (1978–79); Time’s fell hand defac’d for Flute, English Horn or Clarinet, Percussion, Piano, and Cello (1978–89); Western Wynde, “serenatafor 7 instruments” for Flute, Clarinet, Brass Instrument, Piano, Violin, Viola, and Cello (1979; rev. 1986); Wind Octet for 2 Oboes, 2 Clarinets, 2 Bassoons, and 2 Horns (1980–81); Partita for Brass Quintet (1981–82); Sonata for Double Wind Quintet (1982–83); Tuba Quartet for 2 Euphoniums and 2 Tubas (1984); Rhapsody for Bass Clarinet and Piano (1985); The Green Goads for Flute, Clarinet, Harp, and String Quintet (1992); 3 Pieces for Violin and Piano (1993); Distant Music Like Murmuring Rain for Flute, Harp, and 2 Percussion (1995); Of Siren Tears for Clarinet, Violin, and Marimba (1995); Against Black Woods Long Streaks of Rain for Viola (1997); Distant Roads for Flute, Clarinet, Harp, Marimba, and String Quintet (1997). VOCAL: Choruses; songs.
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire