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Füssl, Karl Heinz

Füssl, Karl Heinz

Füssl, Karl Heinz, Austrian composer, musicologist, publisher, and music critic; b. Jablonec, Czechoslovakia, March 21, 1924; d. Eisenstadt, Sept. 4, 1992. He went to Berlin and began his formal training at 15 with Konrad Friedrich Noetel (composition), Gerd Otto (piano), and Hugo Distler (choral conducting). Following World War II, he settled in Vienna and completed his studies with Alfred Uhl (composition), Erwin Ratz (analysis), and Hans Swarowsky (conducting). He was active as a music critic and served as head of production for Universal Edition. In addition to overseeing its Urtext Editions, he was associated with the publication of the works of Haydn, Mozart, Johann Strauss, and Mahler. In 1974 he became a teacher of form analysis at the Vienna Academy of Music, where he served as a prof, from 1985. In his music, Füssl demonstrated an adept handling of dodecaphonic procedures.

Works

DRAMATIC Die Maske, ballet (1954); Dybuk, opera (1958–70; Karlsruhe, Sept. 26, 1970); Celestina, opera (1973–75); Kain, religious play (1984–85); Resurrexit, musical play (1991–92); incidental music. ORCH.: Divertimento (1952); Szenen for Strings (1954); Epitaph und Antistrophe (1956; rev. 1971); Refrains for Piano and Orch. (1972); Sonate: ArkadenhofSerenade (1983; rev. 1988); Moments Musicaux, 8 pieces (1988); 7 Haikai for Strings and Percussion (1991). CHAMBER: Kleine Kammermusik for Flute, Oboe, Clarinet, Horn, and Bassoon (1940); Duo for Cello and Piano (1948–53; rev. 1983); Concertino I (1948) and II (1952) for Clarinet and Piano, 4-Hands; Triptychon for Cello and Organ (1976); 2 Stucke for Clarinet and Piano (1977); Ragtime for Guitar and Piano (1977); Nachtmusik for String Trio (1977; rev. 1988); Improvisation for String Quartet (1979); Les Rondeaux, 3 duets for 2 Violins (1980; 2nd version, 1981); Aphorismen iiber Rhythmische Modelle for Clarinet and Piano (1980); Perpetuum Mobile for Oboe or Trumpet and Piano (1987); Ekloge for Cello and Piano (1987); Konzert zu Viert for Clarinet and Saxophone (1989); 1 Minute for String Quartet (1991); Cantus I and II for String Quartet (both 1991); Ricercare for String Quartet (1992). KEYBOARD : Funf Tbne-Funf Finger, 6 little pieces for Piano (1941; rev. 1959); Motetus Victimae Pascali Laudes for Organ and Voice(s) ad libitum (1976; rev. 1988); Fantasia for Organ (1978–79); Concertino for Organ (1980); Esercizi: Hommage a Domenico Scarlatti for Harpsichord or Piano (1992). VOCAL: Dialogue in Praise of the Owl and the Cuckoo for Tenor and 7 Instruments (1947–48; rev. 1961; also for Bass and 4 Instruments, 1968); Gorog Ilona for Chorus (1948; rev. 1971); Concerto Rapsodico for Alto or Mezzo-soprano and Chamber Orch. (1957); Miorita for High Voice, Women’s Chorus ad libitum, and 5 Instruments (1963); Missa for Chorus and Organ (1966; 2nd version, 1986); A Medieval Passion for Alto, Bass, Chorus, and Orch. (1967); Cantiunculae Amoris for Tenor and String Quartet or String Orch. (1976); Bilder der Jahreszeit for High Voice and String Orch. (1981); Suspirium ad Amorem, 2 cantatas for Medium Voice(s), Chorus, and Chamber Orch. (1986); 3 Mediaeval Songs for Alto or Baritone and Chamber Orch. (1987); 10 Lieder nach Hölderlin for Medium Voice and Chamber Orch. (1987); 4 Lieder nach Hölderlin for High Voice and Chamber Orch. (1989); 2 Kommentare zu Hölderlin for High Voice and String Orch. (1989); various other choral works and song cycles.

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire

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