Anton Stingl

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Anton Stingl (born January 25, 1908 in Konstanz , † April 6, 2000 in Freiburg im Breisgau ) was a German guitarist and guitar teacher as well as composer and bryologist .

Life

From 1925 onwards, Anton Stingl, the son of a sculptor who lived from selling tombstones, learned to play the guitar autodidactically, initially with the guitar lessons of A. Alberto and Heinrich Albert . After graduating from high school in Konstanz , in whose orchestra he had played the double bass, he studied mathematics, physics and music in Freiburg and Vienna from 1927 to 1932 . In 1928 he began to study guitar with Jakob Ortner at the Vienna State Academy for Performing Arts and Music . He completed his music theory studies from 1930 to 1933. From 1929 to 1933 he gave his first guitar concerts in Constance, Freiburg and the surrounding area, from 1931 to 1933 he completed his teaching post in Freiburg.

From 1933 to 1973 he taught at the kindergarten teacher seminar in Freiburg (with interruption). Until 1942 he was a member of the Freiburg Chamber Trio for Early Music, which he supported as the “fourth man” with the lute . In 1934 one of his early works, a trio for violin , viola and guitar op. 8, was premiered at the 64th Tonkünstlerfest in Wiesbaden at the suggestion of composer Julius Weismann .

After retiring from military service (1940–1942) because of participating in an instrumentation course in Freiburg, during which Franz Schubert created orchestral variations on the Rosamunde theme , Stingl was drafted into the Wehrmacht as a radio operator in 1942 and was taken prisoner by the Soviets in 1944 . After returning home late in October 1949, he resumed teaching and composing, and he also gave concerts again.

In 1952 he joined the “Kleine Rundfunkorchester” of the Südwestfunk (SWF) under Willi Stech and also acquired an excellent reputation as a guitar teacher. In 1953 and 1955 Stingl met the world-famous guitarist Andrés Segovia . In 1955 he took part in the premiere of Pierre Boulez '“Le Marteau sans maître” at the Baden-Baden International Music Festival , which was initially postponed for six months due to the lack of a guitarist , which established his international reputation and led him to concert tours throughout Europe . The performance was also released on record.

In 1961 the first solo record with guitar music was recorded on the Christophorus label. In 1968 Stingl began working with the Ukrainian singer Oksana Sowiak, which resulted in joint recordings ( Ukrainian and Polish love songs, Yiddish songs and German folk songs ). Tomi Ungerer contributed original drawings for the covers of the later CD transfers. After the "Small Orchestra" was dissolved in 1970, he continued to work in the symphony orchestra of the Südwestfunk.

In 1971 he was given a teaching position at the Freiburg University of Music , where he became a professor in 1976 . In 1974 Stingl received the Federal Cross of Merit on ribbon and that year also met Julian Bream . In 1980/81 he played with the Freiburg Baroque Soloists. Numerous other records and CD recordings follow. Since 1981 he is an honorary member of Jörg Meyer summer with Sonja Prunnbauer had become (* 1948), the 1977 Stingl successor in Freiburg, and other on 27 July 1981 as guitaristic company founded guitaristic Association Freiburg e. V. to promote music culture around the guitar and lute, whose members include well-known musicians such as Mario Sicca (Stuttgart University of Music), Hopkinson Smith, Konrad Ragossnig , Eugen M. Dombois , Konrad Junghänel , Hubert Käppel and Bernard Hebb . Since January 25, 1983 the association has been called the International Guitarist Association Freiburg e. V.

From 1985 to 1991 Stingl published several specialist articles on mosses , especially epiphytic mosses. After a serious illness in 1991, he got involved in his parish (Holy Trinity in Freiburg) and made a pilgrimage to Santiago de Compostela at the age of 91 . After a short, serious illness, Stingl died in Freiburg in the spring of 2000.

Works (selection)

  • Chorale transcriptions for guitar , op. 1, 1928
  • Romance for violin and guitar , op. 2, 1930
  • Suite for guitar , op.4, 1931
  • Trio for violin, viola and guitar , op.8, 1932
  • Duo for two guitars , op.12, 1935
  • Suite for recorder and guitar , op.14a, 1936
  • Leineweber Variations for treble recorder and guitar , op.14c, 1937
  • Trio for 2 violins and viola in d (4 movements) , op.18, 1938
  • Concerto for flute, oboe, clarinet and string orchestra , op.19, 1939
  • Christmas cantata (text: KH Heinzmann) for 2 voices, recorder in f and guitar (viol ad libitum) , op.21, 1940
  • Quintet in G major for flute, clarinet, horn, bassoon and guitar , op. 22, 1941/42
  • The parable (KH Heinzmann) voice and piano (The tree, the brook, the mountain) , op. 23, 1942
  • Suite in C major for 2 guitars , op.26, 1949
  • Play music in C major for 3 guitars , op. 24, 1950
  • “There is a Lind 'in that valley” (cantata for solos, choir and folk instrument orchestra) , op. 31, 1951
  • Missa gregoriana (3-part mixed choir) , op.33, 1951/52
  • Psalm “Praise the Lord my soul” , op. 35, 1954
  • 30 teaching pieces for guitar , op.38, 1955
  • Where is the consolation of the whole world (Novalis): Advent cantata for 3 equal voices with Orff instruments , op.39, 1956
  • Notturno for guitar , op. 41, 1957
  • Johann Sebastian Bach - lute music, old lute music arranged for guitar , Leipzig 1957
  • Duo II for 2 guitars , op.42, 1961/63
  • “The story of the coming of the Lord”: Advent cantata for children's choir and Orff instruments , op. 43, 1963
  • “Studies on position play without changing positions” in: Guitar book for Madeleine II , op. 44, 1964
  • Guitar book for Madeleine I , op.45, 1965
  • Gothic sketches for guitar , op.47, 1966
  • Ukrainian Rhapsody for guitar , op.52, 1968
  • Mass for choir and congregation with Orff instruments , op.53, 1969
  • Hymn for choir and congregation with Orff instruments , op.54, 1971

literature

  • Joachim Bohnert: “It would be very necessary for the guitarists to look beyond their six strings”. Interview with Anton Stingl. In: Guitar & Laute 4, 1982, 3, pp. 134-139.
  • Jörg Sommermeyer: Anton Stingl 75 years. In: Guitar & Laute , 5, 1983, 2, pp. 106-109.
  • Peter Päffgen: The fourth man in the trio. Anton Stingl on his 80th birthday. In: Guitar & Laute 10, 1988, issue 1, p. 52 f.

Web links

Individual evidence

  1. ↑ Guitar & Laute 2, 1980, 5, p. 12
  2. ↑ Peter Päffgen: Jesus remains my joy. Anton Stingl's record production: A brief overview. In: Guitar & Laute 10, 1988, issue 1, p. 54 f.
  3. ↑ Guitar & Laute 4, 1982, 1, p. 15.
  4. ↑ Events of the Guitarist Society Freiburg e. V. In: Guitar & Laute 5, 1983, Heft 1, p. 22.
  5. ↑ Guitar & Laute 5, 1983, No. 3, p. 197.
  6. ^ Anton Stingl catalog raisonné. In: Guitar & Laute 5, 1983, Heft, 2, p. 108 f.
personal data
SURNAME Stingl, Anton
BRIEF DESCRIPTION German guitar interpreter and teacher
DATE OF BIRTH January 25, 1908
PLACE OF BIRTH Constancy
DATE OF DEATH April 6, 2000
Place of death Freiburg in Breisgau