Ilse Fuglsang-Visconti

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Ilse Fuglsang-Visconti (born May 31, 1895 in Hadersleben , † October 20, 1988 ibid) was a Danish composer.

Live and act

Ilse Fuglsang was a daughter of the malt manufacturer Sophus Fuglsang and his wife Marie Magdalene Martha Krause. The mother was a daughter of the music teacher Adolf Krause, who taught at the teachers' seminar in Tondern . Her parents' house with four younger and one older siblings was considered extremely musical.

Fuglsang attended the Auguste Viktoria School in Hadersleben and at the age of 14 switched to an advanced class for higher daughters, where she stayed for a year. The music teacher and cathedral organist Julius Huth gave her qualified piano lessons in Hadersleben. She then attended a boarding school in Dresden for a year with a focus on music. Here she learned from the piano professor Otto Weinreich . In 1912 she became engaged to a lieutenant colonel stationed in Hadersleben, who died during the First World War in January 1915.

From the winter semester 1915/1916, Fuglsang, following maternal advice, studied music at the Royal Württemberg Conservatory in Stuttgart. She chose piano as her major. One of her teachers was Max von Pauer , who noticed her talent for composition and moved her to change her subject. In 1918 she continued her studies with a major in composition with Joseph Haas and later with Ewald Sträßer . In 1920 she had to finish her studies due to malnutrition. After a year off, she took private lessons in Stuttgart.

In 1923 Fuglsang went back to Hadersleben. She wrote six songs for voice and piano and piano variations on Goodnight Goodnight , which went to press in 1925. Her friend and later sister-in-law, Grete Visconti, performed it at an exam concert at the Stuttgart University of Music and in April 1921 at a concert in the Lübeck Logensaal.

On October 12, 1927 Ilse Fuglsang married Guido Maria Anton Visconti (born September 8, 1898 in Pettau , † May 1, 1977 in Hadersleben), with whom she had a daughter. Her husband initially worked in the blast furnace plant in Lübeck and then managed various steelworks, including in Riesa , where Fuglsang-Visconti moved with him. In 1935 the couple moved to Gelsenkirchen , where Guido Visconti worked until 1943. Then the family went to Ternitz . After the end of the Second World War , Soviet occupiers took over the family home in 1945. The Viscontis then made their way to Klagenfurt with a few belongings , where Guido Visconti's mother lived. Fuglsang-Visconti lost almost all unprinted compositions, which included more than 100 songs and chamber music, due to the escape and bomb hits of her publishing house in Cologne.

From 1945 to 1949 the Visconti family lived in a confined space in a bombed-out house in Klagenfurt. They then moved to São Paulo and later to the state of Minas Gerais . Fuglsang-Visconti used Brazilian folk music in her compositions and took part in a competition organized by the Irmãos Vitale publishing house from São Paulo. She won first prize with “Canção da noite”, an evening song for piano and violoncello. The composition went to press later. During the 1950s she wrote other compositions. After Guido Visconti retired, the family moved to Hadersleben because of the family ties.

Since the 1980s, interest in art made by women has increased. Fuglsang-Visconti therefore still experienced recognition of her work herself. During the “German Day” in November 1986, songs from her youth based on various poets could be heard at a matinee at the research college in Hadersleben. Then a record was made with the title Romantic Songs . On the occasion of her 92nd birthday, a performance of the piano piece Westwind and three movements from the suite for piano took place in the hall of the Jugendhof Knivsberg .

style

Fuglsang-Visconti composed in the late Romantic style, following previous German composers. She wrote simple but not undemanding piano works, renouncing virtuosity and staying away from salon music. In terms of harmony, rhythm and guidance of the singing voice, she oriented herself in particular to Johannes Brahms and tried to implement his sound forms with the reduced possibilities of a piano. She processed polyphonic elements in the style of Robert Schumann and occasionally left the usual tonality , but never composed clearly in the spirit of modern music.

literature

  • Margret Kühl: Fuglsang-Visconti, Ilse . in: Biographical Lexicon for Schleswig-Holstein and Lübeck . Wachholtz, Neumünster 1982–2011. Vol. 11 - 2000. ISBN 3-529-02640-9 , pages 115-117.

Web links

Individual evidence

  1. ↑ a b c d Margret Kühl: Fuglsang-Visconti, Ilse . in: Biographical Lexicon for Schleswig-Holstein and Lübeck . Wachholtz, Neumünster 1982–2011. Vol. 11 - 2000. ISBN 3-529-02640-9 , page 115.
  2. ^ Margret Kühl: Fuglsang-Visconti, Ilse . in: Biographical Lexicon for Schleswig-Holstein and Lübeck . Wachholtz, Neumünster 1982–2011. Vol. 11 - 2000. ISBN 3-529-02640-9 , pages 115-116.
  3. ↑ a b c Margret Kühl: Fuglsang-Visconti, Ilse . in: Biographical Lexicon for Schleswig-Holstein and Lübeck . Wachholtz, Neumünster 1982–2011. Vol. 11 - 2000. ISBN 3-529-02640-9 , page 116.
personal data
SURNAME Fuglsang-Visconti, Ilse
BRIEF DESCRIPTION Danish composer
DATE OF BIRTH May 31, 1895
PLACE OF BIRTH Hadersleben
DATE OF DEATH October 20, 1988
Place of death Hadersleben