Konrad Lechner

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Konrad Lechner

Konrad Lechner (born February 24, 1911 in Nuremberg ; † December 14, 1989 in Kirchzarten ) was a German composer , conductor , cellist , viol player and recorder player .

Life

Konrad Lechner learned the violin and violoncello largely by himself during his childhood and school days. After leaving the classical grammar school with the secondary school leaving certificate, he earned his living as a standing violinist , first in Mannheim (from 1928), later in Munich. In 1930 he began studying cello and gamba in Munich with Joseph Disclez , Rudolf Metzmacher and Hugo Becker , composition in Munich with Carl Orff , in Salzburg with Johann Nepomuk David , in Heidelberg with Wolfgang Fortner . He ended his work as a cellist at the Bavarian State Theater in Munich under Hans Knappertsbusch (1934/35) just as quickly as his participation in the Edwin Fischer piano quintet and chamber orchestra (1935/36), until 1939 as a member of the Münchner during the years up to the beginning of the Second World War Fideltrios (with violoncello, gamba , fiddle and recorder ) to give concerts at home and abroad. In addition, he gave courses for playing the viola at the Günther School in Munich, led by Carl Orff. From 1937 to 1939 he was also choirmaster at the Trapp Conservatory in Munich.

With the outbreak of war he was given the opportunity to do military service as an oboist. In 1940, however, he was released from the Wehrmacht for health reasons.

In addition to managing the Munich Bach Society , which he had already taken over in 1939, he now worked at the Salzburg Mozarteum as director of the Collegium musicum, the Salzburg Madrigal Choir, and finally the university orchestra and choir as well as a viol teacher. At the same time, he trained as a conductor with Clemens Krauss . From 1946 to 1948 he directed the Bamberg Symphony .

In 1948 he began as a professor at the Staatliche Musikhochschule Freiburg in the subjects of orchestral conducting, choir conducting, counterpoint, viol; he also directed the university choir and orchestra. He ended this activity in 1953 to join the Darmstadt Academy of Music as director . There he taught composition, conducting, cello and viol at the same time. He held these functions until 1958. From 1958 to 1970 he taught composition and cello at the same institute and gave lectures on music from the Gothic to the latest music. At the same time, Lechner was given a teaching position for composition and composition at the University of Education at the Johann Wolfgang Goethe University in Frankfurt am Main from 1962 to 1965 .

From 1969 to 1974 Lechner was a professor at the State University of Music Freiburg in the subjects of counterpoint, composition, score playing and viol, and he also gave lectures on Gothic music and J. S. Bach. From 1974 until his death Lechner worked as a freelance composer.

meaning

Konrad Lechner was an uncompromising thinker, versatile musician, great stimulator and passionate teacher. His compositional oeuvre is not very large, but rich in facets and formal stringency, especially in the areas of church and chamber music. His work had a considerable influence on the composition of modern works including elements of early music. Due to his historical position as one of the first professional recorder and fiddle players in the 20th century, also due to his compositions intended for the recorder and his fiddle school, he was of great importance for the history of fiddle and recorder in the 20th century and the development of historically informed performance practice. Well-known composers have gone through his school, many of whom have worked in prominent positions at home and abroad.

Works

  • 1938

It meets in front of the forest and other ways for voice, recorders or other instruments (also house organ or harpsichord), revised 1960 (Bärenreiter-Verlag, Kassel, No. BA 1256)

  • 1939

Gamba music for treble, alto and bass viola da gamba (5 ') (moved - very rhythmic - calm) (manuscript)

  • 1951

Requiem for alto and seven instruments: 2 oboes, English horn, harpsichord (organ), viola, cello and double bass (14 ′) (Peters-Verlag, Frankfurt, No. 5858)

String Trio for violin, viola, cello (Grave - Allegro - Grave), revised in 1961 (rental equipment, Moeseler-Verlag, Wolfenbüttel)

  • 1956

Leave everything you have - Motet after Angelus Silesius for four-part choir and strings (3′30) (Carus-Verlag (formerly Hänssler), Stuttgart)

  • 1958

Sacred concert for tenor, mixed choir, violoncello and organ (3′30) (Peters-Verlag, Frankfurt, CL 5879)

  • 1958-1967

The art of playing fiddle - also suitable for treble viol (Moeseler-Verlag, Wolfenbüttel)

Book I: Playing Technique and Playing Music

Book II: Instructions for Improvisation

  • 1959/60

Old folk songs in movements for three to five equal voices, also with instruments

Book I: Three Angels Sung ... (Peters-Verlag, Frankfurt, No. 4897a)

Book II: Don't dance to me with my maiden Kät ... (Peters-Verlag, Frankfurt, No. 4897b)

  • 1960

Small dance and play pieces for a recorder in c ″ or another melody instrument (Bärenreiter-Verlag, Kassel, No. BA 1104)

Folksong improvisations for a recorder in C ″ or another melody instrument (Bärenreiter-Verlag, Kassel, No. BA 1257)

Lamento per la partenza dell'amante reiato after a text by Rinaldo d'Aquino, 13th century for 6-part mixed choir a cappella (manuscript)

  • 1961

Loose sheets No. 177 : Sentences for three equal voices Know me a little blue flower ..., Eh, you fine rider, In Märzen the farmer , May is coming

Loose sheets No. 365 : Jakob Obrecht: Alleluja (Fuga à 4) for four voices

(both Moeseler-Verlag, Wolfenbüttel)

  • 1962/65

Three Organ Pieces (12'15) (Edition Gamma, Bad Schwalbach, EGA 510 (originally: Breitkopf & Härtel, Wiesbaden))

Contrasts for strings, harpsichord and percussion (12 ') (Edition Gamma, Bad Schwalbach, EGA 493 (originally: Breitkopf & Härtel, Wiesbaden))

  • 1965

Cantica I for mezzo-soprano and chamber ensemble (Edition Gamma, Bad Schwalbach, EGA 550 (originally: Breitkopf & Härtel, Wiesbaden))

Three duos for 2 alto flutes (Carus-Verlag (formerly Hänssler), Stuttgart No. 11116)

  • 1966

Metamorphoses for recorder and piano (Carus-Verlag (formerly Hänssler), Stuttgart, No. 11117)

Psalm cantata for tenor solo, mixed choir, 2 pianos and percussion (12 ′) (Edition Gamma, Bad Schwalbach)

  • 1968

Three poems by HM Enzensberger for one voice and flute, revised 1978 (Mannheimer Musikverlag (Ricordi) (originally: Moeck-Verlag, Celle, No. 5219))

  • 1970/76

Six frescoes for solo cello (approx. 10 ′) (Edition Gamma, Bad Schwalbach, EGA 1281 (originally: Breitkopf & Härtel, Wiesbaden))

  • 1971

Cantica II for soprano, flute, violoncello (percussion) and tape (or harpsichord) (9 ′) (Edition Gamma, Bad Schwalbach, EGA 942 (originally: Breitkopf & Härtel, Wiesbaden))

Three small pieces for violoncello solo in the anthology "Studies for Playing New Music" (Breitkopf & Härtel, Wiesbaden, EB 8334)

  • 1972

Three pieces for flute solo in the anthology "Studies for Playing New Music" (Breitkopf & Härtel, Wiesbaden, BG 843)

  • 1973

Topoi for piano - in the anthology "New German Piano Music", Issue 1 (Edition Gamma, Bad Schwalbach, EGA 215)

  • 1975

Ludus juvenalis I - 2 canzones for an alto recorder and bc / piano (Moeck-Verlag, Celle, No. 2506)

Psalm "in die paschae" for high voice solo (5 ′) (Edition Gamma, Bad Schwalbach, EGA 1235 (originally: Breitkopf & Härtel, Wiesbaden))

Dream and Day - Twelve impressions for soprano recorder alone (Moeck-Verlag, Celle, No. 436)

  • 1975/76

Perspektiven for flute and piano (8 ′) (Edition Gamma, Bad Schwalbach, EGA 1280 (originally: Breitkopf & Härtel, Wiesbaden))

  • 1976

Job - Micro-Phonie for chamber ensemble (10′20) (Mannheimer Musikverlag (Ricordi) (originally: Moeck-Verlag, Celle, No. 5178))

Traces in the sand for a recorder in c ″ (Moeck-Verlag, Celle, No. 1526)

Varianti for tenor recorder solo (Moeck-Verlag, Celle, No. 2508)

  • 1977

Over the stars - three-part song settings for recorders (SAT) in different combinations (Moeck-Verlag, Celle, No. 460)

  • 1977/78

Strada senza ritorno - Version I: for cello solo / Version II: for cello, percussion and tape (14'40) (Mannheimer Musikverlag (Ricordi) (originally: Moeck-Verlag, Celle, No. 5199 and 5199a))

  • 1978

In dulci jubilo - eleven Christmas carols = SAT (Moeck-Verlag, Celle, No. 475)

Septuplum - seven biblical sequences for flute solo (also alto flute in G) (ca.9'50) (Universal-Edition, Vienna, No. 16943)

  • 1979

Canticum sacrum for 16 solo voices (choir), flute, violoncello, harpsichord, organ and percussion (Mannheimer Musikverlag (Ricordi) (originally: Moeck-Verlag, Celle, No. 5222))

Ziehende Wolken dance pieces for recorder quartet in (two and) three-part movements (Moeck-Verlag, Celle, No. 496)

  • 1980

Lumen in tenebris for three recorder players and percussion (9'25) (Moeck-Verlag, Celle, No. 2521)

  • 1981

Metanoia for trombone and organ (approx. 9 ′) (Breitkopf & Härtel, Wiesbaden, EB 8270)

  • 1982

Facettes for large orchestra (13 ') - Scoring : 2 (ad lib .: piccolo, alto flute) .2.2 (bass clarinet) .2.-2.2.2.1.-key (2) - harp, celesta, piano - strings (6.6 .4.4.3) (Edition Gamma, Bad Schwalbach)

  • 1983

Engrams for recorder, harpsichord and percussion (Moeck-Verlag, Celle, No. 2516)

  • 1987

Vom Other Stern - Twenty epigrams for soprano recorder solo (Moeck-Verlag, Celle, No. 2546)

  • 1988

Echo des Schweigens - Eight miniatures for soprano recorder solo (Moeck-Verlag, Celle, No. 2558)

Posthumous publications

  • 1941

Ei du feiner Reiter - Variations for recorder quartet (SATB), revised 1979 (approx. 7 ′) (Edition Gravis, No. eg 708)

  • 1960

Four songs for baritone and orchestra based on texts by HM Enzensberger (approx. 17 ′) - also in a version for baritone and piano (Edition Gravis, No. eg 810)

student

literature

  • Peter Reidemeister (Ed.): Konrad Lechner: Life, Work, Memories, Documents. A memorial . Edition Gamma, Bad Schwalbach 2011, EGA 242.

CDs

Web links

personal data
SURNAME Lechner, Konrad
BRIEF DESCRIPTION German composer, conductor, recorder player, viol player and university professor
DATE OF BIRTH February 24, 1911
PLACE OF BIRTH Nuremberg
DATE OF DEATH December 14, 1989
Place of death Kirchzarten