Lars Fetzek

Composer Biography

 

Lars Fetzek is an amateur composer in the finest sense of amateur, which is one who composes for love of the intrinsic and not for acquisition or consumption of the extrinsic.  Accordingly, Lars invites chamber and symphonic ensembles to perform the compositions with neither a requirement for remuneration for the composition nor a willingness to compose differently for the sake of what remuneration might happen (if ever) to be provided.  Although remuneration would not be categorically rejected, the performance of the music is the truest, most valuable, and only necessary reward. This is in the spirit of human freedom and is a validation of Larssocialist belief that the sincerest motivation for creative human achievement is not dependent upon economic incentive and can even be contrary to it.  The only requirements are artistic and practical, which are that a project matches Larsinterests and that resources such as time, instrumentation, time, logistics, and time are adequate.  Timethe signature resource that is needed without measure for a detail-obsessed artist.

 

Lars began playing percussion at the age of 10, began composition at the age of 14, and began choral singing at the age of 18.  Initially inspired to compose for percussion ensembles and soon gravitating toward Wagnerian operatic ideals, by the college years, Lars became obsessed with learning orchestration and thematic polyphony, the former of which no normal university is equipped to effectively teach and toward the latter of which Lars received excellent (albeit merely preliminary) instruction in the form of non-thematic species counterpoint from Dr. Stephen Miles at New College (Florida, USA).  Other than academic instruction in counterpoint and harmonic theory, Lars has learned composition mostly auto-didactically with the result of a peculiar proclivity for canons, canons, and canonsand a formal aesthetic far removed from the romantic notions of operatic composition that propelled Larsearly study of music theory.  Larsaesthetic prioritizes idea over style; style is arbitrarily manifested as best serves and least distracts from the idea.

 

Enduring three decades of struggle to learn (in more than a superficial technical sense) such essentials as orchestration (without the access to an orchestra that is essential to such learning!) and forcible distraction by the practical realities of dehumanizing capitalism and marginalization by a system that excludes composers for not carrying the mystique of being long-deceased-and-therefore-a-supposed-genius, for not being wealthy, and even for being blatantly incorrectly assumed to have gender-based so-called privilege(even while being chronically completely shut-out from all participation for over three decades), Lars was, until the age of 46, all but resigned to the reality that no performance of a composition (other than by a computer) would occur in Larslifetimeif ever.  But Dr. Iwona Glinka offered an escape from a fourth lost decade by inviting and accepting Larschamber and symphonic compositions for frequent recording and occasional concerting by her and other world-class musicians, even including the fine National Symphony Orchestra of Ukraine (NSOU)!  For this, Lars will be forever grateful!  Perhaps this run with Dr. Glinkas Phasma-Music Foundation will be the only performance outlet ever for Larsmusic, but it has proven to be an invaluable opportunity for both exposure and learning.

 

Larshonest assessment is that many compositions, and especially those which are more instrumentally particular and technically demanding, are gambles upon the ability to accurately translate and transcribe the imagination to the written instrumental domain without the benefit of the refinement that would be possible from experiencing live musicians in rehearsal.  Lars composes with one hand (that of experiential knowledge from live performances) tied behind the back, and is steadied by confidence in the mastery of counterpoint and a clear vision of form and idea.  The fingers on that tied hand remain crossed to learn how each CD from Europe will sound, since in the USA, Lars has only a computer to validate the sound - and, as any musician knows, a computer cannot account for the warmth, non-linearity, subtle chaos, and the capabilities, incapabilities, and challenges of actual humans and their instruments.  So far, so good, but Lars wishes for workshopping without the commitment of the initial composed score with its possibly unanticipated sonic nuances and technical difficulties to undeniable posterity!  Ah, the realworld! Still, Lars is glad and grateful for any performance at all after these many years of utter silence and total exclusion - and especially performances by such excellent musicians as have thus-far participated.

 

Larsnon-compositional musical experiences have been broad, including percussion performance in symphonic, theatric, rock, and jazz genera and choral singing.  Lars was percussionist and principal percussionist for several years with the Sarasota Concert Band (conducted by William Barbanera), resident percussionist with the Golden Apple Dinner Theatre (conducted by Michael Sebastian), and choral baritone for a season with the Key Chorale (conducted by Daniel Moe), all in Sarasota, Florida.

 

Larsnon-musical interests include electrical, structural, mechanical, and civil engineering, as well as informal mathematics and metaphysics.  The first of those interests Lars has pursued auto-didactically since the age of five, in some ways in spite of a sy-STEMthat attempted to steer engineering away from its beautiful essence and into servitude of capitalism and socio-professional status; as with music, the system was unmatched to sincere interest in the intrinsic. In late 2015, Lars began to recognize that the fundamental pattern of cyclical group theory that invisibly underlies the theory of symmetrical components of polyphase electrical power had already been manifested in the tessellation canons that Lars had been composing for several years.  (A example of such a canon from the more recent year of 2019 is the six-voice canon at equal divisions of the octave played by the flute and cello as part of the eight-voice double-canon played by flute, violin, viola, and cello leading into the four-voice fugato section of LarsQuartet for Flute and Strings #1.) What Lars thought that Lars didnt know (and, to this day, cannot find truly explained in any books, websites, etc.), Lars did know all alongby intuition.  In engineering, Lars has become a deriver and teacher of theory, and as a composer, Lars does the same by the derivation and artful sonic demonstration of patterns. One of Larsgreat hopes is to have ideas be understood, for in that understanding is a humane experience.

 

In the second decade of the 21st century, Lars sought the challenge of creating finite musical expressions of infinite progressions that converge by divergence, that can loop as if zooming-in upon a fractal, and which do so with sufficient variety or evolution of expression so as to not become boring.  To this end, in 2011, Lars composed the Cycle of Eleven Canons on a Twenty-Two Note Melody, starting with what became the fifth canon of the cycle, which is simultaneously a tonally spiraling canon, a cancrizans, and a prolation canon of a special type invented by Lars, which is a recursive prolationor progressive prolationcanon in that the tempo recursively multiplies/divides by a ratio that is consistent between multiple successive melodic repetitionsall convincingly in the pan-tonal idiom!  Only in 2019, upon orchestrating the cycle for recording by the NSOU did Lars recognize that the symmetries and the meta-symmetries of symmetries and the accidental numerological significance of the twenty-two note theme and the final dramatic (symmetrically executed) contradiction of the meta-symmetry of the first ten canons in the eleventh canon accorded to a Lurianic Kabbalistic structure in which Lars was unread at the time of composition.  (In 2011, Lars was just trying to make a melody that would satisfy the puzzle of the several superimposed formal challenges that are now attributed to the fifth canon of the cycle, even if the only appeal of that melody would be in that narrow formal context.  Lars composed the remainder of the cycle so as to more fully utilize the melody in a variety of canons which would progress with increasing intensity and in meta-symmetry just for the aesthetic satisfaction of doing so.)  Lars attributes this seemingly amazing formal coincidence to the possibility that what seems to be the universe arises from consciousness, itself, and the certainty that the subjective uni-directionality of time is illusory.  In this paradigm, the eventual recognition of the Kabbalistic pattern (in 2019) informed the composition by the consciousness (in 2011), just as the composition fed the subsequent Kabbalistic understanding and perhaps even the authoring of Kabbalah in centuries prior.  Even the seemingly impossible but ultimately successful note-by-note technical composition of this cycle can be attributed to such invisible metaphysical refinement via the mutual causality of the past and future, perhaps as conceived by one consciousness or by multiple unwittingly coordinated consciousnesses. The temporal bi-directionality of this art-making cannot be subjectively recognized by the artist or the audience (although its uncanny subjective suggestion by the cancrizans forms of the fifth and tenth canons of the cycle can be), for the universe evolves outside of time to gradually adjust inconsistencies into inevitable consistency, as does the human mind attempt (with limited success) to compose and resolve disparate thoughts into coherent dreams.  Thus, the most troubling conundrums at the foundation of mathematics can be resolved:  The argument as to whether mathematics is invented or discovered is moot if both are true by their being co-processes of the same ultimate consciousness that both unwittingly invents and consciously discovers that which seems to be reality. Gödels Incompleteness Theorem, which implies that the seeming absolute truths of mathematics are built upon an infinite regression of tortises-upon-the-backs-of-tortises, becomes unmysterious in consideration that the consciousness that creates this infinite tower-of-tortises necessarily begins the co-processes of creation and discovery somewhere in the middle.  Likewise, the mysteries of quantum mechanics can be resolved by the dissolving of the industrially convenient (re: semiconductors) probabilistic paradigm and the consideration of a super-determinism that perhaps incorporates consciousness and certainly is not restrained by time. The subjective experience is only a shadow of a much deeper reality that contains or perhaps just is the consciousness, itself, and which that consciousness cannot perceive or understand from within its own frame of reference.  (That consciousness is mind - at least the mind that has first person (I) perspective, but perhaps everyone.)  That cycle of canons is a shadow of such a shadow, or perhaps even a shadow further removed by more interceding levels of shadows.  Of course, Larscompositional output includes many other pieces, but this canonic cycle is particularly representative of the inner spirit of Larsmotivation, which is to compose music that functions at multiple levels and as more than the sum of its parts.

 

Lars Fetzek at least seems to have been born in 1973.  At the writing of this biography, the year is 2020.  Let us see what the future (if futureis the best word) holds for further composition and performance. Please, world, Lars will welcome fitting opportunities!


email: Lfet2002@yahoo.com

 

 

Catalogue of Select Compositions for Symphony Orchestra (as of March 2020):

 

Symphonic Movement on a Variously Fragmented Theme (abstractly composed in 2015, orchestrated in 2019)

 

Cycle of Eleven Canons on a Twenty-Two Note Melody (abstractly composed in 2011, orchestrated in 2019)

 

 

Catalogue of Select Compositions for Chamber Ensembles (as of March 2020):

 

One Minute Duo #1  (flute and trombone with F-trigger - 2017; flute and English horn - 2019; these two versions are separated by a tri-tone)

 

Palindrome Quartet #1  (flute, oboe, clarinet, and bassoon - 2018) 

 

Quartet for Flute and Strings #1  (flute, violin, viola, and cello - 2019)

 

Two Minute Duo #1  (flute and bass clarinet - 2019)

 

 

Catalogue of Select Compositions for Chorus (as of March 2020):

 

Passacaglia and Canon (I Sing!) (SATB chorus or SATB chamber singers and either handbells, tubular chimes, marimba, glockenspiel, or plucked stringed instrument; lyrics by the composer - 2017)


Short bio

 

Lars Fetzek is an amateur composer in the finest sense of “amateur”, which is one who composes for love of the intrinsic and not for acquisition or consumption of the extrinsic. Accordingly, Lars invites chamber and symphonic ensembles to perform the compositions with neither a requirement for remuneration for the composition nor a willingness to compose differently for the sake of what remuneration might happen (if ever) to be provided. Although remuneration would not be categorically rejected, the performance of the music is the truest, most valuable, and only necessary reward.  This is in the spirit of human freedom and is a validation of Lars’ socialist belief that the sincerest motivation for creative human achievement is not dependent upon economic incentive and can even be contrary to it.  The only requirements are artistic and practical, which are that a project matches Lars’ interests and that resources such as time, instrumentation, time, logistics, and time are adequate.  Time… the signature resource that is needed without measure for a detail-obsessed artist.

 

Lars began playing percussion at the age of 10, began composition at the age of 14, and began choral singing at the age of 18.  Initially inspired to compose for percussion ensembles and soon gravitating toward Wagnerian operatic ideals, by the college years, Lars became obsessed with learning orchestration and thematic polyphony, the former of which no normal university is equipped to effectively teach and toward the latter of which Lars received excellent (albeit merely preliminary) instruction in the form of non-thematic species counterpoint from Dr. Stephen Miles at New College (Florida, USA). Other than academic instruction in counterpoint and harmonic theory, Lars has learned composition mostly auto-didactically with the result of a peculiar proclivity for canons, canons, and canons… and a formal aesthetic far removed from the romantic notions of operatic composition that propelled Lars’ early study of music theory.  Lars’ aesthetic prioritizes idea over style; style is arbitrarily manifested as best serves and least distracts from the idea.