Lars Fetzek is an amateur composer in the finest sense of “amateur”, which is one who composes for love of the intrinsic. Thus, Lars invites chamber, symphonic, and choral ensembles to perform compositions without any burden of commission. This is in the spirit of human freedom and the socialist understanding that the sincerest motivation for creative human endeavor 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. 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 preliminary instruction in the form of non-thematic species counterpoint from Dr. Stephen Miles at New College (Florida, USA). Except for academic instruction in counterpoint and harmonic theory, Lars has learned composition auto-didactically with a consequent proclivity for canons, canons, and canons… and a formally demanding aesthetic far removed from the romantic notions of operatic composition that propelled Lars’ early study of music theory. Lars’ aesthetic prioritizes idea over style, with style manifested as best serves and least distracts from the idea. 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, which function on multiple levels, and which do so with sufficient variety and evolution of expression to sustain aesthetic interest. Lars’ non-musical interests include electrical, structural, and mechanical engineering, as well as informal mathematics and metaphysics. In engineering, Lars has become a deriver and teacher of theory, and in music composition, Lars does the same by the derivation and artful sonic demonstration of patterns. One of Lars’ great hopes is to have ideas be understood, for in the process of understanding is a type of humane experience.

email: Lfet2002@yahoo.com