namesErased (CD)


At first, listening to the remarkably original music of German composer Reiko Füting is somewhat akin to eavesdropping on a conversation in a foreign language; a general sense of the thrust of the discussion emerges via changes in pitch and gesture, and an occasional cognate or familiar phrase sneaks out to fill in gaps. But ultimately one must learn the language, even if just in an elemental way, to comprehend the full story. My use of this literary metaphor for Füting’s music follows from the structure and pacing of this recording, which consists of thirteen numbers of varied length (47 seconds to fifteen plus minutes) for solo instruments and voice, duos, and finally, voice and string quartet. It comes across as a kind of song cycle, and yet, these are all individually conceived works, written across a fourteen year span (the oldest piece is from 2000). Further, Füting employs a variety of harmonic styles and instrumental techniques. So what makes this such a cohesive package? First of all, there is a distinct voice to be heard that is consistently curious and experimental, although not in the brazen manner of a Ligeti or a Stockhausen. This is a kind of gentle experimentation, with tweaks to cello technique, or vocal tics, added not as a novelty, but as a means to an expressive end. Repeated listening enhances the meaning of the music, much as continued exposure to a foreign language leads to comprehension of the words.

Peter Burwasser (Fanfare)

Born in 1970 in Königs Wusterhausen, Reiko Füting studied composition and piano at the Dresden Conservatory before moving to America (Rice University and the Manhattan School of Music) before moving again, this time to Korea (Seoul National University).

I had only previously come across Füting once before via a disc of folksong arrangements in which he was pianist and, for six of the folksongs, arranger (Twisted Folk, available from CD Baby, where there are samples available: The present disc provides a fuller picture of a questing mind and spirit. The 2014 piece for cello and piano, Kaddish: The Art of Losing (Kaddisch: Die Kunst des Verlierens) is based in formal terms on Imre Kertesz’s novel Kaddish for a Child Unborn. It is also influenced by the poetry of Elizabeth Bishop and includes, as its final section, an in memoriam. The piece is fragile throughout, with bare textures and fragmentary statements from both instrumentalists punctuated by tension-laden silences. The performance is staggeringly good, hypnotic and inward-looking. The occasional use of vocal noises is subtly done, a natural part of the soundscape rather than effect for effect’s sake.

Five pieces for solo voice intersperse instrumental pieces for the main body of this disc. Korean mezzo Nani Füting is the expressive singer in these aphoristic statements from …gesammeltes Schweigen (Collected Silence). The first refers to “distant violin playing” (the vocal lines seem to point to Kurtág), and so it is entirely apposite that the very next piece is indeed for solo violin, tanz.tanz. The lines of “Das alte Weingut …” seem more allied to Webern. Vocal effects are used to great effect. When it comes to the final micro-song, “Hoch im Gebirge …”, one feels a sense of loss that one has heard the last “insertion”, surely an indicator of success in the programming here.

Violinist Miranda Cookson clearly has an affinity for contemporary music, having recorded pieces by Nono, Xenakis, Carter and Shapey, amongst others. No doubting her sterling, in fact rock solid, technique in tanz.tanz, a work based on an analysis of Bach’s Chaconne (from the D-Minor Partita) by Helga Thoerne, who is actually the work’s dedicatee. Again, the work’s title comes from a novel, this time Dance Dance Dance by Haruki Marakumi. Cookson finds drama as well as that same fragile delicacy previously encountered in Kaddish.

The 2006 piece leaving without/palimpsest for piano and clarinet is based on the 2002 solo piano piece leaving. Based on a German folk tune, it is aphoristic in nature; the instrumentarium of “piano with clarinet”, and not the other way around, is significant as it is indeed the piano that bears the brunt of the argument. The clarinet does not enter until after four minutes in. The excellent cellist John Popham, whose tone is like velvet and whose technique is remarkable, takes on names, erased of 2012. This work quotes Bach, Berg and Ligeti, while also including self-quotations. Taking its basis as the Preludes from the Bach Solo Cello Suites (and the link is easily audible), Füting effectively takes Bach for a walk into the half-lit world of contemporary solo cello.

The present disc brackets together two pieces: ist – Mensch – geworden and land – haus – berg. Both use quotation extensively. The first is for flute and piano and quotes Josquin, Bach, Schumann, and Debussy plus making reference to flute and piano works by Boulez, Feldman, Furrer, Jo Kondo, Murail and Füting’s teacher, Nils Vigeland. This is a most mysterious piece: perhaps the extensive quotations themselves point to hidden, underlying, secrets. The solo piano land – haus – berg (2009) is where one encounters the ghosts of Beethoven, Schumann and Wolf’s settings of Goethe’s Kennst du das Land?. Such a deconstructed surface allows for only slight shadows though, the type one might catch out of the corner of an eye (or, in this case, an ear); one becomes more aware of the loneliness encapsulated here.

Originally taking a 1649 song by Heinrich Albert and Simon Dach as a starting point, light, asleep in its first version of 2002, this 2010 revision again puts the quotation way in the background (“I found that he source material was reflected only in the title and general atmosphere of my composition”, says Füting in the booklet). There is something of a black processional about this piece for violin and piano. Olivia de Proto is the fine, sweet-toned violinist who, alas, is the only performer on the disc not to be given a biography in the booklet, perhaps because she is lead violinist of the Mivos Quartet. As soloist of this caliber, though, she deserves one.

Scored for alto flute, cello and piano, the short 2003 piece (revised 2011) finden – suchen is a concisely-written occasional birthday piece for a former teacher, Jörg Herchet. Finally, … und ich bin Dein Spiegel (2002, revised 2012) for mezzo and string quartet. The literary inspiration this time is Mechthild von Magdeburg (died 1282), while musical sources act as what the composer calls “time witnesses”: the Minnelied Meie, din liehter schin by Neidhart von Reuental and the medieval sequence Laudes cruces attollamus. The melding of the new and the very old is highly effective, with Füting’s aphoristic style acting as a sort of distorting mirror to the source material. The piece begins with unaccompanied voice. Nina Füting has the perfect sound for the purity of the opening. The Milos String Quartet plays superbly, and the climactic cries of both voice and violin between six and seven minutes in carry appreciable emotional weight.

Taking its title from a variant of the title of the piece names, erased (Prélude) (so it becomes namesErased), this disc is about as stimulating as they get. We need to hear more of Reiki Füting’s individual compositional voice. Of that, there is no doubt. 

Colin Clarke (Fanfare)

Born in 1970 in the German Democratic Republic, Reiko Füting studied composition and piano at the Dresden Conservatory, Rice University, Manhattan School of Music, and Seoul National University. Since 2000, he has served on the faculty of Manhattan School of Music, where he teaches theory and composition, and continues to perform around the world as pianist as well. As far as I can tell, the present disc is the first CD devoted entirely to his work. The formatting of the CD is a bit unusual in that it intersperses individual songs from Füting’s cycle, …gesammeltes Schweigen between the instrumental pieces.

The disc opens with Kaddish: The Art of Losing, a work for cello and piano. The cello has a rather extended opening monolog, the notes of which are largely derived from open strings and their natural harmonics. Eventually the piano joins in, at first subtly, and then more prominently so. The cello part continues senza vibrato throughout, giving the entire piece an evocatively mysterious quality. Although the work cannot be considered in any sense folk music, some of the gestures seem to me to be drawn from that world, and perhaps the rather static tonal centers (primarily on D) contribute to that feeling. Füting doesn’t eschew advanced techniques in this work; these include jeté (a technique of throwing the bow onto the string such that it quickly bounces a number of times) and sul ponticello.

After a movement from the song cycle (a one-minute unaccompanied plaintive setting with a wandering melodic line), we hear tanz.tanz for solo violin. This is a very busy work, with many interjections of pizzicato and other special effects, but the tonal center is again on D, in particular the note of the open D-string on the violin. Somewhere near the end, I heard a brief quote from the Chaconne of Bach’s unaccompanied D Minor Partita. It turns out (once I read the notes), that the entire work springs out of an analysis of that work by German musicologist Helga Thoene, but you need not have read her analysis to enjoy this intriguing piece.

With the beginning of leaving without/palimpsest for clarinet and piano, I began to see the logic of interspersing the vocal brevities in between the much longer instrumental works. These function similarly to the cheese that separates courses of a French meal for the purpose of cleansing the palate. None of the songs is remotely centered on the tonality of D as the larger pieces are. D, especially D Minor therefore seems to be an idée fixe in the music of Füting, but I don’t mean to imply that he never diverges from this tonal center. The disc would wear out its welcome very quickly were that the case. The way he constructs his pieces seems an attempt to draw an otherwise almost atonal work into a tonality centered around D. This is a fascinating principle for the construction of a piece of music, and one I’ve seldom encountered in the music of other composers.

The first four minutes of leaving are for solo piano, but the ideas utilized in this extended introduction show up in the following half of the piece that includes the clarinet. The latter part sounds as if it includes microtones: clarinetist Joshua Rubin plays far too skillfully for me to believe that he’s simply playing out of tune. The range of the work often takes the clarinetist into its altissimo register, some notes so high that they are almost in the “dog whistle” range. Well, maybe I exaggerate, but they come close to exceed the attenuated range of my hearing, at least.  

This is highly imaginative and innovative music that is not difficult to listen to for those whose ears have not been attuned to more advanced musical styles. The composer has a very intimate knowledge of the technical capabilities of the instruments he employs here, such that all of these pieces sound.  They are likewise played and sung with superlative skill by their respective performers. The sonics on this disc are simply spectacular, so present and lifelike are all the instruments and voice. If CDs had sounded this good upon their initial arrival back in the 1980s, much of the controversy regarding their sound would have been foregone. Recommended then, especially to the adventurous.

David DeBoor Canfield (Fanfare)

A most welcome release from New Focus Recordings of solo, chamber and vocal works by Reiko Füting

Reiko Füting ( was born in 1970 in Königs Wusterhausen in the German Democratic Republic, studying composition and piano at the Dresden Conservatory; Rice University, Houston; the Manhatten School of Music and Seoul National University, South Korea. As well as composition, Füting has performed throughout Europe, Asia and the USA. He teaches composition and theory at the Manhattan School of Music and has appeared as guest faculty and lecturer at universities and conservatories in China, Colombia, Germany, Italy, Russia, South Korea and the USA. He has written instrumental, chamber and orchestral works as well as choral and vocal works.

Now from New Focus Recordings comes a new release of solo, chamber and vocal works by Reiko Füing entitled namesErased.
This new CD features members of New York City’s most celebrated contemporary ensembles, including the International Contemporary Ensemble ( , Either/Or Ensemble ( , and the Mivos String Quartet ( performing works written by Füting over the past thirteen years.

In Kaddish: The Art of Losing (2008) the cello of John Popham opens bringing some quite distinctive ruminations, played remarkably. Soon the piano of Yegor Shevtsov enters quietly as the cello weaves its way ahead, a little theme showing through as it develops. The music grows in tension with a more strident, dissonant piano part and some very fine chords from the cello creating some wonderful textures and timbres. Incisive bowing from the cellist leads into a quieter passage before falling to a halt. The cello and piano slowly lead off again more gently before growing more agitated before another momentary pause. As they slowly move ahead again there is a sense of a heavy burden. Hushed vocal sounds are heard then the piano appears, leading slowly to the quiet coda that ends on a repeated single piano note.

Mezzo-soprano Nani Füting enters high up to open ‘Leises Geigenspiel...’ (Distant violin playing) (2004), slowly extracting some highly characterised vocal shapes in this, the first extract on this disc from Füting’s ‘...gesammeltes Schweigen.’ (‘...collected silence’) a setting of texts by Reiner Bonack.

tanz.tanz ( (2010) for solo violin is based on the choral tunes in Bach’s Chaccone that were discovered by the German musicologist Helga Thoene. These choral tunes are woven throughout the Chaconne and serve as the source material for Füting. The soloist Miranda Cuckson opens, winding a line of textures, slowly adding bolder, more vibrant chords. She weaves a remarkable texture creating some very fine moments, with absolutely terrific playing. There is always a distinguishable forward line as this violinist reveals some finely shaped phrases. Throughout, a broader theme seems to be lurking. This is a formidable challenge for any violinist; here Cuckson is terrific.

Mezzo Nani Füting brings another extract from ‘...gesammeltes Schweigen’, ‘Fiel ein Stück Himmel...’ (‘Did a piece of the sky...(fall)’) in which she combines vocal sounds, sung text and occasional sprechgesang, very finely controlled.

leaving without/palimpsest (2006) is based on the old German folk tune Gesgn dich Laub (Bless you leaves) and brings clarinetist Joshua Rubin and pianist Yegor Shevtsov who opens slowly suggesting a little theme, rising in dynamics occasionally as it develops before falling to a brief halt. The music picks up slowly but halts again as the clarinet joins, bringing some finely tongued sounds between the melody. Füting often stretches the tonal abilities of the clarinet, verging on the shrill, not necessarily capitalising on the mellower aspects of the clarinet. Nevertheless, some remarkable sounds are produced as the theme moves along, Füting showing how he always manages to hold an overall musical line before ending on a simple hushed piano note.

The third extract from ‘...gesammeltes Schweigen’ is ‘Das alte Weingut...(’The old vineyard’) where Nani Füting brings a lower range as she carefully delivers some very finely shaped text, vocally quite superb.
The title work, names, erased (2012) features cellist John Popham and uses musical material from Bach, Berg, and Ligeti, compositionally treated to reflect the erasing process of Robert Rauschenberg in his famous Erased de Kooning Drawing . The cello opens by ruminating on a motif. Here again this soloist proves to be a very fine artist, allowing a theme to emerge from the closely woven texture of the opening. It is fascinating to follow the suggested musical lines that subtly emerge. There are many little subtleties in this piece that bear repeated listening before we are led to a hushed coda.

The fourth extract from ‘...gesammeltes Schweigen’ is ‘Die Teiche im Dunst...’ (‘The Ponds in Mist’) where mezzo-soprano Nani Füting rises from a lower pitch as she slowly allows the music to unfold in this remarkable, if short, piece.

ist - Mensch – geworden (was – made – man) (2014) is based on quotations from such diverse composers as Josquin, Bach, Schumann and Debussy with additional material from Boulez, Morton Feldman, Beat Furrer, Jo Kondo, Tristan Murail and Nils Vigeland. Flautist Luna Kang and pianist Jing Yang (www.morningpiano) leap out suddenly as strident flute and piano chords are heard. The flute slowly subsides in more subtle textures before leading ahead with drooping notes and piano accompaniment. There are some lovely flute arabesques within a rather fragmentary line. As the flute develops the melodic theme, there are varying tempi with more strident, staccato passages. Flautist Luna Kang intersperses occasional breath and vocal sounds before repeated shrill flute phrases.

land - haus – berg (land – house – mountain) (2009) is for solo piano and takes settings of Goethe’s poem Kennst du das Land, wo die Citronen blühen (Do you know the land where the lemons blossom) by Beethoven, Schumann and Wolf. Yegor Shevtsov brings a rolling theme that is nevertheless broken by rests. It is rhythmically varied, the pianist bringing a really lovely feel to the music through his fine phrasing. Later there is a repeated note like a drip, drip before the music increases in flow yet still with occasional pauses. The lovely coda arrives with a single note. This is rather a lovely piece.

The fifth and final extract from ‘...gesammeltes Schweigen’ is "Hoch im Gebirge..." (‘High in the mountains’) where mezzo Nani Füting brings some intense phrases as she moves around to a hushed coda.
light, asleep (2002) for violin and piano opens with pianist David Broome introducing a broadly fragmented theme. Violinist Olivia de Prato enters quietly bringing a longer musical line, developing the theme with some fine textures and timbres. Later there is a dissonant piano passage that develops the theme before the violin re-joins with some lovely phrases that burst out in little surges. The music moves through some very fine passages for solo violin before the coda.

finden – suchen (to find, to search) (2002) was written for a concert of works by former students of Jörg Herchet on the occasion of his 60th birthday. Here the alto flute of Eric Lamb

is soon joined by cellist John Popham and pianist Yegor Shevtsov in a tentative theme, finely phrased with some lovely sonorities. Little flute trills rise out as the music is taken slowly and gently forward, building moments of more decisiveness before the flute brings the gentle end.

‘...und ich bin Dein Spiegel’ (‘and I am Your reflection’) (2002) for mezzo-soprano and string quartet was a commission for the Festival Magdeburgisches Concert and is based on excerpts from the fragmentary writing of Mechthild von Magdeburg (c.1207-1282). Mezzo-soprano Nani Füting is joined by the Mivos String Quartet (Olivia de Prato and Josh Modney (violin), Victor Lowrie (viola) and Mariel Roberts (cello).  This work gives Nani Füting a more sustained opportunity to bring her considerable vocal skills to a more extended piece. She enters alone with a simple little melody, showing her very fine voice, musical, flexible and melodic. She then varies the melody, bringing a variety of vocal techniques, moving around vocally, often showing a terrific ability to suddenly rise up high. The quartet enters slowly, picking over the theme in fragmented chords before rising in passion and developing some very fine moments with terrific textures and sonorities. When Füting re-enters she brings some declamatory phrases that complement the quartet, showing terrific control in her dynamic leaps. There is a vibrant, volatile passage for swirling string quartet strings bringing a terrific outflow of textures before Füting returns along with quieter, yet still strident, quartet textures leading to this mezzo’s final outburst at the end.
This is a terrific conclusion to this disc.

It is Füting’s ability to subtly develop themes within a richer and often quite complex texture that is so attractive. The recording is detailed, revealing every texture and timbre and there are useful notes as well as full texts and English translations.

This is a most welcome release.

Bruce Reader (Grammophone)

First impressions, as we all know, can be wrong: presented with Reiko Füting's names, erased, I immediately thought it might in some way be connected to the events of 9/11, given its glass skyscraper cover photo and elegiac title. In such a scenario, one imagines the German-born composer (b. 1970), like others before him, honouring the memory of those whose lives were taken on that sunny September morn fourteen years ago. Though Füting has taught composition and theory at the Manhattan School of Music since 2000, his debut full-length turns out to be a more straightforward affair in being a collection of contemporary chamber music that's neither overtly conceptual in nature nor weighted down by tragedy. If there is an overall theme, it has do with the processes of memory as well as the manner by which past works of art affect the form later works assume. It's clearly not insignificant that the Robert Rauschenberg work referenced by Füting in the titular work is the infamous 1953 piece Erased de Kooning Drawing, a choice that suggests Füting too has wrestled with the impact on his own compositional process by those who preceded him.

names, erased is a family affair, too, with his wife, mezzo-soprano Nani Füting a recurring presence on the recording, and one piece dedicated to Johann Davin Füting, presumably the couple's young son. Not only does names, erased provide a comprehensive account of Füting's breadth and interests as a composer, it's also an in-depth reflection of the cultural world he inhabits, with Bach, Berg, Boulez, Feldman, Debussy, Schumann, and Ligeti referenced in the music, as well as non- musical figures such as Rauschenberg, Elizabeth Bishop, Haruki Marukami, and Goethe. The soundworld as presented is remarkably rich, with Nani Füting joined on the recording by the Mivos Quartet, violinist Miranda Cuckson, and cellist John Popham, among others. The settings range from unaccompanied vocal, violin, and cello performances to piano duets involving clarinet, flute, and violin as well as an album-closing vocal-and-string quartet combination.

One of the album's most appealing aspects has to do with structure and sequence. In “...gesammeltes Schweigen” (“...collected silence”), five solo vocal settings of haikus (by Reiner Bonack) appear as single-minute vignettes in amongst the longer works, a strategy that allows for a refreshing degree of contrast in duration and sonority; in addition, the short piece offers a refreshing opportunity to catch one's breath after the sustained intensity of a longer work such as the cello-and-piano meditation Kaddish: The Art of Losing. Stylistically, Füting's compositions fit comfortably within the contemporary classical sphere; at the same time, they're profoundly informed by the work Bach and others produced, as shown by direct references to their works that Füting threads into his own.

The performances by all concerned are stellar throughout, but the playing of pianist Yegor Shevtsov, who provides sterling accompaniment in separate pieces to clarinetist Joshua Rubin, alto flutist Eric Lamb, and cellist John Popham, merits singling out. tanz.tanz (, which is based on an analysis of Bach's Chaconne, is enlivened by violinist Miranda Cuckson in a standout performance, and flutist Luna Kang elevates ist - Mensch - geworden (was - made - man) with a similarly memorable display. Still, highlighting individual pieces seems a tad misguided, given how much one experiences names, erased as a cumulative whole. In weaving solo and chamber settings into an encompassing whole, the collection presents as in-depth an introduction to Füting's world as could possibly be imagined. 


Reiko Futing manages to write music that is quite busy and yet sounds barren (in a good way). The surface of the instrumental portions of the music is composed of scratches and scrapes, quick alternation between pitches, brief glimpses of harmonics as the fingers slide up the strings. There are very few gaps in the sound and almost no long held tones. Still, I sense an empty or hollow affect that I think comes from the lack of clear harmonic rhythm or traceable thematic arcs. Without a sense of progress or motion, even active music can sound static. This works well with Futing’s inspiration for many of his pieces. He lists composers from several centuries as sources for pieces like names, erased. Bach, Debussy, Ligeti, Berg, Josquin, Schumann, and Boulez all find their way into his work. Futing’s use of these musical ancestors irrespective of historical position runs counter to narratives of progress that many modernists espouse. The apparent lack of desire to move beyond the musical past parallels the lack of forward motion on the music’s surface. This style does become repetitive after several pieces in a row, but the music is easy to appreciate. 

George Adams (American Record Guide)

Reiko Füting namesErased

New Focus

Reviewed by Robert Hugill on Apr 13 2016

Star rating: 4.0

Strongly characterised and intensely wrought chamber and vocal music by this USA-based German-born composer.

The composer Reiko Füting was a name new to me. He was born in the DDR in 1970 and studied at Dresden Conservatory, Rice University, Manhattan School of Music, and Seoul National University. He currently teaches at Manhattan School of Music where he is chair of the theory department. This disc, namesErased, from New Focus Recordings presents us with a selection of Füting's recent vocal and instrumental music.

So we have Kaddish: The Art of Losing played by cellist John Popham and pianist Yegor Shevtsov, tanz.tanz played by violinist Miranda Cuckson, leaving without/palimpsest played by Joshua Rubin (clarinet) and Yegor Shevtsov (piano), names, erased (prelude) played by John Popham (cello), ist-Mensch-geworden played by Luna Kang (flutes) & Jing Yang (piano), land-haus-berg played by Yegor Shevtsov (piano), light, asleep played by Olivia de Prato (violin) and David Broome (piano), finden - suchen played by Eric Lamb (alto flute), John Popham (cello), Yegor Shevtsov (piano), and ...und ich bin Dein Spiegel performed by Nani Füting (mezzo-soprano), the Mivos Quartet (Olivia de Prato, Joshua Modney, Victor Lowrie, Mariel Roberts), interspersed with movements from ... gesammeltest Schweigen sung by Nani Füting.

Most of the pieces on the disc seem to have extra-musical or musical connections, either building on pre-existing musical structures of referring to non-musical ones. This might be inferred perhaps from the epigrammatic nature of the title, but there is nothing pastiche-like about Reiko Füting's work, he speaks with a very definite and rather striking music accent.

Kaddish: The Art of Losing for cello and piano was an 80th birthday gift to a German musicologist. The piece is based on the novel, Kaddish for a Child Unborn by Hungarian writer Imre Kertesz, though the title also refers to a poem by Elizabeth Bishop. We start with just a solo cello playing a sequence of motifs, all harmonic heavy; in a technique which crops up a lot on the disc, the cello and then cello & piano explore the opening motifs repeating and varying. The tone is serious and thoughtful, there is an evocative piano postlude which recapitulates the material.

tanz.tanz for solo violin is based on German musicologist Helga Thoene's analysis of Bach's Chaconne with its structure of chorales woven into it. Though the title also refers to the novel Dance Dance Dance by Japanese writer Haruki Murakami. There are hints of the original in the piece as the violin incessantly explores a group of motifs using a variety of playing techniques (arco, pizzicato, marcato, harmonics).

leavng without/palimpsest, for clarinet and piano, based on an earlier composition for piano, leaving without, which in turn had a German folk- tune Gesgn dich Laub (Bless you leaves). The piano plays note clusters which seem based on intervals always rising or falling. The style is austere and spare despite the harmonic clusters, and when the clarinet joins it uses a number of advanced techniques and the two instruments seem to re-visit the piano's material but in a different way.

names.erased (Prélude) is based on quotations from Bach, Berg, Ligeti and Füting's own compositions, and is related to the solo cello suites by Bach, and to Robert Rauschenberg's Erased de Kooning. It uses a lot of string crossing, a la Bach, but with harmonics and other interesting effects. There is a magical sound world which is light and evocative, as if the lower part of the music had been erased.

ist - Mensch – geworden for flute and piano is based on fragmented quotes from Josquin, Bach, Schumann, Debussy, Boulez, Feldman, Tristan Murail, as well as the importance of the number three (three flutes, three words, three main pitches, three sections). Using advanced flute techniques, the fragments interact in dialogue between the instruments cycling round the various motifs. The texture is transparent, and the overall feel thoughtful, though I did not really detect any of the quotations. It leads straight to the thoughtful piano solo land - haus - berg which is based on Beethoven's, Schumann's and Wolf's setting of Goethe's poem Kennst du das Land.

light, asleep, for violin and piano, was originally based on a 17th century song, though by the time the work was finished Füting feels that only the title and general atmosphere reflect the source material. It is a spare and evocative with the two instruments intersecting rather than accompanying each other.

finden - suchen, for alto flute, cello and piano, again has this sense of spareness, with the three instruments cycling round the material, and a sense of lines intersecting in space rather than creative dialogue.
The works are interspersed with movements from ...gesammeltes Schweigen, setting poems from the collection Gespannte Stille by Reiner Bonack set originally for baritone and piano and here heard in a version for unaccompanied mezzo-soprano. Each movement is quite short and the style expressive, the jagged intervals making the piece uneasy feeling.

The final work on the disc, ...und ich bin Dein Spiegel for mezzo-soprano and string quartet is based on excerpts from writings of Mechtild von Magdeburg (c1207-1282), as well as a Minnelied and a medieval Latin sequence. It opens with mezzo-soprano Nani Füting singing unaccompanied, a rather chant-like medieval melody which she then proceeds to de-construct, the quartet takes over examining the material in intense fashion before all five performers join together to create something rather intense as Füting develops the material and then suddenly ends mid-air.

The performances on the disc are exemplary, and all convey the strong impression of Reiko Füting's voice. His style of composition is one which does not take prisoners, but within its severity, intensity and logic is a sense of magic too. This is music which repays listening.

Robert Hugill





land of silence: waves - bringes

Finally, land of silence by Reiko Fueting, explores bits of material, rotating them against a backdrop of sucking, hissing, plosive sounds. This is the most successful piece on the latter part of the recording, with its sonic ingenuity and closing baritone solo. That solo descends slowly in range and its traditional singing is spiked with a variety of mouth sounds. This is intriguing, progressive writing for the voice fulfills the apparent aim of loadbang: to be new, confident, and weird.

            (I Care If You Listen)

"...wie wir klar werden"

Als zeitgenössischer Kommentar (Text: Carola Moosbach) stand hier als zweite Uraufführung des Konzertes "...wie wir klar werden" von Reiko Füting (geb. 1970). Füting setzt die Musik in völligem Kontrast zum lichten, inhaltlich linearen Text, indem er extreme dynamische Gegenbewegung erzeugt. Nur einzelne Phrasen, Worte, kurze Abschnitte klingen im eigentlichen Sinn, viele Teile wirken in Geräuschen und verfremdeten Silben fast zerrissen. Der Titelvers steht schließlich als Sopransolo (Gertrud Günther) mit wiederholten Worten ganz allein, und selbst ein scheinbar versöhnlicher Epilog der hohen Streicher (erstaunliche Farben entstehen, wenn zeitgenössische Musik auf "alten" Instrumenten erklingt) entschwindet in einem ausgehaltenen Geigenton wie ein Verlöschen.

            (Dresdner Neueste Nachrichten)

"in allem frieden"

Das Sächsische Vocalensemble unter der Leitung von Matthias Jung verband in seinem Konzert "Da pacem, Domine" Motetten von Heinrich Schütz mit Kompositionen von Reiko Füting (geb. 1970) nach Texten von Kathleen Furthmann. Fütings "als ein licht/extensio" (2011) und das uraufgeführte "in allem frieden" antworteten auf die Motetten von Schütz und waren auch intensiv damit verbunden. Die Texte verarbeitete Füting quasi mehrspuring, ließ Fragmente der Schütz-Motetten mit einfließen, expressive Klangflächen, Sprache und Geräusche korrespondierten mit Schlagwerk und Gambenkonsort.

            (Dresdner Neueste Nachrichten)


Christina Siegfried, die künstlerische Leiterin, hat in diesem Jahr erstmals auch ein Auftragswer an Reiko Füting vergeben, der sich nach einem Text von Kathleen Furthmann, "in allem frieden", mit gemischtem Chor, Gamben und Schlagzeug auf die Spuren von Schütz begab. Doch was das Sächsische Vocalensemble unter Matthias Jung bei der Uraufführung in der Kirche von Drsden-Loschwitz hören ließ, machte den Eindruck zartfühlender Unentschiedenheit. An die Stelle der verbindlich-klaren Bezüge, die Schütz zwischen Musik und Sprache herzustellen wusste, ist hier der Rückzug in stille Unbelangbarkeit getreten.

            (Frankfuert Allgemeine Zeitung)

höhen - stufen

Die Singakademie wird sich dem Meisterwerk (Bach's h-Moll Messe) in drei Teilen bis 2013 im jeweiligen "Adventsstern" zuwenden und stellt Bach jeweils eine "Re-Aktion" eines zeitgenössischen Komponisten zur Seite. Am Sonntag war dies der in Amerika und Deutschland wirkende Komponist Reiko Füting, dem mit "höhen-stufen" eine reizvolle kontemplative Betrachtung von Sprache und Zeit gelang. Spannend war zu beobachten, wie sich die Verzahnung von Harmonik und Zeitfluss in Fütings Werk zu Bach verhielt. Beide Komponisten arbeiten in klar wahrzunehmender strenger Strukturierung, und es wird jeweils eine Gesamtidee deutlich, die die Thematik beleuchtet, aber nicht einengt. Die Idee von himmlischen und irdischen Stimmen wird hier kompositorisch sehr plastisch ausgeformt und stellt somit auch einen Bezug zur Messe im theologischen Sinne her.

            (Dresdner Neueste Nachrichten)


Den Reigen eröffnete Reiko Füting. Er hat seine Komposition "höhen-stufen" noch einmal grundlegend überarbeitet. Sie bezieht sich vermutlich auf das "Gloria" der Messe. Allerdings waren die Texte nur in extrem verfremdenden Fraktionierungen zu hören, Assoziationen erforderten viel guten Willen. Text und Music bewegten sich auf einem ins Extrem getriebenen Abstraktionsgrad. Der Interpretationsspielraum war groß, geradezu beliebig.

            (Sächsische Zeitung)

“...als ein licht”

Die Apokalypse verkündend, begannen vier Schlagzeuger mit erschreckenden Schlagballungen Reiko Fütings Komposition "...als ein licht" nach Texten von Kathleen Furthmann. Daraus stieg in vielen Schattierungen das Flehen des gemischten Chores nach Frieden hervor, geflüstert, in Klangfetzen, bruchstückhaft, sich aus einem Klangteppich herausschälend. Immer ist Heinrich Schütz ergreifenden Motette "Verleih uns Frieden genädiglich" aus seiner 1648 erschienenen Geistlichen Chormusik gegenwärtig, als Zitat oder auch im Gestus. Die Präzision, mit der die Meißner Kantorei 1961 zu Werke ging, ihre und der bewährten Solistin Gerturd Günther immense Gestaltungskraft, zogen alle in den Bann. Am Ende erklang die Schütz-Motette rein und klar und schnörkellos aus allen Ecken des Kirchenschiffs - ein berührendes Erlebnis.

            (Dresdner Neueste Nachrichten)

“der töne licht”

Faszinierend war es zu hören, wie sich Fütings Komposition "der töne licht" in das "Abendständchen" unmerklich einschlich, einige Passagen seltsam sich zerdehnten und die romantischen Harmonien sich dann zerlegten, um bald in vier Ebenen gegen- und übereinandergeschichtet neue tonale Bedeutung zu generieren.

            (Dresdner Neueste Nachrichten)


Den ersten Preis, zur Verfügung gestellt von der Stiftung für Kunst & Kultur der Stadtsparkasse Dresden, erhielt der in Königs Wusterhausen geborene Reiko Füting, ehemals Absolvent der Dresdner Musikhochschule. Er verbindet in "weht - umweht" die Motette "Ach weh des leiden" von Hans Leo Haßler mit seiner Komposition auf eine Paraphrase zu Haßlers Text von Kathleen Furthmann. So erzeugt er, unter Beibehaltung der geteilten Chores, ein zartes, fast melancholisches Stimmengeflecht, das nach lang ausgedehntem Pianissimo schließlich verlischt.

            (Dresdner Neueste Nachrichten)   


Der erste Preis wurde an Reiko Füting, Jahrgang 1970, vergeben, der in Deutschland und den USA lebt.  Er hat für “weht-umweht” einen Text Kathleen Furthmanns gewählt und ihn in viel leise Musik gekleidet.  Dynamisches Raffinement lässt den Klang im Raum quasi pendeln.  Auch Füting verzichtet auf musikalische Kontinuität, fasst aber gedanklich Zusammengehöriges auch in der Komposition zusammen.

            (Sächsische Zeitung)    

"als aus nacht himmel wurde“
So entstand auf zurückhaltende Weise eine besondere Atmosphäre. Zuerst von aufrüttelnden Posaunenrufen im Dialog mit dem Chor geprägt, lichteten sich die herben Tontrauben im zweiten Teil. Sie wurden vom freundlicheren Klang einer Flöte begleitet. In stillem Verhalten, wie beim Ticken der Zeituhr, klang das Werk allmählich aus. ...Trotzdem wirkte das Werk auch dank der beeindruckend differenzierten Klanglichkeit des Chores auf eigene Weise nach.
            (Sächsische Zeitung)

"silently wanders“
Ein intensives Stück, das musikalisch den Bogen von seriellem Denken zu Unvorhersehbarem zu spannen vermochte und das den Bogen zwischen abendländischer und fernöstlicher Haltung zu spannen versuchte.
            (Dresdner Zentrum für zeitgenössische Musik)


Sandwiched between Bach's mysterious Cantata No. 131 and Bruckner's triumphant Te Deum, the group gave a captivating premiere of Reiko Füting's silently wanders/extensio for choir, mezzo soprano, organ, and solo cello. Conductor Nicholas DeMaison navigated the ensemble through the spacious score, one that alternated meditative organ solos with choral movements that were both reflective and stuttering. Comprising texts of E.E. Cummings and Reiner Bonack, Füting's settings made brilliant use of stammered consonants - often displacing the first or last sound from their respecitve word, akin to Coummings' own use of avant-garde letter spacing and lack of punctuation. Mezzo soloist Nani Füting traversed the wide-ranging solo, diverse in its use of both sweeping and dramatic melodies, as well as Pierrot Lunaire-esque points of speech-song. Here, too, the displaced consonant added an incredible sense of text painting, with the final "t" of the German "zeit (time)" transformaing into a ticking clock that gradually faded into the hushed return of the pipe organ. ... To hear a work like Füting's in the midst of staples like Bach and Bruckner is to realize that the human voice's most thrilling counterpart is actually the consolatory hum of reverent silence.

            (Feast of Music)   

“über zwischen-welten”

Das rätselhafteste und schwierigste Stück des Programms stammt von Reiko Füting, der 1970 in Königs Wusterhausen geboren wurde und jetzt in den USA lebt. "über zwischen-welten" mit seinen vier im Raum verteilten Schlagzeuggruppen beschreibt der Komponist als Palimpsest mit sechs Schichten.

            (Dresdner Neueste Nachrichten)

"gesammeltes Schweigen“
... Das (betraf) ebenso wie die beiden Zyklen von Reiko Füting ("...gesammeltes Schweigen") und Benjamin Schweitzer ("Kesä ja talvi"), in welchen sich beide Komponisten - ebenfalls mit "Jahreszeiten"-Hintergrund von verschiedenen Dichtern - auf einer eher intellektuellen, fast meditativ zu nennenden Ebene auf der Suche nach dem richtigen Ausdruck, nach den Klängen hinter der Sprache begeben.
            (Dresdner Neueste Nachrichten)

“...weil sie in den Gedichten steht”
Reiko Fütings Komposition nach einem Gedicht von Georg Trakl “...weil sie in den Gedichten steht” in der Fassung für Bariton und Violoncello schließlich war der gelungenen Versuch, der außergewöhnlichen Sprachgewalt des deutschen Expressionisten mit möglichst sparsamen, aber adäquaten musikalischen Mitteln bezukommen.
            (Dresdner Neueste Nachrichten)

Reiko Fütings “...weil sie in den Gedichten steht”, nach einem Gedicht von Georg Trakl, mutete ebenso jugendlich an wie die Trommelorgie des wilden Würzburgers. In diesem Dresdner Beitrag drückte sich jedoch eine in die Interessantheit der eigenen Gefühle verstrickte Jugend aus--nichts anderes als ein expressionistisches Gedicht konnte hierfür gewählt werden.

re-frachtion: shadows (palimpsest, palimpsest 2)
In den Mittelpunkt seines aktuellen Programmes hat das elole-Klaviertrio "re-faction: shadows" von Reiko Füting gestellt. Es vereint zwei Aspekte, die auch für die übrigen Stücke grundlegend sind: im Bereich der Form geht es um Überlappung, klanglich steht die Entfalung des Obertonspektrums einzelner Töne im Vordergrund. Der zweite Teil des Stückes von Reko Füting greift den ersten wieder auf, aber teilweise ist er durch vorher unbekannte Klänge überschrieben. Dies ist bereits in der Fassung für Cello solo zu merken. In "re-fraction: shadows/palimpsest 2" komplettiert das Klavier das Trio. Die zweiteilige Struktur belbit erhalten, zusätzlich überschrieben die beiden neuen Instrumente aber auch das ursprüngliche Cellsolo. Teile daraus treten in den Hintergrund, Elemente der beiden neuen Instrumente dränge sich nach vorne. Unterschiedliche musikalische Entwicklungen überlappen sich gegenseitig.
            (Leonardi Museum Dresden)

The trio, made up of John Popham, Pala Garcia (violin), and Renate Rohlfing (piano) kicked off the concert with the third movement of Reiko Füting's refraction: shadows/palimpsest 2 (2007), using the cello as the launching point and foundation. The piece evoked harmonies centered around a single pithc - D - and utilized strong pizzicatos, interrupting string snaps, and repeated motives.
            (Fest of Music)

re-fraction: shadows

Was hätte wohl Johann Sebastian Bach gesagt, wenn er, in unserer Zeit lebend, sich die Partituren von Reiko Füting oder Nicolaus A. Huber angeschaut hätte? Sicherlich wäre er über die Behandlung des Violoncellos erstaunt gewesen, die er doch zu seiner Zeit in seinen Solo-Suiten zu so großer Meisterschaft gebracht hat. Doch er hätte auch viele Korrespondenzen entdeckt. Diese auf mehreren Ebenen der Stücke nachweisbaren Nachbarschaften sind die "Spurenelemente", auf denen der Cellist Matthias Lorenz sein Konzert-Konzept "Bach.heute" aufbaut. … Reiko Fütings "re-fraction: shadows" wirkte in sich durch ein reduziertes, kräftig wirkendes Tonmaterial sehr geschlossen, dennoch entstand der Bezug zum Thema durch eine Übermalungstechnik, die der ersten Klangerscheinung einen weiteren Satz, dann sogar weitere Stücke und Instrumente hinzufügte.

            (Mehr Licht)

red wall/palimpsest
With its obstinate tutti attacks and quick echoes, Fueting’s strange work brings to mind the premature flattening of rippling concentric circles in water.
            (Sequenza 21)

Reiko Füting's tanz.tanz was based on a formal analysis of Bach's Chaconne and even used some of the original material as inspiration, yet the relationship is nearly indiscernible on first hearig. Fragments of phrases buzzed by at a sporadic pace as Cuckson, with a light bow and generous use of harmonics, spun out a seemingly endless run-on sentence. It was a tour de force of technical prowess. Certainly with such intellectural underpinnings, one might assume this music is of great significance. Perhaps like James Joyce's "Ullyses," one could mine it over time for meaning. Yet with only one performance, it was a flat experience.
            (Herald Tribune)

red wall
Reiko Fueting's 2006 red wall followed.  Dan Lippel's expressive performance captured well the cold but lively atmosphere of the piece, and its unpredictable gestures and phrases seemed to be telling a story: though the language the music was speaking sounded unfamiliar, a narrative could clearly be felt.

leaving without
East German by origin and now teaching music theory at the Manhattan School of Music, he is clearly a composer who merits further hearing. “leaving without” was a striking example of modern minimalism, yet was not without subjective emotional appeal. ... It’s astringent purity and eloquent silences were judged cleansing of the musical palette.
            (Barnes Mortlake and Sheen Times)

gleichzeitig nacheinander
Auch in Reiko Fütings eigenem Beitrag, “gleichzeitg nacheinander”, konnte man man den Spuren einer monodischen Linie nachlauschen, die von umgebenden Ereignissen verdeckt, schließlich in dichtere Akkorde, einige kurz angedeutete rhythmisch federnde Gesten aufgelöst wurde. Auch dieses Stück blieb am Ende offen.
            (Dresdner Neueste Nachrichten)

Fütings Komposition “gleichzeitg nacheinander” kombinierte Insich-schwingen und Verbinden von schnell wechselnden, unterschiedlichen Klangebenen durch Melos. Das Gefühl für das Pianistische spielte hier ein große Rolle.
            (Heilbronner Stimme)




Stets auf Durchsichtigkeit bedacht, verlieh er jeder Variation einen eigenen klangspezifischen Ausdruck.
            (Magdeburger Volksstimme)

Maria durch ein’ Dornwald ging

Obwohl die ganze CD einen eher besinnlichen Tonfall anschlägt, wirkt das knapp einstündige Programm keinesfalls langweilig, denn die Stücke sind so gruppiert, dass sie dem Hörer immer wieder reizvolle Farbwechsel bescheren. Der Satz von "Maria durch ein' Dornwald ging" beginnt etwa nur mit Männerstimmen - und gibt dem Stück eine angenehm dunkle Grundierung.

(NDR Kultur – Feuilleton)


Ob nun im harmonisch komplexen "Maria durch ein' Dornwald ging", oder im überraschend swingenden "Kommet ihr Hirten" - die sechs Vokalisten von Singer Pur sorgen für pure Freude beim Zuhören.

            (NDR Kultur)


Etliche der durchweg ambitionierten Sätze protzen nicht vordergründig mit der Zurschaustellung der stimmtechnischen oder harmonischen Herausforderungen. So ist eine Reihe von echten Schmuckstücken entstanden, etwa die Versionen des zerbrechlichen und harmonisch interessanten ‚Maria durch ein’ Dornwald ging’.



Mit viel Fingerspitzengefühl wurden einige der Lieder von Komponisten wie Reiko Füting neu belebt und gewissermaßen Singer Pur auf den Leib geschrieben.


In der Volksweise "Maria durch ein Dornwald ging" fand diese vorsichtige Erneuerung einen sanglichen und emotionalen Höhepunkt, imstande den Zuhörern das Wasser in die Augen zu treiben.

            (Gäuboden Aktuell Straubing)

Fünf Internationale Volkslieder
So gerieten das filigrane Linienspiel in Reiko Fütings “Internationalen Volksliedern” und die Sekundreibungen im linearen Klanggeflecht sehr plastisch und schwingend. Fütings stilistische Beweglichkeit bereichert die Frauenchorliteratur um ein anspruchsvolles Werk.

Weitere Bearbeitungen

Und Reiko Füting lässt den Chor in "O Heiland, reiß die Himmel auf" vom verhauchenden Tenorsolo bis zum massiven Tuttiklang die Himmelsbewegung im Wechsel von Beinahe-Stillstand und bewegter Rhythmik dynamisch nachzeichnen.

           (Matthias Mader)


Zu den stärksten Stücken zählen Heike Beckmanns rumbabewegte Brahms-Adaption 'Guten Abend, gut' Nacht', das archaisch-düstere 'Es geht eine dunkle Wolk herein' von Reiko Füting.

           (FonoForum: Singer Pur „Save Our Songs“)


Ungewöhnlich modern dagegen “Es geht ein kunkle Wolk herein”. Reiko Füting, ein ehemaliges Mitglied der Weimarer Hofsänger, hatte kunstvoll Musik und Text der Strophen ineinander verwoben. Der gleiche Musiker arrangierte den Gassenhauer “Heidenröslein”. Grandios die Ironisierung des Volksliedes durch Einfügen von passenden Opernarien. Es durfte gelacht werden.


Ergreifend im Kanon auch das von Reiko Füting gesetzte "Es geht ein dunkle Wolk herein" und Eric Whitacres geheimnisvolles Nachtstück "Waternight".

            (Heilbronner Stimme)

Ein Kabinettstück "Das Heidenzauber-Röslein", arrangiert für die Hofsänger von Reiko Füting, in dem neben dem Goethetext allerlei Witziges eingewebt war. Das "Heidenzauber-Röslein" hatte seine Überschrift nicht umsonst. "Es geht eine dunkle Wölk herein" darf nicht unerwähnt bleiben wegen des reichen Arrangements...

Die Arrangements stammed zu einem großen Teil von Komponisten, die mit dem Chor über 60 Jahr verbunden sind, wie Rolf Lukowsky und Gunther Erdmann. Oder von ehemaligen Sängern wie Reiko Füting, der seit 2005 eine Professur für Musiktheorie und Komposition in New York inne hat. ... Favoriten? ... Die titelgebende amerikanische Weihnachtshymne "How Can I Keep from Singing?".



Füting, aside from being a formidable accompanist, is also a refined composer: witness his sensitive tone painting in "Cold Blows the Wind".



Füting has taken Berio’s folksongs as his own model and there’s a terse piano commentary in Molly Bann and an appropriately spare I Wonder As I Wander.

            (MusicWeb International)




Als Begleiter war Reiko Füting, der am Seminar als Pianist teilnahm, für die Sängerinnen und Sänger ein feinfühliger Partner.
            (Wörgler Rundschau)

Reiko Fütings pianistisches Auftreten vermeidet jedes äußerlich auftrumphende Virtuosentum, selbst da, wo es sich beinahe aufdrängt. Er spielt präzise, trocken, dabei aber nicht unsensibel und durchaus brilliant: ein Interpret, der seine feinen Fähigkeiten konsequent in den Dienst der Komponisten stellt und sich damit als überzeugender Vermittler von (neuer) Musik erweist.”
            (Dresdner Neueste Nachrichten)

Reiko Füting regte Benefizkonzert an: Ein einzigartiger Liederabend

            (Märkische Allgemeine Zeitung)

Beide (Matthias Vieweg und Reiko Füting) hatten ein interessantes Programm zusammengestellt.  Das reichte vom 19. Jahrhundert mit Liedern von Franz Schubert und Robert Schumann über das 20. Jahrhundert mit Richard Strauss bis in diese Tage.  Da waren “Die Jahreszeiten” nach Hölderlin, der der Amerikaner Nils Vigeland eigens für die deutschen Freunde komponiert hat, sowie eine eigene Komposition Fütings.

            (Märkische Allgemeine Zeitung)

Wenn sich dann zwei so versierte Musiker wie Matthias Vieweg (Bariton) und der in Dresden ausgebildete, jetzt in New York lebende Komponist Reiko Füting (Klavier) dieser Kompositionen annehmen, ist ein qualitativ hochwertiger Konzertabend garantiert. Schön war auch das Gefühl, sich im Piano-Salon einmal ganz den Werken hinzugeben – die konzentrierte Lesart der beiden Musiker übertrug sich in den Saal und förderte ein intensives Zuhören.
            (Dresdner Neueste Nachrichten)

Die Verleihung des Förderpreises durch den Vorsitzenden des Sächsischen Musikbunds Andreas Ebert wurde ergänzt durch drei Kompositionen Lydia Weißgerbers, die einfühlsam und engagiert von Reiko Füting (Klavier), Uta-Maria Lempert (Violine), Matthias Lorenz (Violoncello) und ein Ensemble Dresdner Studenten unter Leitung von Lennart Dohms-Winkel interpretiert wurden.
            (Neue Musik Zeitung)

Daisy Press, a soprano, supported by Reiko Füting at the piano, sang the "Five Songs from Stefan George's 'Der Siebente Ring' " (Op. 3) with a calm naturalness that suited the style. ... The Webern performances were finely polished...
            (The New York Times)

Reiko Füting's accompaniments are as simple and eloquent as they need to be, and show the pianists' resourcefullness, when it is required.


Payne and Füting are fine ambassadors for this ‘new’ music and have clearly established a first class ensemble; fortunately they’ve been well recorded into the bargain.

            (MusicWeb International)

Der Heimatverein Niederlehme e.V. lud am 26. Juni zu seinem 4. Musikabend "Musikalische Geschichten" ein. Trotz der vielen Veranstaltungen in der näheren und weiteren Umgebung find sich zahlreich ein sehr interessiertes Publikum ein. Der Pianist Herr Professor Dr. Reiko Füting überraschte mit dem feinsinnigen Vergleich der Handschrift unterschiedlicher Komponisten, Kompositionen und ihrer Ausdrucksweise von Johann Sebastian Bach über Robert Schumann, Pjotr Illitsch Tschaikowski u.a.m. bis hin zu Max Reger, Béla Bartók und Dave Brubeck. Eine besondere Überraschung für alle Anwesenden gelang ihm mit den von seiner Frau als Zugabe vorgetragenen Liedern. Mit diesem besonderen Ohren- und Augenschmaus am Schluss der Veranstaltung begeisterte er sein Publikum. Mit dieser überdurchschnittlichen hohen künstlerischen Gesamtdarbietung wurden beide Vortragenden mit einem Standing Ovation und ein persönliches extra Dankeschön von begeisterten ZuhörerInnen verabschiedet. Die Darbeitung war eine echte Bereicherung des Kulturlebens in Niederlehme und ein kleines Geschenk an seine Heimatstadt.

            (Märkische Allgemeine Zeitung)




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