Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83

Flamenco guitar. See Guitar. Flamingus, Johannes

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Flamenco guitar.

See Guitar.

Flamingus, Johannes

(fl 1565–73). Flemish composer. He is first recorded in Leiden, where he is thought to have been phonascus of St Pieter in 1565–7. In 1571 he was engaged at the music-loving Lutheran court of Mecklenburg in Schwerin as director of court music to Duke Johann Albrecht I, where he remained until 1572/3. He last appears as cantor in Zwickau in 1573. A great deal of his music survives, all in autograph copies. He was among the copyists of additional music in the Leiden choirbooks D, E and F (NL-L 1441–3): one mass, 26 motets, three settings of the Magnificat and four of the Nunc dimittis and one hymn are ascribed to him and complete; four masses, a motet, a Nunc dimittis setting and a hymn are incomplete; and one more mass, 12 complete and four incomplete motets and an incomplete hymn are probably by him though lacking any ascription (see Ruhnke). These are all four- or five-voice works on plainchant cantus firmi. A finely-bound set of six partbooks dated 1571 and dedicated to Johann Albrecht I of Mecklenburg, entitled Opusculum cantionum, survives (in D-ROu) from Flamingus's time at the court in Schwerin. It contains a five-voice mass and 10 motets, which may have constituted a liturgical cycle celebrating the conclusion of the Seven Years' War between Denmark and Sweden. Four of the motets have Low German texts, among them an attractive O Lam Gades. Another autograph from his Schwerin period is a Missa nova ‘Etsi me occiderit Dominus’ dated 1573 (ROu, Cantus 2 only). No music survives from his stay in Zwickau or later. Like so many other Netherlandish musicians who occupied positions in court chapels and cathedrals all over Europe in the 16th century, Flamingus was an uneven composer, but at his best his music is very fine indeed.


J.P.N. Land: ‘De Koorboeken van de St Pieterskerk te Leiden’, Bouwsteenen: JVNM, iii (1874–81), 37–48

O. Kade: ‘Abraham Praetorius: ein mecklenburger Tonsetzer vor dreihundert Jahren’, MMg, xxxiii (1901), 1–7

B. Engelke: Musik und Musiker am Gottorfer Hofe (Breslau, 1930)

M. Ruhnke: Beiträge zu einer Geschichte der deutschen Hofmusikkollegien im 16. Jahrhundert (Berlin, 1963)

O. Kongsted: ‘Die Musikaliensammlung des Herzogs Johann Albrecht I’, Stadt und Hof: Schwerin als Residenzstadt im 16. Jahrhundert (Schwerin, 1995), 120–31


Flammer, Ernst Helmuth

(b Heilbronn, 15 Jan 1949). German composer and musicologist. His first choice of study was mathematics and physics (1969–72), but in 1975 he changed his focus to music, studying counterpoint and theory with Peter Förtig and composition with Klaus Huber and Ferneyhough at the Musikhochschule in Freiburg. He also received occasional tuition from Dittrich. Over the same period (1974–80) he studied art history, philosophy and musicology at Freiburg University with Eggebrecht among others. He graduated (DPhil 1980) with a dissertation on Nono and Henze. From 1980 to 1981 he taught at the Staatliche Hochschule für Musik at Trossingen and from 1982 to 1985 at Freiburg University. After 1985 he served as a visiting lecturer at Newcastle University and Salzburg Mozarteum, in Odessa, St Petersburg and Paris, and taught regularly at the Darmstadt international summer schools, where he also served as a jury-member for the Kranichstein prize (1986, 1994). From 1985 to 1987 he was artistic director of the Ensemblia festival in Mönchengladbach and from 1985 to 1990 ran the Freiburg ‘ensemble recherche’, of which he was a founding member. In 1993 he initiated the International Pianists’ Forum (Contemporary Piano Music Festival) ‘… antasten …’ in Heilbronn. He has received awards from many sources, including the cities of Baden-Baden, Dresden, Freiburg, Hanover, Paris, Parma, Rome and Stuttgart.

Flammer’s work as a composer, governed by an existential engagement, protests against the inhumane elements in society and against blind – or even overly simplistic – faith in science and technology. He demands from his interpreters and listeners, and from himself, a correspondingly high degree of artistic engagement, which expresses itself both in the complexity of his musical structures and in the progress of the musical material.


(selective list)

Orch: Conc., vn, str qt, orch, 1983; Gethsemani, orch, 1985–6; Dem Rad in die Speichen fallen, orch, 1987–8; Interferenza mente sovraposizione, vc, orch, live elec, 1989–90; Capriccio, vc, orch, 1990; Durch die Erde geht ein Riß gegen das Vergessen, orch, 1990; Das erschwiegene Wort … ausgeweitet …, perc, orch, 1993–4

Chbr : Str Qt no.1, 1976–7; Str Qt no.2, 1981–2; Abend im Schatten, 9 insts, 1984–5; Str Qt no.3, 1985; Zeitflucht, chbr ens, 1987–8; Glasperlenspiel, 25/50 glasses, 1989–90; All Ding will haben ein End …, chbr ens, 1992–3; Dahingegangen, chbr ens, 1992; Die Zeit, die ist ein sonderbar Ding, ob, str trio, 1993; Phasenweise still und ohne Grenze, vib, str qt, 1995–6

Solo inst: Es war, als hätt' der Himmel die Erde still geküßt, org, 1978; Momentaufnahmen (5 kurze Klavierstücke), pf, 1980–81; Superverso, cycle in 12 parts, org, 1985–6; Von einem, der aufbrach …, vn, 1985; Klavierstück no.3, pf, 1987; Grenzrisse, hp, 1992–3; ECasPiSanKuDraRa, accdn, 1993; Klavierstück no.4, 1993–4; Klavierstück no.5, 1994

El-ac: Der Turmbau zu Babel (orat, F. Schiller, Schopenhauer, F. Nietzsche, N. Machiavelli, K. Tucholsky), solo vv, 3 choruses, 3 orch, live elec, tape, 1980–82; Panoptikum, s sax, tape, 1993; Jenseits des Flusses, org, tape, 1994–6; Se mettre en route vers l'infini … il faut traverser, fl, pf, tape, 1995–7


‘Form und Gehalt I: eine Analyse von Luigi Nonos “La fabbrica illuminata”’, Melos/NZM, iii (1977), 401–11

‘Form und Gehalt II: eine Analyse von Klaus Hubers “Tenebrae”’, Melos/NZM, iv (1978), 294–304

‘Form und Gehalt III: Analyse von Hans Werner Henzes “Der langwierige Weg in die Wohnung der Natascha Ungeheuer”’, Melos/NZM, iv (1978), 486–95

Politisch-engagierte Musik als kompositorisches Problem, dargestellt am Beispiel von Luigi Nono und Hans Werner Henze (Baden-Baden, 1981)

‘Neoklassizismus – historische Legitimation des Komponierens?’, Klassizistische Moderne: eine Begleitpublikation zur Konzertreihe im Rahmen der Veranstaltungen “10 Jahre Paul Sacher Stiftung”, F. Meyer, ed. (Winterthur, 1996), 155


J. Braun: ‘Musik aus dem Bierglas: Erfahrungen mit Flammers “Glasperlenspiel”’, Zeitschrift für Musikpädagogik, xvi (1992) 1–4

P. Becker: ‘“Dem Rad in die Speichen fallen …” Notate zum Schaffen von Ernst Helmuth Flammer’, Festschrift Wolfgang Roscher (Salzburg, 1997)


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