Reiko Fueting

Dean of Academic Core and Head of Composition

Faculty:
Composition
Music Theory and Aural Skills
Music History
Composition Course Faculty:
Composition Forum
Graduate Aesthetics and Form

Reiko Füting was born in 1970 in Königs Wusterhausen of the German Democratic Republic. He studied composition and piano at the Hochschule für Musik “Carl Maria von Webern” in Dresden, at Rice University in Houston, at Manhattan School of Music in New York, and at Seoul National University. Some of his most influential teachers have been the composers Jörg Herchet and Nils Vigeland, and the pianist Winfried Apel.

Reiko joined the theory faculty at the Manhattan School of Music in 2000. Five years later, he became a member of the composition faculty and was appointed Chair of the Theory Department. In 2020, he was also appointed Chair of the Composition Department and is currently serving as Dean of Academic Core and Head of Composition. He has taught vocal accompanying at the Conservatory of Music and Theater in Rostock, Germany, and appeared as guest faculty and lecturer at universities and conservatories in China, Colombia, Germany, Italy, Russia, South Korea, and the United States.

As a composer, Reiko has received numerous prizes, awards, scholarships, grants, and commissions. His music has been performed in several countries in Europe, the Americas, and Asia. It is published by Verlag Neue Musik in Berlin, Germany; most of his recordings have been released on the New Focus label in New York. He has collaborated with a wide range of musicians, ensembles, and orchestras, with a particular interest in vocal ensembles and ensembles performing on period instruments. His opera on the life of the mystic nun Mechthild von Magdeburg was premiered at the reopening of the concert hall in Magdeburg, Germany in 2022. Reiko is Composer-in-Residence at the Gesellschaftshaus Magdeburg during the 2023/2024 season.

More information at www.reikofueting.com

“With my music, I aim to explore the psychological nature of memory, as it is projected onto the compositional device of musical quotation. By realizing this device in the entire musical spectrum of assimilation, integration, dissimilation, disintegration, and segregation, while moving freely between clear borders and gradual transitions, quotation and memory may function as a means to reflect upon contemporary artistic, cultural, social, and political phenomena.”

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