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Felicitas Kukuck: Composing Against All Odds

Conclusion Kukuck, Felicitas. Ecce Homo: Die letzten Tage des
It is difficult to suggest only a few pieces from Jesus aus Galiläa.
Kukuck’s rich catalogue of choral music, particular- Wolfenbüttel: Möseler Verlag, 1991.
ly as so much of her work would be useful for a wide
range of ensembles. Her style is emblematic of most Kukuck, Felicitas. Storm-Lieder.
twentieth-century German vocal music: expansive and Wolfenbüttel: Möseler Verlag, 1951.
singable melodies are mixed with unusual intervals and
chromaticism. Her overall harmonic language can be Kukuck, Felicitas. Storm-Lieder II.
considered tonal, although there are deviations from Wolfenbüttel: Möseler Verlag, 1985.
tonality in her more complex and later works. The ar-
chitecture of each piece is clear, and the text—always Music and the Holocaust.
in German—guides the melodic, harmonic, rhythmic, “Reichskulturkammer and Reichsmusikkammer.”
and metric setting. Some of her scores are easily acces- Accessed March 3, 2025. https://holocaustmusic.
sible, while others will require correspondence with the ort.org/de/politics-and-propaganda/third-reich/
publisher to obtain. A full list of published works and reichskulturkammer/
publishers is on the website www.felicitaskukuck.de.
The oft-heralded composer Paul Hindemith certain-
ly had a profound impact on Kukuck’s development as NOTES
a composer. Yet even cursory study of her work ce-
ments her place in the lineage of fine German compos- 1 Felicitas Kukuck, “Autobiographie in Form eines Tage-
ers in her own right. Her dedication to music education buchs ab 17. April 1989,” 7, https://felicitaskukuck.de/
and writing thoughtfully crafted music to suit a range Autobiographie_FKukuck.pdf
of abilities distinguishes her music from that of many 2 Felicitas Kukuck, “Autobiographie in Form.”
of her contemporaries. Whether selecting from the 3 Felicitas Kukuck, “Autobiographie in Form,” 10.
more complex pieces, her church motets and cantatas, 4 Margret Johannsen, interview by Beatrix Borchard, Ham-
her part songs, or even folk song settings, the work of burger Musikhochschule, July 5, 2012. https://www.
Felicitas Kukuck provides an illuminating window into youtube.com/watch?v=wcu6RUXy608
music in the German classical tradition during some 5 Cordula Sprenger, Felicitas Kukuck als Komponistin von Solo-und
of the country’s most turbulent and transformational Chorliedern (Tectum Wissenschaftsverlag, 2008), 17.
years. 6 Margret Johannsen, interview by Beatrix Borchard.
7 Eicke Funck, “Eicke Funck im Gespräch mit Felicitas Kukuck,”
Intervalle I, Arbeitskreis Musik in der Jugend (Wolfenbüttel,
Additional Resources 1980), 13.
8 Margret Johannsen, interview by Beatrix Borchard.
9 “Musik zum Reinhören,” https://felicitaskukuck.de/musik_
Bick, Martina. “Felicitas Kukuck,” hoeren.htm.
Digitales Deutsches Frauenarchiv.
Accessed March 3, 2025. https://www.digitales-
deutsches-frauenarchiv.de/akteurinnen/felicitas-
kukuck

Johannsen, Margret. “Felicitas Kukuck,”
Musik und Gender im Internet.
Accessed March 2, 2025. https://mugi.hfmt-hamburg.
de/receive/mugi_person_00000459?lang=de

64 CHORAL JOURNAL November/December 2025 Volume 66 Number 4