Egon Wellesz

Egon Joseph Wellesz (October 21 1885 – November 9 1974) was an Austrian composer, teacher and musicologist, a pupil of Arnold Schoenberg and an eminent scholar of Byzantine music.

Life

Wellesz studied under Arnold Schoenberg - purportedly his first private pupil - as well as Guido Adler, who founded the musicological institute in Vienna and was a leading editor of the Austrian Denkmaler. These dual influences shaped much of his musical and scholarly life. In 1913, Wellesz embarked upon a lifelong interest in Byzantine music.

Wellesz left Austria for England in the wake of the Anschluss — more specifically, he was in Amsterdam at the time by good fortune, as Wellesz was there hearing Bruno Walter conduct his (Wellesz') orchestral piece "Prosperos Beschwörungen" on that daycite web|last=Krones|first=Hartmut|date=2001-12-05|title=Notes to US Premiere of Wellesz Symphony 3|url=http://www.americansymphony.org/dialogues_extensions/2001_02season/2001_12_5/wellesz.cfm |publisher=American Symphony Dialogues and Extensions|accessdate=2007-12-22] . Wrote nine symphonies and an equal number of string quartets, the former starting, in 1945cite web|last=Conway|first=Paul|publisher=MusicWeb International|month=June | year=1999|url=http://www.musicweb-international.com/wellesz/wellesz.htm|title=An Austrian Symphonist in Britain|accessdate=2007-12-22] , only with his arrival in England and the latter series of works spread throughout his life. Also wrote much other music including operas — of which "Die Bakchantinnen" was revived and recorded a few years ago; an octet with the same instrumentation as Schubert's, piano and violin concertos (one of each, and a suite for violin and orchestra besides), for instance. Stylistically his earliest music, somewhat like that of Ernst Krenek, is in a very harsh but tonal style; there is a definite second period of sorts around the time of the first two symphonies (1940s) in which his music has a somewhat Brucknerian sound — in the symphonies sometimes an equal breadth, though still with something of a 20th-century feel and harmonies, and after his fourth symphony (the "Austriaca") his music is more pan-tonal/non-tonal, serial in character.Fact|date=September 2008 This is consistent, in for instance the 8th quartet, with hints of tonality.

Wellesz is principally remembered for his extensive scholarly contributions to the study of Byzantine music for which he was awarded an honorary doctorate from Oxford (where he later taught) in 1932.

Compositions

Wellesz’ works as a composer amount to at least 112 works with opus numbers as well as some 20 works sans opus number. He busied himself in a variety of mediums; composing for the stage as well as for the concert hall in the form of orchestral works, concerti, chamber music, piano music, songs, and choir works.

Recently, interest in Wellesz' music has increased. A complete recording of his nine symphonies is available, although his music has generally been sparsely represented on CD or LP. His 3rd symphony (1950-1), published posthumously, received its World Premiere in Vienna in 2000. [cite web|title=The long-awaited world premiere of the third symphony triumphs in Vienna|publisher=MusicWeb International|url=http://www.musicweb-international.com/wellesz/third.htm|last=Conway|first=Paul|month=July | year=2000|accessdate=2007-12-22] Several of his symphonies have titles: the 2nd ("The English"), 4th, and 7th ("Contra torrentum").

Works for Stage

*Das Wunder der Diana, op. 18 (1914–1917), Ballet after Béla Balázs
*Die Prinzessin Girnara, op. 27 (1919–1920), Libretto by Jakob Wassermann
*Persisches Ballett, op. 30 (1920), Ballett after Ellen Tels
*Achilles auf Skyros, op. 33 (1921), Ballett after Hugo von Hofmannsthal
*Alkestis, op. 35 (1923), Libretto by Hugo von Hofmannsthal nach Euripides
*Die Nächtlichen. Tanzsinfonien, op. 37 (1923), Ballet scene after Max Terpis
*Die Opferung des Gefangenen, op. 40 (1924–1925), Stage drama after Eduard Stucken
*Scherz, List und Rache, op. 41 (1927), Libretto after Johann Wolfgang von Goethe
*Die Bakchantinnen, op. 44 (1931), Libretto des Komponisten nach Euripides, Opera in 2 Acts
**Hymne der Agave aus "Die Bakchantinnen", op. 44, Concert edition by Wellesz
*Incognita, op. 69 (1950), Libretto by Elizabeth MacKenzie and William Congreve

Choral Works

*Drei gemischte Chöre, op. 43 (1930), Text: Angelus Silesius
*Fünf kleine Männerchöre, op. 46 (1932) from "Fränkischen Koran" by Ludwig Derleth
*Drei geistliche Chöre, op. 47 (1932) for men's chorus based on poems from "Mitte des Lebens" by Rudolf Alexander Schröder
*Zwei Gesänge, op. 48 (1932) based on poem's from "Mitte des Lebens" by Rudolf Alexander Schröder
*Quant'è bella Giovinezza, op. 59 (1937), for women's choir
*Carol, 62a (1944) for women's choir
*Proprium Missae, "Laetare", op. 71 (1953) for choir and organ
*Kleine Messe G-dur, op. 80a (1958) for three similar voices a capella
*Alleluia, op. 80b (1958) for Soprano or Tenor solo
*Laus Nocturna, op. 88 (1962)
*Missa brevis, op. 89 (1963) for Choir
*To Sleep, op. 94 (1965) for Choir
*Festliches Präludium, op. 100 (1966) on a Byzantinium Magnificat for Choir and Organ

Orchestral Works

*Heldensang, op. 2 (1905), symphonic prologue for large orchestra
*Vorfrühling, op. 12 (1912), symphonic mood picture for orchestra
*Suite, op. 16 (1913), for orchestra
*Mitte des Lebens, op. 45 (1931–32), cantata for soprano, choir, and orchestra
*Piano Concerto, op. 49 (1933)
*Amor Timido, op. 50 (1933), aria for Soprano and small orchestra. Text: Pietro Metastasio
*Prosperos Beschwörungen, op. 53 (1934–36), five symphonic works for orchestra after William Shakespeares "The Tempest"
*Lied der Welt, op. 54 (1936–38), for soprano and orchestra. Text: Hugo von Hofmannsthal
*Leben, Traum und Tod, op. 55 (1936–37), for alto and orchestra. Text: Hugo von Hofmannsthal
*Schönbüheler Messe C-dur, op. 58 (1937), for choir, orchestra, and organ
*Symphony nr. 1, op. 62 (1945)
*Symphony nr. 2, op. 65 (1947–48), "The English"
*Symphony nr. 3, op. 68 (1949–51)
*Symphony nr. 4, op. 70 (1951–53), "Austriaca"
*Symphony nr. 5, op. 75 (1955–56)
*Violin concerto, op. 84 (1961) dedicated to the violinist Eduard Melkus.
*Four Songs of Return, op. 85 (1961), for soprano and chamber orchestra. After texts byElizabeth Mackenzie
*Duineser Elegie, op. 90 (1963) for soprano, choir, and orchestra after Rainer Maria Rilke
*Ode an die Musik, op. 92 (1965) for baritone or alto and chamber orchestra, Text: Pindar, in free adaptation of works by Friedrich Hölderlin
*Symphony nr. 6, op. 95 (1965)
*Vision für Sopran und Orchester, op. 99 , (1966), Text: Georg Trakl
*Mirabile Mysterium, op. 101 (1967) for soloist, choir, and Orchester
*Symphony nr. 7, op. 102 (1967–68), "Contra torrentem"
*Canticum Sapientiae, op. 104 (1968) for baritone, choir, and orchestra after texts from the Old Testament
*Divertimento, op. 107 (1969), for small orchestra
*Symphonic Epilogue, op. 108 (1969)
*Symphony nr. 8, op. 110 (1970)
*Symphony nr. 9, op. 111 (1970–71)

Chamber Music

*String quartet nr. 1, op. 14 (1912)
*String quartet nr. 2, op. 20 (1915–16)
*Geistliches Lied, op. 23 (1918–19) for Singstimme, violin, viola, and piano
*String quartet nr. 3, op. 25 (1918)
*String quartet nr. 4, op. 28 (1920)
*Sonata for violoncello solo, op. 31 (1920)
*Two works for clarinet and piano, op. 34 (1922)
*Sonata for violin solo, op. 36 (1923)
*Suite for violin and chamber orchestra, op. 38 (1924)
*Sonnet by Elizabeth Barrett-Browning for soprano and string quartet or large string ensemble, op. 52 (1934)
*Suite for violoncello solo, op. 39 (1924)
*Suite for violin and piano, op. 56 (1937/1957)
*Suite for flute solo, op. 57 (1937)
*String quartet nr. 5, op. 60 (1943)
*The Leaden Echo and the Golden Echo. Song for soprano, clarinet, violoncello, piano, op. 61 (1944). Text: Gerard Manley Hopkins
*String quartet nr. 6, op. 64 (1946)
*String quartet nr. 7, op. 66 (1948)
*Octet, op. 67 (1948–49) for clarinet, bassoon, horn, two violins, viola, violoncello, and contrabass
*Sonata for violin solo, op. 72 (1953/59)
*Suite, op. 73 (1954) for flute, oboe, clarinet, horn, and bassoon
*Suite for solo clarinet, op. 74 (1954)
*Suite for solo oboe, op. 76 (1956)
*Suite for solo bassoon, op. 77 (1957)
*Fanfare for solo horn, op. 78 (1957)
*string quartet nr. 8, op. 79 (1957)
*Quintet, op. 81 (1959) for clarinet, 2 violins, viola, and violoncello
*String trio, op. 86 (1962)
*Rhapsody for viola solo, op. 87 (1962)
*Musik for string orchestra in one movement, op. 91 (1964)
*Fünf Miniaturen for Violinen und Klavier, op. 93 (1965)
*Partita in Honor of Johann Sebastian Bach, op. 96 (1965) for organ
*string quartet nr. 9, op. 97 (1966)
*Four works for string quartet, op. 103 (1968)
*Four works for string trio, op. 105 (1969, 2. Fassung 1971)
*Four works for string quintet, op. 109 (1970)
*Prelude for viola solo, op. 112 (1971)

Bibliography

*cite book|last=Benser|first=Caroline Cepin|year=1985|publisher=P. Lang|location=New York|title=Egon Wellesz (1885-1974) : chronicle of twentieth-century musician|isbn=0-8204-0138-2
*cite book|last=Wellesz|first=Egon|coauthors=Kerridge, W. H., translator|title=Arnold Schönberg|date=1925?|publisher=J. M. Dent & Sons|location=London|oclc=23799320
*cite book|last=Wellesz|first=Egon|year=1960|title=New Oxford history of music 1. Ancient and oriental music|oclc=174194430|location=Oxford|publisher=Oxford University Press
*cite book|last=Wellesz|first=Egon|title=A history of Byzantine music and hymnography|year=1961|publisher=Clarendon Press|oclc=3309386
*cite book|last=Wellesz|first=Egon|title=Fux|location=London; New York|publisher=Oxford University Press|oclc=302872|year=1965
*cite book|last=Wellesz|first=Egon|coauthors=Conomos, Dmitri; Velimirović, Miloš|title=Studies in Eastern Chant|publisher=Oxford University Press|location=London; New York|year=1966|oclc=1126942|isbn=0-913836-79-6|url=http://books.google.com/books?id=Kw8QzwWog4cC&dq=wellesz&ei=ujhtR4uvIZPuiQHXv7F2

References

*Robert Scholium, "Egon Wellesz, Osterreichische Komponisten des XX. Jahrhunderu, II (Vienna, 1964)
*Hans F. Redlich, "Egon Wellesz," The Musical Quarterly, XXVI (1940), 65-75
*Rudolph Reti, "Egon Wellesz, Musician and Scholar," ibid., XLII (1956), 1-13.