Waart, Edo de. 56 Wachmann, Eduard 56

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Wielecki, Tadeusz

(b Warsaw, 5 July 1954). Polish composer and double bass player. He studied the double bass and composition (with Kotoński) at the Warsaw Academy between 1974 and 1982; further studies in composition took him to Germany to study with Isang Yun in Berlin (1986, on a Lutosławski scholarship) and with Klaus Huber in Freiburg (1987). He was artistic director of the ISCM World Music Days in Warsaw (1992), and in 1994 and 1999 he became artistic director of the city's Okopowa cultural centre and of the Warsaw Autumn festival of contemporary music.

In miniatures such as Collage-tango and in small ensemble pieces Wielecki's music is sensuous and betrays a quizzical outlook. His music's expressive means, embracing the jokey and the existential, rely on his use of collage, heterophony (sometimes folk-based), and fragmentary and repetitive motifs frequently at odds with centrifugal tonal forces. The struggle between continuum and intervention can be quasi-theatrical, as in Tchnął nań (‘He Breathed upon him’, 1992) for bassoon, strings and mime, or symphonically intense, as in Id (1996). The late tape pieces are uninhibited text-based explorations of the human condition. His chamber and solo works often contain virtuoso writing.


(selective list)

Trio, tpt, hn, trbn, 1978; 6 miniatur, pf, 1979; Muzyka, cl, 1979; Nocturne (A. Kamieńska), chorus, 1979; Kaczuszka [Duckling] (A. Tolstoy) (reciter, accdn, pf, perc, db)/(db + reciter), 1980-88; Misterioso (Wielecki), actor + perc, 1980; Muzyka do słuchania [Music for Listening], ob, cl, bar sax, 2 tpt, trbn, 1980; Tango, cl, trbn, vc, pf, 1980; Tydzień [A week] (J. Brzechwa), rec, pf, perc, db, 1980; Głos wewnetrzny [Inner Voice], chbr orch, 1981; Melodia z akompaniamentem, ens, 1981; Muzyka poważna [Serious Music], vn, trbn, perc, 1981; Opened Series I–V, db, 1982–8 (1990); Collage-Tango, pf, 1985, orchd, 1995 (1992); Muzyka recytatywna, perc, pf, vn, va, db, 1985; Trio, vn, db, pf, 1985 (1990); Dukt [Ductus], hpd, str, 1986; Poemat kameralny [Chamber Poem], 2 vn, db, pf, 1986 (1990); Badrulbudura (Wielecki, after B. Leśmian), actor, perc, 1988

Liczne odnogi rozgałęzionych splotów [Numerous Branches of Ramified Plaits], cl, vc, pf, 1988 (1990); Gesty duszy [Gestures of soul], org, accdn, synth, gui, perc, 1989; Ballada metafizyczna, chbr orch, 1990 (1992); Powtarzanka [Counting Game], 4 spkrs: 2 perc, pf, db, 1990; Opened Series VI, db, 1991; Przędzie się nić … [Thread is spinning], vc, 1991; Str Qt, 1991; Tchnął nań … [He Breathed upon him], bn, str, mime, 1992; Przedzie sie nić … II, vn, 1992; 2 Questions and 1 Guess, chbr orch, 1992; Przędzie się nić … III, db, 1993; Z głębokości śpiewam … [From the Depths I Sing], wind, str, perc, 1993; Ballada dziadowska [Beggar's Ballad] (after Leśmian), ens, 1994; Historia bardzo prawdziwa [A Very True Story], tape, 1995; Poemat egocentryczny, amp pf, tape, 1995; Studium gestu [Study of Gesture], cl, pf, vc, 1995; Id, orch, 1996; Studium gestu, pf, 1997; Concerto à rebours, vn, orch, 1998

Principal publisher: PWM


M. Ługowska: ‘Muzyka to rodzaj spektaklu’ [Music is a kind of spectacle], RM, xxxii/22 (1988), 16–17 [interview]

E. Gajkowska: ‘Brak mi odrobiny nieśmiertelności’ [I lack a touch of immortality], RM, xxxviii/19 (1994), 1, 8 [interview]


Wielen [Wiele], Jan Pieterszoon vander

(b 1644/5; d Ghent, 22 Aug 1679).Flemish composer. He was employed at St James, Ghent, from 1657 to 1661 as a master of the choirboys, then as a singer and (from 1663) as a singing teacher. In 1666 he was probably ordained, since he was paid for celebrating masses. His only known publication, Cantiones natalitiae 4 & 5 tam vocibus quam instrumentis decantandae (Antwerp, 1665/R1970 in CEMF, xxiv), consists of 12 Christmas motets, 11 to Dutch texts and one to a Latin text. They are written for a solo voice, followed by choruses for three, four or five voices with continuo; the three-part Cleyne kintjen grooten Godt is also accompanied by two violins. In an inventory of music (1734) at St Walburga, Oudenaarde, three motets for five voices and one for a solo bass, all with three instruments, are listed under the names Vande Ville and Vande Veele. As Vander Straeten assumed, they are most probably synonymous with Vander Wielen.




Vander Straeten, i


P. Blommaert: De nederduitsche schryvers van Gent (Ghent, 1861), 246–7

F. Noske: ‘The Cantiones Natalitiae’, Essays in Musicology: a Birthday Offering for Willi Apel. ed. H. Tischler (Bloomington, IN, 1968), 123–30, esp. 129

R. Rasch: De cantiones natalitiae en het kerkelijke muziekleven in de Zuidelijke Nederlanden gedurende de zeventiende eeuw (Utrecht, 1985)


Wielhorski [Vel'gorsky, Viyel'gorsky], Count Mateusz [Matvey Yur'yevich]

(b St Petersburg, 15/26 April 1794; d Nice, 5 March 1866). Russian cellist and patron, brother of michał Wielhorski. He pursued a military career, fought in the war of 1812, and retired in 1826 with the rank of colonel. He studied the cello with Adolph Meinhardt and Bernhard Romberg, and became well known as a performer both in Russia and abroad, partnering such eminent musicians as Liszt, Henselt and Vieuxtemps. From 1826 he lived with his brother in St Petersburg, maintaining the house as a centre of musical culture. A number of leading composers of the day dedicated works to him, including Anton Rubinstein (Third String Quartet), Mendelssohn (Second Cello Sonata) and Romberg (Seventh Cello Concerto). After his brother’s death in 1856 he continued his work as an impresario, and was instrumental in inaugurating the St Petersburg branch of the Russian Musical Society in 1859. His extensive music library and many of the important instruments in his private collection were donated to the St Petersburg conservatory.


B. Shteynpress: ‘Matvey Yur'yevich Viyel'gorskiy’, SovM (1946), nos.8–9, 73–80

L.S. Ginzburg: Istoriya violonchel'nogo iskusstva [The history of the art of cello playing], ii (Moscow, 1957), 278–330


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