Waart, Edo de. 56 Wachmann, Eduard 56


Wigglesworth, Mark (Harmon)



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Wigglesworth, Mark (Harmon)


(b Ardingly, West Sussex, 19 July 1964). English conductor. He graduated from Manchester University and studied at the RAM, principally with George Hurst. He won first prize in the Kirill Kondrashin International Conducting Competition in the Netherlands in 1989, which brought him engagements with leading Dutch orchestras, the Czech PO and the Moscow State SO. In 1989 he also formed the Premiere Ensemble, a chamber group committed to giving a première in each programme, with which he made the first recording of Das Lied von der Erde in Schoenberg’s chamber arrangement. He was associate conductor of the BBC SO, 1991–3, and music director of Opera Factory, 1991–4, with which he made his opera début with Don Giovanni in 1990 and also conducted The Rake’s Progress and Birtwistle’s Yan Tan Tethera. His American début was with the Chicago SO in 1994, and he first conducted the Berlin PO that year; in 1996 he was appointed music director of the BBC National Orchestra of Wales. Wigglesworth has also appeared with the WNO, at the Salzburg Festival and in the Concertgebouw Mahlerfest in 1995. Although his tempos can be idiosyncratic, his conducting combines a sharp sense of rhythm with a secure command of musical architecture.

NOËL GOODWIN


Wigmore Hall.


London concert hall opened in 1901 and known as the Bechstein Hall until 1917. See London (i), §VI, 2.

Wigthorp, William


(b ?1579; d after 1609). English composer. He was a chorister at Winchester Cathedral from c1592 to 1597, and matriculated at New College, Oxford, in May 1598, where he acted as organist until 1610. In 1605 he attained the BMus. Although he wrote music for the church, he is known principally for his consort songs, all of which are in one set of partbooks which may be in his own hand or that of a close associate. In addition to the pieces attributed to him in this source several unascribed arrangements, including the anonymous Daphne and Sweet was the song and Robert Jones’s There is a garden in her face, may be his work.

Wigthorp’s consort songs are close in style to lute ayres. He arranged the ayres by Dowland and Bacheler for voice and viols by preserving the vocal line and bass and adding new inner parts. The results are simpler and more homophonic than the older, more contrapuntal play songs of the Elizabethan period, and reflect one aspect of the consort song’s development during the first decade of the reign of James I.


WORKS


3 verse anthems, inc., GB-Ob

Jubilate, Magnificat, inc., Ob

4 consort songs, 1, 2vv, 4, 5 viols, Lbl; 3 ed. in MB, xxii (1967, 2/1974)

2 arrs. of pieces by Dowland and Bacheler, 1v, viols; 1 ed. in MB, xxii (1967, 2/1974)

BIBLIOGRAPHY


P. Warlock, ed.: Elizabethan Songs that were Originally Composed for One Voice to Sing and Four Stringed Instruments to Accompany (London, 1926)

J. Morehen: The Sources of English Cathedral Music, c.1617–c.1644 (diss., U. of Cambridge, 1969)

J.B. Clark and M. Bevan: ‘New Biographical Facts about Adrian Batten’, JAMS, xxiii (1970), 331–3

C. Monson: Voices and Viols in England, 1600–1650: the Sources and the Music (Ann Arbor, 1982)

CRAIG MONSON

Wihan, Hanuš


(b Police u Broumova, north-east Bohemia, 5 June 1855; d Prague, 1 May 1920). Czech cellist and teacher. At the Prague Conservatory he was a pupil of František Hegenbarth whom he succeeded in 1888 as professor of cello and chamber music. Previously, Wihan had been a member of orchestras in Nice, Prague, Berlin, Sondershausen and Munich, and he finished his training under Karl Davïdov, whose methods formed the basis of his own teaching. Having taught the players of the Czech Quartet, which he founded, he took the place of his dying pupil Otto Berger in it, and remained a member of the quartet for 20 years, throughout its most glorious period. Having retired in 1914, he returned to the conservatory in 1919. During his career as soloist over all Europe he became acquainted with Wagner, Liszt, Bülow and Strauss, who wrote for him the Sonata in F. Dvořák composed some works for him, among them the Cello Concerto, although the first performance of this work was in fact given by Leo Stern.

BIBLIOGRAPHY


Z. Nejedlý: Obituary, Smetana, x (1920), 50

B. Urie: Čeští violoncellisté (Prague, 1946), 109ff, 139ff, 307

B. Heran: Kdo je Hanuš Wihan? [Who is Hanuš Wihan?] (Prague, 1947)

L.S. Ginzburg: Ganush Vigan i Cheshskiy kvartet [Hanuš Wihan and the Czech Quartet] (Moscow, 1955)

J. Vratislavský: České kvarteto [The Czech Quartet] (Prague, 1984), 27–37

MIROSLAV K. ČERNÝ/R


Wihan Quartet.


Czech string quartet. It was founded at the Prague Academy of Musical Arts in 1985 by Leoš Cepický, Jan Schulmeister, Jiří Zigmund and Aleš Kaspřík. Its teacher was Antonín Kohout of the Smetana Quartet and it took the name of Hanus Wihan (1855–1920), cellist and spiritus rector of the Bohemian Quartet. In 1988 it won the Prague Spring International Competition, in 1990 the chamber music competition at Trapani, Sicily, and in 1991 the London International String Quartet Competition. Since then it has toured extensively, winning praise for its tonal quality, fine intonation and stylistic sense. Its performances and recordings of the works of Dvořák and Janáček have reached a particularly high standard but it has also had success with the Beethoven quartets, all of which it has recorded.

TULLY POTTER




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