(b Northampton, 16 Nov 1950). English baritone. He studied at Cambridge and the RAM, where he sang the King in Orff’s Die Kluge. In 1976 he made his début at Covent Garden in Henze’s We Come to the River, returning for roles in Boris Godunov, The Nightingale, L’enfant et les sortilèges, Die Zauberflöte, Madama Butterfly, Turandot, Werther, Roméo et Juliette and Billy Budd; in 1995 he sang the Counsellor and a Fisherman in the première of Alexander Goehr’s Arianna. He quickly revealed a particular talent for contemporary music, singing Choregos in Birtwistle’s Punch and Judy (which he has also recorded), Maxwell Davies’s Eight Songs for a Mad King in Paris and London (1979) and Blazes in the première of The Lighthouse at Edinburgh (1980). Subsequently he has sung Antony in Barber’s Antony and Cleopatra (1982, Edinburgh), the title role in the British première of Messiaen’s St François d’Assise (1988, Royal Festival Hall), King Fisher in The Midsummer Marriage for television, Lev in The Ice Break (a role he has recorded) and The Man in Schoenberg’s Die glückliche Hand. Wilson-Johnson’s other operatic roles include the title role in Owen Wingrave, Swallow (Peter Grimes), Allazim (Zaide) and Berlioz’s Méphistophélès. He is also a fine oratorio singer, and has recorded Bach cantatas, Handel’s Belshazzar, Brahms’s German Requiem and Elgar’s Caractacus. A stylish, intelligent and intensely musical artist with a robust voice and incisive diction, he brings a vivid sense of character to all his performances.
Wilton, Charles Henry
(b Gloucester, bap. 15 June 1761; d after 1811). English violinist, viola player and composer. He studied the violin with Giardini, leader at the Three Choirs festivals, and between 1777 and 1780 he appeared frequently at London concerts playing chamber music alongside his teacher. Later he spent two years in Italy studying with Nardini and ‘others of the most eminent musicians in Italy’. For much of his time he was in Naples and Florence. He returned to England in August 1784 and was appointed leader at the Music Meeting in Gloucester that year. In October 1786 he was admitted a freeman of the City of Gloucester, being then described as ‘of the City of York, musician’, and he led again at the Gloucester Music Meeting in 1790. By 1794 he was resident in Liverpool. Lysons confirmed that he was ‘for several years leader at the Liverpool and York concerts’ but implied that by 1812 he had given up the violin and confined himself to giving lessons on the piano.
Six Duetts, vn, va (London, c1780)
Coolun, Irish Air with Variations, pf/hpd (Liverpool, c1790)
Six Duetts, 2 vn (London, 1794)
Six Solos, vn, bc (hpd) (Liverpool, 1789)
Twelve Progressive Duetts, 2 vn (London, c1794)
A Set of Eighteen Lessons, pf/hpd (Liverpool, 1791)
Three Duetts with Scots Airs, 2 vn (London, 1795)
A Set of Short & Familiar Pieces, org, 2 vols. (London, ?1805)
Six Sonatas, pf (London, ?1805)
Arr. tunes for R.P. Buddicom and B. Guest, 100 Psalm & Hymn Tunes with Chants (London, 1827)
(b Salzburg, 30 Aug 1923). Austrian composer and conductor. His studies at the Salzburg Mozarteum (1940–47), where his teachers included Cesar Bresgen and Johann Nepomuk David (composition), and Clemens Krauss and Bernhard Paumgartner (conducting), were interrupted by a period of military service under the Third Reich (1941–5). He went on to hold the posts of répétiteur at the Vienna Volksoper (1947–8) and musical director at the Salzburg Landestheater (1948–51). In 1969 he was appointed to a professorship in composition at the Mozarteum. He has served as a member of the board of directors of the Salzburg Festival (1971–9) and as a corresponding member of the Bayerische Akademie der Künste (from 1977). He has also conducted internationally.
Wimberger does not differentiate between light and serious music. His vocal works set humorous texts, as well as great literature. He has aimed to write in a comprehensible style and to compose music that fulfils a social function. His credo:
… to balance the forces that influence me, those of the past, the present and the future, to keep my works free of fashionable postures, to represent my musical ideas clearly so that they are understood by others, to cultivate in the wide field of artistic content a broad space between the serious and the cheerful – thus to blend into a personal synthesis the technical and stylistic possibilities of our time.
Stage: Schaubudengeschichte (heitere Oper, 6 scenes, E. Spiess, after V. Katajew), 1952–3, Mannheim, 25 Nov 1954; La battaglia, oder Der rote Federbusch (Opernkomödie, 8 scenes, Spiess), 1959–60, Schwetzingen, 21 May 1960; Hero und Leander (Tanzdrama, I. Keres), 1962–3, Wiesbaden, 31 May 1963; Dame Kobold (musikalisches Komödie, H. von Hofmannsthal, after P. Calderón), 1963–4, Frankfurt, 24 Sept 1964; Paradou (op, 14 scenes, E. Zola), 1981–5; Fürst von Salzburg – Wolf Dietrich (szenische Chronik), 1985–7, Salzburg, 11 June 1987
Vocal: Heiratspostkantate (anon. 20th-century), mixed chorus, hpd, db, 1957; Ars amatoria (cant., Ovid), S, Bar, chorus, jazz insts, chbr orch, 1967; Singsang, 1v, jazz ens, 1970; Memento vivere (K. Marti, P. Fleming, A. Gryphius and others), 3 spkrs, Mez, Bar, mixed chorus, orch, 1973–4; Mein Leben, mein Tod (H.E. Holthusen, Buddha, Laotse and others), Bar, insts, tape, 1976; Sonetti in vita e in morte di Madonna Laura (Petrarch), chorus, 1979; Tagebuch 1942 – Jochen Klepper, Bar, chorus, orch, 1990–91; Im Namen der Liebe (P. Turrini), song cycle, high men's vv, pf, 1992
Chbr and solo inst: Stories, wind, perc, 1962; Short stories, 11 wind, 1974–5; Plays, 12 vc, wind, perc, 1975; Concerto a dodici (Viaggi), 12 insts, 1977; Str Qt, 1978; Phantasie, 8 players, 1982; Vagabondage, big band, 1988; Wind Qnt, 1990; Szenerie, vn, pf, 1993; Combophonie, 7 insts, 1995