(b Sankt Ingbert, Saar, 23 March 1917). German composer. She studied church music at the Evangelisches Kirchenmusikalisches-Institut, Heidelberg (1936–8), with Fortner and others, and school music in Munich (1940–44), where her teachers included Joseph Haas; she then studied in Cologne (1946–8) with Lemacher and others and also studied German and musicology in Heidelberg, Munich and Würzburg. She worked as a church organist and Kantor in Cologne, Munich, Heidelberg and elsewhere in Germany, and between 1948 and 1972 taught at the church music institute in Speyer, the Gymnasium in Weissenhorn and at the University of Augsburg, specializing in music education techniques; her publications on the subject include Buchprogrammiertes Musiklernen (Wolfenbüttel, 1970) and Praxis der programmierten Unterweisung im Musikunterricht (Frankfurt, 1972). Most of her output is vocal, mainly sacred, music. Between 1957 and 1987 she composed about 50 choral works, including masses (one to a Dutch text, Eer aan God, 1967), cantatas and psalm settings. She has also composed songs, including Lieder der Liebe (1945), for mezzo and keyboard instrument, and the chamber work Spielmusik, for three violins and cello. Her music has been widely published in Germany.
B.Sonntag and R.Matthei, eds.: Annäherungen an sieben Komponistinnen, i (Kassel, 1986)
A.L.Suder, ed.: Erna Woll, Komponisten in Bayern, xii (Tutzing, 1987)
A.Olivier and K.Weingartz-Perschel: Komponistinnen von A–Z (Düsseldorf, 1988)
R.Sperber, ed.: Komponistinnen in Deutschland (Bonn, 1996)
Wollaneck [Wollanek], Anton.
Wollank, (Johann Ernst) Friedrich
(b Berlin, 3 Nov 1781; d Berlin, 6 Sept 1831). German composer. A lawyer by profession, he studied music in his youth with J.A. Gürrlich and at the Singakademie with K.F.C. Fasch. He was a founder-member of Zelter's Liedertafel (1808), and with Hinrich Lichtenstein was one of Weber's circle of Berlin friends. His music was on the whole modest in aim, consisting chiefly of songs, choruses and some chamber music for strings; but he also wrote a three-act opera Die Alpenhirten to a libretto by H.W. Loess, a work in Singspiel manner which Max Maria von Weber described as ‘Romantic through and through’. It had some success at its Berlin première on 19 February 1811; however, when Weber gave it in Prague in 1815 (with Caroline Brandt as Betty), it was considered too long and after the first performance (7 May) was cut by five numbers, still leaving the public cold. Weber also praised Wollank's Trio for piano, violin and viola, and dedicated six male-voice songs to him. In 1826 Wollank was one of the founders of the Berlin Philharmonic Society.
J.P.Schmidt: Obituary, AMZ, xxxiii (1831), 727–31 [with list of works]
M.M.von Weber: Carl Maria von Weber (Leipzig, 1864–6, abridged 2/1912 by R. Pechel; Eng. trans., 1865/R)
R.Münster: ‘Die hadschriftlichen Kompositionene des Berliner Justizrats Friedrich Wollank (1782–1831) in der Musiksammlung der Bayerischen Staatsbibliothek’, Festschrift Rudolf Elvers, ed. E. Herttrich and H. Schneider (Tutzing, 1985), 383–95
(b 1792; d 1871). American Moravian composer, and editor of the first Moravian tunebook published in America. SeeMoravians, music of the, §3.
Wolleb, Johann Jakob
(b Basle, 26 Jan 1613; d Basle, 30 Oct 1667). Swiss composer, theorist and theologian. He studied theology at Basle and Geneva. From 1634 to 1638 he was assistant at St Peter, Basle, and from 1638 to 1667 was vicar of St Elisabeth there. From 1637 to 1641 he was acting professor of rhetoric at Basle University. Since 1577 there had been at the university a so-called Professor musices, who was at the same time organist at the cathedral. The first incumbent was Samuel Mareschall, and Wolleb was the second. He was elected in July 1642. He retired in 1649 but was elected again in 1650 and held the position until shortly before his death (he was succeeded by his son, who was also called Johann Jakob). The duties of the professor of music were precisely laid down for the first time in 1649: he had twice a week to rehearse the students of the faculty of philosophy in vocal music, paying particular attention to psalmody, and to play the organ in the cathedral on Sundays, provide music for public graduation ceremonies and superintend teaching of music at the grammar school. Thus Wolleb came to write a textbook on musical theory, Rudimenta musices figuralis nova facilitate sic adornata ut paucissimae regulae sufficere possint (Basle, 1642), and to prepare a new version of the hymnbook that Mareschall had produced in 1606, Ambrosij Lobwassers Psalmen Davids: sampt anderen geistlichen Liedern … hiebevor von Samuele Mareschallo … zu IV Stimmen gebracht. Anjetzo von newem übersehen und auff jetzige musikalische Art gerichtet (Basle, 1660, 5/1743; some pieces ed. in Laudinella-Reihe, ix, xlvii, Basle, 1963, 1966). His most important contribution, however, is the so-called Gonzenbach Songbook – Vollständiges Gesangbuch (Basle, 1659). This contains hymns with the cantus firmus in the tenor part.
M.Jenny: ‘Die beiden bedeutendsten deutschschweizerischen Kirchengesängbücher des 17. Jahrhunderts’, Jb für Liturgik und Hymnologie, i (1955), 63–78
A.Staehelin: Geschichte der Universität Basel 1632–1818 (Basle, 1957)