(b Wiesentheid, 11 Oct 1917; d Wiesentheid, 7 Aug 1978). German composer and teacher. His early studies were in Regensburg, where he was a choirboy at the cathedral. In 1937 he was appointed assistant chorus master at the Stadttheater in Regensburg, where he also attended classes at the Catholic church music school. He began studies in 1939 at the Mozarteum in Salzburg, attending the master classes of Wolf-Ferrari, Krauss and Walther Lampe. Wolpert taught music theory and the piano at the Mozarteum from 1941 to 1944; from 1950 he taught in Salem on Lake Constance. He received the Düsseldorf Schumann Prize in 1956. His music adopts the harmonic language of Bartók and Hindemith; in particular, the Banchetto musicale no.1 (1952) demonstrates an affinity with Bartók’s earlier string quartets. Wolpert’s book Neue Harmonik is an admirable summary: all vertical sonorities are explained through Rameau’s principles as triads, triads with notes added, or chords built in 4ths; further possibilities are created by the inversion or respacing of these sonorities.
Stage: Haiti 1803, n.d.; Der goldene Schuh (ballet), 1956; Pechvogel (Singspiel) n.d.; Der eingebildete Kranke (comic op, after J.-B.P. Molière), Vienna, Volksoper, 1975
Other vocal pieces: Dafnis (after A. Holz), n.d.; Urworte: Orphisch (J.W. Goethe), solo vv, chorus, orch; Das Göttliche (Goethe), S, chorus, orch, n.d.; Requiem, S, chorus, org, n.d.; Ave Maria, S, chorus, str, 1977; more than 50 lieder
Orch: Prelude: Wie es euch gefällt, 1952; Banchetto musicale no.1, vn, chbr orch, 1952; Banchetto musicale no.2, pf, orch, 1953; 3 concs.: vc, pf, orch, 1961, va, orch, n.d., vn, orch, n.d.; Schubert-Variationen, 1969–74; Wiesenthieder Aufzugsmarsch, wind orch, 1976
Chbr and solo inst: Konzertante Sonata, va, pf, 1969; Danze e serenate bavarese, fl, pf, 1970; Miniaturen, pf 4 hands, 1973; Ritornell, 3 vc, 1975; pieces for pf, org
Principal publishers: Breitkopf & Härtel, Heinrichshofen
Neue Harmonik: die Lehre von den Akkordtypen (Regensburg, 1952, rev., enlarged 2/1972)
(b Emmerich, Lower Rhine, 8 April 1910; d Emmerich, 25 June 1989). German choirmaster and musicologist. He studied German philology and musicology in Cologne with Kroyer and Bücken and in Berlin with Schering. After some years as a publisher’s reader, his work as a choral conductor began in 1942 and resulted in the formation of the Norddeutscher Singkreis in Hamburg in 1950. Wolters’s excellent work with this choir has had a lasting influence on the style of other choirs. His series of 120 songsheets, Das singende Jahr (1951–68), drew on old and new German material and on folksongs from all over Europe. He was a co-founder, with César Geoffray, of the European Federation of Youth Choirs, and helped to shape the federation’s ‘Europa Cantat’ festivals. He composed many songs and choruses, and prepared several editions, notably of works by Monteverdi (including a critical edition of the Vespers, 1966) and Carissimi; his articles include a contribution on folksong to Musikalische Zeitfragen, vii (1959).
J.Wolters: Gottfried Wolters (1910–1989): eine Dokumentation (Unterreichenbach, 1996) [incl. list of works and bibliography]
KLAUS L. NEUMANN
Woltersdorf [Wolterstorpius], Joachim
(b Salzwedel, 1508; d Magdeburg, 1554). German Lutheran pastor and music theorist. After early studies in Hamburg he went to Wittenberg and became conrector there in about 1534. In 1537 he went to Magdeburg and served as pastor in several churches. He wrote a treatise entitled De musica (I-PLcom 3Q9B98; ed. in Kast) devoted to the elements of music. Although its text is a model of conciseness, the corrupt state of the musical examples makes it difficult to evaluate the importance of the treatise. Woltersdorf also contributed a foreword to Martin Agricola's Rudimenta musices (Wittenberg, 1539).
MGG1 (P. Kast)
P.Kast: ‘Der Traktat “De musica” von Joachim Woltersdorf in der Biblioteca comunale zu Palermo’, AnMc, no.1 (1963), 20–27
CLEMENT A. MILLER
(bc1550; d Heilbronn, 10 Sept 1618). German organist and anthologist. His father, also named Johann, served as town clerk and organist in Würzburg. The younger Woltz took an organ post at Heilbronn in c1572, and from 1592 he also served as Würzburg representative at an ecclesiastical court in Heilbronn. His Nova musices organicae tabulatura was published in Basle in 1617 (RISM 161724/R; 1 piece ed. in Cantantibus organis, vii, Regensburg, 1962). In compiling this anthology of keyboard music, Woltz collaborated with his nephew, Christoph Leibfried (1566–1635), organist, jurist and court clerk in Rötteln. 85 motets with Latin titles appear first, mostly by Giovanni Gabrieli (22), Hassler (13) and Andrea Gabrieli (10). Other composers, apart from Merulo, Lassus and Monte, are less well known, and are mostly Italian and German. 53 intabulated German songs occupy the second section; here works by Hassler and Franck predominate. 50 canzoni alla francese and 27 other instrumental pieces, mostly fugae, close the collection. The composers in this third section are the Italians Maschera, Merulo, Antegnati, Tresti, Banchieri and the two Gabrielis. 20 of the fugae are attributed to Simon Lohet.
Woltz set his music in new German organ tablature with spaces between the bars. He indicated in the preface that the music had been simplified for easy reading and playing by reducing all scores to four voices, though leaving intact imitative entries, suspensions and characteristic decorations. The first piece serves as a model for the application of coloration; other works employ little, if any, added ornamentation. The collection is intended for the amateur’s use, especially in services and for private devotions. Pedal indications occur twice, though the player could use the pedals at any time to overcome awkward stretches in the left hand. Woltz’s tablature marks the end of the colourist tradition in German keyboard music and the widespread acceptance of original Italian keyboard writing by Germans in the early Baroque period.