Waart, Edo de. 56 Wachmann, Eduard 56


Wortmalerei (Ger.). See Word-painting. Worzischek, Johann Hugo



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Wortmalerei


(Ger.).

See Word-painting.

Worzischek, Johann Hugo.


See Voříšek, Jan Václav.

Woschitka [Woczitka, Worschitzka, Baiczka], Franz Xaver


(b Vienna, 1728; d Munich, 5 Dec 1796). Austrian cellist and composer. His father Tobias Woschitka (b c1683; d 24 March 1752) was a bassoonist in the imperial Hofkapelle in Vienna. Franz Xaver Woschitka was chamber virtuoso from 1750 to 1765 at the ducal court of Mecklenburg-Schwerin, where C.A.F. Westenholz was among his pupils. From 1765 he was in Munich as a chamber virtuoso, receiving the title of ‘Kammerdiener’ (he was not a member of the court orchestra). There he composed many works for the viol, Elector Maximilian III Joseph's favourite instrument; this secured him an influential position at the court. He arranged W.A. Mozart's conversation with Elector Maximilian on 30 September 1777. After the elector's death in December 1777, Woschitka's services were at first regarded as superfluous, but from 1779 he was listed among the cellists of the court orchestra. He retained his connection with the Schwerin court, and in 1787 he sent Duke Friedrich Franz I six cello concertos and six quartets together with six piano trios and an oboe concerto by his son, also Franz Xaver.

Woschitka was highly esteemed in his day both as a composer and as a cellist. Unfortunately much of his output is lost. Of his Munich compositions only a ‘Solo’ for cello and bass is preserved (D-Mbs). A Cello Concerto in D and six string quartets also survive (D-SWl); the quartets, supposedly the set sent in 1787, are mostly in the galant three-movement form, the last movement a rondo.


BIBLIOGRAPHY


MGG1 (D. Härtwig)

C. Meyer: Geschichte der Mecklenburg-Schweriner Hofkapelle (Schwerin, 1913)

R. Münster: ‘Ich bin hier sehr beliebt’: Mozart und das kurfürstliche Bayern (Tutzing, 1993), 65–6, 95–6, 120

CAMILLO SCHOENBAUM/ROBERT MÜNSTER


Wöss, Josef Venantius von


(b Cattaro [now Kotor], Dalmatia, 13 June 1863; d Vienna, 22 Oct 1943). Austrian church musician, composer and editor. After studying at the Vienna Conservatory (1880–82), where his teachers included Franz Krenn, he held several teaching and church music positions in Vienna. He also worked as an editor for Universal Edition (1908–31), edited Musica divina (1913–34) and was co-editor of Denkmäler der Tonkunst in Österreich (from 1925). Among other projects, he prepared piano scores of Mahler’s symphonies for publication and edited works by Bruckner. As a composer, he wrote primarily Catholic sacred music; his works show the influence of the Cecilian movement and the music of Bruckner, with whom he had many personal contacts.

WORKS


(selective list)

Ops: Die Lenzlüge (H. von Korff and E. Brosso), op.22 (1905); Flaviennes Abenteuer (W. Schriefer), op.31 (1910); Carmilhan (F. von Ehrenfels), op.50, unperf.

Vocal: 16 masses; 2 Te Deum; 2 requiems; 10 complete Propers; many motets, hymns and sacred choruses; secular choruses, some with orch; c150 lieder; 94 Latin sacred songs with org

Orch: Suite, D; Sakuntala; 4 divertimentos

Chbr and solo inst: Sonata, A, op.1, vn, pf; Str Qt, F, op.9; Sextet, e, op.46, str qt, db, pf; org pieces

WRITINGS


Deutsche Meister des Liedes (Vienna, 1910)

Gustav Mahler, Das Lied von der Erde: thematische Analyse (Leipzig, 1912)

Die Modulation (Vienna, 1921)

‘Meine persönlichen Erinnerungen an Anton Bruckner’, Gregorius-blatt, lvi (1932), 5–16, 33–8


BIBLIOGRAPHY


MGG1 (E. Romanovsky)

E. Romanovsky: Josef Venantius von Wöss als Messenkomponist (diss., U. of Vienna, 1952) [with list of works]

E. Romanovsky: ‘Josef Venantius von Wöss zum Gedanken’, Singende Kirche, xi (1963–4), 16–17 [with list of sacred works]

HERMANN J. BUSCH


Wotquenne(-Plattel), Alfred (Camille)


(b Lobbes, Hainault, 25 Jan 1867; d Antibes, Alpes-Maritimes, 25 Sept 1939). Belgian music bibliographer. He came from a family of musicians, and studied the piano with Brassin, the organ with Mailly (first prize, 1888), and theory with Dupont and Gevaert at the Brussels Conservatory. He was appointed deputy secretary and librarian there (1894) and later secretary and inspector of studies (1896). During his tenure as librarian (until 1918) the collections were systematically reorganized and catalogued. Important works were acquired, both original manuscripts and prints, and manuscript copies (many of them in Wotquenne’s own hand) of rare items in other libraries. An example of his diligence is the copy he made of the 13 volumes of chansons published in Antwerp by Tylman Susato between 1543 and 1550. The most significant accessions during his librarianship included the acquisition in 1902 of an important portion of the large collection left by Professor Wagener of Marburg (a number of the most valuable books and manuscripts in the Wagener collection, acquired by Wotquenne personally, were among the 624 items he disposed of by auction in Leipzig in 1913: see Thibault). Wotquenne is credited with establishing the library’s continuing tradition of warm welcome and generous assistance to researchers.

Being obliged to resign his posts at the conservatory (November 1918), Wotquenne moved to Antibes, where he was active as a singing teacher and organist and became director of music at the cathedral there (1921). In 1929 he sold the major portion of his remaining private music library, including some important manuscript bibliographies he had compiled, to the Library of Congress in Washington.

Although he composed some sacred vocal music, Wotquenne is remembered as an editor and music bibliographer. He participated with other Belgian musical scholars in preparing the complete edition of Grétry’s works. He continued Gevaert’s Répertoire classique du chant français, edited the Répertoire français de l’ancien chant classique and brought out the Répertoire Wotquenne, a series of vocal exercises. As well as his published catalogues and indexes, he left a number of thematic catalogues in manuscript. Those of Steffani’s works, Tartini’s sonatas, and the incipits of 18,000 Italian chamber cantatas of the 18th century are in the Brussels Conservatory, while his thematic indexes of the Ballard petits recueils (1695–1743), the Chansonnier français (1760–62) and the Théâtre de la Foire (1680–1762) are in the Library of Congress.

WRITINGS


Catalogue de la Bibliothèque du Conservatoire royal de musique de Bruxelles (Brussels, 1898–1912/R); incl. suppl.: Libretti d’opéras et d’oratorios italiens du XVIIe siècle (Brussels, 1901)

‘Baldassare Galuppi: Etude bibliographique sur ses oeuvres dramatiques’, RMI, vi (1899), 561–79; enlarged 2/1902 as Baldassare Galuppi, 1706–1785: étude bibliographique sur ses oeuvres dramatiques



Thematisches Verzeichnis der Werke von Chr. W. v Gluck (1714–1787) (Leipzig, 1904) [in Ger. and Fr.]

Alphabetisches Verzeichnis der Stücke in Versen aus den dramatischen Werken von Zeno, Metastasio und Goldoni (Leipzig, 1905) [in Ger. and Fr.]

Thematisches Verzeichnis der Werke von Carl Philipp Emanuel Bach (1714–1788) (Leipzig, 1905/R) [in Ger. and Fr.]

Etude bibliographique sur le compositeur napolitain Luigi Rossi (Brussels, 1909)

BIBLIOGRAPHY


G. Thibault: ‘Les collections privées de livres et d’instruments de musique d’autrefois et d’aujourd’hui’, FAM, vi (1959), 55–67

HOWARD SCHOTT




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