(b Herringen, nr Hamm, 16 March 1923). German conductor. He studied at the Dortmund and Cologne conservatories and began his career as a violinist and trumpeter in Cologne and Darmstadt. He made his conducting début in Le nozze di Figaro at Münster in 1947 and worked in several German cities, serving as music director at the Augsburg Städtische Bühnen in 1954 and at Bremen, 1955–60. He was music director at Wiesbaden, 1960–74, and at the same time appeared regularly at the Vienna Staatsoper. He made his Covent Garden début in 1963 with Der Rosenkavalier. As music director at Essen (1975–91) he opened the new Aalto-Theater there (1988). He was also chief conductor of the Bavarian RSO (1975–82), with which he recorded more than a dozen operas and operettas, including Humperdinck’s Königskinder, Leoncavallo’s La bohème, Lortzing’s Zar und Zimmermann, Flotow’s Martha, Egk’s Peer Gynt and a much-praised version of Weinberger’s Švanda the Bagpiper. Other recordings include orchestral works by the Czech composer Jindřich Feld, and choral ballads by Schumann. His work in Australasia included the first production in New Zealand of Die Meistersinger, at Wellington in 1990, and in 1991 he made a belated American début with the National SO, Washington, DC.
(b Lwów, 23 Jan 1885; d Kraków, 9 April 1944). Polish composer, conductor and teacher. He studied in Lwów with Sołtys, Niewiadomski (theory and composition) and Maliszowa and Zelinger (piano), at the Kraków Conservatory with Żeleński and Szopski, and in Leipzig with Riemann (musicology) and Prüfer. In 1910 he was appointed professor at the Kraków Conservatory, where he was made director in 1913. Founder, artistic director and conductor of the choral society Echo Krakowskie, he also conducted opera and orchestral concerts. As a composer, employing a traditional Romantic style, he excelled particularly in choral music. His opera Pomsta Jontkowa was planned as a sequel to Moniuszko’s Halka.
Ops: Pan Twardowski (A. Bandrowski), 1911, Kraków, 1915; Dola [Lot] (Wallek-Walewski), Kraków, 1919; Pomsta Jontkowa, 1926; Legenda o królewnie Wandzie [The Legend of the King’s Daughter Wanda] (M. Jaroszanka), 1936; Żona dwóch mężów [The Wife of Two Husbands], inc.; Kochanek Maryli [Maryla’s Lover], inc.
Vocal: oratorios, cantatas, Missa in honorem Sancti Vincenti a Paulo, Msza pastoralna, Msza polska, Msza żałobna, orch songs
Orch: Paweł i Gaweł, sym. poem after A. Fredro, perf. 1908; Zygmunt August i Barbara, sym. poem, 1912; Intermezzo fantastyczne, before 1913; incid music
L.Świerczek: ‘Bolesław Wallek-Walewski 1885–1944: zarys biograficzny i twórczość religijna’, Nasza przeszłość, xviii (Kraków, 1963), 187–232
(b Belize City, Belize, 10 April 1958). British composer, pianist and singer of Belizean birth. Educated in the British Isles from the age of two, she trained as a dancer at the Maureen Lyons School of Dancing and the Urdang Academy before taking dance classes at the Dance Theater of Harlem (1976–8). She studied music at Goldsmiths College, London (BMus 1981) and composition with LeFanu and Lumsdaine at King’s College, London (MMus 1983). After working with the cabaret band Pulse, she co-established the Wallen Parr recording studio and music production company in 1986. As well as composing for film and television, she wrote many of her early works for Nanquidno (four players on two pianos) and her own Ensemble X. Her tribute to Nelson Mandela, In Our Lifetime for baritone and tape (1990), was later choreographed for the London Contemporary Dance Company. In 1993 her chamber opera Four Figures with Harlequin was first performed by the Garden Venture of Covent Garden. Other works have been commissioned by a wide range of groups and performers including the Hallé, Birmingham Contemporary Music Group, the Royal Ballet, the BBC, the baritone Thomas Buckner and the jazz saxophonist Courtney Pine.
Wallen draws inspiration from a great diversity of sources in her music. It is above all characterized by a deeply expressive lyricism, as in the Christine de Pisan setting Dark Heart (1991), and a delight in vibrant dance rhythms, as in the last movement of the Concerto for Percussion and Orchestra (1994), commissioned and broadcast by the BBC. She has also produced an album on which she performs her own songs, Meet me at Harold Moores (1998).
Dramatic: The Singing Ringing Tree (musical play, C. Keatley), 1991; Heart (ballet, choreog. D. Wong), 1992; 1-2-3-4 (elec ballet, choreog. J. Marley, Wong, B. Mathias), 1993; E.D.R. (ballet, choreog. Wong), 1993; Four Figures with Harlequin (chbr op, Wallen), 1993; Waiting (ballet, choreog. C. Bruce), 1993; Look! No Hands! (op, C. Oswin), 1996; Horseplay (ballet), 1997; Nijinska’s Whistle (music theatre, K. Westbrook), 1998; 3 radio plays
Chbr and solo inst: Variations, str qt, 1983; Mythologies, cl, sax, vn, vc, pf, perc, 1988; Str Qt no.2, 1988; Memorias de un corazón en un pueblo pequeño, fl, gui/mand, db, perc, 1989; Jelly Dub Mix, sax, str qt, tape, 1990; Until You Do, 2 pf, sax, elec b gui, drums, 1991; Mondrian, wind qnt, b cl/sax, tpt, pf, str qt, db, 1992; Dogness, elecs, 1994; Phonecalls from Besieged Cities (J. Shapcott), spkr, tape, 1994; Rapture, va, pf, 1998
Pf: Big Business, 2 pf, 8 hands, 1988, arr. 2 pf, 4 hands; The Girl in My Alphabet, 2 pf, 8 hands, 1990, arr. 2 pf, 4 hands; Earth Stood Hard as Iron, 2 pf, 1996; Prelude, 1996
Vocal: Take (Wallen), S, pf, tape, 1988; It All Depends on You (P. Larkin), S, 2 cl, tape, 1989; In Our Lifetime (Wallen), Bar, tape, 1990; Dark Heart (C. de Pisan), S, pf, 1991; Having Gathered his Cohorts (Wallen), Bar, 2 cl, 1991; I Hate Waiting (Wallen), 1v, cl, sax, tpt, pf, elec b gui/db, perc, tape, 1991; Are You Worried about the Rising Cost of Funerals? 5 Simple Songs (Wallen), S, str qt, 1994; Gastarbeiter (J. Kay), Mez, cl, va, db, perc, 1994; Shit in her Eyes (D. Levy), 1v, amp vn, elec b gui, drums, 1994; Music for Alien Tribes (Wallen, G. Simpson), 1v, vn, kbd, elecs, tape, 1996; One Week Short of a Valentine (Wallen), Mez, fl, vc, db, pf, 1997; The Devil and the Doctor (Wallen), 1v, str, pf, 1997; Benediction (Bible: Zephaniah iii.3), SSA, 1998; Demon (Wallen, after Bible: Mark xiii), SATB, orch, 1998; Meet me at Harold Moores (Wallen), song album, 1998
E.Wallen: ‘Slave to the Rhythm’, CMR, xi (1994), 293–5