(b Leipzig, 23 Feb 1952). German composer. He studied at the Weimar Musikhochschule (1968–73), where his teachers included Günter Lampe, and at the DDR Akademie der Künste, where he attended Friedrich Goldmann's masterclass (1980–81). He also took instruction in the philosophy of art with the Gotha painter Kurt W. Streubel (from 1976). He founded the gruppe neue musik weimar in 1975 and served as its director until 1985. When his experimental works came into conflict with the cultural policies of the DDR, he applied for permission to leave the country. He moved to West Germany in 1988.
Wallmann has applied himself to the acoustic design of human experience and the human environment. From 1976 he created compositions in space and sound, and devised musical combination games. Between 1982 and 1986 he developed an extensive theory of ‘Integral Art’, an integration of music and sound that provides an alternative to the culture of the concert hall. His first practical realization of the theory came with the Bauhütte KLANGZEIT WUPPERTAL (1990–93), a large-scale working process comprised of project groups, concerts, seminars, installations and festivals. Subsequent compositions have derived from his interest in acoustic space: GLOCKEN REQUIEM DRESDEN (1994–5), performed on the 50th anniversary of the destruction of the city by Anglo-American bombers, made use of 129 Dresden church bells; KLANG FELSEN HELGOLAND (1996) is scored for soprano, organ, rock acoustics, seagulls’ cries and the sound of waves.
E.Hansen: ‘Komponistenporträt Johannes Wallmann’, MG, xxxiv (1984), 257–9
A.Richter: ‘Mentale Zusammenhänge’, NZM, Jg.149, no.11 (1988), 28 only
F.Spangemacher: ‘Zwischen den Stühlen’, MusikTexte, nos.46–7 (1992), 155–6
Wallner, Bertha Antonia
(b Munich, 20 Aug 1876; d Munich, 29 Oct 1956). German musicologist. She studied in Munich at the Akademie der Tonkunst and with Sandberger and Kroyer at the university, where she took the doctorate in 1910 with a dissertation on music of the 16th and 17th centuries. Subsequently she worked with Sandberger, preparing inventories for Denkmäler der Tonkunst in Bayern, including a catalogue of Michael Haydn's works in the Bavarian State Library. After holding an appointment at the Salzburg Mozarteum (1942–5), she returned to Munich and continued her research on Bavarian music to the end of her life. She drew attention to many previously neglected sources of music and documents of the 15th, 16th and 17th centuries and did much to define the musical character of Munich and Bavaria in those periods. Her editions include performing editions of Beethoven's piano sonatas (Munich, 1952–3) and piano pieces by Mozart (Munich, 1955).
Musikalische Denkmäler der Steinätzkunst des 16. und 17. Jahrhunderts nebst Beiträgen zur Musikpflege dieser Zeit (diss., U. of Munich, 1910; Munich, 1912)
‘Sebastian Virdung von Amberg: Beiträge zu seiner Lebensgeschichte’, KJb, xxiv (1911), 85–106
‘Die Musikalien der Wittelsbacher-Ausstellung der kgl. Hof- und Staatsbibliothek zu München, 1911’, ZIMG, xiii (1911–12), 82–9
Der kunstvolle Liedertisch im Rathause zu Amberg (Amberg, 1912)
Beiträge zur Geschichte der Kirchenmusik bei St. Peter in München (Munich, 1916)