Wellesz Egon Joseph, *21 October 1885 Vienna, †8 November 1974 Oxford, Austrian composer, musicologist and teacher. He studied musicology with G. Adler at the University of Vienna and harmony and counterpoint privately with A. Schoenberg. In 1913, he became a lecturer at the university in Vienna and received the title of professor in 1929. He also lectured on music history at the Neues Wiener Konservatorium (1911–15), at the Urania University in Vienna and at the Academy of Music in Mannheim. In 1932, he received an honorary doctorate from the University of Oxford and became an honorary member of the Musical Association in London. In 1938, he emigrated to England and began collaborating on Grove’s Dictionary of Music. Initially, he taught at the University of Cambridge and was a lecturer (fellow) at Lincoln College, Oxford from 1939.
Wellesz’s broad musicological interests ranged from medieval to contemporary music. He devoted his first works to early Viennese opera and 17th-century Venetian opera. He later specialised in Gregorian chant and Eastern church music. He was the first to decipher neume notation in Byzantine monuments. He initiated the series “Monumenta Musicae Byzantinae” in 1931and founded an institute for Byzantine research. Author of the first biography of A. Schoenberg and the instrumentation manual Die neue Instrumentation. Wellesz began his compositional career with piano pieces and 19th-century forms of chamber and orchestral music, remaining in the circle of Viennese modernism. Soon, inspired by baroque opera, he focused on stage music, reaching out several times for themes from ancient Greece. With his symphonies, he inscribed himself as a continuator of the Austrian late romantic tradition.
Literature: Egon Wellesz and Emmy Wellesz Egon Wellesz. Leben und Werk, ed. F. Endler, Vienna 1981.
Compositions
Instrumental:
for orchestra:
Heldensang Op. 2, symphonic prologue, 1905
Vorfrühling Op. 12 for orchestra, 1912
Suite for violin and chamber orchestra, 1924
Concerto for piano, 1933
Prosperos Beschwörungen Op. 53 for orchestra, 1934–36
Symphony No. 1, 1945
Symphony No. 2 “Die Englische”, 1948
Symphony No. 3, 1951
Symphony No. 4 “Austriaca”, 1953
Symphony No. 5, 1956
Cocnerto for violin, 1961
Musik für Streichorchester in einem Satz Op. 91, 1964
Symphony No. 6, 1965
Symphony No. 7 “Contra torrentem”, 1968
Divertimento Op. 107 for small orchestra, 1969
Symphonischer Epilog Op. 108, 1969
Symphony No. 8, 1970
Symphony No. 9, 1971
chamber:
String Quartet No. 1, 1912
String Quartet No. 2, 1916
String Quartet No. 3, 1918
String Quartet No. 4, 1920
Zwei Stücke Op. 34 for clarinet and piano, 1922
Suite Op. 56 for violin and piano, 1937, revised 1957
String Quartet No. 5, 1943
String Quartet No. 6, 1946
String Quartet No. 7, 1948
Octet Op. 67 for clarinet, bassoon, horn, string quartet and double bass, 1949
Suite Op. 73 for flute, oboe, clarinet, horn and bassoon, 1954
String Quartet No. 8, 1957
Quintet Op. 81 for clarinet and string quartet, 1959
String Trio Op. 86, 1962
Fünf Miniaturen Op. 93 for violin and piano, 1965
String Quartet No. 9, 1966
Vier Stücke Op. 103 for string quartet, 1968
Vier Stücke Op. 105 for string trio, 1969, revised 1971
Vier Stücke Op. 109 for string quintet, 1970
for instrument solo:
Drei Skizzen Op. 6 for piano, 1911
Eklogen Op. 11 for piano, 1912
Epigramme Op. 17 for piano, 1912–14
Idyllen Op. 21 for piano, 1917
Sechs Klavierstücke Op. 26, 1919
Suite Op. 39 for cello, 1924
Fünf Tanzstücke Op. 42 for piano, 1927
Suite Op. 57 for flute, 1937
Sonata Op. 72 for violin, 1953, revised 1959
Suite Op. 74 for clarinet, 1954
Suite Op. 76 for oboe, 1956
Suite Op. 77 for bassoon, 1957
Fünf Klavierstücke Op. 83, 1960
Rhapsody Op. 87 for viola, 1962
Partita in Honorem J.S. Bach Op. 96 for organ, 1965
Triptychon Op. 98 for piano, 1966
Studien in Grau Op. 106 for piano, 1969
Präludium Op. 112 for viola, 1971
Vocal:
Drei gemischte Chöre Op. 43 for mixed choir a cappella, words by Angelus Silesius, 1930
Quant’è bella giovinezza Op. 59, frottola for 3-voice female choir, words by L. de Medici, 1937
Laus nocturna Op. 88 for mixed choir a cappella, 1962
Wie kann ich danken for vocal quartet, words by the composer, 1959, revised 1962
Missa brevis Op. 89 for mixed choir a cappella, 1963
To Sleep Op. 94 for mixed choir a cappella, words by J. Keats, 1965
Vocal-instrumental:
5 Kirschblütenlieder Op. 8 for voice and piano, words from Japanese, transl. H. Bethge, 1912
Lieder der Mädchen Op. 7 for voice and chamber orchestra, words by R.M. Rilke, 1912
Lieder aus der Fremde Op. 15 for voice and piano, words from Chinese transl. H. Bethge, 1913
Geistliches Lied Op. 23 for middle voice, violin, viola and piano, words by F. Jammes, 1919
Aurora Op. 32, songs for voice and piano, 1921
Mitte des Lebens Op. 45 for voice, choir and orchestra, words anonymous, A. Brust, R.A. Schröder, Angelus Silesius and from Psalms, 1932
Amor timido Op. 50 for voice and chamber orchestra, words by P. Metastasio, 1933
Mass in F minor Op. 51 for 4 solo voices, choir and organ, 1934
Schönbüheler Messe Op. 58 for female choir, orchestra and organ, 1937
Lied der Welt Op. 54 for soprano and orchestra, words by H. von Hofmannsthal, 1938
The Leaden Echo and the Golden Echo Op. 61 for soprano, clarinet, violin, cello and piano, words by G.M. Hopkins, 1944
On Time Op. 63, 3 songs for voice and piano, words by J. Dryden, E. MacKenzie and J. Milton, 1946–50
Proprium Missae “Laetare” Op. 71 for choir and organ, 1953
5 Lieder aus Wien Op. 82 for voice and piano, words by H.C. Artmann, 1959; also version with a guitar
Four Songs of Return Op. 85 for voice and chamber orchestra, words by E. MacKenzie, 1961
Duineser Elegie Op. 90 for voice, choir and orchestra, words by R.M. Rilke, 1963
Ode an die Musik Op. 92 for voice and chamber orchestra, words by Pindar and F. Hölderlin, 1965
Festliches Präludium Op. 100 for choir and organ, 1966
Vision Op. 99 for soprano and orchestra, words by G. Trakl, 1966
Mirabile Mysterium Op. 101 for voice choir and orchestra with a reciting voice, 1967
Canticum sapientiae Op. 104 for voice choir and orchestra, 1968
Scenic:
Das Wunder der Diana, ballet, 1914–17, staged in Munich 1924
Die Prinzessin Girnara, opera, libretto J. Wassermann, 1919, staged in Hanover 1921
Persisches Ballett, ballet, 1920, staged in Donaueschingen 1924
Achilles auf Skyros, ballet, 1921, staged in Stuttgart 1926
Alkestis, libretto H. von Hofmannsthal and the composer after Euripides, 1923, staged in Munich 1924
Die Nächtlichen. Tanzsinfonie, ballet, 1923, staged in Berlin 1924
Die Opferung des Gefangenen, opera, libretto E. Stucken, 1925, staged in Cologne 1926
Scherz, List und Rache, opera, libretto after J.W. Goethe, 1927, staged in Stuttgart 1928
Die Bakchantinnen, opera, libretto by the composer after Euripides, 1930, staged in Vienna 1931
Incognita, opera, libretto E. MacKenzie and W. Congreve, 1950, staged in Oxford 1951
Works (selection):
Byzantine studies:
Die Entzifferung der byzantinischen Notenschrift, “Oriens Christianus”, N.S. VII, 1918
Die Struktur des serbischen Oktoechos, “Zeitschrift für Musikwissenschaft” II, 1919-1920
Die Rhythmik der byzantinischen Neumen, “Zeitschrift für Musikwissenschaft” II, 1920, III, 1921
Beiträge zur byzantinischen Kirchenmusik, “Zeitschrift für Musikwissenschaft” III, 1921
Some Exotic Elements of Plainsong, “Music and Letters” IV, London 1923
Aufgaben und Probleme auf dem Gebiete der byzantinischen und orientalischen Kirchenmusik, in: Liturgiegeschichtliche Forschungen, book 6, Münster 1923
Byzantinische Musik, Breslau 1927
Das Problem der byzantinischen Notationen und ihrer Entzifferung, “Byzantion” V, 2, 1930
Über Rhythmus und Vortrag der byzantinischen Melodien (eine musikpalaeographische Studie) “Byz. Zeitschrift” XXXIII, 1933
Trésor de musique byzantine, Paris 1934
Die Hymnen des Sticherarium für September («Monumenta Musicae Byzantinae»), Copenhagen 1936
The Earliest Example of Christian Hymnody, “The Classical Quarterly”, vol. 39, London 1945
Eastern Elements in Western Chant («Monumenta Musicae Byzantinae»), Oxford-Boston 1947
Words and Music in Byzantine Liturgy, “The Musical Quarterly”, vol. 33, 1947
A History of Byzantine Music and Hymnography, 1st ed. Oxford 1949, 2nd ed. extended, Oxford 1961; Polish ed. Historia muzyki i hymnografii Bizantyjskiej, transl. M. Kaziński, Kraków 2006
Early Byzantine Neumes, “The Musical Quarterly”, vol. 38, 1952
Early Christian Music; Music of the Eastern Churches, in: The New Oxford History of Music, vol. 2, Oxford University Press 1954
The Akathistos. A Study in Byzantine Hymnography, Dumbarton Oaks Papers IX-X, 1956
The Akathistos Hymn («Monumenta Musicae Byzantinae»), Copenhagen 1957
Ancient and oriental music, ed. E. Wellesz, Oxford University Press, 1957
Byzantinische Musik, Das Musikwerk, book 1, Cologne 1959
Die Hymnen der Ostkirche, Basel 1962
other musicological works:
Kunst, Künstler und Publikum. Ein Beitrag zur Geschichte der Kunstpflege in alter und neuer Zeit, “Allgemeine Musikzeitung” 34, 1907
Renaissance und Barock. Ein kulturgeschichtlicher Beitrag zur Frage der Stilperioden, Zeitschrift der “Internationalen Musikgesellschaft” 11, 1909
Giuseppe Bonno (1710–1788). Sein Leben und seine dramatischen Werke, “Sammelbände der Internationalen Musikgesellschaft” 11, 1909
Zwei Studien zur Geschichte der Oper im XVII. Jahrhundert, “Sammelbände der Internationalen Musikgesellschaft” 15, 1913
Studien zur Geschichte der Wiener Oper. Cavalli und der Stil der Venetianischen Oper von 1640-1660, “Studien zur Musikwissenschaft” 1, 1913
Bemerkungen zur Musikpraxis um 1600, “Zeitschrift der Int. Musikgesellschaft” 15, 1914
Orientalische Einflüsse in der Musik der Gegenwart, “Österreichische Monatsschrift für den Orient” 40, 1914
Die Opern und Oratorien in Wien von 1660–1708, in: “Studien für Musikwissenschaft” 6, 1919
Studien zur äthiopischen Kirchenmusik, “Oriens Christianus”, N.S. IX, 1920; Gorgias Press, New Jersey, 2010
Arnold Schönberg, Vienna, 1921
Der Tanz und die Reform der Oper im 18. Jahrhundert, “Musikblätter des Anbruch” 8, 1926
Die neue Instrumentation, 2 volumes, Berlin, 1928–1929
Die Oper in Italien, in: Handbuch der Musikgeschichte, ed. G. Adler, Vienna 1929
Mahler’s Instrumentation, “Musikblätter des Anbruch” 12, 1930
Problems of Contemporary Music, “Monthly Musical Record” 68, 1938
Italian Music at the Austrian Court, “Monthly Musical Record” 70, 1940
Arnold Schönberg. An appreciative monograph (Counterpoint Living Composers 1), Oxford University Press, 1945
Musik in England, “Österreichische Musikzeitschrift” 1, 1946
Essays on opera, transl. from German P. Kean, London 1950
The Symphonic Outlook, 1745–1790, ed. Egon Wellesz, Oxford University Press; 1961
Johann J. Fux, Oxford University Press, 1965
The Age of Enlightenment: 1745–1790, in: The New Oxford History of Music vol. 7, Oxford University Press 1973
