Egon Wellesz

Egon Joseph Wellesz (21 October 1885 9 November

1974) was an Austrian-born British composer, teacher
and musicologist, notable particularly in the eld of
Byzantine music.

Life

Although both parents of Welleszs were Hungarian

Christians, they both had Jewish ancestry. He received a
Protestant upbringing, but later converted to Catholicism.
Wellesz studied in Vienna under Arnold Schoenberg
purportedly his rst private pupil as well as Guido
Adler, who founded the musicological institute in Vienna and was a leading editor of the Austrian Denkmaler.
These dual inuences shaped much of his musical and
scholarly thought. In 1913, Wellesz embarked upon what
would become a lifelong interest in the musical achievements of Byzantium.

Grave of Egon Wellesz, his wife and other family members at the
Zentralfriedhof in Vienna

Byzantine music. These contributions brought for him an

honorary doctorate from Oxford (where he later taught)
Wellesz left Austria for England in the wake of in 1932.
the Anschluss more specically, Wellesz was in A portrait was made of Wellesz by Jean Cooke, who
Amsterdam at the time by good fortune, to hear his or- had been commissioned for the work by Lincoln College,
chestral piece Prosperos Beschwrungen conducted by University of Oxford.[4][5]
Bruno Walter on that day.[1] In England he was interned
as an enemy alien, ultimately in Hutchinson Camp in the
Isle of Man, but he gained his release in 1943 thanks to
2 Compositions
the intercession of H. C. Colles, the long standing chief
[2]
music critic of The Times. Altogether he wrote nine
symphonies and an equal number of string quartets, the Welleszs works as a composer amount to at least 112
former starting, in 1945,[3] only with his arrival in Eng- works with opus numbers as well as some 20 works withland and the latter series of works spread throughout his out opus number. He busied himself in a variety of melife. Other compositions by him include operas, one of dia.
which (Die Bakchantinnen) was revived and recorded a Recently, interest in Welleszs music has increased. A
few years ago; an octet with the same instrumentation as complete recording of his nine symphonies is availSchubert's; piano and violin concertos (one of each); and able, although his music has generally been sparsely repa suite for violin and orchestra. Stylistically his earliest resented on CD or LP. His 3rd symphony (19501),
music, somewhat like that of Ernst Krenek, is in a harsh published posthumously, received its world premiere in
but recognisably tonal style; there is a denite second pe- Vienna in 2000.[6] Several of his symphonies have titles,
riod of sorts around the time of the rst two symphonies including the second (The English), and the seventh (Con(1940s) in which his music has a somewhat Brucknerian tra torrentum).
sound in the symphonies sometimes an equal breadth,[3]
though still with something of a 20th-century feel and
harmonies but after his fourth symphony (the Austri- 2.1 Works for stage
aca) his music is more tonally vague in character, with
serial techniques used. This idiom is consistent with hints
Das Wunder der Diana, op. 18 (19141917), ballet
of tonality, such as can be found in his eighth string quarafter Bla Balzs
tet.
Die Prinzessin Girnara, op. 27 (19191920), libretto by Jakob Wassermann

Despite his composing, Wellesz remains best known

for his extensive scholarly contributions to the study of
1

2
Persisches Ballett, op. 30 (1920), ballet after Ellen 2.3
Tels

Achilles auf Skyros, op. 33 (1921), ballet after Hugo

von Hofmannsthal

Alkestis, op. 35 (1924), Libretto by Hugo von Hofmannsthal after Euripides

Die Nchtlichen: Tanzsinfonien, op. 37 (1924), Bal

let scene after Max Terpis

COMPOSITIONS

Orchestral works
Heldensang, op. 2 (1905), symphonic prologue for
large orchestra
Vorfrhling, op. 12 (1912), symphonic mood picture for orchestra
Suite, op. 16 (1913), for orchestra
Mitte des Lebens, op. 45 (193132), cantata for soprano, choir, and orchestra

Die Opferung des Gefangenen, op. 40 (19241925),

Stage drama after Eduard Stucken

Piano Concerto, op. 49 (1933)

Scherz, List und Rache, op. 41 (1927), libretto after

Johann Wolfgang von Goethe

Amor Timido, op. 50 (1933), aria for soprano and

small orchestra, text: Pietro Metastasio

Die Bakchantinnen, op. 44 (1931), libretto by the

composer after Euripides, opera in 2 Acts

Prosperos Beschwrungen, op. 53 (193436), ve

symphonic works for orchestra after William Shakespeares The Tempest

Hymne der Agave aus Die Bakchantinnen, op.

44, concert edition by Wellesz
Incognita, op. 69 (1950), libretto by Elizabeth
MacKenzie and William Congreve

2.2

Lied der Welt, op. 54 (193638), for soprano and

orchestra. Text: Hugo von Hofmannsthal
Leben, Traum und Tod, op. 55 (193637), for alto
and orchestra. Text: Hugo von Hofmannsthal
Schnbheler Messe C-dur, op.
choir, orchestra, and organ

Choral works

Drei gemischte Chre, op. 43 (1930), text: Angelus

Silesius

58 (1937), for

Symphony No. 1, op. 62 (1945)

Fnf kleine Mnnerchre, op. 46 (1932) from

Frnkischen Koran by Ludwig Derleth

Symphony No. 2, op. 65 (194748), The English

Drei geistliche Chre, op. 47 (1932) for mens chorus

based on poems from Mitte des Lebens by Rudolf
Alexander Schrder

Symphony No. 4, op. 70 (195153), Austriaca

Zwei Gesnge, op. 48 (1932) based on poems from

Mitte des Lebens by Rudolf Alexander Schrder

Violin concerto, op. 84 (1961), dedicated to the violinist Eduard Melkus. Recorded by David Frhwirth in 2010 on CD.

Mass in F minor, op. 51 (1934)

Quant' bella Giovinezza, op.
womens choir

59 (1937), for

Carol, op. 62a (1944) for womens choir

Proprium Missae, Laetare, op. 71 (1953) for choir
and organ

Symphony No. 3, op. 68 (194951)

Symphony No. 5, op. 75 (195556)

Four Songs of Return, op. 85 (1961), for soprano

and chamber orchestra, after texts by Elizabeth
Mackenzie
Duineser Elegie, op. 90 (1963) for soprano, choir,
and orchestra after Rainer Maria Rilke

Kleine Messe in G major, op. 80a (1958) for three

similar voices a capella

Ode an die Musik, op. 92 (1965) for baritone or alto

and chamber orchestra, text: Pindar, in free adaptation of works by Friedrich Hlderlin

Alleluia, op. 80b (1958) for soprano or tenor solo

Symphony No. 6, op. 95 (1965)

Laus Nocturna, op. 88 (1962)

Vision for soprano and orchester, op. 99 (1966),

text: Georg Trakl

Missa brevis, op. 89 (1963) for choir

To Sleep, op. 94 (1965) for choir

Mirabile Mysterium, op. 101 (1967) for soloist,

choir, and Orchester

Festliches Prludium, op. 100 (1966) on a Byzantinium Magnicat for choir and organ

Symphony No. 7, op. 102 (196768), Contra torrentem

3
Canticum Sapientiae, op. 104 (1968) for baritone,
choir, and orchestra after texts from the Old Testament

Fanfare for solo horn, op. 78 (1957)

Divertimento, op. 107 (1969), for small orchestra

Quintet, op. 81 (1959) for clarinet, 2 violins, viola,

and violoncello

Symphonic Epilogue, op. 108 (1969)

String Quartet No. 8, op. 79 (1957)

Symphony No. 8, op. 110 (1970)

String trio, op. 86 (1962)

Symphony No. 9, op. 111 (197071)

Rhapsody for viola solo, op. 87 (1962)

2.4

Musik for string orchestra in one movement, op. 91

(1964)

Chamber music

String Quartet No. 1, op. 14 (1912)

Fnf Miniaturen for violins and piano, op. 93 (1965)

String Quartet No. 2, op. 20 (191516)

Geistliches Lied, op. 23 (191819) for singing voice,
violin, viola, and piano

Partita in Honor of Johann Sebastian Bach, op. 96

(1965) for organ
String Quartet No. 9, op. 97 (1966)

String Quartet No. 3, op. 25 (1918)

String Quartet No. 4, op. 28 (1920)

Four Works for string quartet, op. 103 (1968)

Sonata for violoncello solo, op. 30 (1920)

Four Works for string trio, op. 105 (1969, second

version 1971)

Two Works for clarinet and piano, op. 34 (1922)

Four Works for string quintet, op. 109 (1970)

Sonata for violin solo, op. 36 (1923)

Suite for violin and chamber orchestra, op.
(1924)

38

Prelude for viola solo, op. 112 (1971)

Sonnet by Elizabeth Barrett-Browning for soprano

and string quartet or large string ensemble, op. 52
(1934)

3 Decorations and awards

Suite for violoncello solo, op. 39 (1924)

This article incorporates information from the

equivalent article on the German Wikipedia.

Suite for violin and piano, op. 56 (1937/1957)

Suite for ute solo, op. 57 (1937)

1953: City of Vienna Prize for Music

String quartet No. 5, op. 60 (1943)

1957: Commander of the Order of the British Empire

The Leaden Echo and the Golden Echo, song for soprano, clarinet, violoncello, piano, op. 61 (1944),
text: Gerard Manley Hopkins
String Quartet No. 6, op. 64 (1946)
String Quartet No. 7, op. 66 (1948)
Octet, op. 67 (194849) for clarinet, bassoon, horn,
two violins, viola, violoncello, and contrabass
Sonata for violin solo, op. 72 (1953/59)

1957: Great Silver Medal of the City of Paris

1959: Grand Decoration of Honour in Gold for Services to the Republic of Austria
1961: Grand Austrian State Prize for Music
1961: Order of St. Gregory the Great (Vatican)

Suite, op. 73 (1954) for ute, oboe, clarinet, horn,

and bassoon

1971: Foreign Member of the Serbian Academy

(SANU)http://www.sanu.ac.rs/English/Clanstvo/
IstClan.aspx?arg=810

Suite for solo clarinet, op. 74 (1956)

1971: Austrian Decoration for Science and Art

Suite for solo oboe, op. 76 (1956)

Suite for solo bassoon, op. 77 (1957)

1973: Honorary Member of the Society of Friends

of Music in Vienna

Bibliography
Wellesz, Egon; Kerridge, W. H., translator (c.
1925). Arnold Schnberg. London: J. M. Dent &
Sons. OCLC 23799320.
Wellesz, Egon (1960). New Oxford history of music 1. Ancient and oriental music. Oxford: Oxford
University Press. OCLC 174194430.
Wellesz, Egon (1961). A history of Byzantine music and hymnography. Clarendon Press. OCLC
3309386.
Wellesz, Egon (1965). Fux. London; New York:
Oxford University Press. OCLC 302872.
Wellesz, Egon; Conomos, Dmitri; Velimirovi,
Milo (1966). Studies in Eastern Chant. London;
New York: Oxford University Press. ISBN 0913836-79-6. OCLC 1126942.

References

[1] Krones, Hartmut (5 December 2001). Notes to US Premiere of Wellesz Symphony 3. American Symphony Dialogues and Extensions. Retrieved 22 December 2007.
[2] Amanda Holden remembers Egon Wellesz
[3] Conway, Paul (June 1999). An Austrian Symphonist in
Britain. MusicWeb International. Retrieved 22 December 2007.
[4] Jean Cooke. The Telegraph (Telegraph Media Group
Limited). 22 August 2008. Retrieved 5 January 2014.
[5] Your Paintings: Jean Cooke paintings slideshow. BBC.
Retrieved 6 January 2014.
[6] Conway, Paul (July 2000). The long-awaited world premiere of the third symphony triumphs in Vienna. MusicWeb International. Retrieved 22 December 2007.

Sources
Benser, Caroline Cepin (1985). Egon Wellesz
(18851974) : chronicle of twentieth-century musician. New York: P. Lang. ISBN 0-8204-0138-2.
Robert Scholium, Egon Wellesz, Osterreichische
Komponisten des XX. Jahrhunderu, II (Vienna,
1964)
Hans F. Redlich, Egon Wellesz, The Musical
Quarterly, XXVI (1940), 6575
Rudolph Reti, Egon Wellesz, Musician and
scholar, ibid., XLII (1956), 113.
Klavierkonzert/Violinkonzert, Babinsky (piano),
Frhwirth (violin), Epple (conductor), Egon
Wellesz (composer)

EXTERNAL LINKS

7 External links
Free scores by Egon Wellesz at the International
Music Score Library Project

Text and image sources, contributors, and licenses

8.1

Text

Egon Wellesz Source: http://en.wikipedia.org/wiki/Egon%20Wellesz?oldid=633683347 Contributors: Tbackstr, Hyacinth, JackofOz,

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8.2

Images

File:Welleszgrave.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/62/Welleszgrave.jpg License: CC-BY-SA-3.0 Contributors: Own work Original artist: Kosboot

8.3

Content license

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