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Count (Carl) Axel Raoul (Georg Henrik) Wachtmeister (av Johanneshus) Swedish pianist and composer

London, 02.04.1865 - Malmö, Sweden, 12.12.1947

Wachtmeister's father was prime- and foreign minister Count Karl Wachtmeister and his mother was the French Marquise Constance Georgina Louise de Bourbel. Young Axel Raoul soon decided for a musical career and was educated first at the Leipzig Conservatory and later at the famous Schola Cantorum in Paris where he studied with the two composers André Gédalge and Vincent d'Indy (1851-1931). 

André Gédalge
(1856 - 1926)

After Paris he settled in Nice for some years, and later stayed in USA at various times, from 1916 in New York. Towards the end of his life he returned to Sweden settling in Tyringe in the central Skåne, about 13 km west of Hässleholm.

Borgeby Castle which Wachtmeister inherited 
after his father, Karl - but he sold it off in 1886.
Today there is a museum of art and if you are 
in luck you may also catch a glimpse of the 
allegedly friendly ghost, "The White lady".

Among his compositions are an opera-oratorio Prince Siddharta, four symphonies (one in D minor and one in C minor, some symphonic poems (Quarat-ul-ayani and Le recit de l'horloge), two concertos - one for piano and one for violin. From his output of chamber music the most interesting works are a piano quintet, four string quartets, a piano quartet, a piano trio, some violin sonatas, a  Cello sonata (1916) and a Piano trio (1922) and Fantasietta for violin and piano. And then - of course - there are some choral works: Hymne à la lune (hymn to the moon) - for baritone, mixed chorus and orchestra, Sappho for mixed chorus and orchestra - premiered in New York 1917, piano pieces - Prèlude, Aria et Rondeau, Suite Romantique to name but a few. Then there are choruses  Kalte Graal for male chorus and orchestra, The Fountain Song for soprano solo, female chorus and orchestra, songs and the ballet The Soul of the Vine.

3 Morceaux: Glädje (Joy), 2. Sorg (Sorrow), 3. Återuppvaknande (Reawakening 1929 (Wilhelm Hansen)
Dedicated to Oscar Nissen

Photo and information about Wachtmeister supplied by The National Genealogical Society, Stockholm

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Richard (Wilhelm) Wagner  German composer

Leipzig, 22.05.1813 - Venice, 13.02.1883

Wagner never wrote anything for the left hand alone - indeed his compositions for the piano are very rarely heard for two reason: First they form a minor and totally insignificant part of his oeuvre and second  they are not remarkable as piano music - perhaps only in revealing that Wagner was not much of a pianist himself.
Of course it is interesting in some ways to hear what musical thoughts the master of Tannhäuser, The Ring, Die Meistersinger and Tristan und Isolde committed to the piano - but as a piano composer I will rather listen to his father-in-law (Liszt).

(Oh - du mein holder Abendstern - from Tannhäuser) Arranged by Daniel Jones, MacFadyen and Albert C. Koeppler

(Themes from Tannhäuser) Arranged by Géza Zichy

(Quintet from the opera Die meistersinger aus Nürnberg) Arranged by Wittgenstein

(Wagner - Liszt: Isoldes Liebestod from the opera Tristan und Isolde) Arranged by Wittgenstein

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Rune Wahlberg  Swedish composer

Gävle, 15.03.1910 - Vänersborg, 29.01.1999

Wahlberg studied first at Musikhögskolan in Stockholm from 1928 to 1935 after which he entered the Leipzig Conservatory from 1936 to 1937. From 1929 he was primarily known as a concert pianist and from 1935 also as a conductor in Sweden and Germany. From 1943 to 1951 he was conductor at Stora Teatern in Gothenburg from 1943 to 1951 and conductor of the Park Orchestra of Gothenburg from 1947 to 1949 after which he became musical director first at Kramfors from1953 to 1957, in Hofors from 1957 to 1964, Härnösand from 1964 to 1969 and Hudikswall from 1969 to 1975.
At the same time Wahlberg went on several tours as a pianist, writing essays and music criticisms for different newspapers.
Among his most important works are seven symphonies, some orchestral pieces and two piano concertos, a violin concerto and other works for piano and orchestra. Finally some choral works and piano pieces. Nature and the change of the seasons were a great inspiration to Wahlberg whose works carry titles like Vårnatt (Spring night), Årstidssångar (Songs of the seasons) and Vårbrytning (The breaking of spring). His last three symphonies are called Havet (The sea), Episoder (Episodes) and Jordesång (Song of the earth). Wahlberg's style is very personal held in a late romantic tone with touches of expressionism. 

Caprice  1977 (Edition Suecia, Manuskriptserien)

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Ernest Walker  English composer and pianist

Bombay, 15.07.1870 - Oxford, 21.02.1949

Ernest's father, Edward Walker was partner in a firm of East India merchants. In 1871 Edward and his wife Caroline Cooper brought their son back to England  where he at first was taught by his grandmother and aunt, before entering the Bowdon and Penalvern School at Anerley, Surrey. 
As he showed great interest in music he often attended the Saturday Concerts at the Crystal Palace. 
This building was not exactly a real concert hall. In 1851 Great Britain was arguably the leader of the  industrial revolution and feeling very secure in that ideal. The Great Exhibition of 1851 in London was conceived to symbolize this industrial, military and economic superiority of Great Britain. The building  was originally designed by Sir Joseph Paxton in only 10 days and was a huge iron goliath with over a million feet of glass. It was for this feeling of supremacy the building was erected. The Crystal Palace itself was destroyed by fire on  November 30th 1936 and today the name mainly lives on in connection with - football.

The Crystal Palace

But here concerts were held every Saturday under the direction of the illustrious conductor Sir August Manns, who came from Germany, but after different engagements in Danzig, Königsberg and Cologne, came to London in 1854. It was said that of him that [this] German conductor could make the orchestra express all the modifications of feeling that an imaginative soloist  would give voice to on a single instrument. - How very singular!.

Sir August Manns
(1825-1907)

Walker then started as a private student of the Austrian born pianist Ernst Pauer  who had succeeded Cipriano Potter as teacher at the Royal Academy of Music and A. Richter before being admitted to Balliol College, Oxford. Because of his special gifts the master of the college then, Benjamin Jowett took a special interest in him and placed him in the second class of the honours list in classical moderations (1889) and literae humaniores (1891). 

An old print of the Balliol College - named after John Balliol, one of King Henry III most loyal Lords during the Barons' War of 1258-1265. The foundation date of the College is reckoned as 1263. Under Jowett, 
Master 1870-1893 and much earlier, academic brilliance was 
encouraged, but so was originality, and there was a heavy 
emphasis on character, leadership, duty and public service.
The Balliol is still one of England's foremost colleges.

Despite his keen interest in music philosophy was his chief interest and he was deeply influenced by R. L. Nettleship and W. R. Hardie. He became a close friend of the college organist, John Farmer, and he helped Farmer in the Balliol Sunday evening concerts. He proceeded to take the degrees of B.Mus (1893) and D.Mus (1898), and acted as assistant organist at Balliol from 1891 until he after Farmer's death in 1901, succeeded him as organist and director of music. In this capacity he greatly raised the standard of the concerts by bringing artists such as Irish bass-baritone singer Harry Plunket Greene , the tenor Sir James Steuart Wilson (1889-1966), the pianist and Clara Schumann pupil Fanny Davies, and the renowned German violinist Adolf Busch (brother of the conductor Fritz Busch) to Oxford.

Harry Plunket Greene
  (1865-1936)
Fanny Davies
 (1861-1934)
Adolf Busch
(1891-1952)

In 1913 he resigned the organistship, as the participation in chapel services began to prove inconsistent with his views on religion.  Early in life he tended to high-church Anglicanism, but that gave way to agnosticism and ultimately to atheistic rationalism - (a fact described in his article Free thought and the musician for Music and Letters in July 1921.), but he held the directorship until 1925, when he retired in order to devote himself to composition. He was elected an honorary fellow of the Balliol College in 1926.

The Balliol College organ
from Walker's days.
(Today it has largely 
been rebuilt)

Walker's part in all the musical activities of the university was so great that his name became synonymous with all aspects of Oxford music. He was most active as a teacher and examiner; and he did much to improve and reform the standard of the B.Mus and D.Mus degrees. 
Early in his career he edited the quarterly journal the Musical Gazette (1899–1902), contributed to the Oxford Magazine, presented a paper on Brahms for the Musical Association (1898), and wrote articles for Fuller Maitland's second edition of Grove's Dictionary of Music and Musicians (1902). He also wrote articles for The Times and the Manchester Guardian. Walker was not much interested in musical biography; his goal was musical issues through analysis, historical context, and philosophical argument f.ex. in his first book, Beethoven (1905), written for the Music of the Masters series, a work that also emphasizes his devotion to the nineteenth-century German masters. As a critic and reviewer he was incisive and open-minded, which gained the admiration of Donald Tovey, Philip Heseltine, William Walton and Adrian Boult. But Walker's most enduring achievement as a writer, however, was A History of Music in England (1907) which, in an era of national reappraisal, attempted to rationalize the English musical renaissance at the end of the nineteenth century by means of the nation's earlier heritage, notably in the music of Dunstaple, Tallis, Byrd, and Purcell. Even today it remains a standard work of reference.

The Balliol seal

An accomplished pianist and performer, Walker gave much time to his beloved German masters giving the English premières of Brahms' op. 117 piano pieces and the rhapsody from op. 119, but he was also well known for his interest in Hugo Wolf and in the early works of Debussy.
As a composer he tended to cleave to the German Romantic tradition assimilated during the 1890s. This is clearly heard in the Six Songs (1893); the Two Anthems, op. 16 (of which the solemn Lord, thou hast been our refuge is still occasionally sung); the Duets for Tenor and Contralto (1904); and the wide array of chamber works that increasingly dominated his output. Among other works he should also be remembered for are his Five Songs from England's Helicon, op. 10, for vocal quartet and piano; the choral Hymn to Dionysus, op. 13 (1906); and Ode to a Nightingale, op. 14 (1908). Later on he leaned towards a more astringent, chromatic style in his chamber works, of which, arguably, the cello sonata, op. 41 (1914), is the best and most passionate example.
His other woks include a Stabat Mater for soli, chorus and orchestra, a Concert Ouverture, Piano quintet in A, Quintet in B Flat for horn and strings, Fantasia in D for string quartet, Piano trio in C minor, two Violin sonatas in A minor and E Flat, two sets of Variations for viola and piano and Variations on a theme by Joseph Joachim for piano and violin. 
In spite of his rationalism there was always something of the mystic in him, which was expressed both in his music and in his lasting love of nature. 

Variations on an Original Theme for piano, clarinet and string trio (without op. nr.) 1933
Written for Paul Wittgenstein

Study for the Left Hand op. 47  1931(Augener)
Written for Paul Wittgenstein

Prelude (Larghetto) op. 61  1935 (Augener)
Written for Paul Wittgenstein

Naturally there was a good deal of correspondence between Walker and Wittgenstein which is held in Balliol Library's Special Collections department - as are all his papers and manuscripts.

Portrait of Ernest Walker (1870-1949), by Francis Dodd, RA, 1934. c. Balliol College, Oxford. Used with permission.
.

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Carl Maria (Friedrich Ernst) von Weber  German composer, pianist and conductor

Eutin nr. Lübeck, 18.11.1786 - London, 05.06.1826

The families of Weber and Mozart are closely related since Carl Maria was a cousin of Constanze Mozart - their fathers being brothers. In older books you may find his birth date recorded as the 18th December, which is most remarkable - indeed unique - for that would (according to the books of the Landeskirche of Eutin) make Weber one rare example of someone, who was baptized a month before his birth.
His position today as one of Germany's great opera composers is so well known that it will not be discussed here - instead his powers as a pianist are far more interesting in this connection. Also because - in opposition to Donizetti, Bellini and Verdi his operas did not inspire many composers to fantasies, paraphrases, variations etc. No - it was his piano music that was interesting (Berlioz arranging Aufforderung zum Tanz for orchestra, Tchaikovsky arranging Perpetuum mobile and Brahms arranging his Rondo (actually the same movement) from the piano sonata op. 24).
Today Weber's piano music is rarely heard but during the romantic period it was played very frequently indeed.
Beside some lesson from one Johann Nepomuk Kalcher, Weber didn't have much professional training as a pianist - he more or less worked things out for himself and became a truly original virtuoso - he just didn't have time to perform his piano music in public. He was far too busy composing operas, staging operas and writing essays about how bad Beethoven's music was.
Although he looks rather frail on pictures Weber had hands with a wonderful stretch - according to witnesses he could easily take an octave and a half and in his great piano works from 1810 and onwards he is hurling 10ths by the dozens in the face of the performer. In fact much of his piano music is so original - even revolutionary - that it seems a pity he didn't come across the idea of writing something for the left hand alone.

(Perpetuum mobile; 4th movement from his piano sonata nr. 1 in C major) 
Arranged by Tchaikovsky  - and by Brahms in an almost Godowskian way with the two hands reversed.

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Johan (Eduard) Weegenhuise  Dutch pianist and composer

Born: Amsterdam, 02.09.1910 and still happily with us.

Weegenhuise got his first piano lessons from Olivier Koop and from 1923 at the Stedelijke Muziekschool from Benoit Franssen finally receiving his diploma from with great distinction in 1929.
In 1932 he received his diploma in organ at the Catholic Organists- and Conductors' Association where he had Henri Heydendael as teacher and then carried his organ studies on with Piet van Egmond and harmony with Jean Schrijvers.
In 1943 he received his
Staatsdiploma M.O and continued his studies with Bernard Tak (theory) and Hart-Nibbrigh de Graaf (piano-pedagogic) before finishing his piano studies with Willem Andriessen and Stefan Askenase. 
By this time he also studied composition and instrumentation with Hendrik Andriessen and Daniël Ruyneman as well as taking lessons in Gregorian Chant with Smits van Waesberghe.
Already in 1932 he was appointed organist to the H. Hart- of Vondelkerk where he ten years later also became choir conductor together with his work at several other Amsterdam Churches - among these St. Jan de Doper (St John the Baptist).
In 1950 he became teacher of Gregorian chant at the Amsterdam Music Lyceum. Beside other teaching jobs he appeared frequently giving piano recitals in public - primarily with classic-romantic repertory and Dutch works.
Apart from the two orchestral works Sinfonia giocoso (1964), a Petite sérénade (1967) and some chamber music his output mainly consists of songs: Acht liederen (text: Guido Gezelle) (1938-1944), Drei Volkslieder (1940), Twee middeleeuwse kerstliederen (1937-1940), 3 middeleeuwse liederen (1939), 2 Heine Lieder (1940), Jugendliederkreis (1939-1940). 

Suite voor de Linkenhand: 1. Allemande, 2. Sarabande, 3. Gavotte, 4. Gigue  (1976) (Donemus)

Photo of Weegenhuise (ca. 1965) Harry van Steenis

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(No portrait)

 

James H. Wehli  American composer and pianist

Born: ?

Home, Sweet Home  1870 (Ditson)
This first version is just a "straight" transcription

Home, Sweet Home  1907 (Presser)
This second version differs entirely from the first one - being a virtuoso treatment of great difficulty - and one that Wehli used in his own recitals.

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Karl Weigl  Austrian-American composer

Vienna, 06.02.1881 - New York, 11.08.1949

Karl Weigl's parents were well-educated people who came from Temesvar in Hungary and through them he very early came in contact with music and began to study composition with a friend of the family, Alexander von Zemlinsky.
In 1899 he was enrolled at the Vienna University where he studied musical science with Guido Adler and at the same time took lessons at the Conservatory of Gesellschaft der Musikfreunde with Anton Door (piano) - to whom Tchaikovsky's Valse caprice in D op. 4 is dedicated - and with Robert Fuchs (composition). 

Robert Fuchs
15.02.1847-19.02.1927

In 1903 he took a doctor's degree at the University about Beethovens contemporary Emanuel Aloys Förster (1748-1832). From 1904 to 1906 he was solo répétiteur  under Mahler at the Wiener Hofoper and from 1918 he worked as composer and joined the faculty at New Vienna Conservatory. At this time he became acquainted with Anton von Webern and Arnold Schönberg who both belonged to the late romantic expressionist wing of music. Although their artistic paths parted - with Schönberg seeking new expressions and compositional methods he kept his respect for his younger colleague who stuck to his late romantic idiom.
In 1903 Weigl became a member of Vereinigung schaffender Tonkünstler which he was co-founder of together with Schönberg and Zemlinsky and with Gustav Mahler as honorary member and they arranged numerous concerts with music by Mahler, Richard Strauss, Zemlinsky, Schönberg, Pfitzner, Reger, Bruno Walter and Weigl himself.
During his time as répétiteur under Mahler at the Wiener Hofopera, he worked with the greatest singer of the day and during this time his relationship to Mahler became that of close friendship and admirer. Later he described these years as the most formative in his career.
From 1906 Weigl worked as a free lance composer winning the Beethoven Prize of the Gesellschaft der Musikfreunde and having his works performed by f.ex. the Rosé Quartet. 

The Rosé Quartet at the height of its career

Having now attained Austrian citizenship he was drafted to the army in 1914, but after the war he was made professor of theory and composition at the New Vienna Conservatory thus becoming a person and teacher of the greatest respect and his works were performed by the greatest artist of the time.
Since Weigl had Jewish ancestors he had to flee Austria in 1938 (Anschluss) and came the US where he had to start all over exchanging his comfortable life in Vienna for an one-room apartment. Even writings of introduction from Arnold Schönberg, Richard Strauss and Bruno Walter didn't help him much and at first he had to manage giving private lessons. But little by little he became teacher at the Hartt School of Music, the Brooklyn College, the Boston Conservatory (where he from 1945 to 1948 was principal teacher in theory) and at the Philadelphia Academy of Music.
But as an exponent of a musical world that was gone his final years were lived in isolation composing two large symphonies, three string quartets and a number of minor works. His music did not attract much attention though Leopold Stokowski premiered his 5th and second but last symphony, the Apocalyptic (in memoriam Franklin D. Roosevelt) in 1949 in Carnegie Hall with the American Symphony Orchestra. This symphony has a most unusual start because it begins with the orchestra tuning up.

Leopold Stokowski

Weigl's first compositions can be compared with the early works of Schoenberg or Zemlinsky. When Schoenberg developed his 12-tone music Weigl followed another path: his personal, highly expressive style is characterized by a chromatically determined harmony and colourful instrumentation. Major compositions are the „Phantastic Intermezzo“, performed by the Vienna Philharmonic Orchestra under Furtwängler, his symphonies, one piano- and a violin-concerto  Today importance is attached to his chamber music and Lieder. Pablo Casals wrote in 1941: Karl Weigl's music will not be lost. One will come back to it when the storm will have passed. One will come back to those who have written real music. 
His most important works are: Symphony in E op. 5, Symphonic Fantasie, a second Symphony in D minor (three more were to follow), the Violin Concerto, a String Sextet with voice, three String Quartets (of which the first, in A op. 4 received the Beethoven prize from Gesellschaft der Musikfreunde mentioned above), a Cello Sonata, a Violin Sonata op. 16, Choruses a cappella, a Symphonic Cantata Weltfeier and more than 100 songs and piano pieces.

Piano Concerto
  (1924) (American Composers Alliance)
This work was written for Wittgenstein. The concerto has three movements:
1. Allegro, 2. Adagio, 3. Rondo

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Samuel (Edison) Wellman  American pianist, teacher and composer

Born: Anderson, Indiana  15.05.1951

Wellman began playing piano for his church at 11 years old. His musical education includes Bachelor in Music Education at Lenoir Rhyne College in Hickory, North Carolina, Masters in Music Theory at Florida State and Doctorate in Composition at Florida State University.
Since 1992 Dr. Samuel Wellman has been a teacher at Liberty University. Currently he serves as Professor of Music, teaching music theory, choral arranging, music fundamentals, and private piano. He is a nationally recognized composer and well-known at Liberty University for his exceptional sight-reading skills and for his ability to accompany the most difficult instrumental repertoire.
Wellman has published more than 90 musical works and frequently gives solo piano recitals.
His list of works now include: Eight Preludes, Op. 1 (piano), Utopian Sketch, Op. 2  (piano), Viola Sonata, Op. 3, Sonatina, Op. 4 (piano), Six Nature Pieces, Op. 5 for trumpet, horn and trombone, Kyrie, Op. 6 for SATB choir, Dissolution, Op. 7 (piano),  String Quartet, Op. 8, Two Psalms, Op. 9: Psalm 123 SSA and Psalm 99 SSAA,  Lullaby, Op. 10  (voice, piano), Woodwind Sextet, Op. 11, Hawksbill Overture, Op. 12 (orchestra), Symphony of the  Apocalypse, Op. 13 (orchestra), Nursery Rhymes, Op. 14 (voice, piano), Variations on “In dulci jubilo,” Op. 15 (organ), Psalm 67, Op. 16 (Choir SATB, piano), Offices, Op. 17 (carillon), Concerto for bassoon and chamber orchestra op. 18, Twelve Little Waltzes, (piano), Epitaph, Op. 20 (string orchestra), Suite for Harp, Violin, Clarinet and Trombone, Op. 21, Variations on a Theme by Paganini, Op.22 (piano), Two Nocturnes, Op. 23 (piano),  Suite for Five Bassoons, Op. 24, Oboe Sonata, Op. 25, Five Little Pieces, Op. 26    (cl, piano), Two Songs, Op. 27 (voice, piano), More Love to Thee (SATB, piano), O Christ, Op. 28, First Pieces, Op. 29, Three Rags, Op. 30 (piano), Musical Pictures, Op. 31(piano), Sketches, Op. 32 (piano), Fantasy, Op. 33 (piano), Sonata in D, Op. 34 (piano), Three Etudes, Op. 35 (piano), Four Rags. Op. 36 (piano), Moments, Op. 37 (piano), Seminole Landler, Op. 38 (piano), Variations on “Erie Canal,” (piano), Two Songs, Op. 40 (voice, piano), Anna Magdalena Revisited (piano), Cameos, Op.42 (piano), Two Nocturnes, Op. 43 (piano), All Hail the Power of Jesus (fl, ob, cl,), Nocturne in C Minor (piano), Nocturne in F (piano), Name, Op. 44 (bsn, piano), Twenty-Four Preludes, Op. 45 (piano), Homage to Pierre Boulez op. 46 (piano), Demented Dances, Op. 47 (piano), Six Bagatelles, Op. 48 (piano), Two Rags, Op. 49 (piano), Miniatures, Op. 50 (piano), Tarantella, Op. 51 Tarantella, Op. 51, Six Minuets, Op. 52,  Twenty-Four Waltzes, Op. 53 Tarantella, Op. 51 (piano),  Sonata in Bb Minor, Op. 54 (piano), When Johnny Comes Marching Home, Op. 55 (SATB), String Quartet in E, Op. 56,  (piano), La Raspa, Op. 57 (piano), Sarasponda, Op. 58  (piano), Trio for Clarinet, Bassoon, and Piano, Op. 59, The Flower Garden, Op. 60 (piano), Khristos Voskrese! Op. 61 (piano), Three Etudes, Op. 62 (piano), Six Chinese Folk Songs, Op. 63 (piano), Furry Lizards, Op. 64 (piano), Two Rags, Op. 65 (piano), Toccata, Op. 66 (piano), City and Country, Op. 67 (piano), Fantasy in B Minor, Op. 68 (piano), Four American Pieces, Op. 69  (piano), Ten Etudes for Tuba, Op. 70, Nativity Suite, Op. 71, Two Rags, Op. 72 (piano), Two Etudes, Op. 72 (piano), Anna Magdalena Revisited Op. 74 (piano), Hometown, U.S.A., Op. 76 (piano), Two Christmas Carols for 2-part choir, Children’s Choir, Op. 77 (piano), Moving in Style, Op. 78 (piano), Three Southern Rags, Op. 79 (piano), Around, Op. 80 (piano), Five Hymn Arrangements for Brass Quartet, Op. 81,  The Artful Lute Dance, Op. 82, Skip to My Lou, Op. 83, (piano), Chaconne, Op. 84 (piano), Rumble Alley Turkey, Op. 85 (piano), Two Songs for Children’s Choir, Op. 86, Three Snack Rags, Op. 87, Arachnids, Op. 88 (piano), Twelve Not-so-easy and Unmelodious Pieces, Op. 89 (piano), Habiliments, Op. 90 (piano), Five Lyric Waltzes, Op. 91 (piano), Two Botanical Rags, Op. 92 (piano), Family Portraits, Op. 93 (piano), Nine Canons, Op. 94 (piano),  Three Folk Songs, Op. 95 (piano), Snotty Tina in C, Op. 96 (piano), Saxophone Sonata (alto sax, piano) Op. 97 , Twenty Pieces for Beginning Students, Op. 98 (piano), A Monster Gallery, Op. 99 (piano), Album for the Young-at-Heart Op. 100 (piano), Celestial Notebook, Op. 101 (piano), Morganton Waltz, Op. 102 (piano), Country Music, Op. 103 (piano), How Long, O Lord? Op. 104 (SATB), Music for Naughty Children Op. 105 (piano), Twenty-Five Queasy and Aggressive Studies, Op. 106 (piano), O Love, How Deep, How Broad, How High, Op. 107 (SATB), Voyage of the Lesser Ninths, Op. 108 (piano), Iroquois Nation, Op. 109 (piano), Three Intermezzi, Op. 110 (piano), Three Nonsense Rags, Op. 111 (piano), Seven Folksongs, Op. 112 (piano), Austrian Waltzes, Op. 113 (piano), Kitty Waltzes, Op. 114 (piano), Solfeggieto Studies, Op. 115 (piano), Ten Easy Pieces, Op. 116 (piano), Ten Little Pictures, Op. 117 (piano), Six Norwegian Folksongs, Op. 118 (piano), Sojourns, Op. 119 (piano), Three Musical Rags, Op. 120 (piano), Three Etudes, Op. 121 (piano), Little Pieces in C, Op. 122 (piano), Three Deceptive Rags, Op. 123 (piano), Twenty Reels, Op. 124 (piano), Prepositional Sketches, Op. 125 (piano), Three Winter Rags, Op. 126 (piano), Folksongs of Antarctica, Op. 127 (piano), Music for Meow-Meows, Op. 128, For Herself, Op. 129 (voice, piano), Cyferbyniad, Op. 130 (2 trp, hn, trb, tuba), Kristallnacht, Op. 131 (piano), Music for Colleagues, Op. 132 (piano), Waltz Music for Vegetable Lovers, Op. 133 (piano), Cancion de Salamanca, Op. 134 (piano), Sonata of Facility, Op. 135 (piano), Three Tangos, Op. 136 (piano), Muzio’s Amalgam, Op. 137 (piano), Four Romances, Op. 138 (piano), A Bunch of Pieces in Treble Clef, Op. 139 (piano), Six Little Nothings, Op. 140 (piano), Ah! Vous dirai-jazz, Maman! Op. 141 (piano), Psalm 22, Op. 142 (SATB), Twenty Jigs, Op. 143 (piano), Melodies of Ficklepenny, Op. 144 (piano), Twelve Little 12-Tone Pieces Op. 145 (piano), Tarantella, Op. 146 (piano), Ten Small Dances, Op. 147 (piano), Lawnmower Music, Op. 148 (saxophone quartet),  Hanon Revised for the Tonally Challenged Op. 149 (piano), Two Hymns, Op. 150 (SATB), Gryphon Music, Op. 151 (piano), Gabe and Ada, Op. 152 (narrator and piano), The Second Unafraid Book Op.153 (see below) (piano), Waltz of the Rhinoceroses, Op. 154 Waltz of the Rhinoceroses, Op. 154 (piano), Sakura, Op. 155 (piano), Six Moosettes, Op. 156 (piano), Beets in the Oven, Op. 157 (piano), Wedding Music, Op. 158 (piano), Die Schone Blau Mondlicht, Op. 159 (piano), A Bound Street Set, Op. 160 (any treble instrument), Oh, Sleep Now, Holy Baby, Op. 161 (SATB).
Certainly a prolific composer not wanting in ingenuity when it comes to giving titles. The works - mostly for piano range from the atonal over ragtime to neoclassical and neo-romantic.

8 Waltzes, op. 75  "for left hand, or right hand if you insist"  (American  Music Center)  
In a mail to this author dr. Wellman explained: At the time I wrote the waltzes, I was (and still am) fascinated by the waltz style, its simplicity, and how it can be molded to the will of the composer and still sound like a waltz. In addition I wanted to write easier works; too many modern pieces are difficult, or practically unplayable, and so their appeal is greatly weakened. Therefore my Op. 75 Waltzes are not hard to play, and they reflect my idea of showing how one hand can satisfy the requirements of a waltz.

A Pekingese Malady (for left hand alone - in memoriam Leopold Godowsky) (MS)

Toboggan's Float (for left hand alone) (MS) 
Both pieces are from the suite The Second Unafraid Book Op. 153 a collection of 40 small pieces with a total duration of one hour and ranging from neo-romantic to atonal.

About these two pieces  Dr. Wellman explains to this author: I have grown progressively interested in the left hand, noting that most piano music is 'right hand' music. This interest was helped along by my exposure to the very fine and exquisitely crafted works of Leopold Godowsky.

Three hymn tunes arranged for left hand alone: Jesus Loves Me, When Morning Gilds the Skies, and Hallelujah! What a Savior. (MS)

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Judy East Wells  American  composer and teacher

Born: ? 

Ms Wells' education included piano, organ, clarinet, and voice and she has taught music in public schools and served in churches in Mississippi and Georgia. She is an independent piano teacher in Evans, Georgia and she earned a Bachelor of Music Education degree from the University of Southern Mississippi where she was a member of Mu Phi Epsilon Sorority and Society of Pi Kappa Lambda. 
She is a member of the National Guild of Piano Teachers, Music Teachers National Association, Georgia Music Teachers Association, and Augusta Music Teachers Association
Ms. Wells has presented numerous workshops for teacher organizations and has been an adjudicator in both piano and composition competitions.

Vagabond Clouds  (Alfred) 

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(No portrait)

 

Arthur Henry West  

Born: ?

Valse for the Left hand  1901 (Reynolds & Co.)

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(No portrait)

 

June Weybright  

Born: ?

Composer of educational works and piano duets for elementary pianists.

Nocturne  1954 (Belwin-Mills)

To an Ice Skater  (Belwin-Mills)

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Kirk Whipple  American pianist and composer

Born: Baton Rouge, Louisiana 13.12.1962

Kirk Whipple's principal piano teacher were Roy Bogas, Frances Kelly, Mark Wetch and Darlene Bradley, and he attended Berklee College of Music in Boston, Massachusetts, where he studied harmony and composition with W.A. Mathieu and Mary Marks. He also participated in Master Classes with Bella B. Nagy, Roy Bogas, John Browning, John Perry, and James Barbagallo. 
He was placed first in the 1996 Bay Area Keyboard Artists Living Composers Competition in San Francisco and has received numerous other awards. He has given solo recitals throughout the United States and abroad in Moscow, Leningrad, Frankfurt, Paris, Madrid, Vancouver and he has toured Northern California extensively with the modern music ensemble, The Kirk Whipple Quartet.

Kirk Whipple is the Executive Director of The Unconservatory, a national musical non-profit organization. The Unconservatory is dedicated to creation, performance, recording & education in the musical arts. 
As professional musician and educator, Whipple has been involved with all aspects of the music world, including performance, administration, private and class instruction, concert production and promotion, career consultation for pre-professional artists and musical journalism. Embracing many styles of music, Whipple has written original works for a wide variety of musical settings including two pianos, solo piano, flute & piano jazz quartet, progressive rock ensembles, choir, a symphonic work for combined ensembles (choir, string orchestra & concert band), and (with his wife Marilyn Morales) a concerto for two pianos and orchestra.
As an apprentice of internationally known composer, author and theorist W. A. Mathieu, Whipple assisted in the preparation of Mathieu’s epic work, Harmonic Experience, (Inner Traditions, Rochester, VT) overseeing the production of hundreds of musical examples. Whipple studied harmony, composition and improvisation with W. A. Mathieu, and African drumming with Kwaku Daddy. He has performed in solo recitals and concerts throughout the United States and abroad. Whipple studied piano with Darlene Bradley-Garza, Frances Kelly and Mark Wetch. 
Today Whipple forms a piano duo with his wife Marilyn Morales. The two were married in a ceremony and concert performance that included the world premier of their original Concerto For Two Pianos and Orchestra. 

Marilyn Morales and  Kirk Whipple 
playing duo

Rhapsody for the Left Hand Alone 
In a mail to this author Mr. Whipple has written: The piece requires a large virtuosic hand that can reach an eleventh (of course it can be rolled but, it is more convincing played simultaneously).  At one point the piece requires the simultaneous use of all three pedals, a technique [with the heel of the left foot on the ostinato pedal] leaving the front of the left foot free to vary the use the soft pedal; the right foot is free to pedal normally.

The Rhapsody is being recorded by Antonio Iturrioz 

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Julian White  American pianist and composer

xxx

xxx

Prelude: On the Beach Looking South

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Marie Wieck  German pianist and composer

(17.01.1832 - 02.11.1916)

Marie was younger half sister of Clara Wieck Schumann and - like Clara she got her education from her father Friedrich Wieck. 

Friedrich Wieck
1785-1873

According to Clara Schumann when Marie was still promoted as an child prodigy Marie had everything (their) father's education could offer - but she lacked spirit . . . and today the public makes quite different demands to what children are capable of than when I travelled. The things children are capable of is often eminent but not so with Marie. She plays well but not excellent.
Later Clara (probably 1840-1844) dedicated to Marie her Quatre pièces fugitives Op. 15. 

Drei Etüden (vorzugsweise für die linke Hand allein)  (Dresden: Hoffarth)
Mentioned in Hofmeisters Handbuch der Klavierlitteratur 1874-1879, p. 635

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(No portrait)

 

M. Wiggins 

Born: ? 

Midnight - Prelude for the Left hand  (American Music Editions)

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Earl Wild  American pianist and composer

Born: Pittsburgh, 26.11.1915

Wild's extraordinary musical abilities were displayed at the age of three and at the age of six he could read music fluently. At eleven he was studying with Selmar Janson and as a specially artistically gifted youth he was placed into a programme at Pittsburgh's Carnegie Tech (now Carnegie Mellon University). At the age of nineteen he was already a concert hall veteran and had composed many piano transcriptions.
In 1937, Wild joined the NBC as staff pianist as well as performing in the NBC Symphony Orchestra under Toscanini. He became the first artist to perform a piano recital on US television and in 1942, Toscanini invited him to be the soloist in Gershwin's Rhapsody in Blue, the first performance of the Rhapsody for both conductor and soloist.
Since then Earl Wild has performed with almost every important conductor and soloist and has composed a great number of works ranging from piano transcriptions to oratorios.
In 1986 he was awarded the Liszt Medal by the People's Republic of Hungary in recognition of his long and devoted association with the music of Franz Liszt - and indeed - like Raymond Lewenthal his name has become synonymous with the great romantic piano tradition.

The Man I love from Gershwin's opera Porgy and Bess
This is only one of a number of Wild's Gershwin transcriptions

Earl Wild's arrangement is recorded by Lars Boye Jensen, CLASSICO CLASSCD 235

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(No portrait)

A. H. Wilhelmy  

Born ?

Reverie  ca. 1925 (Published by the composer himself, Cologne; Engraved & printed in Germany by Oscar Brandstetter, Leipzig

Source: National Library of Australia

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(No portrait)

Deborah Wilkinson 

Born: ?

Level one piano tutor course for the left hand

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(No portrait)

 

Philip G. Wilkinson

Born London 1929 

Suite: Left Hand Right Hand: Movements 1. Polka, 3. Minuet, 5. Bourrée  1966 (Ascherberg, Hopwood & Crew)
(The rest of the movements are for the right hand)

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(No portrait)

 

Heinrich Rudolf Willmers  German pianist and composer

Berlin, 31.10.1821 - Vienna, 24.08.1878

He was pupil of F. Hummel and Fr. Schneider and became widely known as a brilliant player - the trill was his specialty - and composer for the piano . From 1864 to 1866 he was teacher at the Stern Conservatory n Berlin after which he settled in Vienna, where he died insane.
Willmers was reputedly a brilliant chess player who played music and composed chess problems simultaneously. While playing Schumann's Carnival in a piano recital in Copenhagen, Willmers stopped suddenly, wrote something on his cuff, and then continued. He explained afterwards that he had been struggling for a week to solve a difficult problem (chess) when the solution came to him in a flash. I had to jot it down to get it out of my head and let me concentrate entirely on my playing.
In fact many composers and musicians have played chess on very high levels - even winning tournaments. Here is a list of some: Prokofiev David Oistrakh, Schostakowitsch, Kiril Kondrashin, John Cage, Edison Denisow, Gregor Piatigorsky, Adolf Brodsky, Yehudi Menuhin, Richard Strauss, Robert Schumann, Chopin, Beethoven,  Mendelssohn, Verdi, Rossini and Aram Katchaturian. So before jumping to any conclusions here are some quotes about chess from people who were famous in other fields:
 
Daring ideas are like Chess men moved forward. They may be beaten, but they may start a winning game.
(Johann Wolfgang von Goethe)

Chess makes man wiser and clear-sighted.
(Vladimir Putin)

Chess is a foolish expedient for making idle people believe they are doing something very clever when they are only wasting their time.
(George Bernard Shaw)

I feel as if I were a piece in a game of Chess, when my opponent says of it: That piece cannot be moved.
(Søren Kierkegaard)

Chess is as elaborate a waste of human intelligence as you can find outside an advertising agency.
(Raymond Chandler)

But - back to Willmers:
He composed a Piano Quartet op 85, Violin Sonatas opp. 11 and 94 and brilliant piano pieces opp. 1, 5, 7, 28, 29, 33, 35, 39, 69, 78 and 127.

Freudvoll und Leidvoll (Joyful and sorrowful) op. 2 nr. 1  c.1848 (Schuberth & Co.)
The title points to a poem by Johann Wolfgang Goethe:

Freudvoll und leidvoll,
Gedankenvoll sein;
Langen und bangen
In schwebender Pein;
Himmelhoch jauchzend,
Zum tode betrübt:
Glücklich allein
Ist die Seele, die liebt!  
Joyful and sorrowful,
Thoughtful;
Longing And anxious
In constant anguish;
Skyhigh rejoicing
despairing to death;
Happy alone
Is the soul that loves.

The poem has been set to music by Johann Friedrich Reichardt (1752-1814)
and by Ludwig van Beethoven as his op. 84 no. 2 (1810)

Serenade erotique op 5  (Hofmeister)

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August (Henrik) Winding  Danish piano virtuoso and composer

Taars, Lolland, 24.03.1835 - Copenhagen, 16.06.1899

Winding got his frist training from his father who was a vicar and a enthusiastic music amateur. But having exhausted the abilities there he went on to become a pupil of Carl Reinecke, Anton Rée (composition) and his later brother-in-law Niels W. Gade (theory). Further studies followed in Germany with Alexander Dreyschock before he finally settled as one of the most popular Danish piano virtuosos. 
At the same time he entered the board of direction of the Royal Danish Conservatory and was also a highly regarded private piano teacher.
A nervous illness (perhaps psychosomatic) caused Winding to give up his career  for several years but he managed to recover and made a come back as piano virtuoso - known for his fine and spiritual playing in general - and especially dazzling the Copenhagen audience with
his playing of concertos by Mozart and those of Beethoven for which he composed cadenzas for the first 4.
He married a daughter of J. P. E. Hartmann, and when his father-in-law, lost his wife the only thing that would console him was Winding playing Mozart to him. In moments of great distress I think we all know that feeling - only we have to be content with - for example Horowitz.

In his book Dr. Edel says that Winding's melodic gifts are disappointing. Now that  IS very sad Mr. Edel - since it's exactly for those he is remembered in Denmark today. His melodies to the hymns: Gud - du som lyset og dagen oplodGud Helligånd! o, komO du min ImmanuelDen mørke nat forgangen er, and  Som hønen klukker mindelig  are hymns which are very popular indeed - for their melodic gifts - and sung in the Danish churces - sunday after sunday - with as much enthusiasm as you can expect from a congregation that has forgotten how to sing. And if you listen to Windings piano concerto in A minor (Danacord) any lack of melodic gifts is certainly not  what comes to your mind at first.  

Trois Morceaux op. 27: 1. Capriccio, 2. Canzonetta, 3. Finale  c.1888 (Wilhelm Hansen)

Photos from the Det kongelige Bibliotek (Royal Library), Copenhagen  

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Paul (Carl Herrmann) Wittgenstein  Austrian-American pianist

Vienna, 05.11.1887 - New York, 03.03.1961

An short biography of Wittgenstein's life will appear later. This entry deals only with his arrangements for the left hand as collected in his three-volume School for the Left Hand.

Volume 1 is exclusively drills.

Volume 2 has 13 of Wittgenstein's own arrangements.

Bach: Violin sonata in F minor, 3rd. movement
Beethoven: Piano sonata op. 10 nr. 3, Largo
Beethoven: Piano sonata op. 57, Allegro assai
Brahms: Variations op 21, variation nr. 7
Chopin: Scherzo nr. 1 op. 20 (excerpts)
Chopin: Elude op. 25 nr. 11 (Double notes)
Chopin: Etude op. 10 nr. 12 (Revolutionary)
Chopin: Etude op. 10 nr. 12 (Revolutionary) 2. version 
Haydn: String quartet op. 76 nr. 3, 2nd. movement, variation nr. 2
Haberbier: Poetic Studies nr. 20 (Tremolo)
Anton Rubinstein: Etude on a wrong note
Johann Strauss: Morgenblätter
Johann Strauss: Mein Lebenslauf (excerpts)

Volume 3 is a collection of Wittgenstein's own arrangements and with Brahms' Bach-arrangement.

Prelude nr. 1 in C major from the first book of Das Wohltemperierte Klavier
Prelude nr. 3 from Kleine Präludien
Gigue from Partita in B flat major
Flute sonata in E flat major, Sicilienne
Bach-Gounod: Ave Maria
Bach-Brahms: Chaconne in D minor from Solo Partita for violin nr. 2
Grieg: Lyric Pieces op. 43 nr. 4 Liten fugl (Little Bird)
Grieg: Lyric Pieces op. 43 nr. 1 Sommerfugl (Butterfly)
Grieg: Lyric Pieces op. 43 nr. 3 Melankoli
Haydn: Piano sonata in A flat major, 2nd. movement
Haydn: String Quartet op. 64 nr. 5, Adagio
Henselt: Etude op. 5 nr. 11 Liebeslied (Love Song)
Mendelssohn: Lied ohne Worte (Song Without Words) op. 67 nr. 1
Mendelssohn: A Summer Night's Dream, Notturno
Mozart: Serenade for Winds KV 375, Adagio
Meyerbeer: Bathers' choir from the opera The Huguenots
Puccini: Sailors' choir from the opera Madame Butterfly
Schubert - Liszt: Du bist die Ruh
Schubert - Liszt: Meeresstille
Schumann: Jugendalbum (Album for the Youth), Melodie
Schumann: Jugendalbum (Album for the Youth), Kleine Studie 
Schumann: Bunte Blätter (Coloured Leaves) op. 99 nr. 7, Schwermut                   
Schumann: Bunte Blätter (Coloured Leaves) op. 99 nr. 1
Wagner: Quintet from the opera Die meistersinger aus Nürnberg
Wagner - Liszt: Isoldes Liebestod from the opera Tristan und Isolde

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(No portrait)

 

Bernhard Wolff  German pianist, teacher and composer

Rakowetz, Prussia, 23.04.1835 - Berlin, 11.03.1906

Wolff was pupil of Hans von Bülow and taught at the Konservatorium des Westens in Berlin and composed many pieces of instructive character, including Sonatines opp. 195, 196 and 198, Jugendleben, Kinderleben, Elementary Etudes, a simplified edition of Pischna's 60 Exercices and The Little Pischna (48) studies.
(Johann Pischna - Bohemia, 15.06.1826 - Prague, 1896, was a famous pianist and teacher educated at the Prague Conservatory and for a long time celebrated teacher in Moscow. He is especially known for his 60 Exercises for Piano which are still in print.)

4 Etudes op. 257 nr. 1  1905 (A. P. Schmidt)

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(No portrait)

 

Sara Scott Woods  

Born: ?

Waltz  1940 (Presser)
This is a well-functioning transcription of Brahms' famous Waltz in A flat major op. 39 nr. 15

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Mary (or Marie) Wurm  English pianist 

Southampton, 18.05.1860 - Munich, 21.01.1938

Wurm was born of German parents and studied at the Stuttgart Conservatory becomming a pupil of Franklin Taylor, Clara Schumann and Joachim Raff (who in opposition to Clara tried to encourage female composers! See le Beau). Later (in 1884) she studied in England with Sir Arthur Sullivan, Sir Charles Stanford and Frank Bridge winning the Mendelssohn Prize. Later (1898) she founded An All-women's Orchestra (with debut in Berlin 10.10.1899) which she conducted on tours from c.1900 and of course - as a pianist - she championed Schumann's piano concerto on her many tours of Germany and England. 
At one of her last recitals in London the program consisted entirely of extemporizations on themes given spontaneously by the audience.
Among her works are a Piano Concerto in B minor, a String Quartet in B Flat, a Cello Sonata, an Ouverture for orchestra, a Japanese Children's' Operetta, the opera Die Mitschuldigen (The Accomplices) (produced in Leipzig 1923) and many
piano pieces and songs.

Forty Daily Exercises  (1911) (R. Forberg)

Nocturne  (1911) (R. Forberg)
This is a transcription of Chopin's Nocturne op. 9 nr. 2 - coming close to Godowsky's intensions in such a way that the illusion of two hands playing is almost there.

Etude op. 42 nr. 1  (c.1906) (Steingräber)

Lied ohne Worte op. 51 nr. 2 (1911) (R. Forberg)

Idylle op. 51 nr. 3 (1911) (R. Forberg)

Träller-Liedchen (Little Trolling Song) op. 51 nr. 4  (1911) (R. Forberg)
It would seem probable that there is also a left hand work op. 51 nr. 1, but so far - I have not been able to find it.

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Lucien Wurmser  French pianist, conductor and composer

Paris, 23.05.1877 - 1967

Wurmser was educated at the Paris Conservatoire and toured extensively as a pianist and conductor (f.ex. with Pavlova in Australia,1926). He founded and lead for a number of years the Paris Philharmonic Orchestra. He recorded many 78rpms, lent his name to a competition for young talented musicians and played duets with Raoul Pugno - mind you - on two pianos - considering Pugno's size.
His œuvre as composer includes an operetta, a ballet and pieces for orchestra and piano. Most of his piano pieces have very illustrating titles like his collection of Prèludes where the pieces have the titles:  Ballerine, Sérénité, L'Enteté, Ma Jazotte, Vagues, Danse Grise, Fluidite, Fantasque, Reves, La Nuit, La Campagne and La mer.

Les Gradus Moderne: Volume 2 Main Gauche Seule  (Editions Max Escpit / Associated)

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Ruth Shaw Wylie  American flute player and composer

Cincinnati, 1916 - 1989

Ruth Wylie was educated at the Eastman School of Music. She composed her first piece Suite for Orchestra in 1940 and during the subsequent years she reached a number of 50 works including ballet, chamber music, piano pieces, choral works and orchestral music.
From 1960 to 1969 she taught music at Wayne State University where she served as Chair of the Music Department and Head of Composition. She founded and directed the University Improvisation Chamber Ensemble in 1965.  In 1975 she won a commission from the Michigan Council of Arts to compose a piece for the Detroit Women's Chamber Orchestra in celebration of the nation's bicentennial.

The Ruth Shaw Wylie music scores were donated to the University in 1992 by Jean Torosian, her sister. The collection consists of working drafts , master sheets, and performance scores of nearly all her compositions. The Wylie estate also gave the University Library generous gift to help process and catalog the collection. 

Soliloquy op. 23  1966 (Harold Branch Publications)

See: Aaron I. Cohen. International Encyclopedia of Women Composer. 2nd ed. rev. and enlarged. 1987. 
Julie Ann Sadie, Rhian Samuel, eds. New Grove dictionary of Women Composers. 1994.

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