Wolff, Jean-Claude

Wolff, Jean-Claude, French composer; b. Paris, Oct. 1946. He studied in Paris at the École Normale de Musique and at the Cons. (prix de composition, 1974), his principal mentors being Henri Dutilleux, Jean-Marie Guézec, Michael Philippot, and Ivo Malee. He also received training in composition from Franco Donatoni at the Accademia Musicale Chigiana in Siena, and was in residence at the Villa Medici in Rome under the auspices of the Académie de France (1978-80). He was awarded prizes in composition in the Jeunesses Musicales Internationales competition in Belgrade in 1979, the G. B. Viotti competition in Vercelli in 1986, and the Vienna Modern Masters competition in 1990. In 1992 he served as artist-in-residence of the Fondation d’Art Henri Clews in Napoule, Alpes-Maritimes.

Works

Morale I for English Horn (1973), II for Guitar (1981), 177 for Guitar, Violin, and Zarb (1975), and IV for Electric Guitar (1984; Angers, Oct. 9, 1986); Moissons for Amateur Chamber Orch. (1975); 8 syms.: No. 2 for Violin and Orch. (1978; Rome, July 11, 1979), No. 3 (1982; Paris, Nov. 17, 1983), No. 1 (1983; Nancy, April 25, 1985), No. 4 for 35 Instruments (1985; Paris, March 5,1988), No. 5 for 38 Instruments (1992; Paris, Jan. 9, 1994), No. 6, Eléments d’une traversée, for 6 Vocal Soloists, Chorus, and Orch. (1994), No. 7 for English Horn and String Orch. (1995), and No. 8 for Flute, Clarinet, and Tape (1997); Duo for Guitars (1978); Concerto for String Orch. (Rome, June 29, 1979); Comme un paysage frôle for Electroacoustic Instrumental Ensemble (1979); Tristes for Chamber Orch. (Rome, Dec. 3, 1979); Nuit for Soprano and String Quartet (Rome, June 18, 1980); Octet for Clarinet, Bassoon, Horn, 2 Violins, Viola, Cello, and Double Bass (1980; Boswill, Switzerland, Nov. 25, 1982); Articulations for Flute, Clarinet, Percussion, 2 Guitars, Harp, Violin, and Double Bass (1984; Amsterdam, April 6,1985); Reflet for Flute, Harp, Violin, and Cello (1986); Traces for Amateur Chamber Ensemble (1987); Tiercés for Flute, Harp, Violin, and Cello (1987; Amsterdam, May 8, 1988); Septet for Piano, Oboe, Percussion, Guitar, Electric Guitar, Harp, and Double Bass (1988; Paris, May 23, 1999); Trio for Piano, Violin, and Horn (1989; Paris, Feb. 11, 1991); Trio for Guitars (Orléans, Oct. 28, 1990); Duo for Harps (1990); Psaume 88 for Chorus and Instrumental Ensemble (1990); Errances for Flute, Saxophone, Violin, and Cello (Amsterdam, May 12, 1991); Mosaïques for Flute, Viola, and Guitar (1991; Echirolles, Nov. 28, 1995); Marche lente for Flute, Harp, and Percussion (Montpellier, May 15, 1992); Suite for Violin and Piano (1993); Trois solitudes for Cello and Piano (1993; Echirolles, Nov. 28, 1995); Incantation for Harp (Rheims, Aug. 21, 1994); Chants for Wind Quintet (1994; Echirolles, May 30,1995); Sonata for 8 Cellos (1994; Rencontres, May 9,1996); L’inquiétude for Mezzo-soprano and Instrumental Ensemble (1995; Meylan, Nov. 29, 1996); Crépuscules for Piano (1996; Paris, Nov. 20, 1997); Threne for Flute, Clarinet, Violin, Cello, and Piano (1997; l’Avray, May 25,1998); Paysages d’encres for Electric Guitar and String Trio (1997); Onze préludes for Piano (1997); Poèmes orientaux for Contralto and Piano (1998); Psaumes for 6 Women’s Voices, Baritone, and Instrumental Ensemble (1998; Geneva, Aug. 20, 1999); Sinfonietta for Orch. (1998; Le Blanc-Mesnil, June 4, 1999); Une lecture de Marie Noël for 2 Flutes, 2 Clarinets, Trombone, Percussion, Piano, and Cello (Le Blanc-Mesnil, June 4, 1999); Sonatine for Oboe and Piano (1999); Le lointain le plus proche for Soprano and Harp (1999).

—Laura Kuhn/Dennis McIntire