Full text of "Groves Dictionary Of Music And Musicians Vol Ix"
Full text of "Groves Dictionary Of Music And Musicians Vol Ix"
/* @licstart The following is the entire license notice for the
* JavaScript code in this page.
*
* This program is free software: you can redistribute it and/or modify
* it under the terms of the GNU Affero General Public License as published by
* the Free Software Foundation, either version 3 of the License, or
* (at your option) any later version.
*
* This program is distributed in the hope that it will be useful,
* but WITHOUT ANY WARRANTY; without even the implied warranty of
* MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
* GNU Affero General Public License for more details.
*
* You should have received a copy of the GNU Affero General Public License
* along with this program. If not, see .
*
* @licend The above is the entire license notice
* for the JavaScript code in this page.
*/
window.__realDefine = customElements.define.bind(customElements);
customElements.define = function() {
try {
return window.__realDefine.apply(this, arguments);
} catch (e) {
console.warn(e);
}
}
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.icon-hamburger-1 svg.icon-hamburger {
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@keyframes fade-in-nav-search-1 {
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100% {
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@media (min-width: 890px) {
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.nav-search-1 .search-inactive.nav-search,.nav-search-1 .search-activated.nav-search {
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}
.nav-search-1 .search-activated.nav-search .highlight.nav-search {
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height: 2.8rem;
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}
.media-button-1 .donate.media-button,.media-button-1 .more.media-button {
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}
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top: -40rem;
background-color: #222;
margin: 0;
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transition-duration: 0.2s;
transition-property: top;
transition-timing-function: ease;
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@media (max-width: 889px) {
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.media-menu-1 .overflow-clip.media-menu {
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left: 0;
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width: 100%;
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}
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}
}
@media (min-width: 890px) {
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position: static;
width: auto;
height: 5rem;
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}
}.primary-nav-1 button.primary-nav:focus,.primary-nav-1 a.primary-nav:focus,.primary-nav-1 input.primary-nav:focus {
outline: none;
}
.primary-nav-1 nav.primary-nav {
position: relative;
display: -ms-grid;
display: grid;
height: 4rem;
grid-template-areas: 'hamburger empty heart search user';
-ms-grid-columns: 4rem minmax(1rem, 100%) 4rem 4rem 4rem;
grid-template-columns: 4rem auto 4rem 4rem 4rem;
-ms-grid-rows: 100%;
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background: #222;
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}
.primary-nav-1 nav.hide-search.primary-nav {
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-ms-grid-columns: 4rem minmax(1rem, 100%) 4rem 4rem;
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}
.primary-nav-1 .right-side-section.primary-nav {
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}
.primary-nav-1 button.primary-nav {
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font: inherit;
cursor: pointer;
}
.primary-nav-1 .branding.primary-nav {
position: static;
float: left;
padding: 0 5px 0 10px;
-webkit-transform: translate(0, 0);
-ms-transform: translate(0, 0);
transform: translate(0, 0);
}
.primary-nav-1 slot.primary-nav,.primary-nav-1 .branding.primary-nav {
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align-items: center;
}
.primary-nav-1 media-menu.primary-nav {
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grid-column-end: user-end;
}
.primary-nav-1 .ia-logo.primary-nav {
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width: 2.7rem;
display: inline-block;
}
.primary-nav-1 .ia-wordmark.primary-nav {
height: 3rem;
width: 9.5rem;
}
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}
.primary-nav-1 .hamburger.primary-nav {
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grid-area: hamburger;
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}
.primary-nav-1 .hamburger.primary-nav svg.primary-nav {
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width: 4rem;
fill: #fff;
}
.primary-nav-1 .mobile-donate-link.primary-nav svg.primary-nav {
height: 4rem;
width: 4rem;
}
.primary-nav-1 .mobile-donate-link.primary-nav .fill-color.primary-nav {
fill: rgb(255, 0, 0);
}
.primary-nav-1 .sr-only.primary-nav {
position: absolute;
width: 1px;
height: 1px;
margin: -1px;
padding: 0;
border: 0;
overflow: hidden;
white-space: nowrap;
clip: rect(1px, 1px, 1px, 1px);
-webkit-clip-path: inset(50%);
clip-path: inset(50%);
user-select: none;
}
.primary-nav-1 .search-trigger.primary-nav {
padding: 0;
}
.primary-nav-1 .search-trigger.primary-nav svg.primary-nav {
height: 4rem;
width: 4rem;
}
.primary-nav-1 .search-trigger.primary-nav .fill-color.primary-nav {
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}
.primary-nav-1 .search-activated.primary-nav {
position: relative;
z-index: 3;
}
.primary-nav-1 .upload.primary-nav {
display: none;
}
.primary-nav-1 .upload.primary-nav span.primary-nav {
display: none;
}
.primary-nav-1 .upload.primary-nav svg.primary-nav {
height: 3rem;
width: 3rem;
}
.primary-nav-1 .screen-name.primary-nav {
display: none;
font-size: 1.3rem;
vertical-align: middle;
text-transform: uppercase;
}
.primary-nav-1 .user-menu.primary-nav {
color: #999;
padding: 0.5rem;
height: 100%;
}
.primary-nav-1 .user-menu.primary-nav:hover {
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}
.primary-nav-1 .user-menu.active.primary-nav {
border-radius: 1rem 1rem 0 0;
background: #333;
}
.primary-nav-1 .user-menu.primary-nav img.primary-nav {
display: block;
width: 3rem;
height: 3rem;
}
.primary-nav-1 .link-home.primary-nav {
text-decoration: none;
display: inline-flex;
}
@media only screen and (min-width: 890px) and (max-device-width: 905px) {
.primary-nav-1 .branding.second-logo.primary-nav {
padding-right: 0;
}
}
@media (min-width: 906px) {
.primary-nav-1 .branding.second-logo.primary-nav {
padding-right: 20px;
}
}
@media (max-width: 889px) {
.primary-nav-1 slot.primary-nav[name='opt-sec-logo'] {
display: none;
}
}
@media (min-width: 890px) {
.primary-nav-1 {
;
}
.primary-nav-1 .right-side-section.primary-nav {
display: contents;
}
.primary-nav-1 nav.primary-nav {
display: block;
z-index: 4;
height: 5rem;
padding-right: 1.5rem;
}
.primary-nav-1 slot.primary-nav[name='opt-sec-logo-mobile'] {
display: none;
}
.primary-nav-1 .branding.primary-nav {
margin-top: 1rem;
}
.primary-nav-1 .ia-logo.primary-nav,.primary-nav-1 .ia-wordmark.primary-nav {
margin-right: 10px;
}
.primary-nav-1 .hamburger.primary-nav,.primary-nav-1 .search-trigger.primary-nav,.primary-nav-1 .mobile-donate-link.primary-nav {
display: none;
}
.primary-nav-1 .user-info.primary-nav {
display: block;
float: right;
vertical-align: middle;
height: 100%;
}
.primary-nav-1 .user-info.primary-nav .user-menu.primary-nav img.primary-nav {
height: 3rem;
width: 3rem;
margin-right: 0.5rem;
}
.primary-nav-1 .user-menu.primary-nav {
padding: 1rem 0.5rem;
}
.primary-nav-1 .user-menu.active.primary-nav {
background: transparent;
}
.primary-nav-1 .user-menu.primary-nav img.primary-nav {
display: inline-block;
vertical-align: middle;
margin-right: 0.5rem;
}
.primary-nav-1 .upload.primary-nav {
display: block;
padding: 1rem 0.5rem;
float: right;
font-size: 1.4rem;
text-transform: uppercase;
text-decoration: none;
color: #999;
}
.primary-nav-1 .upload.primary-nav:active,.primary-nav-1 .upload.primary-nav:focus,.primary-nav-1 .upload.primary-nav:hover {
color: #fff;
}
.primary-nav-1 .upload.primary-nav svg.primary-nav {
vertical-align: middle;
fill: #999;
}
.primary-nav-1 .upload.primary-nav:hover svg.primary-nav,.primary-nav-1 .upload.primary-nav:focus svg.primary-nav,.primary-nav-1 .upload.primary-nav:active svg.primary-nav {
fill: #fff;
}
.primary-nav-1 nav-search.primary-nav {
float: right;
margin-left: 1rem;
}
}
@media (min-width: 990px) {
.primary-nav-1 .screen-name.primary-nav {
display: inline-block;
text-overflow: ellipsis;
overflow: hidden;
white-space: nowrap;
max-width: 165px;
}
.primary-nav-1 .upload.primary-nav span.primary-nav {
display: inline;
}
}.search-menu-1 .menu-wrapper.search-menu {
position: relative;
}
.search-menu-1 button.search-menu:focus,.search-menu-1 input.search-menu:focus {
outline-color: #428bca;
outline-width: 0.16rem;
outline-style: auto;
}
.search-menu-1 .search-menu-inner.search-menu {
position: absolute;
right: 0;
left: 0;
z-index: 4;
padding: 0 4.5rem;
font-size: 1.6rem;
background-color: #333;
}
.search-menu-1 .tx-slide.search-menu {
overflow: hidden;
transition-property: top;
transition-duration: 0.2s;
transition-timing-function: ease;
}
.search-menu-1 .initial.search-menu,.search-menu-1 .closed.search-menu {
top: -1500px;
}
.search-menu-1 .closed.search-menu {
transition-duration: 0.2s;
}
.search-menu-1 label.search-menu,.search-menu-1 a.search-menu {
padding: 1rem;
display: block;
}
.search-menu-1 .advanced-search.search-menu {
text-decoration: none;
color: #428bca;
}
@media (min-width: 890px) {
.search-menu-1 .search-menu-inner.search-menu {
overflow: visible;
right: 2rem;
left: auto;
z-index: 5;
padding: 1rem 2rem;
transition: opacity 0.2s ease-in-out;
font-size: 1.4rem;
color: #333;
border-radius: 2px;
background: #fff;
box-shadow: 0 1px 2px 1px rgba(0, 0, 0, 0.15);
}
.search-menu-1 .search-menu-inner.search-menu:after {
position: absolute;
right: 7px;
top: -7px;
width: 12px;
height: 7px;
box-sizing: border-box;
color: #fff;
content: '';
border-bottom: 7px solid currentColor;
border-left: 6px solid transparent;
border-right: 6px solid transparent;
}
.search-menu-1 .initial.search-menu,.search-menu-1 .closed.search-menu {
opacity: 0;
transition-duration: 0.2s;
}
.search-menu-1 .open.search-menu {
opacity: 1;
}
.search-menu-1 label.search-menu {
padding: 0;
}
.search-menu-1 label.search-menu + label.search-menu {
padding-top: 7px;
}
.search-menu-1 a.search-menu {
padding: 1rem 0 0 0;
}
}.wayback-search-1 {
font: normal 1.2rem/1.5 'Helvetica Neue', Helvetica, Arial, sans-serif;
}
.wayback-search-1 form.wayback-search {
max-width: 600px;
}
.wayback-search-1 p.wayback-search {
margin-top: 0;
font-weight: 200;
}
.wayback-search-1 a.wayback-search {
font-weight: 500;
text-decoration: none;
color: #fff;
}
.wayback-search-1 fieldset.wayback-search {
padding: 0.7rem 2rem;
margin: 1.5rem 0;
box-sizing: border-box;
text-align: center;
border: none;
border-radius: 7px;
background-color: #fcf5e6;
box-shadow: 3px 3px 0 0 #c3ad97;
}
.wayback-search-1 label.wayback-search {
display: none;
}
.wayback-search-1 img.wayback-search {
width: 100%;
max-width: 215px;
max-height: 60px;
margin-bottom: 1.3rem;
vertical-align: middle;
}
.wayback-search-1 input.wayback-search {
display: block;
width: 100%;
height: 3rem;
padding: 0.5rem 1rem 0.5rem 2.5rem;
font: normal 1.2rem/1.5 'Helvetica Neue', Helvetica, Arial, sans-serif;
color: #858585;
box-sizing: border-box;
border: 1px solid #ccc;
border-radius: 2rem;
background: #eee;
}
.wayback-search-1 input.wayback-search:focus {
border-color: #66afe9;
box-shadow: inset 0 1px 1px rgba(0, 0, 0, 0.075), 0 0 8px rgba(102, 175, 233, 0.6);
outline: none;
}
.wayback-search-1 .search-field.wayback-search {
position: relative;
overflow: hidden;
}
.wayback-search-1 .search-field.wayback-search svg.wayback-search {
position: absolute;
top: 2px;
left: 3px;
width: 2.4rem;
height: 2.4rem;
}
.wayback-search-1 .search-field.wayback-search .fill-color.wayback-search {
fill: #999;
}
.wayback-search-1 input.wayback-search:focus + svg.wayback-search {
display: none;
}
@media (min-width: 890px) {
.wayback-search-1 form.wayback-search {
margin: 0 auto;
}
.wayback-search-1 p.wayback-search {
margin-bottom: 3rem;
font-size: 1.6rem;
text-align: center;
}
.wayback-search-1 img.wayback-search {
margin: 0;
}
.wayback-search-1 fieldset.wayback-search {
margin: 0 auto;
font-size: 0;
}
.wayback-search-1 fieldset.wayback-search a.wayback-search,.wayback-search-1 .search-field.wayback-search {
display: inline-block;
width: 50%;
vertical-align: middle;
}
.wayback-search-1 fieldset.wayback-search a.wayback-search {
text-align: center;
}
.wayback-search-1 .search-field.wayback-search svg.wayback-search {
width: 2.8rem;
height: 2.8rem;
}
.wayback-search-1 .search-field.wayback-search .fill-color.wayback-search {
fill: #333;
}
}
.wayback-search-1 p.wayback-search {
margin-bottom: 1rem;
font-size: 1.6rem;
text-align: center;
}
.wayback-search-1 fieldset.wayback-search {
padding: .5rem;
border-radius: 5px;
box-shadow: none;
}
.wayback-search-1 input.wayback-search {
padding-left: 3rem;
margin-top: .3rem;
font-size: 1.4rem;
border-color: #bca38e;
background: #fff;
}
.wayback-search-1 input.wayback-search::placeholder,.wayback-search-1 input.wayback-search::-webkit-input-placeholder {
color: #8e8e8e;
}
.wayback-search-1 .search-field.wayback-search svg.wayback-search {
top: 50%;
transform: translateY(-50%);
}
@media (min-width: 890px) {
.wayback-search-1 fieldset.wayback-search a.wayback-search,.wayback-search-1 .search-field.wayback-search {
display: block;
width: auto;
}
.wayback-search-1 fieldset.wayback-search a.wayback-search {
margin: 0 1.5rem;
}
}.save-page-form-1 div.save-page-form {
display: grid;
grid-template-columns: 1fr auto;
grid-column-gap: .8rem;
margin: 0;
padding: 0;
border: none;
}
.save-page-form-1 input.save-page-form[type="text"] {
width: 100%;
height: 3rem;
box-sizing: border-box;
border: 1px solid #999;
border-radius: .5rem;
color: #222;
font-size: inherit;
}
.save-page-form-1 input.save-page-form[type="submit"] {
-webkit-appearance: none;
-moz-appearance: none;
appearance: none;
padding: .4rem .8rem;
font: normal 1.3rem 'Helvetica Neue', Helvetica, Arial, sans-serif;
text-transform: uppercase;
color: #fff;
border: none;
border-radius: 16px;
background: #222;
cursor: pointer;
}
.save-page-form-1 .error.save-page-form {
display: none;
margin-top: .5rem;
font-weight: bold;
color: #ffcd27;
}
.save-page-form-1 .visible.save-page-form {
display: block;
}
@media (min-width: 890px) {
.save-page-form-1 h3.save-page-form {
margin-top: 0;
font: normal 100 1.6rem 'Helvetica Neue', Helvetica, Arial, sans-serif;
}
}.wayback-slider-1 h4.wayback-slider {
font-size: 1.6rem;
}
.wayback-slider-1 a.wayback-slider {
text-decoration: none;
color: #fff;
}
.wayback-slider-1 ul.wayback-slider {
padding: 0;
margin: 0;
list-style: none;
}
.wayback-slider-1 li.wayback-slider + li.wayback-slider {
padding-top: 1.5rem;
}
@media (min-width: 890px) {
.wayback-slider-1 h4.wayback-slider {
margin: 0 0 1rem 0;
font-weight: 100;
}
.wayback-slider-1 ul.wayback-slider {
font-size: 1.3rem;
}
.wayback-slider-1 li.wayback-slider {
padding-bottom: .5rem;
}
.wayback-slider-1 li.wayback-slider + li.wayback-slider {
padding-top: 0;
}
.wayback-slider-1 li.wayback-slider a.wayback-slider {
display: block;
overflow: hidden;
white-space: nowrap;
text-overflow: ellipsis;
}
}
@media (min-width: 890px) {
.wayback-slider-1 {
display: block;
grid-column: 1 / 4;
padding: 0 1.5rem;
}
.wayback-slider-1 h4.wayback-slider {
margin-top: 0;
font: normal 100 1.6rem 'Helvetica Neue', Helvetica, Arial, sans-serif;
}
.wayback-slider-1 .grid.wayback-slider {
display: grid;
grid-template-columns: minmax(auto, 260px) 1fr minmax(auto, 260px);
grid-column-gap: 2.5rem;
}
.wayback-slider-1 .link-lists.wayback-slider {
display: grid;
grid-template-columns: calc(50% - 1.25rem) calc(50% - 1.25rem);
grid-column-gap: 2.5rem;
}
}.more-slider-1 ul.more-slider {
padding: 0;
margin: -1rem 0 0 0;
list-style: none;
}
.more-slider-1 a.more-slider {
display: block;
padding: 1rem 0;
text-decoration: none;
color: #fff;
}.media-subnav-1 h4.media-subnav {
font-size: 1.6rem;
}
.media-subnav-1 a.media-subnav {
text-decoration: none;
color: #fff;
}
.media-subnav-1 ul.media-subnav {
padding: 0;
margin: 0;
list-style: none;
}
.media-subnav-1 li.media-subnav + li.media-subnav {
padding-top: 1.5rem;
}
@media (min-width: 890px) {
.media-subnav-1 h4.media-subnav {
margin: 0 0 1rem 0;
font-weight: 100;
}
.media-subnav-1 ul.media-subnav {
font-size: 1.3rem;
}
.media-subnav-1 li.media-subnav {
padding-bottom: .5rem;
}
.media-subnav-1 li.media-subnav + li.media-subnav {
padding-top: 0;
}
.media-subnav-1 li.media-subnav a.media-subnav {
display: block;
overflow: hidden;
white-space: nowrap;
text-overflow: ellipsis;
}
}
.media-subnav-1 img.media-subnav {
display: block;
width: 90px;
height: 90px;
margin: 0 auto 1rem auto;
border-radius: 45px;
}
.media-subnav-1 h3.media-subnav {
margin-top: 0;
font-size: 1.8rem;
}
.media-subnav-1 .icon-links.media-subnav {
display: -webkit-box;
display: -ms-flexbox;
display: flex;
-webkit-box-pack: space-evenly;
-ms-flex-pack: space-evenly;
justify-content: space-evenly;
text-align: center;
}
.media-subnav-1 .icon-links.media-subnav a.media-subnav {
display: inline-block;
width: 12rem;
margin-bottom: 1.5rem;
overflow: hidden;
white-space: nowrap;
text-align: center;
text-overflow: ellipsis;
}
.media-subnav-1 .icon-links.media-subnav a.media-subnav + a.media-subnav {
margin-left: 2rem;
}
.media-subnav-1 .featured.media-subnav h4.media-subnav {
display: none;
}
@media (min-width: 890px) {
.media-subnav-1 {
display: -ms-grid;
display: grid;
-ms-grid-columns: 40% 20% 40%;
grid-template-columns: 40% 20% 40%;
}
.media-subnav-1 .wayback-search.media-subnav {
-ms-grid-column: 1;
-ms-grid-column-span: 3;
grid-column: 1 / 4;
}
.media-subnav-1 h3.media-subnav {
display: none;
}
.media-subnav-1 .icon-links.media-subnav {
-ms-grid-column: 1;
}
.media-subnav-1 .icon-links.media-subnav a.media-subnav {
padding-top: 3.5rem;
max-width: 16rem;
}
.media-subnav-1 .links.media-subnav {
padding: 0 1.5rem;
}
.media-subnav-1 .featured.media-subnav {
-ms-grid-column: 2;
}
.media-subnav-1 .featured.media-subnav h4.media-subnav {
display: block;
}
.media-subnav-1 .top.media-subnav {
-ms-grid-column: 3;
}
.media-subnav-1 .top.media-subnav ul.media-subnav {
display: -ms-grid;
display: grid;
-ms-grid-columns: 50% 3rem 50%;
grid-template-columns: 50% 50%;
-ms-grid-rows: (auto)[7];
grid-template-rows: repeat(7, auto);
grid-column-gap: 3rem;
grid-auto-flow: column;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(1) {
-ms-grid-row: 1;
-ms-grid-column: 1;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(2) {
-ms-grid-row: 2;
-ms-grid-column: 1;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(3) {
-ms-grid-row: 3;
-ms-grid-column: 1;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(4) {
-ms-grid-row: 4;
-ms-grid-column: 1;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(5) {
-ms-grid-row: 5;
-ms-grid-column: 1;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(6) {
-ms-grid-row: 6;
-ms-grid-column: 1;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(7) {
-ms-grid-row: 7;
-ms-grid-column: 1;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(8) {
-ms-grid-row: 1;
-ms-grid-column: 3;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(9) {
-ms-grid-row: 2;
-ms-grid-column: 3;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(10) {
-ms-grid-row: 3;
-ms-grid-column: 3;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(11) {
-ms-grid-row: 4;
-ms-grid-column: 3;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(12) {
-ms-grid-row: 5;
-ms-grid-column: 3;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(13) {
-ms-grid-row: 6;
-ms-grid-column: 3;
}
.media-subnav-1 .top.media-subnav ul.media-subnav > *.media-subnav:nth-child(14) {
-ms-grid-row: 7;
-ms-grid-column: 3;
}
}.media-slider-1 .media-slider-container.media-slider {
position: relative;
}
.media-slider-1 .overflow-clip.media-slider {
display: none;
position: absolute;
top: 3rem;
right: 0;
left: 0;
height: 0;
overflow: hidden;
transition: height 0.2s ease;
}
.media-slider-1 .information-menu.media-slider {
position: absolute;
top: 0;
right: 0;
left: 0;
padding: 0;
height: 31.9rem;
overflow-x: hidden;
font-size: 1.4rem;
background: #333;
}
.media-slider-1 .open.media-slider {
display: block;
}
.media-slider-1 .hidden.media-slider {
display: none;
}
.media-slider-1 .info-box.media-slider {
padding: 1rem;
}
@media (max-width: 889px) {
.media-slider-1 .overflow-clip.open.media-slider {
display: block;
height: 35.8rem;
left: 4rem;
top: 0;
}
}
@media (min-width: 890px) {
.media-slider-1 .overflow-clip.media-slider {
display: block;
}
.media-slider-1 .information-menu.media-slider {
left: 0;
z-index: 3;
height: auto;
min-height: 21rem;
background: #474747;
transform: translate(0, -100%);
transition: transform 0.2s ease;
}
.media-slider-1 .overflow-clip.open.media-slider {
height: 22rem;
}
.media-slider-1 .information-menu.open.media-slider {
transform: translate(0, 0);
}
.media-slider-1 .info-box.media-slider {
max-width: 100rem;
padding: 1.5rem 0;
margin: 0 auto;
}
}.desktop-subnav-1 ul.desktop-subnav {
position: relative;
z-index: 3;
padding: .8rem 0;
margin: 0;
font-size: 1.2rem;
text-transform: uppercase;
text-align: center;
background: #333;
}
.desktop-subnav-1 li.desktop-subnav {
display: inline-block;
padding: 0 15px;
}
.desktop-subnav-1 a.desktop-subnav {
text-decoration: none;
color: #aaa;
}
.desktop-subnav-1 a.desktop-subnav:hover,.desktop-subnav-1 a.desktop-subnav:active,.desktop-subnav-1 a.desktop-subnav:focus {
color: #fff;
}
.desktop-subnav-1 .donate.desktop-subnav svg.desktop-subnav {
width: 1.6rem;
height: 1.6rem;
vertical-align: top;
fill: #f00;
}.signed-out-dropdown-1 .nav-container.signed-out-dropdown {
position: relative;
}
.signed-out-dropdown-1 nav.signed-out-dropdown {
position: absolute;
right: 0;
z-index: 4;
overflow: hidden;
font-size: 1.6rem;
background-color: #333;
transition-property: top;
transition-duration: 0.2s;
transition-timing-function: ease;
}
.signed-out-dropdown-1 .initial.signed-out-dropdown,.signed-out-dropdown-1 .closed.signed-out-dropdown {
top: -1500px;
}
.signed-out-dropdown-1 .closed.signed-out-dropdown {
transition-duration: 0.5s;
}
.signed-out-dropdown-1 .open.signed-out-dropdown {
max-width: 100vw;
overflow: auto;
}
.signed-out-dropdown-1 h3.signed-out-dropdown {
padding: 0.6rem 2rem;
margin: 0;
font-size: inherit;
overflow: hidden;
text-overflow: ellipsis;
}
.signed-out-dropdown-1 ul.signed-out-dropdown {
padding: 0.4rem 0 0.7rem 0;
margin: 0;
list-style: none;
max-height: calc(100vh - 7.2rem + 1px);
overflow: auto;
box-sizing: border-box;
}
.signed-out-dropdown-1 .divider.signed-out-dropdown {
margin: 0.5rem 0;
border-bottom: 1px solid #666;
}
.signed-out-dropdown-1 a.signed-out-dropdown,.signed-out-dropdown-1 .info-item.signed-out-dropdown {
display: block;
color: #fff;
text-decoration: none;
padding: 1rem 2rem;
}
.signed-out-dropdown-1 .info-item.signed-out-dropdown {
font-size: 0.8em;
color: #999;
}
.signed-out-dropdown-1 .callout.signed-out-dropdown {
position: absolute;
margin-left: 10px;
padding: 0 5px;
border-radius: 2px;
background: #fee257;
color: #2c2c2c;
font-size: 1.4rem;
font-weight: bold;
}
.signed-out-dropdown-1 a.mobile-upload.signed-out-dropdown {
display: flex;
justify-content: left;
align-items: center;
}
.signed-out-dropdown-1 a.mobile-upload.signed-out-dropdown svg.signed-out-dropdown {
fill: #fff;
margin-right: 1rem;
height: 1.4rem;
width: 1.4rem;
}
@media (min-width: 890px) {
.signed-out-dropdown-1 nav.signed-out-dropdown {
overflow: visible;
top: 0;
left: auto;
z-index: 5;
transition: opacity 0.2s ease-in-out;
font-size: 1.4rem;
border-radius: 2px;
background: #fff;
box-shadow: 0 1px 2px 1px rgba(0, 0, 0, 0.15);
}
.signed-out-dropdown-1 nav.signed-out-dropdown:after {
position: absolute;
right: 7px;
top: -7px;
width: 12px;
height: 7px;
box-sizing: border-box;
color: #fff;
content: '';
border-bottom: 7px solid currentColor;
border-left: 6px solid transparent;
border-right: 6px solid transparent;
}
.signed-out-dropdown-1 h3.signed-out-dropdown {
display: none;
}
.signed-out-dropdown-1 ul.signed-out-dropdown {
max-height: calc(100vh - 8.5rem + 1px);
}
.signed-out-dropdown-1 .divider.signed-out-dropdown {
border-bottom-color: #666;
}
.signed-out-dropdown-1 a.signed-out-dropdown {
padding: 0.5rem 2rem;
color: #333;
transition: background 0.1s ease-out, color 0.1s ease-out;
}
.signed-out-dropdown-1 .info-item.signed-out-dropdown {
padding: 0.5rem 2rem;
font-size: 0.8em;
}
.signed-out-dropdown-1 a.signed-out-dropdown:hover,.signed-out-dropdown-1 a.signed-out-dropdown:active,.signed-out-dropdown-1 a.signed-out-dropdown:focus {
color: #fff;
background: #428bca;
}
.signed-out-dropdown-1 .initial.signed-out-dropdown,.signed-out-dropdown-1 .closed.signed-out-dropdown {
opacity: 0;
transition-duration: 0.2s;
}
.signed-out-dropdown-1 .open.signed-out-dropdown {
opacity: 1;
overflow: visible;
}
.signed-out-dropdown-1 a.mobile-upload.signed-out-dropdown {
display: none;
}
}
@media (min-width: 890px) {
.signed-out-dropdown-1 .initial.signed-out-dropdown,.signed-out-dropdown-1 .closed.signed-out-dropdown,.signed-out-dropdown-1 .open.signed-out-dropdown {
right: 33.5rem;
}
.signed-out-dropdown-1 .search-hidden.initial.signed-out-dropdown,.signed-out-dropdown-1 .search-hidden.closed.signed-out-dropdown,.signed-out-dropdown-1 .search-hidden.open.signed-out-dropdown {
right: 18.5rem;
}
}
@media (min-width: 990px) {
.signed-out-dropdown-1 .initial.signed-out-dropdown,.signed-out-dropdown-1 .closed.signed-out-dropdown,.signed-out-dropdown-1 .open.signed-out-dropdown {
right: 40rem;
}
.signed-out-dropdown-1 .search-hidden.initial.signed-out-dropdown,.signed-out-dropdown-1 .search-hidden.closed.signed-out-dropdown,.signed-out-dropdown-1 .search-hidden.open.signed-out-dropdown {
right: 26rem;
}
}.ia-topnav-1 {
;
color: #fff;
font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif;
}
.ia-topnav-1 primary-nav.ia-topnav:focus {
outline: none !important;
}
.ia-topnav-1 #close-layer.ia-topnav {
display: none;
position: fixed;
top: 0;
right: 0;
bottom: 0;
left: 0;
z-index: 3;
}
.ia-topnav-1 #close-layer.visible.ia-topnav {
display: block;
}
.ia-topnav-1 .topnav.ia-topnav {
position: relative;
z-index: 4;
}
@media (max-width: 889px) {
.ia-topnav-1 desktop-subnav.ia-topnav {
display: none;
}
}body {transition: opacity ease-in 0.2s; }
body[unresolved] {opacity: 0; display: block; overflow: hidden; position: relative; }
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Full text of "Groves Dictionary Of Music And Musicians Vol Ix"
See other formats
GROVE’S
DICTIONARY OF MUSIC
AND MUSICIANS
VIATr.
N no ,(s VI
GROVE’S
DICTIONARY OF MUSIC
AND MUSICIANS
FIFTH IIDITIOX
HJITf.U HY
ERIC BLOM
S 01.L'ME IX
VIR-Z
APPENOlCtS
LONDON
MACMILLAN & CO LTD
NEW YORK • ST MARTJN’s PRESS
J954
This book is eopjright m ail caanUks which
art sigHoiarks la the Berne Carn'ention
Fint Edition, planned and edited by Sir Geoncs Grove,
D.CJ., in four v'olumes, with an Appendix edited by
J. A. Fuller-Maiiland, and an Index by Mr«. Edmond
wodebouse, 1876, i8te, 1683, 1689.
Second Edition, edited by J. A. Fuuzr-Maitlano, in 6ve
volumes, 1900.
Third Edition, edited by H. C. Colles, in five volumes,
19 * 7 -
Fourth Edition, edited by H. C. Cottet, in five volumes,
with Supplementary Volume, 1940.
Fifth Edition, edited by Eric Blou, in nine volumes, 1954,
MACMILLAN AND COMPANY UMltCO
Laaehn Bamhoj/ Calnite AlaJras Meibaunte
THE MACMILLAN COMPANY OP CANADA UMITEO
Taemta
ST martin's press tNC
AW Tart
V 1 RCH 1 , Paolo (^. Brescia, ? ; W. Mantua,
<. 1610).
Italian i6lh-<entury organut, lutcnisl and
composer. He ^aa ai the courts of Modena
and Ferrara from about 1584 10 i^gc and
hnaliy at Mantua, where he was appointed
to the church of Santa Barbara. He was also
1 famous ehitarrone player, for which Insiru'
meat be wrote a book ^ rumtri, madri|als,
etc., in tablature (1584), and he composed
two books of madrigals for 5 ttnees (1564,
t)88), and one book for 6 voices (i^gi).
B. V. d. s.
VIRDUNG, Sabnaciao (ft. Amberg, Upper
Palatinate, ?; d. ?).
German j)th-i6th*eentury musician. He
is the author of the oldest known work de*
scribing the precursors of modem muskal
instruments :
, Musks, uAd suMtesofs durch
iisnum ViftiuAit Pnaun von AinUrf imi sOa tewac
SI 40 4«a Bowa in dk ubulsdimi Jisst teasnwa drrw
iQfinjBwsWD 4 «t Oriria: 4 <r Liwwa; uad d«a
pletoe vin^iwvA n krnm. Kwixlxh teaisfhi lu
fr«n decs bochwinliieii heeh robomcn fwmeM unnd
hemn; fa«cr Wilhsteen BmcIwvc rum Svsubwi
sevnem fiwdirn herrsa.
We read in the dedication that the bishop in
1510 had required of Virdung that he should
send to him the 'Oedieht der deutseben
Musica\ Virdung replied that on account
of the great cost he had decided to postpone
printing the great work, but to pacify the
bishop and his own friend Andreas Sylvanus
he sends ihb present ot tract, in which M
latter appears as the interlocutor. The place
of publication is Basel, the date i$ii. The
work, wbiah is written in dialogue, b^ns with
• description of the keyboard instruments ;
then follow the othen in use at the lime. He
d^ribes the keyboard, the organ and clavi.
chord, concluding with the tablature of those
instruments and of the lute and flute.
The woodcuts, taken in their prder,»will
Ixst briefly indicate the nature of tb^bodkr
ihc cltvicordlum is the fretted clavichord
(g<ft«^), as is obvious from (he twisted keys,
^ he explains this peculiarity in the text. It
mows ju monochord origin by the sirings
|*eing all ofthe same length. The soundboard
“ virguiaJ b an instrummi
of the same oblong form, but has a triangular
scale of stringing, by an error of (he engraver
lu^ the wrong vmy (an error repealed by
Agncola, Luseintus and Rimbault) The
^ndboard, psaltery-wise, coven (he interior.
Ihe compass of keyboard of both these instru-
ments u three ocuves and a note from the
^ That it, wriueo ia C«rBm *fri*rti«in
bass clef note f to the lowest fl being
omitted ; but Vbdung g<<s on to say that the
compass had already in 151s been extended
by repeating the lowest octave, (hat b. de-
scend^ to F below the bass-clef stave. The
elavicienbalum b like the virginal, but with
dlfTerent compass (the organ short octave),
apparently from Bt In the bass clef to d'";
but the B, we bcHeve, sounded G.* I'hb is
(he ** clavicjmbanuRi ” of Sagudino, on which
he tells us little Mary Tudor played: the
Ittlian tpimita, French ts/uiutU (later ^piitfiu).
The *• cJaviciierium " b figured as an up-
right virginal, with the same keyboard ; but
the keyboards of all these irutniments and the
organs also are inverted in the printing. Vir-
dung sa)‘s it has jacks {Fe^kiU) like a virginal,
but ca^t strings. It was, he says, newly in-
vented ; he had only seen one. This is the
only early reference we have anywhere met
with to (he clatHcylherium. Rtmbaull's early
dales for it in h» * Hblory of Music ’ and die
ehronologkal order of keyboard imtrumcnis
are alike without foundation and misleading,
and further to confuse miners he was deceived
by a blunder in Luscinius, the Latin translator
(1536) of Virdung, by which iJ>c horlsonul
clavicirebalum appears u the ** clavi-
citerium ", and rirr itr$c.
Count Goiter's inicresring upright virginal,
or tpimtu, to be ascribed to the last yean of
the I jih century, shown in the Loan Collection
• of the International Inventions Exhibition,
London, 1865, and now in ibe Victoria and
Albert Museum there, has Virdung's compass
but adds the bass E and Fl, which may be
assumed to represent C and D short octave.
Virdung appean to know nothing about the
harpsichprd or later clavicembaJo, yet there
it a fine and authentic ipreimcn o( this two-
unborn irulfument, dated 1581, of Roman
mak^ ia the Victoria and Albert Museum.
' London.
Virdung's lyra U the hurdy-gurdy. Kis
lute has 1 1 strings, 5 pairs and (fwurfile, 6
nota ; bis qumtem, or treble lute, 10 strings,
Cf 5 notes. The Gross Geigen " is a bass
viol with the bridge otniiied by the draughts-
ow. The " Harffen " is the regular medieval
Dajnds harp, such as John Egan was still
mnkiJtg in Dublin as a revival or fancy instru-
ment from 1803 to 1839. The " Psalierjum "
IS a inangular small harp strung across. The
^^aeklwcii " shows the common dulcimer.
"CIctn Geigen” U a small viol; the
Trumschcii ", or trumpet marine, a kind of
* Sm Smoot Ociavx. $T»rr 4 VinoatAb.
2
VIREL.AI
VIRGINAL(S)
bowed monochord. The last*namcd iiuiru*
menu, being vvilhoul frcu, N'irdung regards as
useless.
The wind inslrumcnts follow : — “ Schal*
mey ", " Bombardi ” (oboes), " Scbwegcl
" ZwcrchpfrifT" (German flute), " Floten "
(set of^abh da/rr or recorders), “ RussprelfT",
" Krumhorn ", “ Hemsenhorn ”, Zincken "
(ancient cornciu), " Plaierspil ", " Krum-
horncr" (set of crumhorrw, the origin of the
" Cremona" in the modern organ), " Sack*
pfeifT" (bagpipes), '* Busaun " (trombone),
" Felltrumei ” (cavalry mimprt), " Clareu "
(clarion), " Thurnerhorn " (a kind French
horn). The organs are " Orgcl ” (with 3
divisions of pipes), Positive" (a chamber
organ) Regale " (a reed organ) and ** Porta-
tive " (pipe regal), with, as we have said,
short-octave compass like the " clavkimha-
lum ", the keybMrds l>elng reversed in the
printing. Ihe organ and portative end at g'
instead of
Lastly are " Ampos ", " Zymeln " and
" Glocl^n " (anvil and various bells, Virdung
appearing to believe in the anvil m)ih). He
has trusted to hU osvn or another's imagina*
tion in reproducing St. jeroerte's instruments,
only the drums and perhaps psalterin being
possible. His keyboards come next and are
evidently trustworthy. HU diagram of the
diatonic keyboard, ss>ith two D>s only, agree-
ing with Guido’s hand, is the only es’idence we
arc acquainted with for thU disposition of the
clavichord with tsventy natural and two raised
keys, which Virdung saya lasted long.
The latter part of the book U occupied with
the tablaturcs. His lute rules meet with obfee-
tions from Arnoh Schlkk the younger in hU
* Tabulatur etlichcr Ix>bgcsange ’ (Mentr.
Mendel's * Lexicon’ says that copK^
of Virdung’s book are to be found only in
the Berlin and Vienna Ubraries; but Alfred
Littleton owned an original copy, and another
is in the library ofj. C. Matchesv. A facssmik
reproduction of 300 copies was brought out
in I $63 in Berlin, edited by Robert Elmer,
being the eleventh volume published for the
Gcscllschaft fur Musikforschung, who had pre-
viously publishetl Arnolt Schllck's * Spiegel
der Orgelmachcr ’, also of 131 1, and referred
to by Virdung. A more modem facsimile was
edited by L. Schrade and published at Csissel
in t 93 i> Mendel further says there are at
Munich four 4*pari German songs by Virdung
in the rare collection of Peter Schoefler
(Menu, r3!3), numbered 48, 49, 53 and 34.
A. j. K.. ad^.
Sm mIu Liueinui {Ltt. tram, ot ' Mtaka tvtutsdti ’).
VIRELAl (Fr-). A lay from Virc in
Normandy, a type of medieval French song.
— CxNNXiai, F.. * ItendcauK. N’lrrUb uad Balli*
den'. 9 vAb. (TVndrn. 1927).
.trr als« Lay. Machaut. npeta.
Virgil (PabIfM VerfiUa* Mare). Su Bcdios
(' Les frotew oprrasj. Uide and Aeneat (Purcelt}.
Uumini t*Ei»ea\ apera). Kraus (), M., 'Aeneas I
Carthaea’, oprra). Luaenko {'Aeneid*, opera).
Leeflkr (* I^can rem ' tot orth.). htalipiero (2 choral
warlu), Mudarra {pasayes sci (o (he lute), Purcell (4,
* Di 4 » and Aeneas *. opera), R^r-Ducasae (cliorus).
Sdvcrac DidMt ei £<>^ *. s>'7nph. sui(«), TrevcM
(Beriior, epera*).
Biou — RoinUtM. V,. ‘Net bimillenario vitpliano;
virplio fente di litceni pre musira ’ iMilao, 1931 ).
VIRGIL PRACTICE CLAVIER, THE.
An Americnn invention, produced in i rudi-
mentary A^m in 1873 under the name of
Technipbone. It xvas patented by AJmon
Kincaid Virgil in 1893. as the Praciicc Clavier,
and was Imught to England in 1893. The
instrument is in the form of a small pianoforte,
having nearly the full compass of the key-
board. The keys a rc du mb (the prt^ure being
regulated as in the Digitorlum, but the special
property of the contKvance is that any in-
equality of toueh in legelo playing can br
easily corrected. The key can be made to
(woduce a little " click" as it descends, and
another "click" as it ascends (both sets of
clicks can be used, or caused to cease, at disc re*
Ison), so that a perfect ltg$ia touch can be pro-
duced by almost mechanical means, for when
the " click " of (he rising key coincides exactly
with that of the falling key it is manifest that
on an ordinary pianoforte the passage from
one note to the other Mould be perfectly
smooth. j, A. p.-N,, abr.
VlRGlNAL(S). A keylMard Instrument
with one set of jacks playing on one set of
sirlr^. Much CMifuslon has arisen in the
past over nomenclaiurc, early wrlien using
the names virginal, spinet and haqnichord
loosely to dcKribe any keyboard instrutnent
in which the sirinp arc plucked. By 1833
Roscoe was writing " the Claricord [;iV] was
a sort of spinet resembling die Virginals
Confusion has been added to confusion be-
cause the virginal was called In Italy tphiella
and in France /pintltt, but It is quite wrong to
translate these words as " spinet ". as the true
spinet is quite diflcrenily conceived from ihe
virginal, and the tone and musical capabilities
of the two instruments are entirely diflercni.
Florio, in his ' New >V'orld of Words ' (1611).
gives " spinctia, a kind of hide spine ... a
paire of virginalles’’ and " spincttcgiarc, to
play upon the virginalles ".
The origin of the name virginal is uncertain.
That it has any connection ^v^lh Queen
Elizabeth I ("the virgin queen"), who was an
accMsplishcd player of the instrument, cannot
be allowed, since the name was in use before
she was bom. It may possibly have some con-
nection with the popularity of the instrument
among young ladies, whereas the lute was the
instrument commonly playrd by men ; but
the name most likely derives from the Latin
word rjVgWtf, meaning a little stick ~ a refer*
mee to the jacks.
VIRGI^fAL(S}
'Hie virgiiul may be dcBaed as tbe bouse^
hold keyboard mstnimtat of (he i6tb and
early j 7th coituriea, with a corapas of some
four octaves (short^Ktave lunbig m the bass),
playing at 8 ^ 1 ^. ^(ch. The case is always
rectaj^ular, pent^ooal or, rarely, polygonal,
and the airings pass over two bridges, both
on the soundboard, and Ue parallel with the
keyboard. The soundboard usually has a
highly decorative rose. The natural keys are
Covered with boxwood, rixMiy or ix’ory, aitd
a variety of cuaterUls are used for acciden*
tab. In the Italian instruments case and
soundboard are of similar wood, probably
cypress.
We have here a clear dlstirtetion between
the virginal and spinet, for in the latter the
case b wing'Sbaped, only one bridge b on the
soundboard (the other being 00 the wrest-
plank) and the strings are at an acute angle
to the keyboard.
Mention may be made cf two unnamed
freak virginals ^ the late t6(h century. One,
now in Ute National Trust collecuon, has two
sets of jacb, both playing at d-ft. pteb, and
the other, in the Johannesburg MuKum, has
two jacks to each note, one sounding strings
at &*ri. ^tch and the other 16-fl. ^ich.
The plectra of virginal jacb are leather,
quill or, very rarely, wire, ivory or whalcbooe.
Leather b the most usual.
Sometimes we And the terms " pair of
virginab", and ** single" and "double"
yirginab. " Pair " b used in the same way as
in a pair of stepe, referring to tbe division
of the keyboard. " Single " and " double "
probably referred to the compass of the instru-
ment, ceruinly not to the number of key-
boards, as was formerly suggested.
There b a vast amount of music (or the
virginal written during the tSch and early
I7ih centuries, the tradition ceasing some-
what abruptly with the death of Orlando
Gibbons in 1615. Although a few instruments
were made in England in the last half of the
J7^h century, during the period of tbe great
Engluh virginal school, when English com-
posers led the world in compceltioo for the
instrument, there b, incredible as it may
seem, no positive evidence that virginals were
made In England- There b ceriainly no
specimen left for us to see ; old virginab,
made before 1619, are always of Italian or,
rarely, of German or Flemish make. (There
are no Englbb lutes made before tbe middle
of the 1 7th century either, although the great
school of lutenbt song-wriien flourubed at
the same time as the virginal school.)
TTw first description of the virginal b found
in Virdung’s * Musica getutsebt uod awage-
»g« ', printed at Basel in 1 51 1 . In it he
admits that he knows nothing of the origin or
invention of the insirumeor. There b abo
a
an early reference (c. i$t8) to the Instrument
in an inscription taken from the wall of a
bouse in Yorkshire, which reads :
A a virfiAall Muodilhe nol srifhl
It doth abide (W vreuince it i* to loose and lif hi
The lowed boedc «a*ede, fonith the uuiruAeoie,
Throw ■Bfoventaoce, lo sake notes •tiich was act hu
iMcate.
There are frequent references to virginals
in the Privy Purse expenses and in the In-
ventories of the Tudor kings and queens.
Henry VIII, himself a good player (as were
Mary and Eltubeih 1 ), kept one virginal
player (John Heywood, d. c. 1565), and
Edward VI, Mary*, Elizabeth and James I
kept three at court. The name of Cowts has
come down to us as a rirginal repairer 10
Qiicen Kfary.
in tbe household accounts of Margaret of
Austria, E. van der Stracten discovered the
following entries:
A wif «( ’saiut do Is d*Attvert lo lomme do VI
hvm ou^uH Aodwie damo m o Tsii don on isv'our do re
«ioe le st# joMT d’Ucioboo KV.XXll (<sroJ U s smeni
ileus inuiA mlCtoA, hli et fiUe, quM> out tur uno
oopineMO «i <ho>id s awn dtnrr.
A rurcaniMe do ktonueur d« Fieianei, leut Uvrei dont
Medeooc Iw s Cut dou m fovour do ce oue m tecoiid jour
dr f ibr e XV.XXVJ (>)id) II eal senu jouhor e'un
tnwr weii t du rtpioetie doveei elk a mi diaer.
Also that In the tnvcniory of the Chiteau de
Pont d'Ain of 1531 there b reenlioned " una
etpinetta cum sua eiuy " (virginals were
commonly kept in outer cases).
Numerous exam^es ei early virginab exist
bt museums and national collections, and
many, in private ownership, carefully restored,
are still played regularly, in the fourth
edition of this Dictionary there is a reference
to a virginal slivwn at the Bologna ExJiibiiion
of 1B85 bearing an irucription " Alessandro
Pasi Modenese" and the dale 1490. It is
said that it was a true Italian tpi/ulta (i.c.
virginaj) In a bad sute of repair and that the
date had been verified ; but the instrument
cannot now be traced.
A few exuting instruments may be men-
tioned with the names of their makers. In
(he Paris Conservaioire a virginal by Fran-
cesco di Portalupb, Verona, 1323. In the
Dublin Museum of Science and /^t one by
Francesco da Bresela, 1364. In the Hdiel
Cluny, Parb, an uuirumcnt by Basso of
Venice, 1570. At Leipzig one by Benedetto
fToriani. 1371 {m FLATS 37, VoJ. IV, p.
7 $ 8 }. In (he Victoria and Albert Museum,
Lofsdon, there are Instruments by Rosso of
>555 t 577 (the latter smothered
with precious stones), and Elizabeth Ts vir-
^nal which b oetiher named nor dated. Also
in the Victoria and Albert Museum b a fine
Englidi virginal by John Loosemore, 1635, in
a highly decorative painted case {m PLATE
76, Vol. IX, Ffooti^ece). a. h. (iv).
4
VIRGINAL MUSIC, COLLECTIONS OF
VIRGINAL MUSIC, COLLECTIONS
OF.
FIT2^^^LLlAi^ Virginal Book- — T he cno«
remarkable and In many respects the most
valuable coUeclion of Duabeihan keyboard
music Is that contained in the volume known
in the 19th century by the misleading name
of ' Opeen Elizabeth’s Virginal Book ' and
now called the * FitawiJIUm Virginal Book
This book, which is preserv'cd in the Fitswilliam
Museum at Cambridge, is a small folio volume
containing sso folios of paper ruled by hand
for music in 6-line staves, 909 of which are
hlled with mtmc written in a small but distinct
handwriting. The volume measures 137^
ins. in height by ins. in breadth, and the
binding (a fine specimen of English 17th-
century workmanship) is of crimsoa morocco,
enriched with beautiful gold tooting, the sides
being sprinkled with J1curs*de-lis. The water-
mark on the paper is a crozIer*case, measuring
4^ ins. in height and ins. in its widest part.
It is possible that this mark indicates that the
paper was manufactured at Basel, as the arms
of that town are similar to it. The manuKripi
has in places been cut by the binder, but the
binding is probably not of later date than the
bulk of the book. Nothing is known of (he
history of the volume before the early part of
the idih century, when it was first noticed as
being in the possession of Tepusch ; but there
is sufficient evidence to prove that it can oex*er
have belonged, as was generally supposed, to
Queen Elizabeth, a statement for which
Hawkins seems to be responsible. The wh^e
of the manuscript it in one handwriting; In
many cases the compositions it contains bear
the dates at which they were composed, and
these dates (as will be seen from the list
printed below) arc in no sort of chronological
order. The latest dated composition con-
tained in the collection is an ’ Ut, re, mi, fa,
sol, la, a 4 voci ’ by Sweelinck, which occurs
on page 9i6 [ii, 96] * and bean the date i6t9,
nine yean after the death of Queen Elisabeth,
to whom the book is said to have belonged.
But there is another piece in the volume which
was held to prove that the collection must
have been written even later than (his. At
page 955 [ii, p. 138] is a short composition by
John Bull, entitled ' D. Bull’s Juell * (i.r.
’ Dr. Bull’s Jewel ’). Another setting of the
same tune occurs on folio 49^ of a manuscript
collection of Bull’s instrumental music in
B.M. Add. MSS 33.633, which Is particularly
valuable as containing the dates at which
most of the compositions were written, and
this copy bears the inscription ** Het Juwed
van Doctor Jan Bull quod fecit aruio 1621.
December
' The nrer<ncn le *4vere breckeu ere le Ike primed
edition of the ' PxBwiUum V.B. *, edited b)' J. .A. Fuller*
Moitlasd ami W, Benhr Squire.
* C/. p. 8. Ni.ce > I . of thia a tlkle.
Chappell, at the beginning of his work on
the * Popular Music of the Olden Time ’ »
(p. xv) surmises that this collection may have
l«n made for or by an English resident in the
Netherlands, and that Pepuscb obtained it in
that country. This conjecture he founds upon
the fact that the only name which occurs in
an abbreviated form throughout the book is
that ofTregtan, and that a sonnet signed Fr.
Tregian ” is prefixed to Vcrsiegan’s ‘ Restitu-
tion of Decayed Intelligence’, which was
puUtshed at Antwerp in 1603. The abbrevi-
ated name occurs as follows : at p. 1 1 1 [i ,996]
is a compodtion of William Byrd's headed
‘Treg- Ground'; at p. 159 [i, 32 ij is a
' Pavana Ddorosa. Treg. ’, set by Peter
Philips and dated 1 593 ; at p. 196 [i, 415] is a
short piece entitled ' Hea\^n and Earth to
which no composer’s name is given besides the
syllable "Pre” (posslUy a contriciion of
” F- Tregian ’’) ; and at p. 997 [ii, 937} in the
margin, the initiali " F. 'Tr.’* are written
against the first line of a jig by ^^'illiam Byrd ;
on p. 313 (ii, 978] ' Mrs. Kaiherin Tregian’s
Pauen * U written in the margin against a
* Pavaiu chromaiica’ by William Tisdall.
These few clues certainly point 10 some con*
nection of the volume with the Tregian
family, and It so happens that the history
of at least two individuals of the name of
F. I rtgian is known with a considerable de-
gree of certainly.*
It U now known ihai the connection of the
Tregian family tvith the Netherlands was even
c\aur than Chappell suspected, bui it was
impoasiUe that ihe virginal book could have
been written by the elder Francis Tregian,
who (according to Oliver) was the author of
(he sonnet prefixed to Versicgan's work, Who*
cs’er Ihe actual scribe was, the series of dated
pieces by Peter Philips (pp. 134*63 (i, 280-
346 })i '^ho was possibly a connection of
Morgan Philips, one of the first professors of
the Douai College, the note (p. 964 [il, 904])
to the Pavana of Byrd's (who was all his life a
Catholic ’), the heading of the jig (p. 306 [ii,
* edtOpQ oT iHm w«rk refrrrctl lu in dih ankle i(
that pgMiikeO by Ckappell k Clo. la two volMine*.
%jik«ui a daw. llwfull uik-paje runs siMlou'* : ' The
BalLwl LiwcaCwrc snd RqpuUr Mii,ie of ihr Okicn Time '
M Hoiofv <4 Ike AfKwe< Sonet, Balltuit. siid ihe Dance
Tanet qf £a<l*n«l. wilh nunwrau* AneeJotee and endic
KalUde. AW a 8Wci Accuunt uf ihe Minttrelt. lit
W. Ohapiwll. F.S.A. Ike «4>dte vf die Ain haimonised
by C. A MacfaireM.*
* Fee furihec 6mib are TarniAX.
* 71b muck may be said wiih certainly ; die qucidM\
«fl ByrO’c retsewa pmeMi diflinatlies only lo diose «th»
do AM reakw iWi i( was pottiUc lor Enelithmcn. whow
penanaJ peeWences were lot ihe old order and the
Laiin nioal, to tme ihc Chuicli of Eneland Watly
ihrouckoui (he reieea oT Uuabedi and James i. The
irivi^ Onn iacuer^ by KytJ and his fajiuly probably
show wIkco iheir prrlrreiKes la>'. The fact vf Int
kaldinc (he lease of Sto<*den, Kquesliateil on accouAi of
its owfwr's coapliciiy in a (Nnnth plol, lutTicienily
•il«m hh polnkal loyally, aoJ hi* coniinued «eivv;«ia
ike CWpel Koya] «kow^ hUn lohave been in communion
with Ike naitotial C^hureh. ii. c. c.
VIRGINAL MUSIC, COLLECTIONS OF
5
357]), ' Doctor BuU'» myseUe ’ (BuU w«9( to
FlAoders in 1613), ail point to the cooclusioo
that the coUcciioa was formed by soioe one
who was intimate with the Roman Catholic
refugees of the period, while the probaUe coo-
necdon of the book with the Trefian family
lends to it a value beyond that of its musical
contents.
The eacliot account of this coUectioo of
virginal music occurs in the life of John Bull
in Ward’s ' Lives of the Gmbasn Professon ’
( r 7 ^)» in which is printed a list of Bull’s com*
posiuom coniaioed in it. Ward sutes that his
infonnatjoii was derived from Pepusch, who
communicated the contents of the vtdume 10
him, describujg it as ** a large fi/it neatly
written, bound in red Turkey leather, and
guilt". In this no mention is made of the book
having belonged to Queen Elizabeth. In 1 763
it was bought for to guineas at the sale of
Pepusch’s collection by R, Bremner, who gavr
it to Lord Fitawilliam, in whose possession it
was in 1783. It is next noticed in Kawkiiu's
' History * (177^), where it is first stated to
have been in Queen Elizabeth's peasesaioo.
Hawkins also tells the story (repeated by
Burney) of Pepusch’s wife, Margheriu de
TEpine, having attempted to play the music
it contained, but although an eicelleni harpsi-
chord player, never having been able to master
the first piece, Bull’s variations on ’ WaUing*
ham’. Burney {1783) adds the wclMinot«‘n
account of Elizabeth’s playing to Sir James
Meivi), with the remark that if she couM
execute any of the pieces in the Virginal Book
she must have be» a very great player, as
some are so difficult that It would be hard to
find a master in Europe who would play
them without a month’s practice. Burney’s
remarks have been repeated by so’eral writers,
among others by Stcevens, m his notes to 'The
Winecr’s Tale ’ (1803), but with the exception
of Chappell's conjecture nothing further has
been discovered with regard 10 the origin or
bbtory of the book . A man uscript index of 1 is
cooienis was In the possession of BarJeman,
and fr«n this a copy was made in 1816 by
Henry Smith and inserted at the end of the
original volume. In Warren's edition of
Boyce’s ‘ Cathedral Music ’ (1849) a list of its
contents was printed in the notes to the life
oTByTcl, but this is in many respects inaccurate.
In framing the foUosving list some attempt
has been made to give a few references to
similar collections in t^ich other copies of the
compositions indexed may be found. The
compositions mosily consist of airs and varia-
timss, like different sections of which arr
numbered consecutively. Thus the first piece
in the book consisu of twenty-nine variations
on tbc air ’ W’ahinghaTn ’, but as in the manu-
Kfipl the air itsetf is numbered "I" the
number of sections is stated in the index to
be thirty. The references to Cliappeil’s work
are to the edition already mentioned. The
spdlifig of the manuscript is generally retained,
but in a few instances abbreviations have been
omsited.
vou I OF FKi.yreo edition
MS
I
10
rs
U
• »
>9
01
»?
SO
3S
it
93
S«
ss
97
.Viiwiff
9
10
ti
to
*3
H
It
'.I
>9
/Vrr •/
£tf.
If
»9
s 7
sf
Sa
34
37
42
47
34
U
u
sa
so
7 a
74
WoIms^-
FmUh*.
FmIm*.
FouoM.
V«noiM.
Fonuias.
* Gee itM
a bM. MOM Ba mt mom.'
lUioiiM 10 L. h^kr’t Fown. ?•«. 74.
nofick.
Fouou
AlmeA.
rowMo.
CoKorU.
BonAww Dtoante.
Mwesdio.
Df. J>>MI »ull,^
t oHn Munday.
kuk Mvodoy,*
erdin«nC« Kiohoniwa.*
FerdmsAdo Rkkatdten.
Ferdifuedo hiehardiM.*
Ferdinoodo hkhirdMn.
WiUiuB D^.
Thootu Motky.'
W.»yfd,*
DorWeBtdL'
T.
Doctor Byll.»
G:*,,
Muodoy.
Ur. Bull.*
CteiheCB
' Chamll, p. I,,. Word (• Lim of Uk
tuoe «rw fim too.,
iwewy.iwo voriMMoi; afte*!
iSi«t Mhen wftt added to k by Dr. Brfi"
'=^'' *■
5?**^ Wether. Lkhioiot. Tbo^krT^Sr
W«ho, Li«b«Uo*. ThuDder^Fai,,
7 Vi^. A a«*»e Day, huTT^'
A cofy bT ihk M B Add. MSS so^Sv taL 73*.
MSS 3o,4a3.M. 7«a.
. ' 40 , 14 *. A letdoa by Wm. Byrd k in
•*biaiu»e in
AO* asM 9t.3ft, loL *$.
aapstaB. pp. i M, ,47, Uo, 77 t.
* Meo«Brd B Ward’s Lift. A eo(R i, to B. Cofy,j*,
•■.w.rt’.ii...
» &>.*4o. I3>.
‘* t^s ff H I. pp. 04 A. 779. VH, p. , 4 ,.
6
VIRCl^^AL MUSIC, COLLECTIONS OF
MS
JVbadrr
F-dcs/
FriarrF
DcKr^sM
Cm^ostt
^ 1
37
20
73
Aliaao.
1
3 S
91
7 ?
. Galiaida.
1 1
39
32
80
Froeludiusn.
40
93
Bi
Prachs^upk. £1. Kidominer.
41
94
83
PracludiuB.
William Byrd.*
41
S
85
Praelwdiutn.
43
87
The Irish Hi^boane.
•
4 )
97
87 1
Pauana.
Ferdinando Kirhardson.
44
38
90 1
\'ariaiio.
Feidmaodo Rkbardtoo.
48
99
93
Galiarda.
Ferdmando Rkhardsoo.
47
i©
93
Variaiio.
Ferdaoacsdo Richardson.
46
3 i
99
'The Quodran Pauect.
Ds. Bull.*
&4
)9
107
VariaTioo of the Quadran Paisen.
Dr. Bull.
39
tl7
Qaliard to y* Quadran Fauan.
^uana. iW
l>r. BwU.
h
34
194
Or. Bull.
u
33
139
Galiard loihe Pauciv
Or. Bull.
07
38
131
133
Si, Thocnaa Wake.
l>r. Bull.*
69
37
[ft Nomine.
Dr. Bull.
70
38
1^
Dr. Bull.*
7 *
39
41
Pauana.
Rob. Ihonsen. Sett by Giles
Famabie.
74
40
144
TTk Woods to Wilde.t
70
41
>49
Pauana of hly L. Lamky.
Doctor Bull*
49
139
’ Cioc freoi cny IVindow.*
then hlunday,*
boeior Bull.'*
43
Praeludium.
81
44
Clorta Tibi Trlnitas.
J>ocior Bull."
43
|61
Satuaiof Mundi.
Doctor Bull. ‘*
S6
46
170
Galbarda.
Ooetor Bull.
87
47
173
•17
Variatia.
Doctor Bull.
69
Caliarda to the Fauett. Fag. 8), Doe.
Doewr Bull.
91
44
lio
Froeludmm,
Thomas Oklfrld.'*
91
5®
181
In Nomine.
WilHasn Bhihtnan.'*
92
41
183
Vi, rc, mi. b, tol. la.
Oeetor Bull.‘*
94
39
I8U
Faniasia.
WilliM Byrd.
96
33
>98
TheKling s) Hum.
Gila Pamabie.'*
loo
34
1 P 9
Spagnieletia.
Chief Fanubie.
101
33
909
For 3 Vjrg,
Giles FamalMc.**
toe
50
909
Pauamesao Pauana.
W. Byrd.**
'.U
97
90»
Caliardut Fartanteito.
W. Bitd.
98
Ttw Carman’s IVMsifc.
W. Byrd.**
in6
n
sia
’The KuAt't Up.
W. Bytd.**
III
938
Treg. Ground.
W*. Byrd,*'
' 4
61
914
Monsieur's Alman.
W. Byrd.“
• 10
69
9)8
Variatio.
W’, lyrd.
>19
83
*43
Alman.
W. Byrd.
W. B^.*i
190
84
94B
SelUe^f’t Round.
199
Ii
934
Foriune.
W. B^.**
i»S
tS
0 hliscri* oivsie.
W. Byrd.**
i«?
II
The Woode eo WiU.
W. Byrd, laen.**
1 139
«87
Wabingham.
W. Byrd.*’
* yiJt iJifit, p. 4 l>.
* 9r«lu4« u AMicnfd is * fMtbeou*.
* /,#. * Och«nt Ch«pp«l(. p. jpi.
* Ch 4 p^(. p, to4, A di^ercm tfciini W Bull h in
Co«vn'$ V.B., p. P 4 < Sff cte Add. MSS « 9 ^ 85 , p. 14 :
$ 046 |. M. r 74 ; P'-W- M. so; and Fonicr** VTB..
pp. pi and aoa : pl»o tir/rt N«, i jj. TIh« and ibe n«it
Mv«f> picc«« art •• H’ard*> L»l.
* aW in * Fanlwnia
* In Ward** Lni ihia h caUed * Faniasia upae a naia
San* •.
* Onlynna bar afihc *ee(ian haa batn wtiitai* in.
tba rat a (he pa*e a M) blank, CSuppM. p. ^ A
aan e4 ihi* i* in Add. MSS $1,403. Mhkh pivet ihc name
or Orlando Cibban* at iSc c eiapiff. Sr* «fi* Fanarr**
V t.. pp. 118 ; Udr NenU'a V.B, U, top ; Add. MSS
90,483. fol. C7 ‘ aHa ra/Va. No. 8?.
* *^ Vida the Calliard (a ihia Paoen. pac. >7 ** (Me te
the MS), In Caarn't V.B.. p. ($, ilUt Pa«an and its
Calliard have Caayn'* ituUals 10 (hen. h «i meotMoed
in Ward’* LisL
* ** Videp, »!,*’ 'thitttthaaamecampoMiioOMibai
VO p. 21, attribuied to hforkv. bat (he aopr on p. a*
want* (he Anal taetion. Arwehar aaiiiM (br Brrd) it in
Fortier** BocA. p. 324, and in Coc^** B^, p. (37.
Ward calls this ' PraaludiuA 10 Gloria Tibi Trtei.
(as *.
This and the foOowiof three piece* are in Wardb
Liu.
'* There are two similarly named <oaposi(iaaa byBall
in Add. MSS 29,623, fri. 1 p. and 31 .403 irfpeeiivalv. but
all three are diHerenl.
'* This eompaace « totally unknown.
'* WriKoi on Ihc tame plainsone as In Kamum by
Btyeheman ia Add. hfSS 31.40) and 30,485.
In Ward’* L«K.
^ Chapin, p. 6e. Srr a/s* Cos^tt's Booh. p. 73.
A curteu* Uida pieea of elehi bast for iwo \'irgin«%l<,
** This Favan aM th«rellawinit GalJtard also occur in
Lady NevriTt Boob. W. os, and Will Fonicr** Brnk,
p. 3*7. Sr* Wm p. 14}. No, 76.
'* TMt cclabcated piece has often been printed.
Copia eF it are in Lady Ncveli’s Book, fol, lan. and in
Add. hisS 3* .40) and 30.483. and Fortcrr't Book. p. 130.
CluM^, pp. 137-40. 428.
C3tappdl. pp. 33. 6o.8t. tgC; a emy it in Ladv
^^eeriTtBook, fed 48. Another •eiiinc by Byrd i* No. 370
<l|. 4 ) 0 ). where k is called ' Petcodd Time *.
** A copy oF (hr* H in Lody Novell’* Bonk, fol. tS3L
whese ii « called ' Ht*the Aston* siownde *.
* A copy of thn U in Fonter** Booh, p. 344. A dilTcr.
en( setliM n in Lady NevHr*Book, (bl. 173), ofwhkb 4
enpy h also in Forster's V’.B., p. 386.
** Chappell, p. 89, where the melody is pn'oled In
Byrd's arrange m e n (. A copy is in Lady Net'cll'* Book,
fol. 1668.
*' Chappell, p. ids.
** /M.^ 3 op.
** A dinerent setiirar from that contained in p 74. p-
S C op its in Lady Nevell** Book, fol. *09 aad Add.
pa.403 and 31,403. Sir o/m Will Fomer'* V,B,,
p. isS.
** At No. 1. Ollier conies of this teitinc are la Ladv
Nrvefl'i Booh. M. sr. and Will Fonter't Book, p. 74.
VIRGINAL MUSIC, COLLECTIONS OF
7
Fnittf
MS
.Vaiik
hr^
Ed. 1
Qtieiiflim
1
1 Cripajrf
lit
fto
9?4
The Bclk
1 W. Byrd.
)$«
70
ti.
(I) Tini eli LiKa Maimm It parte, lau*
walaaa di Retro Philippi.
I Feeler I’hiUp'.
'35
T
’M
(9) Frtao, oe pane.
Peeler Fhilifa.
'3?
74
la) Com hlanro, 5* pane.
Peeler Pliilii*'.
<30
73
jSS
(«) Fete da T«i « ft.
Feetee lliilip'.
139
74
99^
lU Pauana Papyet.
Feeler Philip,*
<«>
90ft
lft> CaUaida.
Feeler ITiilipr.
147
7ft
909
(7) PaaraoMxo Pauaiaa.
Peeler Fltili|>t. lyii.
146
77
3^
16) Galiardaa Patfamcrio.
Prewr Phili|i(,i
14a
7^
Sit 1
(0) ^a Ir^ al <iela dt Alrmatim
>ktriffk>.
IVier Phibp*.
IJO
79
S»7
not Bon Jbor awA Cueur di OrUade.
1 Frier Fliilip'.
'34
Bn
3ti
Ill) Peuana DaloeoiA. Ter«.
1 Peter Fhilipi* IV>3.
>34
1 fli
It?
tr8» Cabanla DukeMa.
1 Peter Flidipi'
6 i
7»0
<151 .\siarilli di Julio Kamann,'
. Peter Pliilipi. ibnj.
•36
fts
339
'14) htart««e Labueet.
1 Peter Pldlipt. ilars.
ft4
535
ri«) FaniMta.
j Peter Pliilipi.
• It
ftt
5»7
hfti PauMia.
. Frier fbiliiM, I'Av*
• 6 i
dft
54ft
' (IT) L< Kou»fnu<d.
1 Piier Fliilip*. • ’/•*>■
•ft4
52
53'
lift) Gallwrda.
Frier Pkilirt.
164
n
539
119) Fanlaaia.
Peter Fldlipi. 1509.
'®7
69
357
ih FaaiaMa.
Nkbalai Sirnrrrt.
tftS
90
350
Alman.
XIariiA PeefevMi.
Ift9
01
9ft>
Pauana Brav.
VV. Byrd.
170
97
3ft3
(ialiarda.
VV. Bvnl.
I7<
97
3ft7 1
Pauana. Ph. Tr.
1 W, Byrd.
173
94
571
Galtarda.
j \V'. Byrd,
575
Toeeaca.
CM<MiaiMii Picld.*
SO
57*
Prachidium Ti^rata r.
' Vlian PinrrMHi SueDi
ift]
91
Pauana I.
Ihnmai VVarrueli.
•is
oft
Caliarda |.
' 'Ikumai VVarpak.
i9^
90
59'
Praehidium.
lialearta.
16ft
laa
304
Praaludium to «• Famie. Pac. 0t<*
VVm. Byrd.
1S7
101
303
Vi. re. mi. b. tal.la.
W. Byrd.*
Ipu
'09
40>
Vi, im. r«.
W. By rd.
104
>05
4«<
Panlada.
\V. Bynt
in
•97
>o«
13
4'i
:!i
AU in a Garden cram,
Heauen and Enrtk.
PrehidMak
VV. Byrd.'
Fra.
Dr. Bull.
• 9 ^
iw;
491
Veai.
•09
loft
495
Fantaiia.
1 Ik. Bull.*
901
'00
477
FaeUi.NaA4qur. !«•
TbMmai TaMu. 1 364,*
tu3
>10
' 1
900
111
•a '
tio
lit
It
919
>15
1?
tIJ
>•4
10
914
>•5
99
VOL. It <W rftIVTEU EDIllOX
NmM|w«. «■.
Rurtiae.
Oa»luM. s.
PaolMWLarfe. ft.
QB^nc*! 7.
rrMMwtni.
ThomM tallit,
Aaon.
Ciks KamaUr.'*
^•ik( Famab>'.
<*ik( Famiby."
Dr.
5k Val. til. p. 6ft4.
t,4. Cacdm.
* 1 a (ha atarsin h tht fallawiAK note <pwi al «liich
haa bMB cut by ih« Wader): "The 6m am rUim
nMda’\
... *’«. “<< PP* '77. '7ft, »»••< iftoare
blank. The nuneraMnoriha pieco karei a4Thnr.
* /.r. Na. yt.
* TUt pM«* eoMUM seveaiam riMii* *baei Mniam.
Al the UMefp,
rw.
. i» wrt'ien *• M«e
QdppeU. p. 110. Occun la Ladv XereQ’* Book.
Wa/d'a Ui.
* Tallk c<
I i . . - • • ^1^7 • few pwee* «pcda8y fM a
keiWH Irvtrvoteni. The foaowiaf k«» au? be
lacnM M bin):
). FitcwiUiam V.B.
.11^ 1 J**'* Mainaa ' ( tsfta), Na.M9.iAC.
II. w.'fL'.2“vr^
HI.
IV. ft,M. Add. MSS »04ft^ (the aa^^id * Pieado
(iv] • Peli. luiaaM *. M. H*. No.
dd. MS
Nevelb ftaak’ (d«uM dncnpUm.
('Sfts) TT. Talla aflkr-
Ladre
<*) * FelU AamatM ’
^ Wfv".«H.49).
(vi) * A Lettaa \
4a. foL spft, (cowiis ^
. *'?’ *?"* «« • feumeaiarr teertaa
IB Si. Smh’a * Muiiea amtsua* and «
VVdumaAA'f 'CeKbiehie de» Klavkr'
rpM* *. lod ed. 1697).
V. B,M. Add.T,lSS5i4aj.
(*a)‘Fe4Jf lum^ue lal 40 fT. (" TalJii hit
aAenory**).
Prenaudr teholan believed ihai the «ix eom*
9 ^ ibe tame beadins of * Felix namqur '
erpeneatad Caor difFeeent teittnci W one pankutar <oni-
Squire iofo©<n«e 4 $. p. 5«ft. VoK
V, Ce^i Diet., jrd ed. 19*7). More reteii) inveiii*
latM hu^tbtm tbat TaHu in fact eompmed nnly me
Mbact <r Feks aamque difTenne eniitely in kev and
^ ioiarfeltrlaftjlMp ©f iIk mi iiewt,
tabelkd alike, a at lbUo«i :
JA *Bd I « m iwa loulK diflerenl eampmiiisni.
Howeret, II at, 111 iv. IV/vaed V/i-iiarevananuoft^ii
dHimam. mch aa ij>e*e are, beinp ehieflv eonr»ned 10
Che Arte 3ft ban {wtiKh C. v. d, ftorrcn call* ’* a prelude lo
y** *— . mmrmaae "I aad lo the etotins lo ban reipeei*
nw. la bath «aae« the (hematic tuSieci* mailer i<
l/ii, hii (he camniemeiitary doJv*
phaaK piau ait diflennu The main tection. repreient*
m* Ik palyphaaK deveUMHaret oT ihe Uiursieal
6-«a^ (eammea^ after bar 96) h in all vewon*
■temcal, aa n Ibe fc«v af A (>.<, Ihe Aeolian made).
FarBiVi 'CaAtoneis (o%^re
• Daphne on the Rainrbow
794.
8
VIRGINAL MUSIC, COULECTIONS OF
PrMMwm Dor.
Praludium.
Vi. tt. mi. b, mI. b, • 4 wod.
Jo Nomine.
Pr««lu 4 ium.
Pau4na Lachryoue.
CaU 4 fd«.
Pauana. i.
PanuM.
Oiriste Re^mfHof.
The May«l«n’« So<w.
PuK f 9 (hy dacecr Je«ny. 0.
Beoy Sw««i Robin. 9.
FanteM*. 10.
A Crouodc. 9.
Baraimiw Drreiae.
The Hvatinc Gellianl. 4.
Qiaedfu Piuwa.
CalwH to the Qm^tm F««en.
The Kintal Hum.
Fauwte.
Gelierdo.
D. Buir*fudl.
The Speeab Peueo.
InNoAine. r.
Woeddy^k. 1 1.
The Duke of Bmeirdek’e Akneei.
RoHHoUe. 19.
Almen.
Fulse. 9.
AlCMA.
AlntM. 9.
Almen. 9.
The New Se'hoo.'* 19
Nobedyet Cine. 1.
h{«U*i eeme dewne.
Preckidiwm.
Atmen.
Peueive.
(ialurd*.
U Velto.
Almen.
Wohey'i WHde.
Cetlino Cawureme.
U Volte, T. hforky.
Rowlend.
Why eibe yon.**
Cen^oMr
Or. 6uU.>
J«hen Feiereon Swelling. 1613.
Ur. BulL
lehA Dowlend, «eii foorth by Wm.
Byrd.»
I Jemee Herding, leii foorih by Wm.
$yrd.*
Thomea Tomkiiu.
Thornes Morfey.
Dr. Bull,*
>S'm. Byrd.*
Giloi Femsby.
GUei Femeby,*
Cilet Femeby.
Thornes Tomkins.
TlKHnes Temkios.*
Thornes Tomkins.
Win. B^.*
Wm. Byid.*
Dr. Bull**
Or. Bull.
Or. BuU.
Dr. BuM."
Dr.BuJM*
Persons.**
dl« Femeby.'*
Dr. BuU.'*
Ciks Ferrtebv.**
Robert Johnson.
t rhen Rrietten SHelllng.
leberi Johnson.
Robert Johnson.
R. JohosoB. Sett by Cikt Per*
neby.
Giles Femeby.
Rkherd Femeby, sonne to Giles
Femeby.
WilKem Bvrd.'*
WiUUm
Thomea Mosley,
Thornes Morley.
Thornes Morisy.
WilUero Byrd.**
Wm. Byrd.
Wm. Byrd,**
W. Byrd.**
W. B^.
\V. Byrd.**
' InWesii sUi.
* Add. MA& at,9Q4{U. ssl hei* OowiOestdSLeebrv.
mae * in lute ubJsture. The tune It to be lowsd in sMarly
every Clitebeihan crikeiicn eitd is fkmuenslv ellwM to
by writen. It occun el foi. pie of Add. hl$.A 90,183. and
e Ktlinv bv Corm h in hsi V B.. n. t. Sm Cnanndl.
E OT. end se/fe. Merlev't srttisif is No. 159
smeby'i No.
' O^ure as * Hardings Celierd * without Byrd's name
in Fonter's Book. p. 980, Two (ancies by JeiBse Harding
are in Add. MSS 90,483. IF. 47 end 90.
* In Wanl's U«t,
' Ocriinasfsl 1 i9«of Ledy NcvelTs Book. Acoorn
in A<hl, MS.S 9 1 .40$. A W »
* CKapfied. p. 331- Tn Add. MSS 39.b«9 k ifct t9»)
* Ruin well Kobin ven Doct. Jan Bull *. dated id Jen.
i6a7. A Miiing by Mundey ■ No. 19.
’ Fidr Aprs. No. 33 ; (ha is e diffrtent sctiisic.
* lids ,npi 4 . No. 31. A copy is in Fonter's Book,
p. 308.
* A ropy h in Fersirc’s Book, p. 309,
'* This and (he follawing four prem are in Ward’s
List.
'* This orcun in AJ«I MSS 93,639 (M. 499), where it
is entitled * Net Juweel van Doctor Jan Bull quod feen
an&o ib9(. December Ward, who prints a list of tbs
eootenct of this MS. inaeni thr date " so ” befere the
name oFthe month. For funber deuUs aad Car e dcsoi^
‘'®P 93,633 stt 9<hia. Tbs vemoe in ilac
M.S d ilTeR by virtue of iu greater length asd iu elebecoM
^yphoatk feature from die I'enioo included ia (he
FiiewilKam V.B. A slightly diUermt verslos occun at
p. rs4 of Cosyn's V-B. it. p. e.
*■ ^ppell. pfi. S40, yyd.
** Farsons.* Jn Nomioe bySyrd in Fanier's Book. 48.
** CheppHI. p. 799.
'* In Wa^'t Om.
** At fol. 479 of Add. MSS 99.699 as a dilTercni settine
^ihis es* caiklcd * Rcae e sdit van Jean (siri Bull Doc '.
The sectioni of this piece are tem«d " variations ".
" The theme of this oceun in Hilton's 'Catch that
eeach can ' es a eatcti * ^t«s to the World *. escribed to
Edmund Nelhem,
** Cbappril, p. 7^
*• Cf. C.B.. Vol. XVttt. No. 9 (ed. C. H, Fellowev
l.ondon, 1990). H. r. 9.
* Ocetan under the name 'Lcualio* el p. so of
Fonter's V.B,
*• GbeppeU, p. 66. *r Forster’s Book (p. 70I.
** Gheppell. p. 799. This tuae. the Irish origin of
which IS denoted hr its oame (' Cdleea oge asihore '), is
aeferred te ie Shekespeerc's ' Henry V’. Set 4^4 Foi e
Mosae : luot. Anoiber copy b at (bl. 966 of Add. MSS
90.46%.
** ChappeD. pp. 1 14 and )7o. Oeeun: under die name
*U(d WOIoMm wekomc home\ at fel. 46C of Lady
NereBV V.B, and at p. 99 of Fontrr's Book. Aeainst
the bsua lifM is writicB in the margin " 300 to S. T. by
Tom ".
** ITA ayse. No. *66.
VIRGINAL MUSIC, COLLECTIONS OF
9
NtrnA^
pnW
E4.
Durr^fMA
Canp^fer
TlwClMH.
A1b4A.
CtUlAf^
PtUABl.
G*liudA.
PWlAAft.
G*Uw 4 ».
Paium.
Hw Qwctees AImml
AUdky.
Pwani.
Gcliwda.
) Pami
hlMe«e««» 4 Pm*.
Powndc.'
Tlw l««be DiMwc.*
WAiiiu Ak.*
AC*«.
npen Pawn.
Pi^«i GaltiAfd.
VtAAd* twmirm.
PtmImAm K>.
AlkumUa.
Ga* ikM.
m AO««*. D«. BulbnvicHA.
*•» ACS«.
(fl ^ Jhao Cr*7«» <jAlbrd,
<•1 tM PfMlwdwab
•fi MO A Toy.‘*
iU CMcpMAkv'i l>r«Hw.
■U £
»t9 9«S A MMkt.
*«• fW Aa Alm^
Ml «tt CerrMiO.
M9 AIbaa
M) CerrADW.
CorvAAia.**
90} CofTAAtO.
9(4 aM Omc«.'*
>6o Womcr BtauIo.
9M «f 0 pAniMiA.
9(« 9n A MA4ke.
•10 «94 PMe)«*«B
*•* «4 —
• It m Mwiia Hvd M lib Aun.
• IS a» Alnund.
*14 a?* PlUABA ChMOIAlhA.
*1 X'*
tio Ma Cipaeu ftouAd.
*lf 997 PkAtMu. 4.
•I® JO} Comnco.
• 19 9 « PauAOA. OenmaCMM. «.
•» SO? PUAAA. 4. ^
tai sot CofTAWA.
**9 sof AlAUe.
*9} 909 COMAOM.
•94 JIA CofTAOiO.
••} SIO CefTAflto.
990 911 Comato.
•«? Sit AteAA.
..12^ Is • •“ >™fiy i. a, prii
• \ 460 of Powf*, toA. ** '
th* fim U« 10 Ae BAifs b «riu«o F. <
ul ^ “** *• *’•« Wkwot PM M b Wanl*, ^
COMAOM.
CofTAOiO.
CefTAflto.
CofTAato.
ASbaa.
Bt'rd.
Byrd,
Byrd.
Byrd.
Btyd.
Bnd.i
VV. B)Td.
ThoBAS Mocky.
Th«AA4 Merkv.
>S*eA. Bird.
Wn. Byrd.
Wn. Byrd.
Wie. Byrd.
\Vb. Byrd.
\Vs. Byrd.
W. 8 y 7 d.»
Martin P*rr»on.
fk. B«ia.«
Dr. BaO.
Dr. Byi.
I>. Boll.
Dr. Boll
IklAffluor.
Marrliafit.
Dr. Bui).’
Dr. Bull.
W. B.»
IV. B«U.»
4iik« Parmaby.
(ukt Famabw.
Uk* Famaby.
Rkbard Fanubyr.
Uln FamaHT.
Cdn PafnabtT.
Thooiat Tombiftt,
Cnkt Famabyo.**
(jtkt Pa/ti*b^.((
IV.BuH.i*
Dr, Bun.
VVilUam Tiidall.
WilhaiA TiidAll.'*
Dr. Bull."
' Wm. Byrd. I*
ihoe Piawnoa SH«din(. Ortaoiiia
a Amaielndl,
WAam Byrd WM,'*
Wn>. rtMall.
Wat. Tadall.
Hooper.
a re Taaotly rtot od ifl tSa priotod edkioa. whkh cenuia* *0 number 171 and loo
•iho im i[hail ewer b«e " AreNa. im.
« ban tea. eui by ibe " Tho^ ^
.. Chapp.,, .„d,
46 orfP~a«-.B«*. “I.W^|j. I.,... ,.
* ^ ■' "- *Hu- -
t laa. " ^ - Qw t O . pp. ,u. 7M.
» TW sdodyitibewHI^iM • Belk <,ui lieai aia y.c‘
10
VIRGINAL MUSIC, COLLECTIONS OF
Pe/r «/
MS
Xu/nkr
F 9 fff
ar/nb’d
Ed.
33 >
998
319
331
*99
313
333
930
3>7
334
331
3*0
333
932
3*3
ssu
*33
330
340
341
*34
*33
343
S 3 b
340
13
> 3 ?
343
*38
S 47
347
*39
330
348
94U
353
33 '
33a
* 4 >
949
IS
333
'<43
386
35S
444
389
337
) 5 b
V.l
37 »
379
338
339
373
374
330
*49
375
330
*30
373
S 09
931
sdi
9 $a
384
\ti
♦33
*M
387
389
sit
♦53
307
7 l»S
37 «
950
*57
HI
370
, *38
400
17 <
*39
409
373
374
960
961
IS
377
98a
419
378
a 64
4'3
984
4'4
37 «
ab 5
414
37 «
96b
4'3
379
367
410
329
968
418
3*0
980
4'9
381
970
491
381
871
499
389
979
4»3
973
494
*!»
974
4*4
975
4*7
ta
970
♦ 7 ?
43S
390
976
440
39 '
393
Ut
4 t 8
394
981
447
%
989
♦83
449
. 450
307
♦84
3 ^
401
lU
4 ^
4x3
♦87
485
40^
988
470
3 ^
♦89
471
900
47 *
40B
991
477
409
993
479
4'0
993
48 1
4 '<
4 'a
894
895
413
998
489
;
*07
494
D u rt iptim
Gecrant^
FaMMU. M.
Loibttdcparc 91 .
FftMMik 99 .
Faotau ry
Faotatkiu 94.
Famasu. 9^
Wahet Eark'i FatMft. t$.
Famasa*. 97,
FaiUaM^ aS.
Fawaauu «8,
L. ZMchn Mttkc. 90.
A Greumle. )i.
Cofruio.
ypTran»)AII. ja.
Tnonwee'i Medl^.
Niwd** CaiHud.
T^wef HHL
Pvwludiutn. 93.
’Dw Ktof ** M^uc«>
A ^1*.
Alman.
A Gallianl CrMmd. I.
Itw Waues be» frem. •.
Fanana.
Galiarda.
Fauna.
Caliardti
PautM.
PauMM |PaM<aua1.
(«aliarda.
1 he Etfle of Oibrd'» Maeche.
Caliarda.
Fantawa.
Tha l^lwMc «i 8nm*)K k\ Tore.
ATaye.
Caevance.
Goiranta Lady Riche.
Cmranie.
A Cifca.
ATavt.
CaliaHa.
A To«.
The Pcimerow.
TbeFallerilM Ink.
Faraabv** Geoc<i«.
Attemaada.
Pauoa. CaMO. a part% in afw>,
PmaddTtew.
Pawaca DeVtht.
Caliacda.
hlivreect ) paria.
TeB nwe. Inithne.
Mai SiM
hftiiKJay't Ci«v.
Raxeiet** GaKard.
The Flail Pauaa.
Paoacta.
\VbT aibc you.
Farman Pa«ea.
Dalliat Ahnaa.
The Om Spa^nolnia.
Lachrinwe Faiaan.
Mendiaa Ahnao.
Pauaaa.
Mu«cadin.
Ladr Memegk't Favea.
Gabarda. $.
Paniaal^
Haaskin,
C e* ^ a » r
Heopee.
Gikt Fanaby.
Cila Fanuiby.'
Cilei Fantaby.
Cilea Famaby.
Cile Faesaby.
Gale* Fanaby.
Cilaa Fanaby.
Gilee Fanaby.
Giln Fanaby.
Cite Fama^.
Cite FanMb>'.
Gilet Fanaby.
B^nj.
Gite Farnaby.’
Edward Jltoasan.
Cite Faruby.
Cite Fanaby.
Kteiaed Fanab) .
William Inglei.
William Ineloi.
W. Byrd.
W, B^.
W. Dvrd.
BynJ.
W. Dvrd.
W. Oyrd.
W. Byrd.
W. Byrd.*
Jehan Oyitermayre.
W. Byrd.*
Dr. BuU.»
Cite Fanaby.
Cite PafnabVi
Marlin Pecraen.
blarua Pecroon.
Cite Fanabye.
Wan. By rd.
Brrd.*
Ivdwardjehnion. Sell by Will, Byrd.
Sell 1 ^ >s'illiam Byrd.
Cite Fanaby.*
Cite Fanaby.*
Munday.
Sell by Ciki Farnaby.‘*
Cite Fanaby.
Cite Faraaby."
Cite Fanaby.'*
Cite Fanaby.
Cite Fanaby.
S ' D." Sell by Gite Fanaby.
eil by Cite Farrvaby.'*
Orlande Gibbeai.
Cite FariMiby'.'*
Wm. B»Td.
Wm. Titdall.
Cite Farnabi'.
Riehard Fanaby.'*
' Chappell, pp, 173, 7 ®S. 7 >a.
' rtiA, pp. 196. 773.
* Burney taya ihii is ibe same as ' The hUixhe befcce
llie Ralell ' al M. oC Udy NeveU'c BaoL
* In ihc margin it wniien " Vide P. Philippi tepr. Ja
mrdeuma fuga, pay, ijl Tbesubiect d ite «am« w
1 hai e( Philips** Paniaiia (Na. S4). Arawti the lUrd |i«w
U wtiiun , lilkfibkl la fuca e raxsira ’*.
* In Ward’s IjU. A copy is in Ctevn's Book. p. 199.
* Chappell, p. igS. Some air aa No. 39. See
Nevell’t Book. fol. 46, > U Ward’s Lisi.
* Chappell, p. ijfl. • Aid., pp. 177. 7B9.
'* Rasicier puWbhed a I'oluoie ef ’Cemeri Leuons’
in itep.
'* lo (he Bka^o a wriiien '* Vedi Mer. 967 This
eeden lo a ewieus piece oT plaeiarum. leciien $ of
Merky** Pavan. on p. 9S7 (i. 919] being nearly idemieal
wjih teeiien $ <d Fanaby's on p, 400,
** Ac p, M <d Ceryo’s Bo^ it a telling af this air
tig Be d ** B. C. '* ar^ ai UA. ejk oT Add. hfSS ii
•noiber by BulL KA iwr«. No, i6t.
^ /.r.Jehn Dowiaad. '* yUe a/ptt. No. 191 .
'* The air of this is the tame as tbil of No. 19.
*• Cliappell. p. ty
VIRGINAL MUSIC. COLLECTIONS OF
1 1
The complete cooccAB of the MS were pub*
hshed by B. & H. iQ monthly uutalmeDU.
between 1694 and 1899. They occupy two
folio volumes, aad were edited by J. A. Fuller^
Maitland and W. Barclay Square. A descrip-
tion of tbe MS, with analysis of ie cootene, by
Dr.E. W.Naylor, waspubluhed by Dm& Co.
The music ends on p. 416. At the end of
the voluroe is an index of the contents s^ned
“ Henry South Richmond, seripsii, from a MS
Index In the possession of Mr. Bartleman.
34 March, i8t6/’ In this, pieces of which
copies occur in Lady Nevell book are marked
with an asterisk.
My Ladyi Nbvills Boou.— T his valuable
coUecilon of Byrd’s virginal music belongs to
ihc Marquess of Abergavenny, It was pub-
lished by permission of Lord Henry NcvUI and
edited by Hilda Andrews (London, 1936).
It fonoeHy belonged to Burney and was sold
at his sale for : o; 6 to T. Jones, at whose
sale it was lot J42 (13 Feb. tSc$). Ii is an
oblong folio volume, beautifully bound in
moroceo enriched with gold, green and red,
and lined with blue watered silk. On the
title-page is an illuminated coat of arms and
(he monogram “H. N.”, *rhc music is written
on a 6-line stave in square-headed notes and
was copied by John Baldt^in of Windsor, a
fine volume of whose transcribing is presen ed
in the Royal Library, British Museum. Haw-
kins • states that the book was given by Byid
to his ieholar. Lady Will, but there is no
evidence in support of this assertion, l*he
manuseripi was ejtamincd by Chappell when
wiiftf ‘ Popular Music of the Olden Time
in which volumes it is frequently refermd 10.
The following h a list of iu con ten is:
AT*.
y
I
9
10
ri
(«
>a
• 4
*9
so
SI
3 5
33
34
36
\l
99
30
SI
33
S 3
Xmt
Mr U4r« Novel'f |rowKl«.
^ W! lermyLsdvoMttTl.
ThB Msrdte ibo Wucl.*
TM SouUUcn UMt m t ihc Mwchc U
looiBHwn.
Tho MmM «t HonnwD.
23
]>« PlwK sad tht lirtmt,
MsKho to iSc rifku.
^ VkJSi ^ • C4IU«k (w
Tke 4«silisf0«.
A Gtlliordi Gytfs.
Hwnw* l*^
01 K mi r« wfu,
Tb« Firsi Psuun
Tht (Ullisnl falawnh.
Hw II PiwUfi.
rh« Gollurilc.
I'M 111 PsuUn.
TJe Golu^ to il.* ttmt.
1>B IJir Fsuiss.
The htci MWth.
TM V P«UI4A,
The GslHstOe.
The CilbsMefelom.
The SmnU) PmIw.
The Eighie Psuisfu
TMOslUi^ ftrfewUi. Th* GsIMr*.
Xevfll.
A Uewn of Veluniirie,
^S«oode GM«t4e.
iUM wilt ^ to WeUncImme,
^ m 0 csfdea ghBc,
MM WUIobiet welcome home.
; • HUtory rf Mmic M 1 1 . aSI *#4 i v, s 86 -
• FluwiUum VA,No.«.
a
•3*
•9
so
31
»4
*4
sr
34
43
49
4 U
ft
I
SIS
73S
Cm^
u
99
99
99 *
I03I
•09
••3
>35
> 4 H
Mr. W. 0inle,
Mr. Xt . IhiOc.
Mr. W. M.
Mr. W. Birdr G«nd<aioii of Her MsieiiK’i
ChoMirL
Sir. y\. k*rd« orfSHiMe of Her
'■Ttipyll.
Mr. W . fiirOe. Lm tit Deo.*
I Fwiii Mr. XV, Birdc.
hnh Mr. W, Urrfe.
PiAM air. \V, h>rUe.
Fina Mr. W, BrrOr.
PuMi atr. W, btdf.
PiM air. W. binit.
Fmk Mr. XV, Ikrdc,
I air. W, Birde. Hoeio momorsMki.
htr. XV. Btrd«. LsuiIm De«,
tr. XV. Binte.
I.4M tit Deo. Mr. XS'. Dink.
?!'* Ml (he lihtppcll.
Mr. \V. Birde of tli«
Mr. Xv. Ktde.
Hr. W. fiirde.*
Mr. W. Bird.
FiMt hCsater W. Birdc >
air, W. Bird.*
Tiaii aisMM Waim. KrUc.'
* A com' of (hk bin Add. MSSstuos
“• Vi. p. «.
.K. V
VIRGINAL MUSIC, COLLECTIONS OF
1-2
j 1
fWw
Cnr^hrsrr
1 M '
The Carman's Wlsittle.
>49
Fmu Mauler Willn. Birde.'
' 55
Hugh Astons Csownde.
:i?* ;
Mr. W. Birde.*
i ^ •
A faeeie.
Mr. W. Birde.
1 s?
Seilinger's Aownde.
(W*
Fins Mr. W. Birde.*
3 »
Munter’s Almaine.
ITT*
Finis Mr. W. Birde.*
W 1
The Tennthe Pauian: Mr. W. Fc*ey.
(lo*
Floek T^ Gallianie followeih.
40
The GaUiard.
\l&
Find Mr. W, Birde.
41
A Fancie.
Fiats >lr. W. Birde.
43
A Voluniarie.
1
191
Fifus Mr. W, Birde. Gentleman of the
Queen’e C 3 iappeil.
At the end of the volume is ' The Table for
this book? aAer which is (he followinf col<y
phon :
FlSfiiih*^ and *iwlfd ihc kveoib of S«pt«nbor in ihe
rear* of eajr Lordo <Je<| ts9i afKl m tlw a veerc
roifno of «ur wfTrraine ladie Eliuboih bv the eroM of
(iod queone of EneUntk^ «ie. By me Jo. BoldHiae of
SVin 4 *oe«. LaM<ln Doo.
W. B. $.
According to B. H. Fellowct (he search for
the identity of *’ My Lad>e Nevell “ has been
concluded in favour of Rachel, daughter of
John Leonard of Knole, who married Sir
rdward Ncvill, M.P. for Windsor (i58$>So)<*
His article in M. & L. also contains a deiaiird
description of the manuscript, relating its
history and proving its lack of rdationahip
wilh the so'called * Pseudo La^yt Nevelh
Dookc* (B.M. Add. MSS 30,465.86). Dr.
Fellowes also makes it clear that ' My Ladyc
Novel Is Bocke ’ was presented to Qtscen EUaa.
both 1 between 15^ and j6oo. According
(o his teuimony, Add. MSS 30,465.86 is " an
entirely independent collection of hrsi*raie
textual value The ambiguous and mis.
leadir^; note on both MSS in J. Wolf's * Hand*
buch der Noiationskunde \ II, 278, should
therefore be disregarded. k. f. r.
WtLL. FoRSTaa's VtaotNAt Boor.— T his
volume, which belonp to Her Majesty the
Queen, is preserved in (he Royal Library,
British Museum, and cortsists of 238 octavo
folios ruled in ^llne staves. The water.marks
are a sliield surmounted by a coronet, bearing
a Hour de lit on the escutcheon and a pot with
the initiak " E. O. R.*'. The book probably
bdonged (o Sir Jolm Hawkins, and has been
bound in modern limes in half red morocco
and paper boards. At the beginning b a
“ Table of the Lessons ", written in the same
hand as the rest of the book and signed " 31
Januaric 1634. Will. Fortier." The follow-
ing is a Itsi of (he eontenli of the volume * ;
mm
AW
Aepr 1
,
A Crounde of Mr. Bied's. I
9
t
I. The French Coraato. '
U
%
The Second French Caraneo. I
in
4
'1 he 3rd Freneh Coraato. 1
iB
5
A Levotio.*
90
B
1.0. Willobies vrrHeomc home.
99
7
FeliK Nunquam.*
94
s
A Home pipe.
n
9
Kapaue.
Kilwn's Wilde.*
10
70
It
An Almaine.
73
19
As 1 went to VS'aliingham.**
'&
1$
Cailiirdo.
14
1)
Quadro Favine.
AlmayTte.
96
110
16
Favin.
11a
17
The Wood soe wylde.**
1 iia
iB
Pavin.
ley
in
ISO
90
Tarhidam.
*|b
91
A Galliard.
ilr
99
93
The New Medkv.
.7 m. Fraite the Lord. Fsalmc 103.
* 4 S
•SO
Ctmpt*!
BynJ.
Byrd.
Byrd.
Byrd.
Byrd.
B^rd.
Byrd.
Byrd.
Byrd.
Byrd.
7 >>cim«* M«rl«v.
Them*! Motley.
74vo(n«t ^(«rIeY.
Byni.
Pr«d.
Byrd.**
John W 4 rd.
' Fiumlli«m V.B,. No. jd, Fer««r’» V.B.. p. i)o.
MSS ti.so) wid 70.4!^
' fil*«nlli*m V.B., Ko. 6e.
* Filrvitliftm V.B.. p. iro.
* F«rwrr‘* V.B., p. 966. A d^Hmai «e«iinf in Fi».
Hidiam V,B.._p. >14.
* C/. B. H. Frllo««e«, * Willijm^rd*. ad ed. (OKfaid.
I Q^O) . pp, id fr.. mmI (he Mine •ylhcr’t wiklc. * hly L^dn
N«vrll'< Books * (M. a L.. XXX. tM. P. »)■
* The 14 pwc«« bv Byrd mt no« kccwUc m •Mdm
rtprirM (r/ V«l«. XVtd. XIX, XX 4 dU>c CB. OfV^iM)
Byrd, ed. £. H. Fell»w««. London, ipsol ond ah» in the
publkoiion * W. Byrd ; 45 Keyboord Instrv.
nwMi. KiiRono vnpgbKrhrd \ ed. by S. D. Tu<Ue fl.' f*
B«ed FrcM. Porik, e.d.). A compleie repriv of this MS
(olleebon 0 01B vantios.
' 4 Lavolt*.
* Thb compoiuion n ttiributed in Fiirwilliatn Book
Co TalKs tod d 4 t«d lado <m p. y, Note so).
* The fim note only hw been written sn. In the
Table of Lemons iBis eompesiUon is titribuied to Dyid.
In i2ie Toble ciOed * Waltinyhaa ' only,
" A motabe w iB*de in the papinaiiop here : pp. 1 <B
•nd 1 19 are (be wne,
'* le tbe Table this ft called * Ground *, It is the well*
haowB * Gorman's Whistle '.
VIRGINAL MUSIC. COLLECTIONS OF
'3
F 4 tt
U
50
3(
as
aa
34
3a
30
U
$9
40
4'
40
43
44
U
44
ao
51
so
53
54
n
u
n
u
i
H
74
»•
?s
J4
’4
Tbe LMd eiecQlctb ricluco«D«s. « « mt.
For looke bawe lii(be. « j m.
Tbe Due* «( Uao. «^iib.
The l«r4. me.
Here Menie. « e ht.
BthMiM.
Turn* Thy« F«e<.
Deliver HIM.
The MereheAi'i Drem,
Rofero.
The (^Mdreoi Fevie,
Fuie Heiuree F*vui.
Fum UcMura 0»Ui*nl,
h4r. Iw4*i
hte\»eMr‘i Ala^
Fert«M.
A Crwtfide.
AGreMd.
fwiea* luMMMvfibl.
fohMM*i 4rl«hu.
The C*lbft/4 to iIm F*viA slWeieid.
OuAd(*D( Favte.
TVCelU^rd.
Fovie.
The Gelli&fd.
A Gelliirg,
Go* freot mv Wiedee.
L«chr*mM.
A Ftvwt.
Dwof
Mo«iMer‘( Almas.
Haedisf'* CallUard),
A ■*•*"-* —
A Ground*.
A Feviib
Oalkard.
As Almas.
A 4*vis.
TV CalUaH.
MMtoKeod
to®-*"
iV'* Husc
FyiMehGattart.
Fraeludiam.
WaUito Ale.
The lasK a esate lower.
SO*
a»*
919
iu
S3I
S40
S47
l£
sw
9M
aW
390
4V
4**
4*6
•*5
4*6
430
44*
I
s
Cempet/r
Johft Ward,
ehs Ward,
oho Ward,
oho WaH.'
oho Ward,*
ohn Ward,*
lehc Ward,
ohn Ward.*
Byrd.
Efirlih,
bJi.
Byrd.
Byrd,
Byrd.
Byrd.
Bytd.
Byrd.
Byrt.
By^.
Byrd.’
Dvrd.
Byrd.
Byrd.*
Byrd,
Byrd,
Byrd.
Byrd.
Byrd.*
Bull.
Byrd.
Byrd.
Byrd,
Bull.
BBNJAKrN COfVH’j VlIWIKAL Boon.^Tlitt
fine folio volume, like the Ivt-coeAdcAed
colleciion, is (he prgpcr(y of Her Moiety tnd
IS peeved At Roy. Ub. B.M. The binding
II or English vrorkmaruhip sryd coniemponfv
wuh (be manuscript. U cofuUu of eaJf with
grfd tooling. Theletten " B. C.^ are stamped
both on the from and the back, and pan of the
^ stamped above the letten
M- O. — probably the iniOab of art eariicr
b^. The book had been shut by brae
cleps, but these are now brt^ off. At the
^luung IS aa Indev, divided iaWA Table
»«l« and sett
fcr^ by Ben Cos “ A Table of these Lessons
loUowge iTude by Mr. Docier BtiU A
table of these hesacm following made by Mr.
» * Sf '*5 Fiafca..'
TV I o( the ?*alM.*
neWafiVsi F>alii*e.*
Or. Ciblwns”, “ These lessons following are
by falJu and Byrd after which comes
a list of SIX services contained in the same
volume, at the end of which is wriiicn “ These
^,X ^ Kings Royall Chap.
peU . The same page also contains “ A
Catch of 9 parts in one •• Ut us goe pray
for Mn Cook s sou) “ and “ A Tabfo of
mesc Lessons generally coniained in this
^eareinNomber: 96. By me Beniamin
Cosyn Right owner of this Booke ”. Hawkins »•
SAP that was " a famous composer of
lessoM for the harpsichord, and probably an
p^ormer on that instrument*’,
about the year 1600 and that
WTC are many of his lessons extant that
«4
VIRGINAL MUSIC, COLLECTIONS OF
seem in no respoci inrerior to those of Bull
The last statement looks as if Hawkins Kad
been acquainted with the Virginal Book,
Researches ' have shown that Benjamin
Cios)*!) was organist of Dulwich College from
tC22 to 1624 and the hrst organist of (he
Charterhouse in 1626*43.
The following is a complete list of the con*
tents of (he volume : as the old pagination is
in places irregular, the pag:es have been
numbered freshly. The titles of the index are
sometimes di(fcrenc from those in the body of
the book ; wbeo these variations occur, ^ey
have been noted in the last column.*
A'r.
.Vo^M
Hif
GMVssrr
Titit in hit*
t
A Prelode.
,
ien>. Cooyn.
9
A PsTtn.
a
Benk Coayn.
Ja£.U, Mi.
i
4
Tlie Gtlliard lo itt.
Lscrime Pevin.
i
Beni. Cown.
Benj. Cw>al.
In A, Re.
s
The Callurd to »it.
It
Ben|. Cetyn.
b
7
A Pavin.
The (Jalliard tv itc
13
If
Beni. Gmvh.
Benj. Cotyn.
Tlie Lo. Luinlyc’s Pavin,
k
A Grounde.
99
Ben|. Cotyn.
la A. Re.
9
1 lu
ACroyiuk.
deemone BUaOd.
3
Beni. Cesvn.
Beuj. Coeiai.
In Cam, Ui.
1 N
AGalliard.
43
Ben^. Co«)'B.
(n Ff. fa. uc
19
1
A Oalliard.
Pakuiioe't PowikIc.
a
Benj. Coat'o.
Been. Ceayta.
In D, sol. re.
1
u
A Ualiiartl.
49
Ben). Cotyn.
A ceeu'hafKled CalUartl.
ti
Uuot Aurora.
54
Beo^. Co»im.
4
lb
tVhk a4k« you.
M
Beni. Cotyn.
' \S*hy otke yu.’
17 !
The Oueene’t GemmaiMle.
M. Gibbom.
In ilw indcxatiribuiedteCoeyn* 1
Id
19
1 so
PlIIMay Fleuwi me.
Sly Self.
Muerere.
Ben^ Co«yA.
Benj. Cm>a.
Ben]. Cesym.
iB'FlIbda.^ 1
1
1 SI
What >eu Will.
91
Beeu. Cotyn.
Been. C«»y4i.
S9
A Lialliard.
79
* My Lo. Rich. hU Galliard.* ;
1
*9
u
The Kop Hum.
Thomas Lupoct CalHartl.
Bcoj. Cotyn.
Beni. Conn.
99
My Lo. Burrou'i OalliariL
do
Benj. Cosyn,
s«
Ui. re, mi, fa, M, Is.
A Oallia^,
Be
Ofl. Cibbont.
1 n ibe ladec ai iributed to CoayD. 1
* Sir Roben Souths ell*« Gall. ,
9?
«»
Beni. Co«yn.
1 9B
Mr. Siroude’i CalHard.
f»
Ber^ Coayn.
1
1 99
1
The Calliard to 13e<t. Bulle t Fan*
uiikk Pavia.
ft
Bcn^ Cosyn.
1 90
Preludiem.
09
Doctor Bull.
* A Prelude ift Gamut.'
9>
The Quatiren Pavin.
94
Doctor Bull.
1
' 39
The GsIliarO ia »it.
toi
Deeior Bull.
1 a$
I'avana.
loB
TiMaDocLBullsa
FfintmewsB Pa*
vina.*
*Thc Ph«nta>ii«all Pavin'. 1
94
A Pavin in A, re.
110
Doeior BuU.
35
The Galliard to ilt.
*13
Ooeioe BoD.
i
3b
Pavaiia.
*14
Docioe BulL
' A Pavin In D, lol, r«.' ^
37
(•aliiard.
*144
Doctor Bull.
* The Galliard lo iti.' !
• 3d
Sroniwieb'sToy.
Ducior Bull.
* ’fhe Duke of Brumwick.' '
' 39
I'avana.
iia
DacsorBull.
' The Tevmpel Pavin,’
40
Galharde.
' Mb
Deeior Bull.
' The Galliard to it.'
4>
I'avana.
110
DMiot Bdl.
' 11ie Lo. Luinliei Pavin.*
U
The Galliaed.
ISO
Doctor Bull.
* The Galliard lo ii.’
43
Wake Galliatd.
isa
DocierBuH
' Wake'* Galliard.'
44
Uociee Bulie's jewel.
*34
Doctor Bull.
4!)
UurcitO.
ill
DocMe BuB.
i
4d
A Galliaed.
Doctor BuU.
* The L«. Hunrdm'f Galliard.' |
47
A Prelude.
\U
Doctor BuM.
In ff. fa, ul. I
' 4b
A Galliaed.
Doctor BuU.
'n«e Calliard to Pavan No. 70 ,
49
Faetasia.
*>>
Dectoe BuU.
* A Fancy.'
1 3®
Pjvana.
*33
Doctor BuU.
' The MallirKhely Pavio,*
1 31
Tlie GalliartI to ill.
*37
Doctor BuU.
ss
As 1 went to Walbingliam.
*30
Doc toe BuU.
1 33
Felia Namque.
*34
Thus Tallh.
94
Uoe from my vriodoe.
*37
Will Bvfd.
33
1
t. Calliarda.
IM
CM. Gibbon,
*Baclw«oeor
Mwk *.
3 C
t. Oallianla.
t 0 a
Ort. Gibbont.
' The HtiAi'i up.'
57
3 . A. Maslte.
107
OeL Gibbon*.
4d
4 . GaliianJ.
108
OrL Gibbons
59
3 . Galliard.
*70
OrL Gibbons
' The La. HaiUa't GaUiard.*
b<>
b. A Fancy.
*7* '
OrL Gibbons
61
69
63
7 . A Toy.
S, Gallianl.
9 , Almaine.
*7*
OrLGibbtt
Atcribuird to Orlando Cibbent
in the Index.
' .Sijme MS volwiiatirt br him wnc in W. H. * as picco of tbb collection hkve bc«o uptneely
Cummingi^i cdkciion. Sn Mus. T., 1903, pp. >61*. iHiblnlMd ood edited by W. Barclay Squire and J. A.
y«dier-NtaitUf(d (London, ( 918 ?. A complete reprini u
Kill Uelinf.
VIRGIN.\L ML SIC; COLLKCTIONS OF
A*. 1
1 -V.W 1
1 /*-»r 1
«4
>0. Almsiae. 1
1 1
1 1
II. Allmunc.
1
U
>i. Fanuua.
•
Oalliard.
: hf) 1
Ihe GoldhiKli.
69 1
I's'anj,
70
Ha\*ana.
1
?•
AllinwiM.
7«
GallunS.
73
I'jrjtaiia.
74 '
Hrelludem.
74
tanijku.
7< 1
In NAjnine.
77
^anid'ia.
1 79 1
An AHmaine.
' 7» 1
AHmsusc.
' Ik, 1
A Faikv Ivr A llu<>Me
riii(4*id.
L
t'anTaiM.
( ‘<4 I
U
Callisnl.
<;xlliMl.
97
I'dvaiu. 1
99
It, .Nomine.
69
Dr. Hullet (irerte.
<«4]lurd. 1
St
Mr. Oc'ant .VIoruiiHr irMl lArnmv
VrvH e.
li
1 (1 nu MMM Aln^d'ifi.
OS
1 VhiriMMU an<l j,\r Nervite m 1 ).
o»
.VI«riMh| sihI S.VFhii,* VnHpwt I)
94
Morninc and l.\tn»t>( VrsKe •• j)
•A
\ "iMie ,n K.
07
MoriMhs and r.vTrmi< SrrsH# ph F. j
on
1 Mornihi Sentre in F.
.
Apari from Ptur majit roUcciion^
coniaiixmu H"‘ bulk of musk rnmrHotil for
\\\r virginal during ihr lifninip of William
Ryrti an<i his coorrn>|>oraflrs. aihl wdl lcnm»n
l« rartjpr srholars, a number eif smalle r man*i.
wripi rolliriiims has rtimr lu Jrghi mofr
nvrnily, funding o|f a imiqiftr pklufp ti(
parly K>ig|i<h keyboard siyk. .\r,nr ol (hrtn
IS ai present acewiWe in reprini. rurrps
Oif earliest monuvripr unircr - ibc Mulllwr
Hook - of which a first critical reUiMMi and
Complpic reprint appeared in 1951 as \'d. I
of ‘ Musiea Uritannica
together wiih another early manuscript in
the B.M. (Roy. App. No. including Hugh
!rTi‘ 'bs* Mullinrr
B<»ok (H.M. Add. MSS 30,5i3t rq>rrwnt8 iw
o( die eariiesl niominieiiis of English lsc> hoarH
music. It very likely reprevnts the hand,
wricmg and quite ccriainly was a personal
powssion of riiomas Miilliner, maaier of the
cbimsteri of Si. I>aul's, as is lesiifted wiilsin
Uic nianuicripi iijclf by hn discipir John
Heyw<>o<l, li is a ccdIcclKin of pieces appar-
endy designed U a keyboard iwtrument?wi
II cannot properly be classed as an early
^tre of virginal music, since the coJIcclicm
do« not ycl clearly distinguish between organ
«<l v,rg,nal. Kirihcrnu,,,, i, fe „„
-I-I. -rvic Uc'ibbLr^
CH^rnr
OLOAbem.
(hi, GAbon*.
(.«»>*••
br«t. CrHnkw
l>i*rw BwH.
Mr. Wn «e(i fvcck
hv Ik C!a 5 M).
M*. Wei MU Coiib
Ih' B Cuwh.
*hl (iiUwM.
iUl OiMMm.
ihl. (obham.
iUl.
<>■ 1 . GibUiH.
<M. (mMmo*.
t M. CmUmii.
t trL GiUiwiu.
CM. (.iUkw,
DrLCibbMu.
tkl.GiU^iK.
(klGili.*.
Ckl
BmII.
line Mr Hull
ia«M* Bull
line Mr H<ill
UtaW Hull.
llucMe BuM.
Ham.
rjtH.
^roern.
Bird.
Ilrhj, (tfnva ‘
J 1*0.
Tu/r iM Mt
' Another Allmunr.’
‘A
* Sit kHlui<ll.«irnei*i(ialliari1.’
' A PsiiM tn (>amoi fljii.*
* Xli. V«ei hts .MIni.iHM.'
* The Cnrouio le ilt.’
* .\ Tjih'.'
* A l*lelM|r.’
•A
' A I eiM ' HI t t.iniiM IUm,’
’ A I .iiM 'ml. G. ui.'
Vtuilkrr I'dAii li, C, fj, Ml,*
* V kjn<\ in .\. re.'
' I 4i*lheni !•> i»» I?.*
* 'J )>e 1 .4 1 .u< ir \ ( rall«.tl il,’
’ <>ie«nc f.br^lrelhi l*dCii>.’
* lltc Vantinc (lallMrU.*
’ 'JIm> IfcriHli AUrnMlN*.
II. s.
ra*y in docicU* ulikh nnnilrr ni r<*pn‘M’nl uii
cfg^ arrangement id a wmoI coTit^x/siiion niid
whit It a gen III nr compodtion for the key-
l>oard. Hum, grace mnes and fxtlal pi>mu
suggest an inirntional kesUrard u>|i\ .Wcord*
mg to II. ])8>'ey, alxHil y« in^irtimenially
conreived numUn may be singled out, ilu*
aut birrs of toliich are in iriaiiy ease* Redfurd
W"b^man. Among tlieve mimlters of
oefinitely instrumental origin a "Fane ye"
and a ” J'as^oo " by N'ewntaji JN'os. 10 and
It 6) must certainly Ixlong lu the earliest
specimens erf their kind. J'he archaic manner
of imaiion is indicated by Mul liner s habit
oTnehet distributing the music on two staves
of from 5 <0 $ lines or d* lelescoping ii on one
sias*e only of n, ta or 13 lines, as fur instance
in Use case of Tlsomas J'aJlis’s ‘ Naius est
iwbis’ <.Vo. 9 , fol, 12 V), ihcrehy clearly
shouing ihe inllueoce of early Italian organ
lahlatgrr.* ^
The comparatisrly old-fadiibned style of
notaiton of this manuscrijn collection is
further shown by mannerisms such as the
frequent use of *' Uack notation ” among the
^ while " notes (especially r<«* hciniola
rhythm), changes of clef within om* and the
same staw. and also the small number of
11 'iS* ' *^**^^ 1 * ‘k' N*H*iioe»kuAde Vnl
SJT'' * m«uir« i* tt|,M.1«cecl Jm
VIRGINAL MUSIC, COLLECTIONS OF
i6
acculenuls and omamcntaJ Such
peculiarities distin^ish Add. MSS 30, 513
from famous virginal musk manuscript col-
lections of only some forty or fifty yean later.
The 120 items of the Mullitter Book (ikM
counting the 6 numbers for the cittern and the
3 for the gittern) were contributed by 16
diflerent composen, among whom Redford
\vilh 34, Tallis with t8 and Blitheman with
14 numbers take pride of place. Of the 16
items which may safely be ascribed to Tallis
at least six numbers are real keyboard music :
* Naiwt eti nobis * (let, is v),
\Vuli(»u( hnflHie I* CJarifka me *1 (Col. eS v).
\ViUi(»u( h«ft<linK (:i*r(fk« mo Pair* (M. 99 v).
* A ' {(0!. KM v>,
Wiilioiit heaiiinf r Cnarifka me Pair* *) (Col. loi).
’ Isie oonfraof ’ ifol. 103).
These clearly differ in st>’lc and technique
from the remainder of the pieces coniributed
by Tallis, which are mainly in the nature of
organ arrangements of hymns and motets.
It is not easy to decide whether these arrange-
menu were made by Tallis himself for the
purpose of being played as keyboard music
or whether they were intended as arrange*
ntents of voeal music. In the latter case ^e
author of these organ arrangements might
ha\*e been Mulllncr himself, who may has^c
used them as an instrumental background to
his choral performances. The pieces by
Tallis singled out here already indicate a
remarkably clear understanding of the
requirement* of the keyboard, even if they
still fall short of that unique grace of melody
and originality of harmony to richly displayed
by a later generation of English keyboard
composers.
The rest of the contents attributable to
known composers may be allocated thus :
R. AlwMJtSl.
N. C 4 /kw« It).
R, Law4/d< tii.
R, P*rr*M( (t).
<il,
R. JohniMi, icn. <s}.
Mma 4 sv 10 .
h«vma* (1).
W. StKltvT (s).
t Shepherd ( 1 ).
Tkvemcr 0 |.
« 0).
Tbe remaining items arc ascribed lo'Fhomas
Mulliner himself, to J. S. Smith and to White ;
some have not been identified so far.
During the iSth century the Mulliner
manuKript became the property of Stafford
Smith, who about 1776 wrote biographical
notes on the various contributors, and Ik lent
the volume to Sir John Hawkins. During the
early tgth century the manuKript belong^ 10
Dr. E. F. Rimbault, as part of whose estate il
was purchased by Dr. Cumtnlrtgs, from whom
the B.M. acquired it. Although the colleciion
was fully described in WUlibsJd Nagel's
* Gochichie der Musik in England ' (« vols-,
1894 and 1697), in Charles van den Borren's
* Les Origines de la musique de clavier en
Aj^leterre* (1912), in Grove’s Dictionary
(4ih ed., Supp., 1940, pp- 651 fF.) and in Willi
Apcl’s * Notation of Polyphonic Music ’
(1942), only 27 items had bwme accessible
in print before 1951.
A closer analysis and full contents of the
book will be found in another place ^ since
we cannot be certain that the conienls arc
definitely virginal music.
Bluasetm Rogers Book. — One of the last
collectioru of genuine virginal music, dis*
tingiiished by its melodic freshnes, is the
' Elizabeth Rogers hir Virginal Book dated
17 (? 27) Feb. 1636- The 79 numbers of this
collection are written mostly on two staves
of six lines each. The first four numbers of
the handwritten contents (jet Mfiw) are ap-
parently lost. l*he numbers include arrange-
ments in virginal style of songs and dances,
among them lovely specimens such as ’ The
Nightingale ‘ Mock - Nightingale ‘ The
Forest Nimphes ’ and numerous Gorranis and
Almarn. Nearly all the pieces lack any indi-
cation of authorship. The chief item is
^Vill^am Byrd’s programmatic suite ‘ The
Battel] well known from * My Ladye
Nc*'ells Booke * of J591, but here figuring,
like the rest, as an anonymous contribution.
The musical text of ’ The Bat tell ’ dilTers in
minor details from the version in ' My Ladye
Nevells Booke*. The version of 1656 also
contains two numbers (No. 2, * I'he burling of
the dead *, and No. 13, * The soldiers delight *)
which are not included In the other manu-
script versions of this composition.* If the last
pages of (he collection arc turned upside do\vn,
fifteen numbers of * Vocall Lessons ' in what is
evidently an old handwriting will be found.
Originally the manuscript belonged to Elisa-
beth Fayre and later* (in the idth century) to
John TJleti. Except for Byrd's * Daiteil * no
item of the c^lection has so far appeared in
reprint. Tlte manuscript now belongs to the
British Museum (Add. MSS (0,337). The
handwritten index to the contents reads as
follows :
I. Stf 'nio. P*irSu( k(Arcl»c.
а. Nmh’i Muke.
5. Alkianande.
4. The r*irew oifikplu, (Ik valkr* or cnounuinc*. eve*
b*vd.
6. Th« Scot's Manbr.
б. Prince ftupcn'i Kfsneke.
jOae of ike symphoeks.
g. Setebrood (1*. Saraband).
10. WIica (ho King hit owtio agiine.
11, ABemaade.
13 , Tnioipet lone,
1$. Ron Lau good nigbL
' Stf Mvu«*ui Boo.
* P«> funbe* decxOi ur W. Byrd, C,E., Vo). XV) (t.
prelMe, pp. iv ft. cd, R. H. Felloives {Londoo, iggo).
\*IRCIN'.\L MUSIC, COLLKCTIOXS OK
Rupert's rttraite.
* tlto. UrtQi^)d."
' Bearr"
It
1^' ^AUenuAdc and Couttoie,
19. The oijhiiogAle,
^ jAU«en*Dd< tAd Coutonir,
32. C«utvite. “ Be»re/*
33. AJlcminde.
34. 0«ur4nie.
HljTweCouraotes. *'
37. The luuille, divided true The SouUtct* SuHWKct.t
TV MatkV KixHe. tt< MasitV e( Km i.
TV rruteptiu, TV Iruh BauiMp...
rK* Ururnm k tluie. Che Manibe m iV Vhi.
larTAtencurre, lUutll RetrAti. Bstr^M^
fifihedeed.'
a8. Th« Suuldicr'* deU^bt.
IJJ^jCvusanie uid Saraband.
31. A masks.
^^jCourtMtU 1^ harabawl.
ii- L) Hill my dense iMiib the »wrO»
rvrVtnui
OCru (* sitfird) («,Mh lU werdt .
W the tpriope urenuM ;euh iV t»urd»f.
i*. Oh JfM Mebe \Hiih Ut« Hunlsj.
};;}Uura.i«.
41. Maske.
43. CoMrante.
43 > Alleir>aiKt«.
44 « Air. rTAomet) Lupga
4 J. Cedd mt emp-raUe ete {ttiih iV werdt .
4b. AlkmaMe, ^Heherij J«hAw«.
8 . MMh'niehiiniik.
* ‘®“» '® ****
«u. Jbf Kinc I Cemflaint.
j,'^|A|km4ade end Ceuraiue.
3V. SariVhde.
) 9 . Mr delvRhi.
K«vem ihe Nec 54-*. *t»un « •
. rsiVr later hand,
54. Tv rwtMull brethert.
a . (Juurante.
. Saraband.
S7. The fianea rl'hoetuyf,
ti. TheSipavnaed Varuardi.
e Hie In>li Tuy.
AllentaiHle,
6r. A Vais tucfl.
de. Hnrnpip*,
b|. AUeoande,
4|;|Ceurahu by The. SimniUebl.
4, jAVmaBdr and CauraiHe.
M Allemande,
V J wisl, a« tmtf ihne sheutdM W loe .uh ii^
vrordsj, itinbuied (e Nichelas Uniere.
”;}n4ce wiiVut iKir. J he. StrensMeM
73. Vve it iirange
73. AUemaade " Mrogre
7*. Clarys e4 the North,
^JljTwo Cmrantn,
>j. Phill. Ponet’s l.ameoiAiien,
Som< Scoulsli manuscript boob c!!ii^ninr
virginal music may here be added •
UembNT MfTClIELL VlfcCTNAL BoOK.-Thi»
^k, the properly of ibe Earl of DaUsousie.
Panmufc House, Angus, was found iherc in
^ov- 1949. 1 1 earriei the name of Clcmeni
' By Byrd in ' My I^iye Nwfc BooV *.
VOL. IX
MiccheJl widi iJk date 161!:. I'hc nianusfri|ji
measures about 8 ins. byCiiks. and is bound in
siuui paper (ha I was original ly |>ari ol* ihc
documeni, I 1 ic conicnis arc as foUovt.t r
I, My E.e4»'«*t Lrii HanOc,
3. Nm’s 1 hinrr.
3. TiBe v^lk tMiH' ri^fcib.
4. The kS'ktytuN; i.drin^ii,
V Aknakterrk VlhHwtnr.
4 i. (bhvhtc.
7 . I V ( Jivav,
B. a(>*«li<A<e I eiU itei tbjn(:<.
a. IVje|«Hjiu>«.
le. V (isvoixk.
II. Tr/i^ KdiMxv.
H. fhel««<.
4-7 arc l»>* illiam Utnl and ar^- litund
in I he KiUMilliaiii Virginal UiKik; .Vn. ii,
‘ i’rjff Ramsey ' (nr ' Peg a Kaintcy it iho
po|Hilar sung found in (TiaikII; .\u. U
‘ llic Krtpgs GalJiard' uhkh Dowl.md i,».«d
in die tong * Nt»st 0 ncAv | muti tlrpnri
I lit Kjvujcji Man* tfRier -'| his b-tr^k, an
••Uoftg vrrfumc, 9 ins- U)' ins., coniairn
about a dorm named jiirtrs for the virdinat
aixl a niiinbcr < 4 daixi*' uithout nanK». Iho
naimil itiorrt arc .i« Atlluivs :
JkMixyWi • fkltl.'
* KmlMb hi, trxiiiJ.*
• B^mH M p4t k Kt tK XS iUi*m Kii. V h. •
KwW hi*
^ rfi U Vth:i..j., Kiti.
’ SUX«MM>.’
' Rmloih Itn |»*'\ifirjt'uur,'
<^1^1 |wt«* v< I V X\ ilh.,M KthV h,'
KniWIi Ln i«i.t 4 >ir.*
Mawi Bird Im« psMinruM«ui.'
^ J\e Qrmi «f CHfiMdS
* CVmni bmyr.’
• ”**?'' wliyas' tesK.'
AlMMrur
‘Jboiteoun’s Lk^yi ’ was compowd by
Ixlttard Johnson, ilie lingtish nui<irigalis( of
die laic iCih crniur>', wlw roiiiriltuicil to
Jl»c rriuinphes of Orjana ’ uuai). A
Javan ami Oalliard by .Hmson carries ihv
Delight * -'sell by ^Vij|ianl
wid . An examinaiion of ihe jucce and die
name m ilie Kinloch manuKripi and of liie
KUing by Byrd in il»c KiirwjJljam Virginal
Book makes ii plain iliai Joimson’s is ihc
original fomi of ilw piece tshkh IRrd look
^i^rabJc Ijbcriic viiil, jn his' selling,
^ben sal nty sorrowful sychyngc cease ’ i<
|« Ihe St, Andrews Psalicr. ' Conicnl dcs> r ’
urn a Panrnure majiuscripi, and ' Monsieur
Mmjo ai^ars in ihe Lc^'ilvn .Manmcripl.
ilK iiwlusion of six \ irginal pieces bearing
^ lUTO of XViUiam Kinloch is very inicrcsl-
•1^. Kinloch plainly knew hu Byrd and look
hrm as a inodH, lor boih com|>o«rs iiad iheh
baiifc pieces. Byrd * ‘ fassineassour ' u
exactly copted in ihc Kinloch volutms. bui
tJse qisesiMii of Klftloch’s jdmiiiy |>as noi
UiUiam Kmlodis m ihc Dundee recoids, bui
none of (hem suggrsu a composer who could
wnlc mwic ofeoasideraWu value and scholar.
VIRGINAL MUSIC, COLLECTIONS OF
t6
^htp. Kinloch is undoubtedly a Scottish
name. In the 6.M. (MS 30,485} there arc two
pieces in the * Extracts from the \*irginal
Book — Lady Nc^*cIl * under the name of
Ki nioughe. Certainly Kinloch and RioJou^e
seem to be di He rent spellings of the same
name, and they may apply (o (he same persem.
The Pavan and Galliacd under KiiUoughe’s
in the fi.M. copy in the * Extracts ' are quite
dilTereni and more elaborate than the Pavan
and GaUiard bearing KinJoch*s narrte in the
Scottish collection.
This volume is especially valuable for the
forty harmonized psalm tunes set by Andrew
Kemp, a contribtttor to the St. Andrews
{Walter and, at different times, master of the
Sang Schules at Aberdeen, Dundee and St.
Andrews. h. u. tv.
An Irish manuscript book, the io>called
* UalUs Dock ’ (Dublin, Trinity Collie, MS
D.3.30.) has recently turned up, which con-
tains, apart from a large number of lute
pieces, virginal music on pp. a7i-338, hand*
written on two or 8*line staves. Ihis music
consists mainly of dances (untitled but of
pavan and gaUiard type). According to R.
Thurston Dan, who hM kindly supplied this
information, the pieces may have been written
in the late tSth century. They are anonymous,
except for one, signed F[inU] Masteyre
Taylere " on p. The music, transcribed
by Col. M. Prynne, has not been reprinted.
One of the most important manuscript
sources for tite knowledge of John Bull's Jail
years, spent at Antwerp as Flemish organizer,
is the ' Tabiature of >829’ (B.M. Add. Mbb
which contaicu 63 numbers from
Bull's most mature period (together with one
piece of which Ferrabcsco is the author).
The first i 9 numbers are accurately daiecl
between 1621 and t6a0, obviously belonging
to Bull's later life and perhaps writiea partly
by himself. 'I'he numbers 19-63 are clearly
writ ten by the hand of a copyist, who completed
the volume finally about a year after Bull’s
death. The manuscript contains interesting
variants of pieces already >«'ell known from
the ' FiUwilliam Vicinal Book ' Parthenia '
and other manuscript sources, such as * Hei
Juwccl* ('Dr. Bulls Juell’}, 'Bonny well
Robin Hcxachord Fantasies, etc. The
prelude to ' Lai ons met henen reijne * (No.
9 i) bears perhaps the earliest indkadoos for
organ registration.* No. 15 (’ Fan task ob
de fuge van M. Jan Pietersa faecit Dr. Bull,
1621, 15 Dec.’) is very likely a work by J.
Picterszoon S wcel inck himself.* Other reprints
are in M. H. Glyn’s collections of John Bull.
Some of these pieces, as No. 91 cleariy shows,
* Set the re^int ta J. E- West's collcrUee * Old
Enzihh Orran Musk No. 95S.
* See liweelincki C.E.. ed. M. Setflen, Vol. I, 1004 ,
54. p.
are designed for performance on the organ ;
(he numerous Corrants and Galliards on the
oOier hand arc genuine virginal music.*
Of Outstanding importance among the
manuscripts of virginal music avaiiaUe in
libraries abroad is undoubtedly MS Drexel
5612, which forms (together with similar
manuscripts of smaller size, MSS Drexel 361 1
and 3609) a part of the Drexel coUeedon in
the New York Public Library. Ihe folio,
which contains about t8o numbers, comprises
— among others — $ fantasies in a hand-
writing of the early t7ih century, which,
according to M. H. Glyn, may be an auto-
graph of Orlando Gibbons, who would thus
have arranged hJs famous ‘9 Fantazies in
Three Parcs’ (for viols) for the special use of
ihe virginal. 'The wliole manuscript is built
(as M. H. Glyn indicates) upon a dehnile
scheme of key (onaliiy ; a further interesting
feature is the general omission of the typical
virginalist " graces It coniains 19 numbers
by Bull, 16 by Byrd, 23 by GiblxAS, 9 by
Tomkins and numerous pieces by minor
nrgina] composers. A considerable number
of the composiiions of Bull and O. Gibbons
found in these two American manuscripts
have been published by M. H. Glyn in her
'John Bull — Selected Works ' (Nos. 1-4,
LWIoo, 1928) and ' O. Gibbons — Complete
Keyboard Works* (Not. 1-5, London, 1935).
In her valuable treatise * About Virginal
Music and its Composers ' (London. !994) she
deals amply with ilie history of MSS Drexel
5619/1 1 and publishes also {ibid-, pp. loSfT.)
from this source in facsimile ' The Queen’s
Command ' by O. Gibbons, in this manu-
script wrongly labelled with J. Bull’s name.
The special value of four manuscripts of the
Paris Conscr>’aioire Je Musique, MSS 18,548,
i 8,54B-47» *8,570. «/»• * (the last being of
minor importance), for an extensive know-
ledge of classical l^gUsh virginal music has
been emphasized by A. Pirro (see La\'ignBC-
Laurcncie, * Enc>‘clopMic de la musique’,
Paris, 1996, Vol. II/2, pp. 1239 ff., which in-
cludes reprints of MS 1^348, fol. 283, anon.,
MS 18,3^ fol. 83a — two Voluntaries by O.
Gibbons, and MS 18,347, fol. 90 — ‘In
nomine Domini ' by Tomkins). According to
M. H. Glyn, MS 18,548 may have been partly
writicn ^ John Bull himself, although ihe
volume is officially labelled as in Cosyn's
handwriting. Tlte latter certainly wrote the
iodex and a couple of numbers in the manu-
script. The volume contains in fact two manu-
scripts and also an early edition of ' Parihenia
The nucleus of the manuscript — apart from
* Other intperuiw cenVereuI M$ •oureer poofaiaiog
tBuBC Inr PwU Brrijj'. Orff. Wis. Bib!.. MS fel.
191, and VicAna, Nat, BiW.. MS t??): Uf. R. Haas.
* Miaukdcs Baracks ^ tqa^. p. tat ft.).
* Rrcmilr raulocved under R^rrc Not. It86 s
tist.
VIKGINAJ. ML'MC
viscri 1
(^yn’& dclil>crai« alierauoiu and addiiimn —
i# formed by 73 pjec« by John Bull, 21 of
whlcli arc nol co be found cl«v»hfre, anti O-
(ilbbons’s ‘Fantazia in 4 pans’. M. K Glyn
puhllslu'd a considerable amounc i»r ilit'sr
nun)l>cn in h«r selections fn^n Hull and
(iibbons iij28\ In else Baris Ms
lb*M7 (wlmii also comprises it* aMt<»Kraph
f(MH|)oslllons by romkins. includini; his
famous * Rubin Hood may l>c found in
Fantasies by John Uitll and nuim rous co*n|M>>
si I ions by Byrd tall l*rin; in I\mtkin«b haotJ-
ssrilingj, MS iJl.jjb roniaiiu sescral hbin*
Ikts ctmsposiHi hs <). <;il>Lt>ns and BvnI.
Among ilu’ srnalW sirgmal nuisic m.xiiu*
striph in BriiKli civile* ti«>ns tUr l<»JhosiAg ntas
he menuoned :
(’litivl C3ignh ULt (liA/td. V|S III }
•w^niy (lAn<e lutk^i l>v J, UmII. w,.,k .4 Hh.i. Utxr
Ik«i* fflfBlb r^fvoBKd b M, II. I. V »r. H I.K
I jiMjuct l>y <>.
(/iiri'i (Jiiir<h Hitr. .Ms> iijj ti*s*»» !•>,*
VM»', fJ>.'
s4,u>i O). fiilJ^.ri..
'J?
bhaw. Bull, hviil, t,ililKii«, FM .
Si. 1*1 1 i,, V\. Rvril'.
>MV„( il.« FAilv iHih iff* .
II. 'nvBiaiid |. Kc.Wi. iuli«ra<.r.
Il.'lby 4 |Un», Ikill ,
iVttJ J' Hdlfi'Ol, n>i 3 i ici.i >.
U'^IS ilMnw, ((iMh nk. |«|p .
1|li1 (ibtli cpni. .
N. 93B1 iCwiM'fi,
Kor. Anp. jft rcatlv iCih
K«v. App. ji < .„h I bit. «FM . ligrh' Ad— .
,, mi>u<K.R.\niv
IWn. < 4 .y,i» I,»s. •!.. ,,
, ;|iioit|Mr rtr tU.^f.u Wlrim^ • -UtM-r. w-
J It* Shikfi Ilf K'k i- inl Mihm mi | iwUmJ '
itjml-iM.nof 4U«F ti, J L M„ihF„ I m-Um '
' • ' ' '• *•' M . • Ms 1 -Iv- \fs fHs B.. 1 . * M .
K I, XaX. iqio. p, I,.
* J. ‘ .\. ui-ui <r Ihr fHt.
li- 4 * IW. sir.. ,w. V<J.
aM, iB^V'
lii.V'i, Mabosm* * II.. • ( N,h(.,m ,1 \, I. ,4 ^
,, '”1. XUIl, Mil?,. "
M, OJ.! riWl. M KrvhnMl 1W
ftMC XPo. Ai« , V.J, I XIN .
\amoii I \y, 'At! UiJ^bFiti^ft NiftMwl Kx4: 4
V 1 - 1 i^'? •'**. Fi«t»aiu-»
\ iruKiBt Hunk l.<«Hh«i, C9<>s .
N . t sot I • IW S -1,4.. HSU.* W ilr. \
VtJu! ’* »or-iJ*i-is NfuMial B 1 . 4 * riFtliM,
XftalH R 4 l(l\.i*>,
0 ^ 40(1 by 1:, H.*rrn*i.e» I..*. ifsr.lH ibe
WIJI (niperurK« r 4 AM. MVS y> |l*. agtSiIaS
£l mI: r-r. "ii
*>e «l:iiFf| lal? .\M. iJNS
Xv IStaT^ T! ^ rfeiaik//.
Virfa. Stf Klimniitos t' In itx' Slorrii otNt.ir.
VIRTUOSO (from l.at, sirftii (xtrlltncc,
vf*rih. virtue I . One wlsn hat atcaiiud tin'
liigfi<*st tiiasnry a%« r lh«' urlinii ;i| side of hi-,
lirl, Nvhitlirr of singing, pl.ising an instruiiirni
nr in inudem litiKcoftimdiit ling an orcluslia.
In l.ngbnd sjwxialK the urtn has aequirMl
a drprrtia««*fy moanjiig js sugg^Ming the di*
|4jt uf mkIs a niositTv lor \ts own ^.lkc.
ij. ( , t:.
VISCONTI, Gaaparo A. Cremona, ?;
Vs
li.ilidh i:th ilUh*<« ni'iis violinist and
(tirn|Miur, iJr hvi',! in Ixiriiioii in the earlv
i*hh rmiurv jikI vsiskoj bonk f>fvi. din sonatas
uiih crlln .hmI tMiumi*v l)|>. I . drclitalnl m
ilw' Duki iJ* IX viihsliiii .ViiHierdaiii, I7*l3^
ffSMf vitilin nHUiiUrs \xaU string onlnttra
anti suiiM’ vJo, 4 im| mmui.is <n m.uiiisrnpi nn
ill dw lilirari*N i 4 iMsdui .mil St hutriii.
i . V. < 1 . s.
*> s*»* f . , n «,|K ,
V|»». J«M DaaaFku d«. s< I 1 (,•/ M. A..
VlSf.E, Robert io
Irensli hili'iiist, sjiig, r iHhI rom^iuv r. He
wav | 4 avir •*« the gmmr .mil ihniilMi i«i itie
<lau| 4 iin iiPb* , tli.milxr musiu.in to iln
Ui>g i<>:Ui .hmI !>.:«] rhis ]-^Nt uiild I7fi.
whin his s«m li.iis^'Xs viKMvihil hill), [i,
1709 he vs,*s .rif*<riiii<d t/./pOe vr 4 linai>e 4 * li
mairfM 4 m m. He jHiUishtd a ^ hivre de
guiturre •, thiGaKxl tu iltr king u(>djl,
aiN*ll>rr lH»k wuli iIm* s^iiiie title > i<sfM*; and
some ‘ INicn tU« tlHVrflie et dr hiih, itilK>s ci\
patumm • 07if» , whkii are r,'*||y iHi^s,
IVsr three works are in ufiliii.iry notation.
Smne arrt by him w.re iHjIdishid betwren
1731 and 173J in ihr 'Concerts fuiixliiiiHs
(liviww < n 6 uiiit s '.
Francois, Ins son, sutrmled hhn as 'ingei |<
Jej|i*C*uis M.trais 0:1 2', (hi, i;3j.
J t.. iv
VlSETTl, Albert (AntboBy) i. Salona,
13 May >d4<»: / London, lo July itjaU/.
Italian vingingoitasii i. tonduitor ant! com*
jaKt-T. I le studied coni|KHiiion under ,\llHTto
Mar/.iKaioa( d»e MiUn (kmservatorv, where
lie eaiiMd iwt* schtdardsips. His caeWisc for
h« degree wav a canuta tv vvonh by his friend
.^lriRts hoicn, Hh firvt engagement \\a,% as
<ondu<ii*r at \iic. He then went to J’ari*.
where A. lAimas pcrjsared spetially for him a
libretto for an opera from hiv * I’rols M<m«<|ur.
tairrs '. 'ITw score was hardly romplcled w hen
*1 w« burnt in (be »cgr .,f the Commune.
vnciti tlK'is went lo l.<mdt>n, where he
wltUvl and th-voled himstif ehiefly to teaching
singing. He joirted the lirvi Boartl of Pro*
f^s at die R.C.Nf. and also (aught at
the f».S,M., the NN'aifWd School and various
other InsiiiuiuMs. Hr was also, in i8;8-po.
director and coftductor of the Bath Philhar*
'2»
VlJilGOraiC
VITALI (Filippo)
monlc Socicty> to which he devoted an immeiw
sity of time, money and abiUry.
Visetti Nvrotc the waitz^soog * Diva ' for
Patti and other song<, and published Italian
(randaiions of HuUah's * History of Modem
Miisic *, of Hueffer’s 'Musical Studies’,
Parry's * Blest |>air of Sirens ’ and other uorks.
The King of Italy in 1880 conferred on him
the order of the Corona d’ Italia.
c., adds.
VISICOTHIC MUSIC. See GRECoaLve
Nfustc.
VISKI, Jinoa {U Jofao) (». Kolozavir,
Hungary [now Cluj, RumaniaJ, 10 June 1906).
Hungarian composer. He started to study
the violin when seven yean of age; after
attending the secondary and agricultural
schools at Kolorsvdr he went to Budapest,
where he studied philosophy and music. He
was a pupil of kodily at the <\cademy of
Music from 1927 to 103s. He firM appeared
before the public with his Symphonk Suite in
1937, and since then his works havr been
often performed abroad, including places in
Germany, Prague, Zurich, Hilversum, etc. In
1O4O he became a teacher at the National
Conservatory in Budapest ; in 1941 he was
appointed director of the Conservatory of
Music at Kolo^sv^r ; back in Budapest, he was
appointed professor by the Academy of Musk
in He won the Creguss Price In 1943
and a scholarship of the Hungarian Arts
Council in r045.
A favourite pupil of KodAty's, Vislu
cultivates a style that bears traces of the influ*
enec of his master's idiom : it Is also saturated
with the language of Magyar fedk music. He
consciously eschews radical tendencies, yet his
compositions are distinguished by a sincere
utterance and a deeply felt lyTknm. His
output is comparatively small, for his self*
criiicism w'iU not permit him to appear with
works which he considers experimental or of
imperfect hnisb. His vi^in Concerto demon*
strates these style elements and also his
dexterity in inventing excellently suiiaUe
instrumental passages and figures for a solo
insirinnent.
CATALOGUE. OP WORKS
ClIORAI. tVORK$
' Fi.liji'skodji * tevocaikA*) for aval# vmm tfem*
»rnvi> (in57»>
* Vira« (i pilbneO* (*yiA«t«r and Buticrflr’) iV’wcm*
mai(y> rnrnvile voke^ ti937)>
‘ KuisaAna' t* HoMABsh *) tw otiMtt (tayv).
ORCIILaTRAl. WORKS
Symphenje Suits
3 HunearbA D.tncr^
' Enifina’. lymphonic poem (1930).
VIOLIN AND ORCftESTRA
Cdn««fiA (1947).
PJANOFORTE MUSIC
P8«r«
SONGS
% Sooft (Lafos Aprilv, Sibdoc Miisi) (jg4<>'4d),
J. s. w.
Bfas.^LAKATOS, IrrvAM, ' Vjtki Jinot * (* PiMioriuz *.
VoL XK VII. u. Kolo&cvir. Feb. 1041}.
WusBiANH, John S., *Tlie Cenlempor«ry Movement
anHuAfary’ (* Music To-day \ Londos. 1949).
VITALE, Angelo (^. Modena, ?; d. 7).
lulian I 7 th-i 8 ih*century composer. His
name is known in connection with the follow*
ing work, of which only the libretto seems to
have survived :
Temiri, drama per musiea, da ranprecenursi nel
Tcave di S. Catcur>o iCaisiano, Venictl anno
M.DC.LXXX.. di Ajtionio MeJalafc. dcAKcratn
air iMusuiss. «t ecccM. Si?. Gic: Franccaco MoroiiMi.
dinivimo t meHtioime Cavalirr. e f^rccuraior di S.
Mam. la Veocua, M.DC.LXXX. Per Francesco
Nicaliiu.
In the prefatory letter occurs the atatomcni
La musi«a « del 5 . 0 . Ancelo Vitale, nelle neii del
eui biiaam eaeiuapuato cenoscerai, the bm hi Oeira*
dslo da til alui sum spirltmi uknti, . . .
A copy of this work is in the B .Sf. ; a later
edition was published at Wnice by Francesco
Batii. Musk is not mentioned in the play
iuelf ; probably only the songs were set to musi c .
Frocn a passage in a letter in Angelo Be*
rardis Ml perchi muiicale’ (1693), p. 15,
addressed to Signor Angelo N'iialc, Orvieto, it
dinars that he was mMstra di eappella there :
, Havendfl V.S. biasimala ^uel fuo AAverufle eati tac*
<ia d* ifnarante ael segnarc le lue pMperiiani coo uo
msmero solo, hh dinsoeuaie I* ouiaia iniellltenu. che
deve kaveee it peeiio Maettro di cappella oe* fenda*
mcMs anaooki.
C. i.
VITALI, Filippo (t. Florence, ?; d.
Florence, 1633).
Italian tenor singer and composer. His
first volume of madrigals appeared in 1626,
and with the exception of short visits to Venice
and Rome he remained at Florence, working
at composition, though he svas by profession
a priest. He liad already published eight
volumes of voeal music when he was called to
Rome, being nominated a singer in the papal
choir on 10 June 1631.* During his residence
in Rome, where he teas attached to the house*
hold of Cardinal Francesco Barberini as
musician and composer, he wrote two sacred
works, hh * Hymni ' in 1636 and the ‘ Salmi
A 3 soci ’ in 1C41 . He w as recalled to Florence
in Feb. 184?, to succeed Marco da Gagliano
as wueiin di e^pella to die duke and at the
Cathedral of San Lorenso.* On r Apr. 16^3
he was presen led to a canonry of die Cat bed ral
and entitled Sant* Ambrogio.^
Am«Tg Vitali's works the fai'ola in mujied
‘ L* Arciusa ’ attracts attention, for its per*
formanee at the palate of Monsignor Ottavio
Corsini, in the presence of nine cardinab and
the principal ladies of Ronte, was one of the
first appearances in Rome of a lyrical drama.
' .\da«>i. * Owcoackwi i 7 M. p. ««).
* VejeL ' VwndiaXmrhrHt’, V (1689). p. 509,
* rhnfcfiii, *MeBor>e% 1B04. p. «$&
vrrAj.i (G. B.)
\*i'rAi.i ' FiUppo^
•2t
The pubJicaiion uai dedkaied to Cardinal
Borgbcse :
V A/eiiua, Tavola in niwwa ii Ftlippo Miali. rapprr-
Mhuu in Ronu ia <Mi di (.lonou, EMkaii
air illmo. n naa, Si(. Card, fcirfhr*^. In Raou
LMca Ani. toldi,
In the preface > \'iuli UUa that ih«' libretto
was written, the musle coni|Kni*c|, the parts
distribuU'd an<i learnt and the firsi perform*
ance given, all in rurty<four d^ys, IW on iO
Dec. 1G19 lie began the work and on B Keb.
j6io it was perrorinrd. The jruirumcnti Iw
used were two liarp*iihor<ls, two ibeorljfK,
two violint, one luir and one viuCa da ganiha,
and ho dcilari's that in lu» iiiu^ie It*' wa«
a humble follow* r of Peri and Caeeini *4
I'lofrnee.
Hugo Oold^chnoiU * pumls out that in iIm
vniploymont of two vivlins instead uf \iuls.
for the dcMiint or iiohlc p.vu in ' .\rrio>a \
Viiali Was diMinnly in atKame of Jih iimh*;
in other resitecu tlr musk is jk^ot ami Nlums
iiKtis of ihc haste with wiikh U had lain
written.
.\ Ins ini|x>riarii work opening with ihirty*
I wo Un of 4 u/i/mta in lisfpari writing K
the foilmsing, wriuen for iiiier|M.UlRMi in
(JieoKnini's ctimnly * hnta M.*ra *, per-
foriiKul on G Feb. lOaj :
lMrrnw<lj <|i rilii.i**) V»uli. Fahi (.rr b
r". ''“.*! r"!!** r«u*u nolarro .kl
(uMR*, rirll i liM. F V tie* 3 .W 4 h,
■ mo iCji (ik|. Ir* I'lFirt, CnctmeUi. ifc,,.
Other publieaiiont were :
• II Iirtki** lihr„ i\, irM-liiBaP • .V«we
nati<*1oh^u .Mawni, (61b,)
a 4;^, oe e vi voe. * fri«FH.e. V^tnJk
«*t w i(, I f, 1 7 .) Srmr ot sheK cmhpmhhm * <a»saui
fuf H,orMM»-„u ftl.KK: OM HiWialtMet.
Hiili « ns/^ ft.r A«e mMtotmnu. am uiioteMn
^ iiL^ltnisI Uk os twrF«,
**“,’'‘'11 i",",' e dt^ W-*. l.tWw tesiotOM.' ikome.
Cj, H, Rutkiii, i6ib •
J H. C«vwl. *1 « d lUlk*. .V*. jy refMriU*
*«*»*••«• Itkin ih«i
• SioMiht » wtt, ,|« tiffotipti eemate
0 in alln iln isiFMi, um,U r alL^hFiv Brt I4
tHjtFfta )f» i|w 1 le |Mu a ittwitoolo per laJe
, Libro lerie.' R,«»f, L. A. M. li^.*
^ ‘ • '‘V’ I*** **'*'"’' “'I sl-l»««€* eiiiurFd
ft ail,, iUvatMi. L»l«* murbs
I N Fnx F. t I b> j. 1 In ik« .»FdK*li«i.
'•" V!*"' ire she *,wl
^ (lurkn« hit btiFi tiay thrre
S-'iemiaie^. Uuo Wm-u SlJ«p« M Can W
IhVeoFhB. iftvv Hatx^rmeo
II imo hbro «|« t»*JtiV4li a onriue *asi C>Dcr4
SI'**”*"*' VenFMa. ,4%. ^.uS-K
’ i' FI ahri »Fitm di
VV^ *i' * * «"'« Libro ixiptw In
Wrtrttt, iftF, IWrliAar^ blan/ Cmm U
j dF*}'<»t»w« I# Clo, hoewna bv r V
fr*'"^/*e. .Apr. eftaa. Thr^.^
T 'V *dk«Fd M <J«L
WFlUkhm Vt*ato^.,k
• S.I,M.O., 1 900* I, p. 3 ^
' Aric a uba. due e tre voei. d* l iMim \’iL%li aiiiui<»
tklU cappeUa di tua Sjniiij. In Or\*ciu. A«i
HtaMia di C, B. RoUeiO. ibsj.'
'.Arieatrevoci.ru. InKoma. Tonlfv MaaAii. t6)s*
•Ark a lee voti, esc. Im K<40j.., V'iiicrnzo l{i4rM>4.
i 6 »-*
* labro^uiMtotSiaiiCtuot'aei.* .riotrMr, fjihli. 1O47.)
SaeroF caMMMrt a <et sutiws. I.4 n» ad oicf*
naiq. labrr 1 .' e, ibJS/
•Hsm'KO L'rlMri VJII. P.-M. .M**, rditot; m»
mu^os »ol.i« aJ MmiihFLiM giuin «iier'i«o: a
nd t ippa ^ itali Flocra.iiiu I'.h.imkii Sjcrlli i>>>i(Kw ;
eiutJemo. S. n. N, «Ihsi.^« ts
tspaftFoediu AXX A|MHi>ilHae. Aa,
* ®J se'perat quiunue sn.ilNit ri.iri |»a. .» j,|
w rlMri. Auih.ar 1‘lnlitqxt Viulio.
C 4 prllae lWiM<ri.iFF M.ivrcn. R(.r,>K 47x1 1 Viu«
seiiiM*ak ■lowuos.* lOtt.i
i . S-
VITAU, Giovanni Batiiata c. Ciumma,
e. ib 4 ); 4 . .M«kI«(u. <a <k(, |Ih,; Ij.
llahm sioJot, violinwi .'iml <<>m(>n>'T. lie
jtroliKi'il an t sira«ifiliiMiy atix»uiil of {lance
cn«i\i<, i-iiUiii .iftd Siin.it.is. H«' was a pupil
of M.tiiiieio <*a/.*aii for rnunierjKiim i.i*
(taspari c’ldurs fitnn \ ii.ih's i.tihisi »oik,
l>uMishe«| in I Ir»d. . C.iz/nu w as maeUfo t/i e«/*.
/■//« ai ilH’<lnii 4 h ol Aari Piimniu ui Ikilounn
I rum iC'jH lo It.;!, ami \ ii.ili hi 11 w If w,i»
%mUo f or fihoitf . iJwc w.r : .** at ihr a.inte
{biirrh li«w.i iMdt, jimbalds umil he iMcaine
■rort/ra Vi Af '>isunm-i Htuniv */<
i/v/»gpa. a lillr Iw isgiM n on the litlc))agcv <>J'
Itis Mosie in H.;j aixl Hj;^, M.iiinu Sihuni
in the Mibisi'lK |K« faee Iv' vsroi»> to \ n.ih'.s
* Bjlhiu ttrfr.mi.mglic, . . .*111*71 .alJuibs
to Ins tndiii pla.mv, " ut * llejile iieJI* ai t< <lil
suono*’, and a<Uls that it is n<it unly those ssho
iKar him stl«o atlnun* '* U* *u<* pr«Hljgio{«'
siiiu *. Iml aim tlitwe who ev.niimc hit
e<mi]NF<i<iuiis, vutrihy of llie hie]i«%i pfaiw.
l-roiii tbG? \ iijli was a inetnlM r of iIm* Bo.
htgiM .V c .itlt mia dt * I ila*{ liid .uid .Net ,11 1 * in (a
tie* I ilarriMXiiei.
\ I Ilk' Ac t a<len«ia * IfKli C n.i n ii ni i>f Bol< ,[• » .1
in lb?.twtrrperf*iriiM<l iIk canlalas * 1 / allom
iriwifanle'. with tniisir by \ nah and Oio.
vanni Paolo, ami' If irionfo (hlU fedc with
imroc by Franccuo Praiitimta aiul an o\er*
lure by Viiali. tin j Ut. ib;^ Niwli w.js
apiXHUirtl vice* 4 i (tfi/xlh lo Duke
Kiancrseo II of MmUna. and ten \cur> lunr
hr was able to (all himself 4 i uiplnlh to
Ute dufcr, a |»iM he was to occupy for oiil\ ;i
sJt<*«l time.
.Among \'itair» jiublished worb the sonatas
naturally arouse mt/sl iiuertst, bolh those-
crmtaincrl in Op, «, dau-d Hrii;, and the more
elalwatr cnni|>o»i lions in Op. (lui primed
in I G60. They show in foi i tlir Ursi lu'»i ta ti ng
fnolst.jx on 1 Ik long roatl that eventually hd
to the pwftt porf<«ciM,n <;f form.* Ctuistoiu
and rapid cliangcs from cjuick to slow mov-
Ik. *ila Lr*!?* *"** l'* ***** *'* * '"-Tiuseih>i
t l*®^.* «***•**. I'-d a u«, .ppei.lM m
d^hedrrrfac au *.KaMe,l au. Ui. m jiKler
VCraoL.^*'*’'*' ***'' ”*
22
VITAL I (G-B.)
VITAL I (T.A.)
ment mark the various sections. For instance
' La Cdinpori a sonata tor two violins,
passes in quick succesMoo from to
greit to tiiorr, and a sonata, * La Guidoni b
marked ^rocr, alltpt, gm*, tHegiP-
htorcoYcr, there is another pwnt oT intense
to he considered: it b quite possible that
these sonatas were the compositions on whicli
Purcell modelled his sonatas " in imitation of
the Italian Masters *' which were published
in 1683, for Nicola Matteis, the violin playrr,
may have introduced his compatriot's music
into England.
An extensive collection of S'iiali's composi*
tioM, printed and in manuscript, is in tlii'
Bililiotcca Estense, Moslona^ the Bologna
Library also possesses a large number of ilw*
fullosving works :
' CorrrniS t iMlIeiii da rsmers a tlue x ksws
C 9 fitinue per tptiieiis u vietone «l 4 G. B. VHsli.
•oMaiwre Oi vi»teee «Ia bcarao m PesrotiM di
Buliiisii.i ft .Scesdeinice (>|^ra ixoiu.
Ill IM«eiis. per Mirm« tiMa.i
Th'O editiwm uerr pubitthert si in tdTA Mkd >A
1(17. sikI another si IMokiu bv Gisesao )i(e«is
In iMs.
* Soflsie » due vietmi csl sue Ihma prr T eresne. di
G. H. \\ miKiro ill I'Mlenr ds Btaaie ... ft s«<s>
demiro filsKhcte, <>prrs terends. In Ibduesj.
per Uisreme Monii,' (1667 » Grsirdullv drdi>
csisJ bv V’iuli lo Vineenrs M^ris Csrtsii, Iron
%»hem h« Ksd received ss tnstiv benelkn. snil uho
hsd silmiueil him 10 ih« Aeesdemis oC Hluch W
war in« fewmkr, {Th« AeesUemis «Li (tlMmonki
ws< insuiursied si Corrsii'i hmiv «n iLilneiis.
iMi.i l.sier ediONU weee puMnhed si ^'tn•(r m
idM. 1(71 smi ibbr.
* Bslteiii. rerrenii alls franene, latlisnle e brsiwls pee
bsllarr. Dslleiii. eserenii e uofenie «ls esmers a
S aairn atromenii Oi G. ft, V.. hmmco di vi alone da
rarrn, eie. Oprrs leras. la IMoens. per
Gisioms h|oiii»,* (06(7.1
Ari cdiiisn of 1671 eitiiikd Viisti *' msesirs do esprils
del SaniiHimA Rsasris dl ft g lsews ft Aertdemico
KlaKhev AoMhrr sdiimn pwUsftrd iMn.
’Italleiii. eomnii, sllemsikde « ssrsbsndc s
violins e vinisrte, 0 rpirreiis esn it secoodo vM<«m
■ beneplsciie. Gel 0 . B. V., aMaieo di vo^stk ds
^•oao, «ic. Owrs susna. In ftsisma. per
(iiacsms hlsnli. <t6aa.| Other edl«*aa« pwV
liohed in ifttl. 1693. >677 snd oftTft.
' Llvre cinauitme du retued dn dsnaev, bailria, aftt
msnda, liratidet |branlrt|. ec«esnt<% ete.. dn
dieerarv suiheur* de ee tempt, a deus pariiei. Ci
•turimeo it dens vioJists sveett. Is Wne esiMinwe
puur ler eipmeiirk ou bsooe viskm. d<i Gio, ftsiiivis
Viiali. Anvers, ehea In Mriiien dr P. Plu)^,*
(iWa.)
* .Ssnsls s due, tre, ausiiro e cinque tiiwnmi* di
G. B. V., muiicu di vislorte ds brsato. nc, O^s
quints. Belofns, M Gisesmo hlonu.* (i^>
Ulhcr ediitSAJ in 1677 snd rMj.
* Sslmi coTMerlAli s due, ire. riuaiire e CHia«e vmi. (an
oiremenii eocaecrsii sU’ A. S, PrsneeKo II. Duet di
Msden^ ete. Ds Q. B, V.. vicr msetcte do espefts
di ^ A.S, ft sccsdeimeu filsMkere, Opers mis.
ftslAffns. CiscsAM hfcmii.’ (0677.) Ten path
hne\\ M well so s MS score bv C. Boh are in oJw
llukan^s Libfsrr
' Vstie Toatiile del psrw s nieno. ciseems caprircr e
psstseslli s }: due vosIum. e vwfone. 4 opioetis.
Opera Kliims. hrodens. iMa. Gaapsm Terri.*
Balleiu. eorrenii e esMieci per cameta s dm vislini
c vioJone del S*. C. B. V., vice aoonOro do eapelU.
eie, ft sec sdemieofilaK here e hlainvMuco. 0 pm
oiisvs. In Venclia. iM}. Simtps del Cmdsna.*
borne sulhon meniioo « Op. 9 : * Socials a due vistini
c bsasopei I* ereans’. published si Anamdsai.
FetkS abo tccoHt <>p, to: ' Inni oseti pec ouiw I* amo.
a voes tola con rltKiue sorMtientl ’ IhMcm. idSo).
V arie ooe>s(s alU rrsncesr ft all* otalisns a mi suse
nsecHi ds G. B. V,, msesiro di cspcUa Jell’ A.S. di
S09. dues di hlodoAS & secsderaico Als&cbcM.
Own uDdecims. In Msdsna, per Gis. Csspsrs
Fmi.* Ii 604 .>
’ Bsfti in wik frsiicew 4 cinque sirwincnti eonterrsii
slls ssers real nase«G d> Maris Besitice d* Csle
Souarda, refills della Graii Brciafos. Da G. B. V.
iteesiop da csppeils, eic. Opeis duodccicna.
In Medsns, pec Asloni^ Vilslisni.’ (idSj.)
* .\i«iAcii muaxsli rte qusli d conlenpono canoni in
diverse msmere, cooirspuali dopii, inventioni
curiooe, cspriiii e tenate ai C. ft. ^ . Opers deei*
msierss. tr> Msdsns. per gli credi Ciuisni
ilsnukSMe epnespsli.’
' Ssnste Js csraecs s Ire, due vislini e vislone di C. B. V,
Upecs decimsqusris. (n XladoAS, iBpa. per
CeirnMiaea Csitobi. iismssioee di inures ducsk.*
The dedKsiisn. dated Dee. 169s, i< wriiieu bt
Tsootmisa Anromu \’i(ali. son sF Ciovansi Bauitia,
whs tisiet that swiuf lo ihc deadi «f hit father he
ksJ undertsbrA ihe publiraitsn of ihio work.
TuehT Ms * Ssnaie s due vraltni del viuli * are ie ihe
Bodlevan Lhrarv. Oafsrd : MS Mua. Sch. d« 937 «
'fus Msootiw, *Acar* arvd *Cefie*« rsmpseed in 1071
snd 1674 (C. Kkei, '1 leatri di ftolsfas’. p. 349).
!• hit estaJsfuc sf ihe sperai in ihe BrutoeU C^te^a*
toire Lawarv. NN'siqucnne givn die followiiif :
’ Olscatnln d* cneotiu orkrlo ds bpn. Arcs*l<ntiri
Unsr v imi al lots B/srv proieiiore Jatn Nieedo il
Mavftn ooell* Aecsdmis di Belle Leiiere e Muiica,
tailo Is t'ra defti 17 Msreo, 167 >. In Bolofnii per
Gis. RecsIduM, l6?a.' Hie ointsnis precediec sit
or Slone, ’ II irtsnls dells feik wso eempoaeu by
C. B. \ alsli.
* L* smbiioenc defteftats Sv'ets la esJuts di Monmouth,
srstorie per muvks. di G. A. (Isnsl, Veniiiano,
poMo in muoks dsJ tip. Cio. Asiims Viisli, V.
numore di esppclts di S.A.S. In Mndens per
eto eredi Soliam nsmpstsre ducsk.* (lOK.)
A MS tesee oT the nuoie it in Ibbl. Eoieiue, Modens.
leiH sits turn that * ]l Cions*, eraiorio for tevin
viwteo. eherua snd inti/uiaenui ths music by G. B. V.,
vsj perfonned in Mndens in 1609. hfSMoreSi MsdeitSi
C. ft
Sff nfi# tkIsMs IG. ?.• cellib. in * Allero irisnfals *).
VITALS, TommMO AntODio (L Bologna,
r. iC>J5; tf. ? MoiU'Aft, ?).
lulian vtoliAbi and compoicr, son of the
procoding. Ho became a member of the court
chapel at Mociena under his father and
eventually its tlirecior under die Dukes Fran*
ccsco II and Kinaldo L He calls himself
their srmfrrr in his works published
1 693-1 70c. He was a member of the Acca*
(krmta de* FilarnMinicI of Bologna from i^oO.
He is said to have had maoiy distinguished
V Idio pu|kb, though Dali’ Abaeo, Senailld and
CiroJamo Nicold Laurenti au* the only ones
known dehniiely by name.
Copies of his three known published volumes
of sonatas arc in the library of the Liceo
Musicate, Bolugtia (Gaspari’s Catalogue,
S ol- IV) ;
' Sotulc s ore. dni viotini e violsneclls csl buM per
r orasiw eonsnrstc sll’ Alicsu Sereoiloims «U
PcanccMO JJ, Dws di Modsus, Rcglioi cic., <la
Tsmssn Anlsnan Viuh. hoIsfAcw tervitare siiuslc
dsfts medema ahetrs. In Modona. ibffft Per
AnMik Rice*, tismpaiorv di muoica ducsie.’
Tb« dcdwsiion * h^i that Uus vss hit hrtl w«rli.
* Ssnati s doi vMiat. col bsfce per I* oriaAs. (vnsrcraic
all* Alicscs teierteima d«I Sif. Preseipc de Pannn
Odosrdn Fsmetc. da 1 . A. V, . . at abw.
’Opera tec ood a. In Modens. 1693. I'rr Chrttiefere
Canebt, wsmpaiorc di muMa ducsie.’
• C w wc ot u di tensic s vkling, \>elonc«]le t cembsle
conteceais all* 1 aiiiiciiiitiiiiii'i e reier. Sic. CardioaJe
OttobemidsT.A. V. . . .’af.vhove, * Opers Quarts,
lit MedMs, 1701, Nrlls ilAmpa di Fvriuniane
RmsIi, wsmpsiere ducsk di luvuli j.*
vitAsf.k
VI IRl'VItS
T. A. VilaJi also a volume of his
father’s sonatas in 1 692. A sonata by him for
two violins and boss was inrlurlrd in ihr
’ Corona di dodici liori armonki icssuta sU
alirnanii tngcfni sonnri a icr strumrnii ’
(Bologna, 17^). His bcst*known work at ihr
piv^iit lime is ihc characirristic ' (ilarrona *
for v iolin solo, with figured bass, whkh has
been mueh played at roncerts by rminrni
violin ivis. f>nv of iho rare aui«>gra|vjK in-
clu(U‘<l in ihc Inicrnaii«Kial Mu^i'al K)vhilM*
tion at Bologna in iBSH iSurci’s Catalogvi'',
p. 174} vvas a letter from ri>minas(» ^*ll•'lll u»
Count Pirro Albecgaii, rif llokjgna. «laii'l
i 7 Mar. t?t 1 . c
VTTASCK (Wittaaaek), Jan Aufuat 6.
HoMn nr. NUimk, Mar. 1770; rf, Pragiw,
7 Dee. 1839).
Bohemian comfHoer, I In true CUristun
names were Jan Xr|>otii\ik Mat«j. as is |>r<n(4|
by the Ijinh-regivu r. He was die vmut a vil*
lage tcaciier who was hinvv If a goul iiiu«kian.
Having n'ciieed elermnurv tuimnir m inic'ik
at Immtm . he UM»k lewnw rnnti h. X. k
and |. A. Kidcluh in IVaitise. AfierudnU hr
s]>ent sTMTiVl )<Ar\ hi the v rvkr <)f Cmnc H.
Xfwlic, and in dli j, aftir KiM di’$ d<rflh, he
was appoiniM conduttor at Pr>8iie (UtlHdr.1l.
He (Ixl ivH aeiepi the ioixlm u>r.hi|i U ihi
Court Chapel in V ienni. ulh*ri'<l to him afii r
.Salieri’s deadv, and reiii.iin''<l in Prague,
where he Isecanw the lirsl dirertm of die
newly fcnmdcd Seh«Nil for Organists in s8jn,
S'iiaseh was a vtry prolific (om|>i>ser and a
faithful follimer <4* NWart. Hisopera ’David*
was rrjieaii'dly ps'rhirnuxl at the Prague
theatre Hllir>-ti> widi reniarkalilr HKces«
He com|>osed a ronsklrrable aimnmt uf insirii*
Tnentul inu'ic, t.g. eoneerun for jiiai>i4t>rtc ^4 .
for violin, Harlnet ^nd Imivmih: mlniwis r«>r
Mriiigs, string {(UMrirh rCu M>iiai.«s $>tr shJmi
ami pinnurortc ^ 4 J. eir., Imt it Mas ehirflv m
the n<id ofrliurdi miuk that he won appreei.v
lion fur tile ph’asant and elTeetivc style rrf his
compcisi lions (’ I’e Ueum * for the cisronatHm
of Ferdinand V, a ke<igiein, «rvi ral niasH's.
many moleu, eic.j. He was alv> mie of the
first eonirihulors loSkf.Mip'sand Chmdensky s
eoUceiion of songs {’ S’frkr xc /p^vn slasteti*
'k>Hi f.
VTTENDALE. 5 rr L'lrxciiAi.
VITO, Glocoada d« ik. Martina I’ranea.
I^ree, 2i June 1907).
lulian violinist. Mh- was a pifMl of Krm\
Priticipc ar the I.ieeu Musiralr of li .aro ainl
also suitlird a I the Rtune (aintervalocy. She
became violin professor at I he (imservalocy
'if Bari as vi-ell as that in Rome. Havinf
^ppeared m all die most imp<>nant ctmcerl*
musical world, she made her
mark in I'.nglanil during the 194ns as a superb
performer of the claaricol violin concetios, anri.
having I isiied London repeatedly, she married
n
aivl scttlol down there in ihuiigh vhe
ronlinues to visit Italy and oih<*r rnuulrles.
As a perkirnwr of the great viulin muni ut
the past Gioeonda <Jr \ il<> is all hiii ininiii|j.kr*
ahic auK4ig licrc ^micinpurariis, ( )ilirrs pmstss
a te«hni<|iie as licitliani .is licrs anti niav even
s4ir|>ass Jht in virluosilv, hui Ix'r way of
li( 4 iiing the h.ilanee Uciw«e)i the nuiwar'l
a|>()e4raiKe <•( a svniie grjeiuusn^ss nnti .t
sihrani inner (lassion ilut is alwast left in iu’r
plaving w'iilHMii evvr hn akkig thnMigh Ixnind*
h-NsJv is. if n<»i uni<)i)i’, a I anv rat«* very
liitTiMili 10 4liH«>v*rr in inlwT liuliiiisis of tu>
riav. I h r lasie apyieari t«> Ik* liuiiu d to niusit
h^olJv lour than Ith.iikowky .iml IlMii.ik,
aiui sIh* is luK <|uiie ,ii hi r i;reai<%i M*t*u tvidi
MH h nKiianiie e4in>|Misefs. h< r Miix'rl.nixt* per*
fonnanrrs Ixing cIh^m* i>f die ttuit^rios «)f
Ikith, rv<den«n and Prahnis. She has not
sii lar i<4*, I apjicap'd with even tiirh ist.th*
lish’l «4rlv .'utli'Cenlun' viorl.s die l.lg^r
aiel SiInIi'IS I io riienliiMi l.iirr
<<Hs hke |Lari<»k's. Hh«h*'. Ilerg's or W aftnn’s.
’J hr < 4 M* n ri ui (’him i:u Mufi whit h she ha<
a(>|ii*.iret| U I'i/'tus and di.it in.iv have
1 hm» In ri*«|i*e%i, 1 k«.hiw* it u.w hi dial I hr
iiMMi distingimliMl hung li.di.in violinist
khuiihl intUMliH * die iimhi <iiiiue|ll living
llali.nn er»m|voer's m>rk. Itui wh.ti she h.w
d<«f' has riM»re dun jtwiirHii Ixr emi.ihle
repuT.itiun. i , n.
VITOLS, J. ^rrWiiMoi
VITRUVIUS (Marcua Vitruvius Polllo)
f . f : V. Rome, A h. 140
Rmnan aiehiteei ami inethanleian. Hr
tkiurklH*d during tive laiter part of the reign
rif Augustus. 4 \i hiv prerise is of some
importance in the histoi v of the hydrauhs, it
must lie $4ate<l chat snnu* wriKTj consider that
lie was Using lat<r, r.c. a.u. 70. J’ix* slew pm
lonvard that Ins date ivaj as late as the 3rd een*
lurv of our rr.i • rannot yxwuldv l»e acecpte<i.
«nee llias r. A.t>. ^3-79. quotes from k'itruvim
tftMm. alllnnigU without aeknowlixlgment.
mtlie 'N'aturalis historia’ XXXV.\ Ii, while
Froftiinus (c. a o. 40-103) mentions him in
iiis * Dc aquis Ksxnae*. N’tiruvlus was .1
supermiendcnt of mditary engineering und< r
Augustus, but, famed as Iw was ixislhumouvly
M an architect, he had link re(>utc in his life*
lime. To musirologtsls be i< interesting by
reason of his 1 xM>k * De arehitcciura \ dedi-
caied to the emperor, h is written in a way
dint is dilTKuk lo understand prccisel) . and
this applies particularly to w*hai he has to say
about music and llie hydraulis. In Book \’,
sect, iv, he treats of die laws of harmonies, in
relation to arrhiteeiure, and in sect, v he
speaks of tuned hronce jars u$e<l in theatres
for the purpose of ampUficalimi. Vet his
argunu nls are not clearly stated. Perhaps he
‘St J. I- ’IRirAfimne^r n%rr Visoivo •!/
.wsa Hfc Oiirj C«(>rnM*^n, i% 4 , ,
VITRY
not sufficiently skilled in muskal thevry.
Indeed he states that the science music
is an obscure and difficult subject* the m^e
$0 for (hose who do not knotv Creek, as the
use of Greek t%‘ords b so necessary, seeing that
there are no corresponding Latin appella*
lions In summarizing (he views of ArbtO’
xenus he goes astray. More important b
Book IX, sect, vui, whkh deals vdth the
hydraulh, though here also hb language b
still too involv^, in spite of hb protesting
that he tried to make things clear, lltc work
was completely lost until the 15th century**
although we know ci it in libraries from the
91!) 10 the isth centuries. The oldest manu'
script actually dales from the 9th- 1 0th
century. It was first printed by Herolt at
Rome in i486, when numerous editions
followed. In German It appeared in i>t^>
French in 1673. in English in 1690 ai^ in
Italian in 1?^. An excellent English tram*
laiioit was made by Gwilt in tS»6. The most
rompletc text Is that of N’alentinc Rose (1867,
and ed. 1O99). 11. o. r.
Ilitu . -* l>e Iiltri iSe««m , . . e<lii,
R<>»« el liermsti .V|uUer.Siru(MA( ' 1W7 :
srui eu.. iSpgl.
Maclsam. CiiABir^. * The 9rtn<t^le oT ihe }h«lrs«k«
Ori.^n * {S.I.M.r*.. Vi. ipes-s.
finNiiiriHi a. * Viiruv und irine Zeu * «l.eiar>e. iwl).
' the ArtKiicciure wf MArtu* V’liruvm FoHte ni
’ren UAob. TramUiei ... by J«*r| 4 i Gwilt *
tUmOen, iSiO, iMo. 1^74).
.Vre tli» ]iv(lrsuli«.
VITRY, Philippe de (Vitri, VUrUcua.
Philippua) (6. Viir>\ Champagne. 31 Oct.
1991 ; d. Mcaux, 9 )unc 1361).
French cutnpoaer. poei, (heorist am) dlplo*
mat. He was secretary to Charles IV and
Philip VI of France. In a letter from Pope
John XXII. dated 90 Jan. 1391, he was
appointed to a canonry at Cambrti. The
following yrat he received from the pope a
living at ^is<ons In addition to the one he
already held at Clermoni*en>Beauvaiw. and in
1333 he became a canon at Verdun Cathe*
dral. By 1393 he was a canon at Clermoni*
ett'Drauvaisis. Soissons. .Saint-Queniln and
Verius.
In 1337 and 1338 de Vilry appeared as
elfritMt and Marivs ttgis in accounts of Philip
VT. 1 1 is connection with the court veas shll
mainiaincd in 1346, when he took part in the
campaign in Gascony In tlw retinue of John,
PliiUp's son. Various diplomatic missions
\verc entrusifxl to him, among them ncgoiia'
lions which led to a meeting between the king
and the pope at Avigrten. Shortly afterwards,
in 1351. he became Dishop of Mcaux, From
then on documents refer to hint aa adminb*
trator and politician.
In his own day de Vliry was praised as
poet, composer and theorist by various
authoTz, among them Petrarch. Eustache
Dcschamps and the anonymous writer of the
' R^les de U seconde rhetorique '. Peicarch,
in a letter, praised him as an inquiring mind
and (he only French poet, but later he re*
proached him for giving up hu freedom and
accepting the burden of the bishopric of
Mcaux. Gassc de La Bigne, an authority on
musical maciers. sa>*s ;
PXilipfw de Vury evit nem,
Qui Bueuls weut DMWU oue aul hom.
*fhc author of the * Rigles de la seconde
rhetorique ' writes : " Aprh vint Philippe dc
Vilry, qui irouva la manl^rc des motd e( des
balades et des iais et des simple rondeaux ".
In modem muskology de Vitry is chiefly
known as the author of the ' Ars nova *, a
treatise probably written about 1320 in Paris.
Among the four treatises printed under hb
name by Coussemaker (rrr Blbl.) only the
* Ars nova ' can be regarded as his work. Its
most important part deals with rhythm. The
old ihychmk m^es are no longer mentioned.
W’hat U actually new in the rhythm of the
* Ars nosa ' b due 10 hb recognition of
Mpet/tttm (^ga-two breves) and itHtpui
im^fnltm (irrm-tw'O semibreves), and the
idea (not the term) of the fna/rr pr^aehv.
1 . tfodua (mkjor)
pcrfcelus t mpar faetus
aisrtfna
a, Hodoa (minor)
perfeetus Impsrfaetus
longa
3 . Teaipiia
pcffeclufl) imparfaelum
brevis
.H^emibret 1?*^
• ♦ ♦ ♦
4 . Prelatio
msjer miner
Minibrevls
It b ini|>ortanl to note that * Ars nova ’ ^^’as
not intended as a comprehensive standard
work ibr students, but was a treatise on current
topics of interest 10 oUier musicians.
Riemann used the term nrs nctro in hb
' Musikgcschichtc ' (rrr BibJ.) to describe ihb
epoch. He believed Italian music to have
Infltsenced rhythm in French music and dc
VITRY
vnTOftt
«5
Vitry's method of repmenting it lo noiaiioo.
llie dbcovery of more musical manuscripts,
especiaUy that of Ivrca in :^i, cleared away
lime ideas. H. Besseler, in his studies of J926
and 1927 {la BibL), comes 10 the conelusion
that de Vilry was belorc all vbe a composer*
pool, as was indeed suj^gesird by hb con*
temporaries. The treat ise * Ars nova ' was,
according to that authority, the work of a
musician who discussed Ins technical proble ms
— those of representing nsodem French
rhythm ui notation — for tlie U‘n<lit of his
fcllow'composers.
De V'iiry, as innuguraior of tlie pcriml
known as ats mta, was respon<tUe for several
innovations. Accortling to lU-wrler he alnvMi
certainly created the isorUs think mucii.* lu
striking r<’aiure was a new relationilitp between
music and reality. Before de Vilry cunveii*
lional enitic verse in French and pliilusopliH
aiirl lyric verso in l^iin were li»r cite imwi
part set to tttusi^, exirpi for tlic motets de*
Krihing the <0(ial artivitiet of mosiriaiw,
De Vilry forsakes this ** aesthetic idand “ aiwl
a<l<lrrsw's iIk^ puNic in order to explain his
attitu<lc towards n ligious, moral and political
<|ontiun>. His motets are not tniended at a
means to enrich either relifsout terv’ket «>r
social life: they nre works of art sviih a ells*
tmriive personal iiicKage.
1 lie rnenet is generally 8cr>rfd for two ringers
and thr e or four itisiruntenialisis. llic iw<>
upper i>aris, t/i^N«i ami maUlm, sung either
by men or by Ixiys and men. or by boys only,
may have bcin played w|w 4 ly or partly 1^'
instrumi’ius as well. ’] hr lower part or prts,
tenor or tenor and cnnntrrteoof, required
iimrutneTitj. This eiHnhinativn was in use
until well after 1 ^00. As groufis of bo)^ and
instruments wer** not earily available at ilie
lime, these m(»t«h <«»ul<l not be properly
prrronni'd except jxrtsibty In Paris and perhaps
at Asjgnon when It brtanie the resident e nf
tlie po|>c, Dillercnt texts weir given to tl»e
two upper parts. In w-osksof topical interest
Latin wurtls were uscti ami the awfriu was
given (he more important part of llie text.
French texts were al«> set to mink in motets.
The mixing of French and Larin in one and the
same work becomes gl>s< 4 cle. khylhmkallv
typical is the contrast betwwn the softly
flowing vocal parts ami i|»e quid chords ol
the tenor and c<Hjnicri<'iior. 'i'hus it hap-
pened that all rbyllimic symbob
longtt, knis, s//itii/eiis and mrauw) were used
ill line work. I'iie minim with the upward
stem (as shown in l!x, 4 above) was introduced
by de Vilry. Great changes abo take place
in harmonv. The cominoo chord m.vkes in
appearance, producing a hitherto unknenvA,
beaudfully rkh sound. Muika fku, the
practice of allowing the peribnner to iraen
' tSrr iMMuiytHH.
accidentals, w’as also used occasionally.
Two poetka] works by de Vilry arc exiaul :
' Le Chapel dn fteurs de [y* ' and ' l.,e l)ii da
Franc O^iier'. His musk is presened in
the Ivrea Manitscript. winch contains three
motels wiiliouc indication of author, cited
hrs Iry* ilworists, and one ascribed to hint in
tlte Strasbourg Manuscript. The Ivrr.v
Manitscripi and ilte * Koman <lc Fauvel '
(uniam another seven, h»r whirh dc VitryT
auihorriup may Ih* awujnrd with less certainly.
A complete etiilwm of de Siiry's works
appeared in in * Cx»rpiis Mensurahilis
MuMi ae * \uy rua» InsiiiMir of Muskologt '.
I . I). iii .
niBl.KK.KM'HV
Ih'.itiit. H, ’ .\'i fwwa auhV mi 'Hip M«i<ik 111
(.* > l«H liW out e«1 I . Ill (:.ii«rl.
iuy* .
* ISh* VIhuI •!<« MwirUiter' uiul <]«r r '
1*1 1 * - i ( .
* <«it Muuti 'k< Miiu ).iti*rN I * \ciie
QwKmi 'kk >1 •umI Ih i<«i,c„.t«ii IS. J iliihuii*
\ TM . V It. I.'iioi' Uk”, ,
11 : 'liK I «.•.<.'< v'.ii K* til t<i» I'ImIii»|»
1 Ml \ itrv ' ikV.. VIII. I'M i/i.' . I '» .•!> .
(.Ol v>i uxxia. I . ur.* Vm|'| run ik immi. in^tn «rM,
Mwa srim *. V<t> I h Mi i’.ii>, A P>><i .
('•A Mil, V . ‘ yiMliH*- 'k N Mil . ri<iKt I'ottr.kptM'i^i**! '
IM ' K•>«W4•HI l.l\. iBii
Kiiw. (... ’.Mmi Ml tlir Mi.Mk .W' ’ New Vuik.
Uiiu .
RiruANS. II., 'lUiiOtiwh <W MM'iV'exliiilur '. Vol.
U, vt' I deipof. I'M'?!.
(;4<< iMt. rv... iMuliyilim iaik, rv. </
•Ur«
VITTADINI, Franco Favia. g Apr.
18O4 1 J. Favia. 39 Nrw. 1048).
Italian conductor and composer. He
siudiesl at die Milan Gun wrvfl lory. After
a period at Varese at rtaidurior he returned
to his native town of Favia, where he became
direetur of the Isiitutu Musicale. His (>|>era
* Aninia allegra' in 3 acts, 10 a lil>reito by
Giuseppe Adami and Luigi Moiia, l>ate<l on
a comedy by Srrafin and .f<ia<{uin Alv.ire*
Qiiintrco, was produred at the Tcafro
Cosun/i in Rome on 1*, .Vpr. 1921, and
another, * Xazan'ih \ lihretio \>y Adami on a
story by Selma Lagi’clof, in one aci, was lirsi
given at Favia on 38 Slav 1323.
Ollier o|>eras by Vittadmi are * 11 mare ili
Tiberiacle * La ^gredg ' and ' Garaceinlu ’.
He also wrote live ballets * Vecchia Milano
* Le dame galanti ' and * Fiordisolc ' ; to
masses and a number of motets ; the oratorios
* [| natale di Gesb ’ and * Le seiie paruk di
Clristo' ; (be symphonic poem ' Armonie rU lla
noite ' ; oi^ati musk, etc. a. l-
VSmwU*. 4ae«oe. AW \Vnli '< tonri, 1 w. irio).
VTTTOIU, Loreto (k, Spoleio, j 6 Jan.
1604 ; rf, Rome, 23 or 37 Ajw. 1670).
Italian male soprano singer and composer.
He studied with Sorio, N'anini and Soriano
m Rome and lived for a time at the court
of Cosimo II dc* Mcdiei at Florence. He
returned (o Rome and entered the Fapal
Chapel in 1622. Among his pupils were
2 &
VITTORIA
VIVALDI
Queen Caroline of Sweden during her rtsU
dcnce in Rome and Pa$quini.
Viitori's works include the opera ‘ GaJalea
to a libretto of his mvn» piWuced at the
Palazzo Barixrini in Rome in the Canuval
of 1 639, when the score was published, ll was
his only opera, but he wrote music for two
plays, * La fiera <li Palestrina * and * Le
zilelle canterine Further he composed the
oratorios ' Santa Irene, la pellcgrlna costante*
and * Sant* Ignazio di Luinla cantatas,
arias, etc. a. l.
VITTORIA, Tomaso. Sn V'ictokia,
I’OMAS Luis oe.
VliiaH. Bartol«m«*. CWk r Ariem«ne*. lib.'.
aearUiti m A#nMM« *. lib,). Vivaldi
it ultrrcO).
VITZTHVMB, Ifnaa (A. Baden nr.
Vienna, so July 1723; / Bruivis. *3 Mar.
1816).
Austrian conductor and composer. He
studied at the School of the '* Scottish "
Oratorians in Vienna and lerN’cd during the
.Seven Years' War as ket tied rummer in a regi*
men I of Prince Charles of Lorraine, to w'hoce
rhapci in Brussels he went. In 1 771 he became
joint manager with l.ouis Compain of the
rii^itrr de la Monnale, which, under him,
experienced a period of splendour and pro*
speritjf ; but he failed in 1777. Mier a short
period of conduciorship at the Ghent theatre,
about 1780, where his daughter, Mme Meet,
appeared as singer, he returned to Brussels and
was appointetl conductor at the Th^Atrc de la
Monnaie in 1786. The French Resolution,
however, deprived him of his post as well as
of his peruion from the Austrian court. AAer
some years of aedvity as conductor and stage
manager at the Amsterdam theatre, he again
re turned to Brussels, w here he d led i n straitened
eircunutances. Among his pufuls he counted
the Flemish composer Verheyen. He com-
posed a number of masses, moieu and other
church rnusie, symphonies and tmifna,
some of which were N*ery successful.
Via. vic«iu« Sslst. Sn OcMta-islM C
La*iTiOrA , oper*).
VIVACE (Ital,, lively, also nW; supcrl-
MMruriAw). A direction used either alone to
indicate a rate of speed between piUgrp and
firtiu, or to qualify some other direction.
AUtgro vivMf will be taken quicker than effrgre
by itself, but not »o quick as diegrp ami.
Q.
VIVALDI, Antonio {k. Venice, c. 1675 ; i.
Vienna, [buried a8) July 1741
' T%^Oatewasnub|B>ieilbylU(MlvCjll»r Ale«ce
veneie , Dm. 19 ^). H« dM in (he hoiue of «h«
Ssil«t nmilv in ih« ptriih of Sl $iGpb«n. n*%t Um
K»( nln«'lor, «Rd was b«n«4 in Ute t c BuiMy of the
Diire«npiUl. T)i« de«ih ecrifAe«i« w ia ib« MCMdt «r
.Suahcn'i C«iA«lr«l (kJeiro0«l*ianaC»rT»int Sc
^«eph4«, Toienbuch. Ve). XXll), M. Os) sad abo «be
detailed accouai of opences vrhsi «as a n-rdpt
tuAeral, u (h« remark " Uein cle«th ” (SMin
mall peal of belh) indkatet.
Iialiaii composer. He was the son of
Giovanni Battista Vivaldi, a violinist in St.
Mark's at Venice. A. Salvatori ba$ deduced
from the records of ecclesiastical oedinatioos
at Venice the approximate date of his birth.^
He reedved the hrsi of the minor orders in
1 693 and was ordained priest in 1 703.1 Minor
orders were not conlcrred before the age of
Afieen, nor the priesthood before that of
twenty-three; to have attained the required
ages at the dates mentioned Vivaldi could not
have been bom later than 1678.
\*ery little is known of his family except for
his father's appointment at St. Mark's. His
mother’s name is not in any of the known
documents, but three brothers, Francesco,
Iseppo and Bonaveniura, are mentioned, the
first txvo in the police records for brawling and
unseemly conduct. His relations seem all to
have been red .headed like himself, for all are
referred to as " rossi " ; e^'cn in the records
of the ducal chapel the father is called Rossi
He was an excellent violinist; the ' Visitor's
Guide' to Venice (1713) mentions "among
the best who play the violin are Gian.Batiisla
Vivaldi and his son, priest
Antonio received his early training from his
father and " he completed his musical studies
'viih Giovanni Legrcnai, Maestro della Capella
Duealc L. Villanis * says of this composer
that
Thh ll^^y^^dfe pt iminimenu u ihoHTi in liii orchriiril
CMUpMitiMii «si mawOcmO ee« *rili« bMi oDiii d«y
4*4 en«Wrd him I* Mfbnn ih* orchnlr* St. h]*rk^, . .
Iiif wniiae » iwtiHff (pt iMWrrr in hindling »rchncr*l
iTutMS. Im tniui(i«n f»r «ncc».
This criticism applies equally to the work of
hit celebrated pu^l and may indicate a certain
similarity of temperament between the two,
Legrensi died in ifipo when Vivaldi was about
fiA^n, so his direct influence cannot have been
of long duration.
From 1704 to 1740 the Conscrvatorio dell'
Otpedale dcMa Pieii afforded Mvaldi a mar-
vellous field for musical experiment, and like
many teachers he may have learned most from
his own pupils. This institution, one of the
four famous Venetian music schools for girls,
played an important part in the musical life
o( iSih-ceniury Verucc: the schools rivalled
one another in concerts which attracted con*
noisseurs from all over Europe. In Vivaldi’s
day, and undoubtedly largely through his
influence, the Fietk reached (he height of ils
farrK. De Brosses gives a lit'cly account of it
in a letter written from Venice in (739:
The OtprUjIi have the besi awck heee. There are
feur pt Ih^. an for iUe^Umtie «r orphaned gitlt or
* * Rerhu mrMkte d«lU CiuS di Vonesu % Aug. <9*9*
* TV Vknna death Mn.fkate calk him a " Mrwier
prim **. and at Vewke he wai eallod " iJ pr«t« rou« ,
an chat h« awat hawo had red hair.
* P. Caffi, 'StofMdrUamMBaatacraneUaaiSCappriU
DucalediS, Marev’.
* ' Eney el opSdin de U hlw^ue' (Paris, t9«i).
XIVALDI
■^7
whoM parenu cinnot mpposi iIk«. Ttme Me bfevfkt
up ai che Slate's expense anJ trained exilvHxelv it
nune. I ndeed they sm? LJk aacrb. p(ay the vi«bn« AMe,
onfaOt oboe« <eUe> bassoon — m short no iasimmeni n
large erwugb lo frighten them. 1 hev ar« th>mr«oJ Ithe
hum. 'fhe perfvrmarKes are entirety iheir o«n 0i~|
each (oiicerl it cmnpoted of abew fwrir cirK. 1 weM
noUiin^; is more eharming 0>afi lo ve a towog and preUk
huti, (lmse<l in Hhiie, a sprig of pomegranate l4ot»Mn
Uliinil orte ear, teatlihg the uteliesira aM beauog iiinr
utth all the prace and pceiitton tmasihaUe.*
The precision of che pertgrtnanen ti at^in
insisted upon m anoihir letter ;
Where J go moat often and en^ mtseK imtst U the
OkpeJaJe ilella Ihrto. tt rankt h/vt /•># rhe pertKOxi
of ill (vnipKoniei W'kiat l■rM•‘l'•Ued rxecuihin' lliai
II tiie oidy pbtcr in lieaf a fii>t atlath liun* thr Miine>
luch as, Quite u>i<lewrvetlK, the l*an> uper.^ n tri>««*>r«l
for,
I'ho l*it t^ rt’>ord» ini’niion N’italili ftir tin*
first timr in 1704 '' for Im services ; in 1 7o<j
li<* is nonhiiatcd to tli«’ pr>st uf vsulin tt'M'IttT
hnd in 1 7 1 6 as Md/iiro A' ftmeftti ; as hr ha<l
usrtl titr liilr alrrarly scs'erid rarJirr on
his prinit'd works, ilu* refold nia> ri’ltr to a
rr*elt'ctiori» for hv w'4s corum nt)) coiiimik aikI
Kuin]{, Thrri’ i» no iiit'nlKxi of him brtwH* n
1 7 id and (7^3, and hit thrrr >rars' service d>
miHtUo Ji capptllv to IViitft* lltiUi* of ling*
Uaniulailt at Manluj, mIiuK he spraks laf in
a Inter to the Marclitg< IWuhvoftliu nia\
have been during this tltiii . In 1 73$ hr K ajtdin
ui the Picti, but another Imak in the ri'cvrcU
incurs from 1734 to 1733, and the foreign
irjNvl hr mrnlions tnay in all Iikrlihorid have
meurred then.
rhe governors of ihv Pin* seem %•* hav»>
fully app^eiutcd ihrir m»tut$ ami sln>w7i a
laiitlalilc lark of inlrrrertrKr in inuskal
matters, iruiscing merely on minor driaiKswU
hs regular atlendanrr and tUal cIk chorus
mistrvsH’s should Ik* |>ri seni at hb lessons to
ensure limt tlu* girh *’ lichavr with the t>r«e*>
sary disriplinr ", So long as they muld lir
sure that the composer tiouhl su|i|dy the
di'slretl concertos and conipusi lions o|
which they never v’rm to has'c had enough,
they were evidently ready to lie roncilialury
ill such matters as leave ciT abseme. A Ur*
lilMTation of the Congrt'gation for 1733 stotes
that Vivaldi b to furnith two concertos a
uionlh, and even during alisriHd from \'i nkc
he was to send them, if he did so. *' carriage
juiid ", which last (>rud<'nl clause b a small
indication of nuRurous and important journeys
he probably made aliout ihb time. Two
motels a month and masses and vespers fur
l-tster ami for the feast of tlic \'isitation wrrr
rc<|uired fruin the nmsit* cm*, a post also
held i>y Vivaldi during Oosparinl's alienee.
Kccords of Viv'aldi's traveb are still very
vague i in hb letter to the Marclsese Benti-
v'rttlio (1737), he writes ; for ostt rourteen
years we have travelled together in many
• Pr^enl dr BroMes. * Leiim *.
» . .‘kief-ui, ' Sn k cure Amw<,».. Vi.«ldi ' • Venhe.
European cities'’. The supfxisitiori that thi*
composer seas abroad at some time during the
yrars 1734-33 has rervited strong supjxiri
from a dorumi'nt found reri fitly by .Sigiv»r
Gallo in ih'* Wm'fi.m archisrt. 'I his is to the*
tHTcct tliJl (iian* Battista V’ivaldi was griintcil
one year’s Iraw ol alisence (roin the ilurnl
chapel " to go to G nnany to ariuiujMn) hb
son " <i 7 J 9 r.
riw ‘ Mercure de Kcanre ‘ for ()rl. 1737
imniHins a ** iiugiiifk«nt imirununul lomn 1
uhith lasted neatly two hoi its, lilt* fnu»ii .
iia luding iIk* ' I’r Ik'um tv.is by the f, 11 nous
\*ivahh \« ivcord ts ViKwxn <*f the cutn-
povrr's ]•r<’g'n(c in l*aii<, inct rr<'h(h coiiiu’i*
iKivs are iiMlicaleit indifi<ll\ lo the wr>rds
<b tw'o ranl.il.is whkh scriti to h.ne ln'eii
written P»r MJim* <<r< iii' hip's of the hnmh
<<Kiri: * |_i (fluria Iliim iK'O * for the wc'tiding
<4 tlie r*>urtevfi*sear*<>ld Jxniis X\' to the
I'lUidi j4fin<<ss Mari'’ l.u/lmka; ilir other,
*f.a w*na f« snggunte*, b n<»( so i asi|v doled
iIm* SioTiK wMii In appU lu’^t In
laein Xt\’.
Mw’ Star I7J*( hiHls Vix.cMI nnre inc»re
intablnlk’d at Viiure and if<«>n|u<ned In hb
|Mist as iMcrrfr with ' no ]i>mp r niiy
iiU a of going aw .is again as he h.nl done in
|>as( yvars ”, fn 1737. Imwcser. an iniuhiU
occurred whiih may In* rrS|K4iwd>le {c»r nil
unex|H'<Ci'd and this linu’ Inial division to
lease Venke. lie was piejxiring to go to
Ferr.sra to prrMiiue aun|H’r.i, when imm* ol the
•‘iClebostk al aniWiiles of that city lorliade
hb coming on die gnamd that he was a |>rie»i
*' who did iwH say Mass ",
Vivaldi’s account of the matler, which
irKidenially refutes a story, rciHaied by peib
and others runsn{>p(^led liy < videnre^, that
the eom|HAer was susja'ndi’O from his fumtinns
as iirk'st liy tlx* tribunal of the Imiuisiiion
U’eause. while erli lirating Mass, he It, id leli
the altar to note down a mnskal ide.t, js givrii
in a letter to the Marchev' Itcntboxlio :
I tux'* AM mm«» 6a 4 ', rears ihi< vlull t ««er
.14 jw. Ml am McwuM of jny nrvhilMtiuM or .ir.Irt,
bul by my ma choke. >«s4u.c •/«/> ilb^ew that I Imu*
rulKfed from tMih hIihI. «ii11 imgUci nie. Afipr i
•McasloMc*! pMM I \jid m«»t f>a « hnle oser a yrxr .oij
t\>an e*v« M ie|x *\ iliw l>mn I lu.l tw k„\f iJic ^Im,
bfAwe iherMioA aciouniof mviJlfie«r, | nrurly ulw^tk
bve for lfu» rrMOA awl nrs rt eu uk l c x< rpl ti. f>
lawlulAvt a carrugr. «» I •«ll <mi a. • auai cJ'll.p
PM wr c e.MnciMn in m« • ke.t, ,So geniUm.i ti ius rs cr
asleU me b> r* Im buucc, no* csen ..ur vdiee.
rerrvane havat elwijt iny MVjknew. 1 can so .ho
u«mUv after efomn M nrcer mi fow, '||„t j, i|,e
rroM I AAM My mmv Ar Your 1,Arslchjp kMuici, |
Mve B»rw u* Rome tliree umei lo gicr operi iJiefe at
CMtoval ume, but ( never iokI mau (liere, I liAcp
*'^**A^ •' **“ slwatre, aixl 11 is kiiovu il.ai
wm Hi» JMMss HanieO so lirar me and iliai | retrlv.^l
•MOT bs‘H»rfc 1 AM tlue« ye*t* oi Mantua in iIk
vrvM lA ibe ouM rnwu I'reice ont..MiiM^i. ..ivl i|»p,e
U J« ores oMh •or. onri U,i Hiulmpcc ura,„\
ihrm With tho creates bimjcwts. but I n«c*er s.tiJ maw
My mrorYs have aKays ccni me a great deal IjetANse I
have al» an lakan foor of (in lo ac»»ii me.
ihiiiC ibM i can ifo ihai U wck •Jute | ,|« at I-mac al
my deck.
\'IVALDf
s8
No record of any official cccleuastkal cen-
sure has been found ; (he go>'emoK of the
Pietk required their religious staiT to be of
“ exemplary habits ", and Vivaldi could
write : ** I liav’e been Maestro della Pieli for
over thirty years with never a scandal
In 1740 many colleagues of the composer
were in Vienna. Zeno and Metasia^o had
been some y^ears at the court of Charles VI
(Vivaldi's Op. q. ' La cetra *. is dedicated to
the emperor), but there is no record of any
musical activities aQer Vivaldi severed his
Venetian ties. A contemporary wriies:
Tlie AbU n«n Animus Vivsldi. c*estlv fee
III! e»inpo*iiinn> and renMnos. in hn «lsv ■•>««<
Ilian 30M (lucau. bui from eiccuivc pcedifslMv daH
poor in ViriinA.
Vivaldi has been considered a composer for
his own instrument, the violin; his original
publications are indeed primarily for that
instrument (vsith the exception of Op. 10, six
concertos for flute), but his unpublished manu-
scripts comprise many instrumental worlis
other than for strings and numerous Imjsortant
vocal works.
The Turin collection of manuscripts attri-
buted to Vivaldi ' includes 39 conceiioa for
bassoon^ 30 for flute, many for oboe, viola d' a-
more and for various combinations of instru-
ments. There is the ‘ Conecrlo funebre'*
" con Hautbois sordini a Salmon (shawm) e
viola all’ Inglcse, tuiti li violini e violeiie sor-
dini, non perb il siolino prineipale The
bulk of this material has not yet b^n appraised
and correlated with that already known, and
until this is done no serious attempt can be
made to assign to Vivaldi his true position
in the musical hierarchy. It is certain, how-
ever, that he is one of the greatest Venetian
composers », perhaps the greatest of all. The
situation is summed up by Marc Pincherle as
follows :
ft will b« ntvwibV lo fA^e in ilv cIsm
w|i(r« h« belonn unhl ih« w^er wikkh
li« worked ore elejtiv bnoun and until wc the
ruati thronOnvy of hi< cnmitOMtinm. Gives Ihe
rvvduiion wKich irantfArmH iKe Myfe of irwinimental
mwii< beiween im »nd 1 ryi. Iw« feter eone«rt« {rf«Be
arreei with Torehi thai iheir dale It 174^50! Mciuppou
for their ayihoc • neubfe lalent «r sdaptabiliiv. but
iinparalkled »«ii«k «1 freniiu If th«r arc la be f^ed st
iKe brcitiMnc af the iSih eentvry, w everythfe* oaw
»eemt 10 indisate.*
Many of the unpublished Vivaldi manu-
scripts now in the Turin Library appear to
have been written for the Picti. Vivaldi’s
whole life as a composer seems here laid ^>en
in cross sections, so completely U his work
represented during all its phases and periods.
Judging from the varying degrees of
^ B<blialv\« KasidAak, Turin. Fob aad CM«d«n«
riAiialMfit. IQ27 and «03r.
' Vai, V((. Catxeni. N*. 77,
Hr iuenbed Unurif '• Mwra VcikW
' KaMTgna mwtkak Nav. t<ws.
(echnical diflsculty, we may suppose that a
number of the violin cooceclos were used
primarily for the purpose of teaching, and if
their graded classiflcaiion were undertaken
tl>c result would doubtless be an extremely
useful “ method " ftM* that instrument. With
the later ones theprtns donna asioiaU enters;
the spirit of some of these v’ioUn works Is that
of the operatic aria, and Vivaldi's own words
describing (he style of v\‘ork preferred by (he
singer " Ia Giro " apply perfectly to Uiem :
MailaiwfvUa Girsud does not like Itnfuid santpns and
wjiKj an cipr^ww apuicd piKv. ao aria wkicli ex*
peeuvt in diverse mnedt, with breken pliraaei.
toe exaaafik, wiih heavinr ufhi, wiib aedsn, with
waave a wqt.*
Concerted vocal singing was not the PictA's
strongest ]>oint: "they excelled for their
symphonies ". They had some fine singers,
howvver. Quants mentions their Apol Ionia
as "eine starke Singerinn"; we find her
name against one of the solos of a ' Magniflcat
eon isiromenti ’ in the Turin collection.
One of the most interesting vocal works
there is perhaps the oratorio * Juditha to a
Latin text. It has an intensely dramatic
^sening ehorus. As In the ' Concerto funebre
orchestra) c^ur Is here obtained by the in-
clusion of a " concerto dl viole alP inglese;
2 trorbe, mandolin solo, a salmod ", as well as
4 iromk*, 3 MoulMf, a tUrtn and the usual
strings.
Vivaldi's vocal music has been entirely
forgotten; the only example in print is Ihc
aria * Un certo non so ehe * *, which, incident-
ally might be put as 4 companion piece to
* Voi ehe sapeie ', and indeed Vivaldi oflen
shows a “ Mozartian " tendency. The re-
discovery of 19 operas now at Turin was there-
fore an important musical event.
Tariini U recorded to htv*e said that Vivaldi
was alwa)o hissed when he attempted Aocal
works, though he always succeeded admirably
with hit instrumental compositions. This must
not be taken too seriously ; thi rty-nine different
operas of Vivaldi's were produced between
C713 and 1739, which would imply a certain
measure of success. He Inst popularity to-
wards the end. De Brosses lays the blame on
the Venetians :
t fiM u mr xreai iM«nahin»ai iliai he i* noi u mutii
«vi««akeU as lir in Ihh counirv. wh«r« everyihiox
•feOendt 9Q feshfen. iIkv have h<ard his cempASi-
li«w for too loof • lime and where Iasi I'ear’s mus«
does ito* pay any more. The famous $aaone (Handel,
ih« Saxoo) B the boo nowadays.
Vivaldi himself acted as impresario: he not
^ly wrote the music for the operas he pro*
dueed for his patrons, but engaged the dancers,
the singers (among them his oun pupils, not-
ably Anna Giro), advanced salaries and kept
a calculating eye on the box office. T. ^Vai
* GoMooiy hfenran.
* I'ariaMli eoOeeUoo oT * Arir anikhe *.
\'IVAM)J
••0
pvTS a lUt ofhii operas u hirh urrr {inxtuccd
not only at Venice, but in Rome, Florrnce,
Verona, Mantua, Ancona, Vicenza. TbefC
worb arc unequal, some them wry hast! I v
put together ; the score of ‘ Tito Manlio ’ is
marked “ written In 5 da>'3
VivakJi cannot be said 10 hav’e mouldt'd I be
operatic form and made It peculiarly his own
as he did that of the concerto, and it must he
adinituxl that he was often a somewhat dis-
ordered and ovxT-abundant writer who needed
" editing" In the modern sense. His Uturs
show that his operatic coinfHisition must often
has’o been ham{>errd by his patrons' wishes
arxl that he made concessions against his
judgment : '* comjKKing the recital is es I inatir
bold to shorten them, but Lanxetti, by ordir
t»f the impresario, siO|>pcd me".
Hu does not alw'a^s rrarh a standartl in his
librettos comparaMe to that of Zeno arNl
MeiaMasio. The latier's ‘ ( >liinpia<k *, whit It
tvas H I to music !»>' so many cr»ni|>users r4 the
period, was also eoniptHed li> N’lvaldi, ami his
version t\as produced at Woke in 173^. two
>e8rs Ixfore the d<aih of IVcgc/hit, whose osstt
' (^limpiatlr given in Rome, was ihs* sourts*
of such bitter dUappMntmeni to the V'oung
composer.
l*wc> operas, * flaja/<’i 'ami * Ro»i»iir4 ',
Contain arias by varimts eornpf»sers. 'Hv*
latter, dated has an aria hv HamkI,
" Oil risvegliar a ssUgnu ", one hy lVrgg|e»i,
" Amoic mi riisse un di ", ami others.
Armmg the conci’rlrn m 'J'urin one b In-
«cribe<l for " Mons. I'isendel", The violinist
fieorg Johann P^un'lcl, who liter liecame solo
violinist In the orchestra of (he Saxon court
at iJmden, tiitdkd with \ivaMi at Venkr
in I? 16, JVissihly anoiher *Jurin riumnersirt
lor " r Orchestra di Drcssla" was pla)Tvl l»y
If not written for him. Yet another cooccrio
(at JJrtsslrn), " fatlo per iJ Sig. l*uer>del '*».
has an annotation in the eompc4er's hand
coneernlng the Isau, which Dr. I^amKhtrfT
notes in his prtfncr to that work ;
Ulie Mott of liii luKin eouurnfmaric* \ fcM ii
10 Ihc trn.htit, pfa^rr u, mv
OrlMMie heurril An racepiMMi « made In tbr iuw>
piopt Ml (^.rt ef ihK nxHrntrnl. HhrreItT a
-.jmiMa, (Mk tim«. u . , aWe ikelxx< ivmi.
okf, nU>rr M theeawtanc^ Ola muimh
inr iriim^l nf a spvrnlh be o/wk «n4 i>b\nl
* iih ihe eJinrUs on Mie Onl < rort IiM* oi ihe kas\ be
T • *> ■ "* ''f •'»* « eeu liH,
Ur h Ooeliuui n |«ree
unsure* under IJ * 4 e »*~>e»ihw, pui
^ '*'*^.*- *«"*< *»< »*** hi. epelMMi u»
riwmie) With Ih« ih|,.n<iiQfi tlut |»e ii>ur«.ciRM<« sUubI
ftot b« t-ik'A at lieirvf aiblrened to Kmi, ihc .onoemew,
G, B. Somls and RankI Theofdill Treu
wep< alio pu}Mls of Vivaldi ; the violinist Joltn
f‘kgg performed a concerto of his In l^ondon
m 17S3.
• olJJ **?'" vciKriarvi «PI| 17 m' iVVi
t Jm fthJJu ^ A.*
* baxoo Libratv. Urewlen, Mm.
B\rir* AanASt.FWfNrs.-- Atcordln'’ 10 the
rnmF^cie edition ofj. S. Bach hv the H.irh*
gesellschafi the foHowing wt^rk^ \ ivaldi
w-err tianseribed l)y that niasirr :
i6(j*n<erue C>i ,Lik.er. N ••!. XI N.
I C'^wetm ior 4 siiii<»^ \ ,J, XI |||. 1.
I ('umeei.H te nreaii. Vol. X\\\ 1 1), j.
.^ccordllnJ to AritolJ bthering, Ijowever, only
9 of ihrac rl cocuciios li.xvc bt*« 11 itlecilijn ii .is
liriiig Itased im osigtiMb Nnaldt; of tlu
otlH'rs It are ncrw knou'Ji i<> havi* loine front
odter cnotposcrs, w hde tl>e remain Ing h tame d
lir Jehnilely asdgnej to any (OTnt>osrr, M.n<
Pinclxrir > givrv the JmIIouIiic uble showing
the M.ige teat in d i*y im«stiv.ili<>ji kUm the
trial IK nt
K |o> |< »K < I. tv il H
ItaM. r \iv«ldi.f>t^ S Xm. u.'
i. <* IM.: \isdldi. ok ?, Kii. It No, j,
S. Ubl: \b->Mi(Uru Mjr«)|.i ,
4 . (* Me. ! N i\o|<li, Op. 4 ,Su, o.
5. O no ! \ MrfU., (Ip. 1 N«i, It 11 , 1. nij. I.
u Cma > |i,.|..f«
T- t Me ' \ .,ehl4. Op. i .\a, s «>nc. m t, ni.i .
a. Bhm. . U-emid*. « oenjBK'e.
«|. <« IM. : V i.oUi. 4 1)1. 4 N.i, I Af,e II, It. in;i. .
l<s ( nil.. leJuli .<eM|«'.ri l•>telll,
II. H* nw.T I'juk^ J.itiMMi I ruki i4 >JvAVriiner,
• 4 . t* JM. : ? CienudM .o(no.n.r.
If. ( . Md : I'eiiMe Ji I.MMi Leun.
• t* me. : Irkmjiai,
rs, (.ma. ! («erin4n «.>«Mp>Hei ‘ l«kmeoM ,
•b. |i MM ; |*rMne h4i«uA I th.i.
<,S)\( I.KtO Km 4 (.l.NMl K*i ANJ> slKI\t.>
.N mi. : V naldi. Op. j N«. lo >.ru, hi H n»i .
(X>,SCU(tOs ]«m OKtiVS
I. (*M. : ikrtnan (.dm|».rr < ; ldnrumn».
a. \ Ml. . V isohli. < >p s Nu, a,*
All efck. < J.. ? . m. N Nn. i 0 j .
: Prune |«ikaiMi I rnw.
• No. I ) W ( ld\ m Mel ,S'u, 4 Sue or*en *t e idem >rol ,
n. M., rev.
him iiMmtKiv
.\e»«so, Mh ui t *sc 4 1 •>. * Autre, i„ \|i.,ur |,|,iii.
AltiiSM.. tv., • Kalei-^ fedruckieii V\e/kr .Nmmhma
tesahln • (.S... IV. i^ee .
• IhrMa^her Kiulo* .u* ferlriM kieii Weile
Ahiww \e\*Het aebu dcr .Sruoh.e.ilmi
Ji" .Vpr. nje 4 , |i|s
•AoMrm. ViteWi. wow « ifocmneMi miIU mu e tylle
. •uWisfced by iW ,Vki 1 ,i,,i 4 Clue mm,, iJ
9ie»* 'Ksene.
Am.mmVi.,.|.li, d JVtw U.kv>; K
unnelia, 1« motie '* .t*, ins/ seirflo *, StriN ,• Ik.
t e •.Mse, C .i n. 1. ’ V u • I Urn,^. i ..
lacias., V. A , • .traunw VWaldi i mmc r <|.Ki>tn<M(i
^ smIIj ,|M c Mile Afsep ' t., to .
I ft « neKetM di V It oMe oithImhk, a M , .n, , ' r- t .
u w< 4 « tmerMfo *. .Wn». ,911..
’V iVelA* [*lklktMuMilJOtr«k<v.nM.i<ele *, Mil.,,,
J»n. i«l,.
* \ i1
I i«»ldi : eoTK^ t M.av ' • Milan. lo.Oi.
h^HUtr. Mat,. 'Abmmm Vital.*, n I., i„y»io„.
Aimmio
• • AntMMio VitaMi « U iuumm' Irwtrum^iiule f.
"''e»iie-m>n sud cotkal di>.
s “V» Nn, 7 Lt meuK.
* ts aMcrwe un Nu.
VIVALDI: Worb
30
KiMAi OK NSabkIi ' AtilofiM \*tvoldi ' IM$1«
* C'Aialoc^ ftunarico mmmo cotnpoHiiooi di
A. VivaUii ’ (Reme. (94S)«
KOim^akh, J„ * AnMio > iv«Wi wad trie Eiidltm ouf
J. S. BMh * (N.Z.M.. t. • 4 i» N«>. r867).
SAkVAroRi, A., * AnWnw Vi^oUt. d pmc raw: bom
blocroAchc * <Vf«k«, »^6).
SrePAMK FsoEBioo^ letMre di Antooto VaviMi
venKiano * (\’<nke. lirt).
ToataniAMCA. * Aoionio Vivaldi * <Encic. lU,
XXJCV).
‘ ModerBiti di Anionk) VivaMt ’ <* Nuosa anMlogift S
I Ab(. 1949).
Vivalm, AFfWH>. * latere e dMikhe «J. I>y 0]|a
Rwifc {Smba, c^9).
H’almucv, Pauv, Cmwt, *A]»ionk> Vivaldk Violin*
lMi«ne BftMr bnonderrr fewifkiiehtiguag d«r
VM J. lUch bearbrilcteo * (V.M.W., J, l6d5}«
CATALOGUE OF WORKS
OPERAS
r
TuU
tdum
RradKAM
’ Oilono in Vilio/
' Orlando finio puio.'
* K<rone faiio Ccitre ' (iMsueeio. »ith
19 ajn I))! V,),
* L’ inroroMAMne di Dario/
* l.a rowaitta irionranw «l«cr onaor* t
<!((/ wli ' (lam * Ariobono, tt dt’
Paru
' ArtiMa retina di Ponto,*
* Tieirberf a*’
(* II vinio irion/anie del vineiiote'i
liilc eellaboraike in a poMkcio).
* Armiila ol eampe d' Etkto.'
* Seanderbeit/
‘ La CandMe, edano LI veei anbct/
* La verlift in eimentn/
' nu intanni per «endeita/
* Kilif^ re di Macedonia' (Aiih
ftonivenu).
' Silvia/
* Creole wl Termedonte/
' GiutUno.*
* La vl/i4 irionl^nw dell* amere e dd*
I «dla> aw«r« II Tmane ’ {wkh R.
Miebeli 4 N. RamaMil,
* L* intanno irionfaoM w amore/
* Cunetonila/
* La lirannia tatiisara/ '
* La Tede iradita e vendicau/
‘ Farnare/
' Dorilla in Tempe/
* IpermeiUa/
* Siroe. re di Frnia/
* Orlando/
‘ Rodlena oil OronU/
' L* Atenaide/
* l/odio vinio dalla eoilanta’ (a n«w
venion of * La coiiania irienTantc ’ of
•7«e>.
‘ Seniriffiide/
' La Ada ninfa.*
' Moieeuma/
Domenico Lalli.
Craiio BvaeeieU.
NfalMo Noeii.
AdriaiM Hortelli.
An wi p Marcbi.
Ulli.
An t anaa Maria Lucetdai.
Marchi.
Ciovanni PalauL
AnWfdo SaKi.
Fvan<e*ea SUvana 4 Lalli.
falassi.
t
UHL
CnrKO Rhaari.
Giaeomo Peafwewo
•ani.
i^kcola Rerefani.
Silvaeii.
Nona. loBrked op bfr C. Af.
aas".
P i or ei K.
>
Aeee
Silvani.
Lveetuei.
LveeUtti.
Sain.
Pkiro Melaalaaio.
Rracnoli.
Palaafi.
ApowoloZeno.
Marehi. retouelted bv Rar*
Miomco Virion, and wiih
addiiMsal aude br Ab-
•wdoCaWm,
? ?
Scipaeoe MaffeL
Giroliao Ciuati.
VkeBM, Teairo delle Graiie, t? Mar.
ifiS*
^*cfltec» Teairo Sani* Anielo, auiiuan
17*4*
Vroiee, Teabo Sam* Angelo, Carnival
171^*
Venke. Teaue Sam* Angelo, Carnival
17*4
Vrmee. Teairo San Moik, Carnival
I7i4
Venire, Teairo Sam’ Angelo, autumn
I7i4
N'enice. Teairo San Moik, autumn
I7r7.
Venke, Teairo Sam' Angelo, autumn
1717.
Veoke, Teairo San Meik, Garoival
i7ii,
Flortore, Teairo della Pergola, «a
JniM 171 S,'
Mannie, Teatro Artidvealei Carnival
1700,
N’oBke, Teairo Sam* Angelo, autumn
1770,
Vkenaa, Teairo delle Oratle, 17 * 0 .
Ve«k«, Teairo Saoi* Angelo, Carnival
Sl^an. Teairo Refik Dural, a6 Aug, I
I7at.
Rome, Teairo Capranlea. Jan. I7SS. ,
Rome, Teairo Capraniee, Carnival !
i7ta.
Root*, Teairo Capraniet, Carnival ;
1794*
N’eoke, Teairo Sam* Angelo, eutumn >
Veoke, Teairo Sant* Angelo, Camkal
I7a4
Prague, Carnival 1796.
Venice, Teatro Sant’ Angelo, Carnival '
I7t4,
Vcoiee, Teatro Sam* Angelo, Carnival '
i7aS.
Venice, Teaun Sam* Angelo, autumn
I ?•(,
Floeaec, Teairo della Pergola, Car* 1
nival 1797,
Reggio. Teatro Pubbliro, May I797«
Vokc, TmVo Sam’ Angeto, amumn ^
1797-
Venke. Teatro Saoi* Angelo, 17 Jen.
lyaA
Racoice. Teatro della PergrJa, 99 Dee.
I704
Venkc, Teairo Sam* Angelo, Careival •
I7>J.
91.
Ntanlua, Teairo Arolducale, Jan. (759*
Verona. Teatro Filarmoaico, 6 Jan.
1 779.*
Venice. Team Sam’ Angelo, autums
•73>.
.......... . * For the eeneaiDg of lUt (healre.
A:r> by Vlvaldr, peAapa seleeted froa ae earlier opera, vritb roeicativeo by C- A. Guerra,
* Fee Che opniag of that theatre.
VIVALDI: Wvfks
3'
77tf«
£4rme
/Voda./m
* L* Olimpiatle.*
MetaeUMO.
Voaike. Trairo Sam' Arwrfo, Cermvel
* Gturldi.* '
Zeno.
Vnure. Teabo San bamiirlr, iptim;
'TamefUoo.' 1
Pime»e.
I7J5'
NerucM, TraVo (ilarmunito, 1 J 34 ,
A'erona, leavu PilaniKOiKo, <:atmv«l
* AdeleuJe.*
balvi.
* Ariurlo.* '
'‘CaliDdo Crofo**
• 73 1*
voMe. Iraico San bamurlr, autumn
* Uioeira priiicipeua Sroaia.'
1 Ooftlewi.
SJla.
'33V
riomre, Tealru dcUe JVrtiolj, Jan.
' 73 ft
\*rv«na, Teauo (JatmuhHv, .Ma>
' Cetoiic in Uibe.'
1 ftlnamwo.
‘Hel EeUMgenye «an den AmuLLiih*
Mhro Sehouwhwe.* *
1 J«n ik hUrre.
1737 .
.Annkidam, StbounLurB. 7 Jmi. 171 ft
• Kotmir«,' »
1
Sd%H> S(amp<clw.
, N mitr, ToattoSanr’ AncHo, (.arnit.it
* L^oracedo io .MeMeni^.'
Zeno.*
1 (? jft
' VmKO, Treuo V.ia* Ai*du, Car/iital
‘ heraifio.'
btkeni. «wli elirralMUi b*
; m*.
\mKr, IratroSeni* .Uitfrlc, juiunm
Vitmei.
i '?J9.
MABiMtriM Kw«ei ihc Mwai * rniifitftf ' M*. b>
Z*no) AbJ ‘T4t« M4 a1io' ilib. bv Nmi«i «(e *i Tu«ta,
bwi no pcrfor/nAikcn vt •b ftcunl ; * Uvnmno ’ mmI
* Al«Moodro ntlV (mIw ' ve awnuoimJ \n
\ ivAWk ta • U(i<r 10 the Mmb««e
ORATORIOS
fharaoM* (Venkc,
0»pe4*k dcU*
* Mo^ Dcui
PwU. 1914k,
Wwdiiho irium|»hane dovkia HoWmw bMl^efir'
ICio^o Cawciti) (Veniee. OipeOok OHU him.
CHURCH MU&IC
Krtif iwr A V.
cU»jo tml Ctt^ iir 4 V, It Item.
Lwdo JenMiem * lor a <h*rv
* Ctodili * Car I V,
* ^Uu vir * for a «holr» ft imu.
Uwloie purrk * for a chair* ft mu.
iMUtsa MUM ' for 4 V. ft uwu.
Uudaie DoMioyM^ <»r 4 «> ft usU.
Nni L>e<n»nHi * for olio. oreh. ft oriM.
SuImc Maur * U alto ft
r Salvo MofiAo ’.
14 Voipon.
t Moioei for I r. ft iiuu.
SKCUUR CAM’ATAS
' II igUft ^u«wu r Efklio NoManurri**
OiovoniM (.omUmmi. fur 4 0. ft mu.. perT. prob.
( Jvne 1 93), 0»p«Wo «Hb Pim. V«Mcr ^
•4 ibiac. caniaua.
* Serrnodo) * for 3 0. ft iruu.
^.^•u * 4 ;;«• * fcr tho huiftiUr «t the J,«*»|*ro»e
rf Hnao DrrmMailr. prrf. Mamuo. 31 J«|» i«C
UihrocioinlMoanaLkeoJ. »»r 'Tw
ARIAS
43 fliiM. orifu [inci, loiiM liom the Oftorest.
SYMMIOMRS
Syinphonk* rtUl in N(S>.
CONCERTI OROSSr
efi CWirfi lium.
! *fo« '*PMUM uMiIkm bv ochn cowum
• wb. ,n D.
M>U> UJNCLKIOS
41 ) ikMoriM incL (be ^Obrnina pmUuM M»rli :
3. • V rM»© armonfto |«|.w IJl.
CoMl i4 J UM auv.
I. I) om. hire tna.
i. (* rn*. loo t VM4. ft <eUo.
}. O me. for 1 vii.
4> K iiH. for 4 viu.
i A me. ftu t viK.
A mi. for 1 vr»,
7. F me. for 4 vni. ft ceHo.
* A am. for 3 (Ott,
H ma. for • «».
B mi. for 4 ('111. ft irfto.
I> IM. for a VM. 4 cHlo.
Cmu. for I (n.
'. M. (o Vruor LHIliin*, Ut
t
iti
It
It
' La Mrevoc
( m.
t.bfma
a. t Bi.
> 0 * 4 .
4
7. <: me.
i. n
. ' mi.
9. K ma.
C ini.
II. Oma.
li. 0 Be.
2 :
Otna.
J'. mi.
1) mi.
A MU.
.Am.
b. C mi. ij
4. * VI ConerrU *. for 1 vn.
I. C mi. i
t. R» JMe,
». Cati.
7. *CMcrrti.’
Ifookl
I. B> me, lor ebor,
*• O gm. for 1 oh,
3, O mi. for I vn.
4- A BI. Ter I VB.
i . f ow. for I vu.
• B> ma. for 1 vn,
Book II
I* OM. for oboe.
». C me. lor I vn.
9. ft? ou. for I VD.
4. r ma. far 1 vn.
i Dma. for 1 va.
. l> MM. fari vu.
*»«. lonmeila*. Cuuii Mercin, for i vi,
Book i
• La pninaveta \ E me.
»- ^ Lum \ a mi.
). Auruaoo *, P me.
4 * L’ *, p Bi
fi<pob H
7. D Bi,
ft O mi.
9 < U aL loiio for oboe].
ift ' U caeei* \ a* me.
32
VIVALDI : Works
VIVIER
1 1. D in&.
<2. C ma. (abo Tor «boe}.
* La ceira S Jed. cn Emptrer Cbarln VI.
Beofcl
I . C ma. fx I vn.
a. A ma. tor t vo.
3. C mi. for 1 vn. (Op. 1 1 No. 6 is ibe
une work for ebM).
4. E ma. Tor 1 vn.
A. A mi. Tar 1 vn,
G. A ma. for 1
Book 11
1. E} ma. lor 1 vn.
9 . D cm. for I VO.
0. B9 ma. tor a nm.
»o. U tor I vn.
M. C mi. for r vn.
17 . U ma. for i vn.
io. * VI CofKcrli Cor I Eutr.
1. * 1 ^ tempraia di mate F ma.
a. * 1 ^ nolte '. G mi.
J. ' II lardrilino \ D ma.
4. C ma.
j. F ma.
& G ata.
M. * Sri Coneerci.*
i. D iM. for I vn.
«. ' II favorilo S £ ml. for i vn.
3. A ma. tor \ vn.
4. 0 tna. for t vn.
i , C mi. for I VB.
• C mi. for oboe (Op. 9 No. j b ib* umr
work for vn,}.
le. * Sei Conearti *, far 1 vn.
I. G mi. 4. C ma.
«. D mi. a. Bb ma.
3. I) ma. 0. Ba m^
*Ib«M and ihr unpublished cancmet inehidr 791 for
t vn.. 9 ) for 9 VM.. a Cor I vn. ft ortan. t for 3 vnc 4
t ofiatH. I for 3 vm.. 3 for 4 wia., 1 nr 1 vs. 4 i erllo.
7 for 3 vni. & I <rlIo, 1 for 1 vn. 4 r ceHoc, t tar a vm.
4 a cellos. 7 Cor 4 vn*. 4 1 cell*, eo tor * cello, 1 for
a erllm, 16 for flute, t (or 4 flutes 9 tor p ke ek s 1 1 for
oboe, 3 for a ebon. 3B Cor bavnon, e for viela d*am«rr.
I Cor mandolin. 9 Cor 3 mandelini. 30 for vanom Hrinf
and wind eombinasiont.
CMA^^ 1 ER CONCERTOS
0 Chamber Coneetloe in 3*3 parts (al in kl$}.
(Tlir 30 eoneefUe last shown in Use eaumeratton
above, all for " broken ronsorti " of varioua hseds,
mar alfo be retarded at ebambee coneeraos.)
SONATAS
7$ Sonatas (49 pcioled and 31 m MS), mehsdsnf :
Op.
ramera a ire* lor 9 vm.
' Suenate da
coBiinwo.
I. C mi.
t. E eni.
3. C ma.
4. E na.
a. F ma.
D ma.
1 :
Gmi.
Omi.
t. A ssa.
to. Bo mo.
II. B mi.
19. * Follia O mi.
* Ssmaie ’, dad. to Frederick tV oTUenmaiA and
Norway, tor I «P. 4 coniinua.
I. G mi. 7. Cni.
0. A ma. & C sio.
3. D mv p. E mi.
4. Fma. so. F mi.
~ * It. O ma.
17 . Ami.
overopamseeendadel eprra
Fma.
S B mi.
C ma.
<V1 Sonaie
scrooda.’ *
t 3 .
< 4 .
F ma. for t vn. 4 coniimm.
A ma. for 1 4 cent.
O mi. for t vn. 4 com.
B mi. foe I vn, 4 coot.
Bb ma. fw a vm. 4 coot.
C mi. for 9 w. 4 coot.
13.
' (I pastor ftdo. tonais pour U mmetlc (virik],
flOte. hautbeU, vk 4 on, avee la hint ceoikwe.*
^ Hence their beinp numbered
Op. «.
utively with
s. C ma. 4. A mi.
a. C ma. %. C ma.
s. C ma, o, O mi
14 (?). * VI Sonata vMonceUe ado cd baaw.*
(. B» ma. 4. B> ma.
a. F ma. 3. E mi.
3. A mi, 6. C mi
SfT Ww Amaterdam (vdii). ArraofemoDt (Bach),
8 a«h (J. S., 33, pernei, amngemeau, list, MSnn),
Bach (W. F., S 3 ). Booiveod (^llab. is 'Filippe').
FeKb (tsse of mumc by).
VTVESy Amadeo {b. Gollbat6 nr. BaicC'
looa, 16 Nov. 1871 1 d. Madrid, i Dec,
Spanish composer. He became known by
his light c^ras and was a teacher of composi-
tion at (he Cmservaloiy of Madrid. Besides
hii comic operas (which are good), he at*
tempted more serious work in 'Maruxa*, and
in a set songs (‘ Canciones epigram 4 iicas *}
to words from some of the greaiesl Spanish
poela. ‘ Maruxa ' was produced at the Teatro
Real in Madrid on a6 May 19(4. His lyric
comedy ' Doha FrancJsqutca ’ (prod, at the
Madrid Tealro Apolo on 17 Ocl, 1993; alio
gis’en in French at Monte Carlo, Brussels and
Vichy in (934) was inspired by Lope de Vega’s
play, ' La discreu enamorada ’. Other sue-
cesaful pieces were ' Don Lucas del Cigarral ’
(Madrid, 1B99). * Euda d’Uriach ' (in Cata-
lan, Barcelona, 1900) and ’ Balada de Car-
naval * (Madrid, (919). A bock of e«a^,
* SoAa ' (Madrid, (943), shows his capaehy
lor clear thinking. j. a. T., adds.
VTVlANtf Ciovaaai Bonaventura (i.
Florence, d. ?).
Italian i7tlKentury composer. In 1688
and 1690 he calb himself mars/rp di cappfile of
Pistoia Cathedral and T^ebiU del tom fiorntno
imper*. He had previously been in the
etoperor's service at the Tuscan court of
Pkirenec. F^, who diffen from the above,
says that be liv^ for some time at Innsbruck
alMut i6do. He wrote an oratorio (1690),
psalms, motets, sW/rggt and several operas,
and made some alterations in Cavalli’s
' Seipaonc Afrkano ' for its revival in 1678.
a, V. d. a,
VIVIER, Engine (I'doa) (&• Brtoude,
Hauic-Lmrr, 4 Dec. 1817; d. Nice, 34 Feb.
1900).
French horn player. The son of a tax
collector, he early showed a marked disposition
for music and began to learn the violin at
the age of six, soon attracting the notice of
Onskm, who was a friend of the family. AAer
a rather turbulent period at school at Gler*
mont-Perrand he returned home and entered
(he tax*cdlecting service. He subsequently
studied law for three years at Poitiers, after
which he was given a government appoint*
meot at Lyons. There he was admitted as a
violinist (unpaid) into the orchestra of the
Grand Tb^dtre and also tried his hand at
jouroalism, but his caustic style made bim
many wmies. He then visited Coniea,
where his grandfather, as an army surgeon,
\'IVO
VOCAL COXCLRl'S
33
had bc<m pment at the ^nh oT Napoteon
Bonaparte, and Italy, where he visited the ex-
king of Napin, Joseph Bonapartir, titcn thing
ai Florence. Soon after his return to Lvoru
the pianist Thalbe^ and the harpist LaUarre
heard Vivier play the bom and encouraged
him to go to Paris, which be did in 1843.
There be is said to have had a few losoiu with
Gallay, but as 1 horn plaver he was otherwise
self-taught.
Vivier liavlng made the ac(|uainlan(v <if
Ferdinand Lan^e, president of the Soesete dr>
Auteurs Urainatlqucv, a nvusicul evening was
arranged for him, and he succeeded in rotu*
plevciy mystifying, by hli prodiKiioo oTclvordv
on the horn, a nuitilirr lA leailing P^m com-
posers and professors of music. MucJi m)>ierv
was made of tliis. duly eivcourjged by ihr
facetious personality of Vivier, Inst there
never was, of rour»e, any nal secret, 'ilir
trick of producing ch^dv had been known lo
an<l frowned on by serious horn id.iyvn U>r
well over a century.*
Vivier, vsho had a gift for infratijling him-
lelf with the highly pl.vred, soon beeaovc a
favourite of Louis- Philippe and later of
.Napoleon III. lie travelled widely in l.uco|>e,
playing tlu* horn and the most extravagant
practirul jokes wherever he went. In lUn
he viiited J.nglaml, where his playing
received with very lukewarm critical nulks's
arid hit chorcl priKluriion wav rcunpared un-
favourably with that of Henry Jarreit.
Vivier^s 8ubse(|uent visits in 1B49 and
were more surresifol.
With ilir fall 14 * Na|>oleon III \ Ivler lost h«
ollinal protection and divaf^ared from llie
puljllc view. Hr passed n solitary* okl agi*
Ji Nice, where he died. \ irwi>d tn the light
of tonlnnixjr.iry cniicivm his career seems
10 oiler an exi t lU iJi uxamrde of srcond-raie
goods handled I)y hr.'t-rate salesmanship.
Vivier publuhcd several writings, inthidiikg
a pamphlet eiimled • U‘n Peu de ce qui se
dii tout ks jours* (Mottrsi*), a eolJrction of
f early. made pliraws >0 difficult to avoid which
ars' the hane ofeverydav ronverxatson, another
called * la' Petit Clainhisme thfalral ’ and an
autoblofirapUy, which reads like il»e adven-
tures of a modern 'J ill huhiKpirgrl, cntitlerl
La \ ic el 111 aventures d\m eomisie ’
(Flammarion). a, m r
VIVO. S** ViVACt^
VLAD, Roman (k. Cernauti, 29 Dec. 1919!.
Italian composer of Rumanian origin.
Having taken a dipiorua at tlie Ccmauii Om-
servaiory, he removed in 193a u» Rome, whkh
be made hl» pcrinanen l hr>mc, f le iWre made
(urilier studies, of the pianoforte an-I composi-
tion, under Claaclla I Ic has written numerous
worLs of various kinds and in an Hltom which
while conftimung to the tendencies of all ll>c
' v< Hnas: Clxeiti.
Vm.. IS
ditfereni recent techniques (including that of
the iwidv-e-note system), yvi shows a certain
independence, which, hwever. from a certain
point ofvH'w may be regarded a> eclectic Ism.
His most succcisful wxirLs are titoie aiming at
brilliance and pIcaNaniness »uch as the bullets
'La sirada sul catfc* ^<144, and 'La dama
ilclk camdie based on Ouinis * Rome, 1913),
as well as his nuinerous liltn scort's, including
dial Ibr Rene Hlairs ‘ La B<*au(v* du Diahlr '
^ 1 949 ) . Among the others show ing |> j r ti t ula r
proRUie nu) be nK’ntion«l a 'Dr profundi^ '
for wprano, tliorus ond orchestra 1 Paris
i^pi , a byiuplionv M918 .tnd a 'Diveril-
inecil'j ' for 11 invlsuin«*nis ric^h., \ Ld is
lU‘ author of many criiKal <'>a>» diowlng j
cuhivateti |M*n and a hue la^'ti . n. .m. u,
VLADlGERQV, Paochu b. /urith, lU
Mar. lib (If..
IkjJgaci.in cuin|*nwr. He »tmlied tn Ik'rlln
tviib Paul Jwm ami fkorg Sthurnanti, and
wa' a learlur at lie (^lnv•|vatory .it .Vdu.
I In works inclmle • \Ardar\ Ihilgarian ih.ip-
>«mU fur Of vhivtr.i. Op, i(j isH '. pi^molorie
Oiisfripi, Op. {j, vkdin (kimaio, Op. 11,
I fMi $>jr vxdiis relto and puimforte, Op. 4 ;
vo 4 m Sonata, <>|i. 1, wviial pk«i% for lie
pianolorie, umn' '••ngv, | oi the singe hr
wrote incivk ntal mud* for MruidlM'rg'a * .\
Dream Itay ' 'otcIm vital ‘Uite, Op, 13. pub-
hvlsed in iijaU and an o|a ra, * 'l\af Kaloy ati *
lest by K Po{>osa-Mulafo\a , piiKimed at
.'Hdia on M> A|ir. 1936. Madigeruv may Ik-
rcgarikil as the outstanding inu«jr,d n'jire-
M'ntativr of hi i country*. a l
VOCAL ASSOCIATION, THE. A so.
ciet\ CNiablislied in latmloii ni idjO at a meet-
it>g at St<^e Sum'i Mndc Hall, attcm]i*d by
abmit 3«iv anutruK. uiib 4 view to fouiuling
in lAglanrl an avwjria lion aiKwerlcig to the
(ierman 0»a«g<r/cmc, Ikneillct wa*! ek eted
fotwlutlor: Oh.K, L. HorNky subsi-qucnily
sharetl iIk* tiutirs. In 1 037 the society gave
a vrics of concerts at the Crystal Palace,
iiwludmg MtiKkksolin’s ‘hirst Walpurgis
Night’, and It sulisequcnily gave iH’rform-
aiwcs at M. Jafnni‘s | Ull, at one of which the
t<in<liKUa*'s oficra ‘ Ilir Lily of K I Harney ’
wa* sung. Use cooceru inc hided votal and
ins(ruim*ntal sulot, and orvadonally there was
an orchestra, tite choir usually nuinlwring 2 ik)
vukn. IIm* Association has long ceased to
0 it
VOCAL CONCERTS, THE. Tbi-se con-
certs, cslablnhi'd in Loudon from 1792 lo
iBra, the first of which was given on 1 1 l*eb.
* 7 ya» onginai«*d in the secession of Harrison
trom the Ancient Cofuens in 17H.). Harrl-.on
was j-MBcd by Miss (Unu lo, whom lie Mibsr-
qumily niarned, and in 1791 by Battleman,
and at the close of that year they circulated
proposab foe the new* concerts, which were
begun at ^tillb's Rooms under the manage-
34
VOCAL ORCHESTRA
VOCHT
mcni of Harrison artel Kny>’etl, senior. The
accompaniments at first \scre furnished by the
pianoforte, at which the cider Kj))*>’eic pre*
sided, and a string quartet led by Frartfois
Cramer. The Harrisons and Barilcman wen
the principal singers, and were assisted in the
glees, which formed the principal feature of
the concerts, by the Knyvetu and others.
Callcott, Crotch, SpolTonb, Scev*enson and
others contributed new works, and Italian
music was added. In 1793 the brothen
Leander, then the most celctvaied bom
players in Europe, joined. The concerts, ten
of which were given each season, were
abandoned at the end of 1794, but in 1801
they were revived with the additional attrac-
tions of a complete orchestra and chorus, llie
programmes provided a wider vaneiy of ex-
cellent music than was ever before given in a
single series of concerts. An oppositi^ series,
under the name of Messrs, Knys’dt and
Vaughan's Vocal Subscription Concerts, was
begun in iBii with six or seten hundred lul^
scribers, including die Dukes of Kent, Sussex
and Cambridge^ but in tdia the draih of
Harrison led to a union of she iwQ schemes,
which was accomplished in 1613.
c. M., abr.
VOCAL ORCHESTRA. 5re RuitciieNKO.
VOCAL SOCIETY, THE. An asaociation
established In London in 1632
•9 prewnt the mu«k of the Cnclbti wlwd. boUi
anei«ni ami inrliHjioe that of Ow ctmnk. the
rhtmbrr snej Uw ihratre, tsiUi the acMklOA fercifa
comneiitiMU of rkcclkino.
Its first programme at the Hanover Square
Rooms on Monday 7 Jan. 1833 icKluded the
sextet and chorus from ^Veblx*s * Ode to St.
Cecilia *, Bennei's madrigal * .\ll creatures
now', Attwoods glee 'In this fair vale',
Cooke's glee * Dch dov'e \ Bishop's serenade.
' Sleep, gentle lady Webbe's catch ' >Vould
V'ou know solos from Haydn, Hummel,
Mo;tart and Purcell, and a Beethoven quintet.
The original intention of presenting mainly
English music was departed from in the first
year of the Society's existence, and from a
notice of the last concert given in 1833 we
learn that *' with the exception c( three glees
and a madrigal, the performance consuMcd
entirely of the works vf foreign wtUu ".
c. u., abr.
VOCALlON. An '* o^an " or imtrument
of the free-reed kind exhibited by James Baillie
Hamilton at the International Inventions
Exhibition, London, 1865. The first patent
was taken out on 13 Nov. C872 by John Parmer
(of Harrow) for a combination cf reed with
siring or wire — either as a continuation of
the reed or as a e^l fastened to the back
thereof — and was succeeded by many more,
taken out in the names of Hamilton and
others. The first attempts gave a beautiful
and \*ery peculiar quality of sound, but by
de g ree s the combination of reed and string
from w’hich this proceeded bad to be given up,
Cor practical and commercial reasons, and the
instrument as exhibited was virtually a har-
monium whth broad reeds, giving great rigidity
of aciioQ and therefore purity of tone, and
large channels, and acted on by high pressure
uf wind — not suction. A main peculiarity of
the N'ocalion is that the reeds are placed above
the pallets and belo\y the slides, and that
though the sliding " plug” of three reeds is
only of the tvidth of ihe groove, the caWties
are more than twice as wide. This is ex-
pressed in one of Hamilton's paienti (U.S.A.,
25 Mar. 1884) as
the catbi in iti»s psiku. idundbeartl tnd reed* with
estiw-boardi, me skote ib« Mker, lAe lower one eon*
isininc the netUiU snd (he uopor one ihe ntouchi sitd
M Mtieintcdisw eeniroUMie <li4e.
The Voealiun I’xhihitcd was 6 R. square
and stood on a somewhat larger pedestal con*
lainiftg the bellows, wind*chesl, etc. It had
three manuals, choir, great and swell; two
stops in the pedals and three In each manual,
as well as ihree extra ones of lighter quality
called ” compleinentary ”. In the successive
steps of tlte invention since 1874 it is under-
sto^ that Baillie Hamilton was much assisted
by the practical knowledge and skill of Her-
mann Smith. 0.
Bm.— H ausiiw. I, * The VM.>li«n * (Proc.
Mm. Am.. \'«I, l.\, iShSI.
Sr* ,Vnwn<M OrfAM.
VOCAUSE (Fr-; lul. Ste
SoLPBOoio, The French word is now much
used for vocal pieces without xvords, either
for practire or for concert performance.
VOCHT, Lodewijk de {h. .Antwerp, 21
Sept. 1867).
Flemish composer and conductor. He
studied at the Antwerp Consen atcry and in
iqti succeeded Emiel Wambach as choir-
master at Our Lady's Church, the cathedral
of Antwerp. In 1916 he founded the Chorale
Caecilia, the best and most famous Belgian
choir of (he time, which became known not
only at Antwerp and Brussels, but also in Paris
and scs’eral Dutch and German towns. In
t92o L. de Vocht became conductor of the
Kieuwe Concerten and the following year he
was appointed profess^ at the Royal Flemish
Conservatory. In (955 the regular concerts of
that Antwerp institution were founded and
de Vocht became their conductor. In r944 he
was norruoated director of the Conservatory.
In J952 he left the Antwerp Conservatory but
retained the direction of its concerts.
The principal works by L. de Vocht are 8
masses, 3 cantatas, 3 symphonies (one with
chorus), to symphonic poems, a vn. Concerto,
a pf. Concerto, a series of ' Fables’ for voice &
oreh., 2 pf. Semaus, Preludes and Fugues for
organ, a. I . G.
VOGEL (C. L. A.j
\OGEL (Vladimir)
35
VOGEL, Charl«9 Louis Adolphe (I. Ulk,
17 May ido8; d. Paris, it Sept. (892).
Frajico'£lclgiar) composer of CenriaA ori(*in.
He studied at the Fans Coriscrvacotrc. Hi\
opera * Le Fodcsiat ' was produced at the
ThMtrc dcs Xouveaute*, Paris, in 1831, and
a grand oratorio, ' Lc ju^ment dernkr
given with costumes and sccncr\, had a good
deal of success. ' Le Si^ge de Levde ’ came out
at The Hague on 4 NUr. 1847. h uas one of
the first works s|M:<iall\ urilten for tlH* Rusal
French Opent there, an<l the sul^i had been
suggested hy King WilUatn II *4 llulland,
* La MoissonnciJM' ' folhmid at the Ihealre*
LyrK^ue in Paru in 1853; 'Kompun«\ .1
piece iti one ait. at the Uoulh^'ParkM’ns in
1Q57 ; ' l>c .Vid dr cigogni ( * at IUden*Elad(ft
in 18^8; ‘Greciin d< I’lgiich* ’ at else FuIh'»*
.Marigny, Pans, ' l.i >ill«uke rlu ruj *
first in ilruvw'Is and afterwacih in l*ari% in 1873.
N’ogej wrote nunu nHis '«<>ngs, uf »liiih UlK.
of his cjrlirst, * Ln Trois Couhnirs ' rile*
bralihg the return of the irindur afor ihr
revolution of 1830, had a iH'Culiar r.«uie, lk
also wfutr sncral symphonies, <)uarteu ami
quiiilru for strings whiih gaiiX'il the I'ns
Ir^numt at the Aeathinii', am) oslser ihiugv.
|. A jrhiv.
VOGEL, Emil Wrirern o, 0 ,, ri Jan.
J830; 't. Nj<ol.isv*edl<'rljn, i8Junr lyo«,,
(ierman librarian and liil>lu;gra|>lier. He
siiiiliitl the hisloT)’ of musk an<| ^(hihiluf)* at
the Uni\er»iti<'s of Urrliii and Grrirswakl. In
• 883 he went to Italy with a scholarship
awanlrd by the iVu^vian Goirrnmrni. Four
Nean hiler he to. A the Ph.lJ. at ft rlin I'nivrr-
sny. In lieUgan lobuiMup (hr Muuk*
hiUiothek Piter*, uhich, umh r hi% dim lion,
Ireeaiue one of ihe l>i«i(« st |*rjvair missic
) i braries of Kii roj h . V o^jpI a Iso foumled in 1 Ihi |
ihc *Jahrhiich Peters ar; imfMsrlaist [>criodi*
tal whifh, iM^idrs hihliographlcal statement,
ixihlished annually patten hy hading fkrman
schol.irs. In 1901 the state of his health forced
S'ogel If) retire frrMn this po*t.
VogH’i mo*t importaist admnTinmi k the
rxtrndvr Uhliogr.iphy, 'Ihhiiollsik tier ge.
drucktrn u el tin hen V'okalntuwk I (aliens au«
den J ahren 1 300- J 1 r aKo w rw<'.
(or V.M.W., studM*% of Claudio Monteverdi
(•887) and Marco da Cngiiano and
(niMMii«.| a catalogue of the tniisie in the l>ocal
Jahr.iry at Wolfeuhuttel fidrjo;. K. 0.
VOGEL, Jaro*]av (k. Pl^« a, i , jar,. jSim)-
Cxcch coiiductur ami cotn|aMrr. Having
reedved a secondary - school cducaiion, he
shidiixl mtisic successively under Ntwik in
jragur, at die Munich Akadcmk der loo*
kunst and under d indy at (he Schola Can-
(oruni in Paris. In 19 J4 hr started his public
career as a coach at the Prague Natiorul
I ‘v by CiMSrt Jt
I I 'iue do N«yv**gw, rfU# de U 8^). Paris.
IVairr. In the following >*cars he held
sevTraJ lcm|torarv |Mis(s as opira conduclui
and aHo wtirlted for a certain ii(n«' iic a musir
leadierin Prague. From (927101911 he wav
al tin* hiod tiftiK’ Oprrniit .Morjiska Ottra^'.l,
wIktc he did much lu raise the niudcal
standards. 1 11 194 1 he aiieplc'd the pust of
chi<<f cutHluctitr at ilic flriKt ()|)rra, whish h<’
heM umlcr very uiif.i\uural>le run<iiU'>ns until
Kjll, viheii the (h«am' w.u cloud by the
(M'rmans. In sptie of hi« merit' he was un-
de'erNtdlvdismissnl .slur the hlHraiioh ( (945;
and >sa< able v> earn hi' living only by*
oceau<M>„l « mploMiMMit or guest .ipiM .innccs,
Vi the end of 1919 he was apixtiiued cun*
dutlorof the PragiH* Xail.rfijl IIh.uo'. .\s
a c<>n<Iu(i«tr he lus shmvn hirnwh* highly
exiierc in iIm* ini«*r(M<’iaiiofl \4 modern inuoc.
wilh a p.*nkularly mtiuuic appOMch to the
art of Jano^ek, nu v\linm he also wrote a coin*
pr<lMOviveriM>nagrapJi I.eu 5 Jan.jeek drama*
ilk KifK . .\' a toinjtuwr he is btvi repro
u nt«Nl In I lx r<>l(m\ii>f ihr«'eo|)<'i 4 s to llbrettov
wrji(« 11 In hirn'< II.
aflrr \. Uclfr««>rk|t»'t »|fw>,ir«,r a<|,
Sw»l. (M. ^fVpI.
' Misf. Jif*' ’MA'Vt jfirr 4 .f >«y (»y Z.
U ft,*, t. HM «( I nv t ; pn-l. Pr,kti.4 . Mir, i •>/$,
pniuij , niter Xl. CiIskVi tiiN*,. / 4« n,
M«iftfVkV4 t ikUxva. )f> Mit. ioj9i
O. V .
VOCEL, Johniui Christoph fF. Xurem*
l>crg, 175b; rf. Pans, jU ,\ui¥ (78« ..
(MTUian t umpf ner. H e st utli* <l ,1 1 R j li s txin
under Ri*|H’l, nlio ludilc hiiii IdUiili.'ir uiih
the worU rtf (Iraun and llasse. In 1776 he
ennted llir ». tvicc of ihe l>ukc of Mtxu*
mortney in ParivamI aftmv.ird* ofthr (k;unt
of V alrntinitk IK Ixxariw an enthusiasiir
admirer irf'tdurk, uluHn he Uri»k forhiv itiotlel
and unitaKd mmIi suth skill that Glutk even
♦linuiea hiv dramatic lakot xml atfepwd
the drtlkaUuo of his opf ra. ‘ 1 olson <ror
whkii was not |H tfornM-l, however, unijl 5
Sept.* 1786, wl*en It Went through a ti umber
o( perfitrmanec-v. A difTercnl edition tjf i]i«
liltri'Uo wa* (xiMivlwtl that war av ‘ Mrdoo
k i UAchvi [u< \ *. Ik fore i ts lirsi appea rant e he
iiad already vlartetl on anotlx r uinra, ‘Heim**
plKiA*, iHJt Iflv Irregular hahiir reiartltvl the
prugn-sv of tin: work, which wa« niH linidK*<l
until diofily liHbre his death, and was fir.'t
I»rfucmed |»rslhumoudy on 22 Sept. lylh).
Felis vjtcaks of the overture as one of the finest
works vf iu kind. The libretto was a Ftenth
adaptation (4 Melavlavlo's ’ Dernofounlc tin
which Uheruliifti had Iwucd anullwr French
opera In 1 788,
V««*cl also roin|>us<xI syniplionks, (t»neertos
foe various invtrutnenis, quartets, trios, duos,
etc. ^
VOGEL, VUdimif (Rudolfovich) (6
Moscow, 29 F'cb. 1896),
* .Nw t9 Ayj., as the dialed tlbr^M »a»^
\ (KJKMIOCH/Kir
VOGL (Adolf)
Ku^O'Cicrnian cnmposcr. He had a Ger-
man faiher and a Russian modier. >Ib first
musical studies were pursued in Russia, where
he came un<ler the influence of Skriabin, but
after the first w’ocid tsar he went to Berlin
Hs a pupil of Tiessen. He there made the
acquaintance of Sehuenberg's mustc, >^ich
began to affect his owm considerably. From
1932 to 1934 he attended the master class (or
composition under Dusoni at the .Vademy of
.Arts. After the first international successes
of his works, performed ursder Fuftwangler,
Srherehen, Stokowski, /\n$ermel and others,
he accepted an appointment as teacher of
competition at the Klindworih-Seharwenka
Conservatory in Berlin. In 1933 he first
emigrated to France, later 10 Pelfium, and in
1935 he settled permanently in Svriiserlacid,
where he lives at Atcona, Canton Tieijso.
Vogel's music own its style largely to ex-
press mn ism and to the tweKe-noie leehnique.
In contrast t\ith the abstract world of sound
represented by his instrumental musk there
are wry powerfully imprewivc choral works.
Making use of a rhythmically speaking chorus
he achieves novel effects of a grandiose, often
almou nerve-racking gloom: but such dark
pa wages are rvUev'cd by incHlenis of great
aensuooi Iwauty, as for example in the cha-
conne in part I of * Thv I Claes’, the large epic
oratorio which was first performed in its en-
tirety at the Florence Maggio Musicale of rgip.
X’ogcTs principal works are the following :
OrAiof^d * WsCAi** VnirrtMW dwT«h <lie * far
sole vAiNi, rho<«i< A ^ 1
Upie Ar.iiAtiQ *Thvl C 3 *r« ’ t.)nrr tlurki d« Cmwt)
Tor 9 reriwri, soprArKv. A orsh.
ipjM i. i 9 ir-aS: iwrt»i. lessMS'.
’ ^ftgf»e.sux lor unjrromo. <hMus < lOV)).
* Avn'ph'HMwhfr Verirapa ’ fb* wih. Mosa).
'iSMit'Dku fugAU in mcmwmm f. Bom* * Cw •rrh,
MAjSI.
* ?!wri lliudcn ’ <er
9 I'irm f«r oreti. (1999)
I. perpeluu.
t. Kiimks osiinaia.
‘ TrSoaiiMJ * far arrK. 1 1994).
^sp«eu d^unr tert* ik i; lena'fW anh. (i 040 -y>>.
Vn. CaiKerto (IM)).
* I>aMM VaiStivw ’ for vft,. Ayle. riar. ft (iMi).
* Kom|>««Jiian * tar i |»ft. < t« 99 ).
* N'arltiud* : tltKk>ta(cala ’ far nt < lOSO).
* r.phaffa otr Alban Berc* tar pt. {1396).
K. V. r.
VOGELHOCHZETT. A ' cantata” dat-
ing from the early middle ages. The earliest
manuscript yet discovered (thos^h the iradi-
lional versions probably dale from much
earlier) is In a collection of songs found In the
convent at Welnhauscn In the )93os. wh^e it
had lain In the archives unobsersed probably
since it was first copied. The N’olume cootaim
36 Netherlands songs, 15 Latin and 7 La*in-
low-Ccrman songs. The aulhentkity of the
manuscript and its a^ are shown by the fact
that it bean the signature of the Abbess
Kaihcrina von Bo> a, who was in charge trf the
convent between 1433 and t47o. ii. a.
VOGELWEIDE, Waicber von dor (b.
? nr, Boaen, Tyrol, or Switzerland, c. tifis;
d. ? Wiirzbu^, c. 1230).
.\uiirian or ? Swiss lyric poet, minnesinger
and composer. He came of a family of the
lesser aristocracy and received his first tuition
from Reinmar v'on Hagenau in Austria. He
lived for some time at the Viennese court, in
1 198 he can be traced at the coronation of
King Philip of Suabia at Worms, in 1212
at the Frankfort Reichstag. y\ftcr t220 he
prolkaMy received an estate at ^Vurzburg
w hich enabled Inm to give up his roaming life.
In his poems U'alihcr combines the sense of
form of the inrdie\'al court poetry with rhetori-
cal impecu«, eu^xJ-humour and folksong-like
tendencies. ()( his music little has been pre-
served. Tl»e iQch century knew only five
melodies aisd then authenticity has been con-
tested. (n iqto the ” Munster fragments"
were discos*ei^, which, besides two others,
contain the Palestine tune of 1228, one of the
most heartfelt and exquisite molodics of its
lime. The high opinion which his contem-
poraries held of the composer ^Valther is fully
borne out by this w^ork. k. 0.
BIDUOCRAPEfY
* Walter vea Uer Vosrlwei«le ', SAd «<J.
{SlyUeart, 1440 ).
BuADACM. K., * tVakhcr v« 4 er Voaelwelde * (LeipsiS»
laeo).
'HuiUAM. JeMAVMti ALruoTtsvt, ' Ncue VVeee svr
dkhwntchen und miutkalUcMn Terhnik VvalUien
dee Vovdateide *. diuerlaiian (Uireehk 1994).
l.tftHio. F.. in Adler*! * HandbucK drr Miuikie-
tekKliW * (FrankfaeiA'M.
MociTOA, R.. * Die IJeder Jei Munateriichen Frac-
mrnvt' rS.r.M.0 .. VaI. XIIi.
RicneH. H.. (a U.T.O,. XX. ii.
SiorcKit. F. AiatM. * Waliher von der Vncrlswiik
VIA Sehnnacr f' (Walikn, 1957),
Uni^KD, L., * tValiker von der
cart ft TMlxyevn. 1I99),
K., * VVilihen ralieilAtlkd * (S.I.M.Cx
Vol. Xtlll.
Srt alt* Bvmi (»«ne niih nnh. ft pf.). PRttner
K»ei«h (opera on). KucliAur IS MAp).
VOGL, Adolf (k. Munich, 18 Dec. 1873)*
German musicologist and composer. Al
the age of nineteen he was conductor at Trier
atsd completed his studies with Hermann Levi
at Munich. Later he conducted at Saar-
brucken, $i. Gall and Bcmc. He married the
soprano Else Vogl. He was imprisoned during
the Nasi rule and his work was prolilbiicd
until 1945.
V^’s ctmiposiiions include the operas
* Maja ' (Stuttgart, 190S) and ‘ Die Ver-
dammten ' (Leipsig, 1934) : a scenic cantata,
’ Walther von der Vogelweidc ’ ; choral works
' VoUtergcbcl ' (*915), ' Oelbergandachi ’
(1934}* * Oer erste Friihllngstag ' (>930,
a concert Mass and others; t8o »ngs»
etc. Among his literary work are studies of
Wagner, Beethoven’s ' Fldclio ’, Weber’s
‘ FrehchuU ' and a lampoon, ‘ Fa. Wort-
bruch & Co.', dealing with his experiences
of national socialism.
\'OGL (KeiuricU^
, riicr<'S<
^ *
I /
VOGL, Heiaricb Au nr. Munich, 13
Jan. 184^; d. Munich, 21 Apr. tguuj.
German tenor sin^'r and <oni|wsrr. He
began life as a schoolmaitcr and received in*
struction in singing from Franz Laclmrr ami
in acting from Jenk, stage manager U the
royal ihcalre, Munich, Ntheru be ma<lc his
debut on 5 Xov*. tUbj, as Max in NVe))er’»
' Frcischutz’. )]i> success N\a» irnnKtliati*. an.l
lie remained at .Munich ihroughoul hi> cancr.
making the U'ual louP'i in (itriiijuv and
.\ustria in company nvUIi bis Mife, 'J1 hi«'nv
I homa, whom he married in li'oU. He e\*
lelli'd proem inenll)' in SNa^ner's i>|M’ras aiul
pla>xd l.oge and Saicgimind on the pixulutiwni
n'spcclivel) of ' Klnuigoid ' .*r >k |H. iUC<|j
and * Walk are ' {^0 June ib;.i at Miinnh.
He «aiig at the (kethoun (AnU*nar>* K<'«ii\al
at Uonn in idyi. )le wm tin second IrUun
(after die four pi rfor inane e» hv hciiiwirr con
CaroUfeldJ, and for soitn ><ar% the oiil) re|>re*
KiitatisY of the |Mri. On the ikihIui iIihj of
the 'King* at Kaireuth in id;<> hv again
played the {>ar( of l.oge and nude a great hit
by his line ikcUination aixl a<iinirahle Acting.
On 3 May lUda he iiiach' hi' llrsi a{»|xarame
in i.undon at Her Majedy's ’Iheatce in ilsr
'anic part, anti suliscquently ap(M’ar<<l a«
hiegfried, und on id May he cva% heard with
picamre in Hanclrr» *' J'olal eihjMr ’’ aikI
Mingi by tVan/, rtr., at a symi>hony contirt at
St. James's Hall. He rompemd many wng^,
and an iiiHTa, * Der I ren idling', was |i«iKluced
at Munich on 7 May iU</j. with himst lf and
IVrnina in the chi< r paru. \ Uograjdiical
»k<t<h, hy Bamn Hermann von I'fordten,
iijjpeared in the same ve.ir. a. c-
VOCL, Johann Michael 'i. Sit yr, I'liiwr
Austria, 10 .Vug. 17WJ; rf. Wnn.i, ly Nw.
ilkyo;.
Austrian baritone Mngrr. He had has
general education in (h<' UHMiadery of Kn>ms*
I nun Iter and tinik part there in little
I'Y .Sussniayr, giving i<niMderab]e pruenisc
both as;<inKer ami actor. Hr nt\i went U> iIk
U nivrrNiiy of Vienna and was aliout to lake a
|>crmanen( |k»si in the magistracy of the rily
wlien Siissnibyr engaged iiiin fur the cuurl
opera. He played with the German opera
cuni|>.'inv ftirmcd hy ^ussmayr in llie sunnnrr
1 7 !H ^■‘^d made his ticliul as a re gular mcin*
her of the rmirl 0|>f ra in iIk- following .May.
From that jH’iiod till his rvllr»'ment In t&aa
(his last apiwar.mco w-s in Oretry’s ‘ Barhr*
hleiie iUji) Jic was a great fasourite and
held an important |>o»iiiun as a singer and
an actor in both German ami (taliait opera.
Gifted etiih a baritone voice gf sympathetic
qualiiy, he had an evrellent method, and bis
phrasing was marked by Iveadlh, inleHigencc
arid great dramatic expression. S«ch parts
Oresips (Gluck's ' Ipliigenic cn Tauride
Jakoh (WrigVs ‘ Sehweizerfamilk *), Count
.Mniaviv.t 01 uznrl*» * 1 /* isos^e di Figaro';,
MkhHi KUu'rubiui's *lkux Jciiirnees*i, ' 1 1 hi*
SCO fS|*nnuin*s 'Fernand (^rtvv'j and ,|Ait»h
«Mchurs *Jos«*j>h'i show the' laiige’ 01 his
pmee'is,
\ ogl liecdiiK' Acquainit'd wilh Srhiibeil
through tW latter's frii nd .ScholM r, \'<)gl
lecognire'd S<hubert*s geniu<. ureexi hint in
proluee and dkl liis lK*>t leiinakv him kn<nvn
hv Miiging his MwigN lM>ih in jKddie and priv aie.
Mm* ’ l.rlGHiig’ ve.ts lirsi uUnMliii''(l lie him
lie the general (MiMic at a inu'.ieal ente’riaiii*
iwiii ,«i die' K.iriitiM’itnr Iheatie '7 Mar.
lU.*l , iImxii'Ii it h.iel Imn'II >uiig ImI<ii<' .it :i
'V'lV e>f llw' (N*>«*Us(lialt de'r .MitsiLfieutHie
.*3 Jjii. In (•viiiiiWh, an «x<«’||tnl ain.iieur.
\ eigl in his ch.ifv calls VhtilKTi'a imnT><isiiie)ns
'* irulv eliviiH* MtS| lira lions, eiiirrands of a
iuu'MjI cl.iirviiv aiu< ", and Sthtdxrt, writing
III his ixvitlw’i kireliiiaml, says, "when V’ogI
*sngs ,iihI I .i<eoin]>aiis him we eei'iit for I In*
iin*i«i«nt to Ix' exie, vvlmh stiikes the good
|M‘«i|»l<’ hir«' .!« MMiulliiiig epiile unlie.ird <rf'*.
NehulMTI pnlilKly teslilh'd Ins i sli .'111 hy
<i«s|Maling ic* N'eigl ihiee* songs t)|>, li , ]>ii1>>
IisIunI Ilk ilia I .
Vogl's larlv (Olive ntiul edue.uion left its
traio in ids feiwhiess for v'lioiis sitnlv, in
vs hie h all his sftai'e lihsi* was devoted, his
favennite auth>4Si being (oNdee and llie (iieek
tUs.Ks In illa:i he \M'u\ u> Italy and on hh
ntiirn in lh«' Ai||«>vviiig sj»rlng asKriiishid his
frM’ittls hy anniiu*e<ing Ins iiiarn.igi' vviih tin*
daughter of tite for nvT three lor of the IMv I'dere,
whom he liod long treatnl ns a >ort <*f pupii,
Om* of his l.isl a|i}>raraiHTs in (luhlir was at u
»«rr« of tl>r Go* llschafl (ier Nlusikheiindc' In
18^3, win It he sang llie * U.imlercr He
dictl im the winr dav mt whieli Im file ml
Shuixn hoei departrel ivvelve sears Ixfore
aihl wav IniTH’d in tlic tlnirchyanl e>f Mat/-
leinvdrHf. < . y. v,
4ii* 1. F., ilcl. of SiKuberl
VO CL, Thercse Iwirn Tboma) (b.
Jut/ing. l.,ik-' SiarnUTg. Bavaria, 12 N<A',
iU.>', : W, Munkh, aqS-^H, jqzii.
(kniun M>|>rai»n doger. She l« amt tinging
from llaeMT at the Mimic )i Con serva lory
and in ftru apixare*d in ojkta at Carls,
ruhe. In iJrc. iWiG she maeh* her de'hul at
Munkh as (Usilda ' AmUts * Kart <lu (liable
brfamc wry pe^Milar as a elranvaiic soprano
and remained there until Jjer retin enent in
ittCri. JSie married ihv Icnor Heinrith Vt>gl
in 1869. For some years she was the only
l^lv, a part she sang to lu*r husband's
Irisian, and was (Itv original Hieglinde at
Munich (ab June 1870). On G May iW 5 j she
ma^ Ikt first appearance in London, at Her
Majesty's Ihealre*, as Brunnhilde, and played
tlie part throughout the ‘Ring’ with great sue**
eras. In the second cyclr «f prrfortnaiver^
30
N'OCLKR (Carl)
VOCLER ( 0 «rg Joseph)
she placed with equal success her old part
of Sicglinde, liavlng reigned Brunnbilde to
Hcdxs'ig Reichcr-Kindcrmann» who had been
liie Fricka in the first c>*cle. a. c.
VOGLER, Carl (^. Oberrohrdorf, Canton
August, 26 Feb. 1874; d. Zurich, 17 June
bwUs composer and administrator. Be-
tween t8f|i and 1893 he was a pupil at the
Organists’ School at Lucerne; in 1893 he
entered the Zurich Music School, wivere
Friedrich Kegar was among hU leachers, and
in 1893-97 he studied at the Academy of
Music at Munich under RhcinlKrgcr and
others. From 1O9? to 1919 he worketl at
Baden (Aargau) as conductor, organist and
teacher of singing. In 1913 he was appointed
professor of theory at the Zurich (^oibersatory
and in 1910 hecame its director, in collabora-
tion with Volkmar .\ndreae- After llw latter's
rctlremom (19^1) Vr>gli'r remained as sole
director until 1943. From 191$ onwards hr
was a ineml>cr of the Committee of the Schwei*
aerlschcr TonkunsthTV'crrin, of w hich hr teas
president between 1931 and 1941. In 1907*
1932 he was pre>i<lcnt nf the Schwei.irriKhrr
Musikp.idagogischrr Wrband and later its
honorary president. He waa the founder and
president of llic Gr«c Die haft fur Auffuhrungs-
rechlc (m. Performing Right Society — tbe
German title being usu.illy abbreviated to
"Gcfa"),Swj« delegate on thcManding com-
mittee for inirrnaiional co-operation airsong
composen, an<l he holds sciTral other adininh*
tralivc ofhcei. His dootrd and many-sided
work in connection with so many professional
bo<li« incrcisingly curtailed hii own creacis'c
activities. Among his few compositions the
foilotving may be mentioned :
'Mutter Sybilk*. (^y «iih oMk (AlfreiJ )(««(«*•-
bcrrrr).
* Rul»rr»M fsiry Qiwrs (Jakob Loumbrnr).
* Fi«ilelhAn4<K«'k‘, uin'OfWM (F>n»t I^Khmoon).
OrchniftI vrorlv.
PtrUongi.
Ora*n uork*.
SOflfS.
I'olkionc •rrsntemrnU.
As a writer Vogel produced a frsiital mono-
graph for the agih anniversary of the SchwrI-
ccrischcr ’ronkunstlcrvcrcln (1905) and an
article in its 'Festschrift' of 1950; aho
various articles on Swiss musicians and on the
problems of the musical profession.
It. e., adds. k. v. $.
VOGLER, Georg Joseph (called Abb 4
VogUr) (L Wurzburg. 13 June 1749; d.
Darmstadt, 6 May J814).
German pianist, organist, composer and
teacher. Hr showed from an early age a
religious cast of mind and an aptitude for music,
and his attachment to the oigan dated from
his tenth year. Both his father and hb step-
father, one Wcnccsiaus Stautii^er, were violin
makers. While he learnt the organ his step-
father let him has'c pedaU attached to his
harpsichord. He elaborated a new system of
fingering and contrived to learn the violin and
oilser instruments without a teacher ; and
even wliile a pupil at tlie Jesuit College he
played much in the churches and made a name
for himself in the contrapuntal preludes wluch
were regarded as the lest of an organist’s skill.
How lo<^ this sort of life lasted is not very
clear, but Vogler himself declares that he was
at Wurzbu^ as late as 1769.
Srunus. — Hb departure must have taken
place very shortly after thb- He proceeded in
the first place to Bamberg to study law. In
1 771 he went from Bamberg to Mannheim and
obtained pcrmisslm to compose a ballet for
the court theatre, which produced such an
impression chat the Electee Karl Tiieodorwas
led to provide him with funds to go to Bologna
.tnd study counterpoint under Padre Martini.
Starting about the beginning of t773 Vogler
travell^ by way of Venice. He there met
Haste, also a pupil orVallotti, from whom he
first heard of the s)'siem of harmony that he
subsequently advocated with such vehemence.’
The original object of his journey was not
achiesed, for, ilsougli he was kindly received
by M.*iriini. Vngler could not tolerate a slow
and graduated course of counterpoint ; and
Martini complained that hb pupil had neither
perscN'crancc nor apt i tude. Vogler soon a ban*
doned the trial, and repaired to Padua with a
view of studying for Ordehi, and learning com-
position from Vallotii, who had been for nearly
fifty years musical director of Sant' Antonio.
But the old organbt's method of leacblrig was
wholly distasteful to his disciple, and in five
months Vogler went cn to Rome, where he
was ordained priest at the end of i773< He
was made Apostolic Protonotary and Cliam*
berlain to the Pope, knight of the Order of the
Golden Spur and member of the Academy of
the Areadiam. He alio found time to gain
some instruction from Myslivciek, and armed
with these ecclesiastical cr^cnlials and musical
experience he relumed in 1773 to Mannheim.
Tlie elector at once appointed him court
chaplain, and he proceeded forthwith to com-
|io$e a * Miserere ’ with orchestral accompani-
ments, and was made secorsd Ke/>tUmrisiff>
It was at Ntannheim that he first put him-
self forward as a teacher and estabibhed the
first of his three schools. He maintained that
most previous teachers had pursued erroneous
methyl, and promised to make hb pupils
composers by a quicker system. ^Vhen Karl
Hscodof beomc Elects of Bavaria in 1778
the court removed to Munich. Vc^ler's dev'O-
* iTw »a (he test Toltowi U>e slatemeou
•sBsbr ms<l« wiih rrferT>K« w Vnirlir’i proc««dinn
Betofiu and hadua. Hot a««ordiag lo the 'Musika*
IikIk Carreipeodnu ' oC Spire Cor 1790. No. is,
Cloctor falaiuw hiowrlT direr ily recommended vogkr
«o VaUoui.
VOGl.KR
39
(ion to hU school kept hira at Maruiheim, and
he did not, in ail probability, go to Munich till
1780.
Travels. — The nest twenty yean of
Voglcr's life present great difficulties to his
bir^apher. .Mthough nominally settled at
.Stockholm in 1786 or 1787-1^, be was rrallx
corL'tanily iras’ellinf*, and the rconJs of hi'
journeys are so fragmentary' and contradit ic^
that it U impose! bic to con' true 1 a com[ 4 cie
itarralivc. 'I'hus, though he und<'ubtedl\
t’xteuded hit iraxoU loS^uin, l^urlugal, (iicnr
nnd Africa, n.iy, t*\eti to .Stnx'nia artd (*tcc(«*
land, the autlK'fili'^ arc l>y Ru iiH aix« agreed
as to wlicn Ik u'i ul.
He iiAcI already sobiniMiHl an rx|>i>citii>n of
his $>'»! eni tu the ,V adi* m ie K • lya U di-t S* ieiH r>.
probably In i;di, ami to the >Hrtkiym
i 7 & 3 <’ In t/lia he was iu tlie iKxt
year perhaps ckx'cJ t\u I io laigkiiidJ
Keturning fruin htmUml, if indii'd hr really
vidiesi it at this lime. W again altnopicd to
ol)i,uh *Her<*is as an oikt.a <rMn|M» vr, Hut hi'
lornic cifjera ‘ f-a KernkC'Se \ pr*HluCed at Ihr
Tli/'Airc'*ftalic'ti in I’liri' nn ly Nos. 178^.
prrived a dead l.illnn* nod tould not even In
Dimhed. Jo {780 he entered tl»e 'ersicp ihe
King <»f Swe.len »\ chapel iiusier. r« ogniin! ho
IKWis at Muiii'li, ulKte Ite had Imhotiw' ehief
KaftfllwhUt Oh tlic death <X Ih/I/lMiM’r in
At StiKkholm he esi.sMi'Ixsl hKseiond
M I100I ufmudr, but neither tluil nor ImtdTKtal
duties put murh rheck on Im nniof pi<»|<n*
dlirs. ] le cigiiali7ed his arris al with a VicncU
opera, ' Kylf lait there U no esidenre tlwtt it
was pr<Mltieed there. ‘ CUstorr e Pollucc' eanic
out at Monieh on ta Jan. 1787 and was not
only re<ei\(d with great appl.njcr, but con*
liniird a laxonriie for >ear%. •<io>iav .\d< 4 |»h
och Ivbba Ih.ibe * wan pr<MJu<et| m Storkliolni
on 94 Jan. i7UfS, In tku ye.ir Vogler vidtrd
St. 1 ‘clerdHirg,
Mr arrnrd in J/mdon at the bctmiimg
of and Vi,ic very ^u^^^^'ful. Ills per*
were ap|*laut!i*<l and Ik was eii-
im^ird with (he rttoiwtriKiion >4 the nntan
in (he Pdnlheoti. llh la>t pirlt^nnance at ihe
I'anthron took idate on 31 May, and (he prm
<eids of hit visit amininted lo^^iovOor ;^t 70 n.
He nexi apfHMrrd at Warsaw, In Ihe rarfy
fwiri ofSi pt. he w.i^ giving cotKerb at Carfrlenr,
I.i ii u and Vti nkfor 1 0/ N I, , wlirrc he proba Wy
arriced in tinw f..r the er.R>nalum of /^op<4d
II on 0 Ort. Ik now began to be heki hi
' ^ C:iiOfal SvniFin *. pp. *.5. r««»* of tW
Hny«l Sanriy aiTuf,| „o wf ftow
or an^UuK* tfeie bearioc -n tire mmww. ll»e
Joortjal «|n for ijRx hit an
anicif «o<f.rjrM.» iRf of ,u^
sr.] AUiC \.^Ur, *1.1, h moif« iKat l.b
ouirunipnt lia.l l.cen prn^iwJ lo th« Afadimw ttoyslc
da will. in,FniofS m« mm^»\
mom, which hf pcopcar^ w pwttiJ*
I '** "“r iofcr fM.m Ote dat* .4 hh ' faoJ
d* 4in^. It eoui *, tie., pyblabni in Paro.
lAocal *, p. 5.
IxiiKKir in his own country'. At Krankfori his
" Hallelujah " fugue aslonidied bvtii friends
and enemies. It was at this time lie fimjiH ted
a rclucn to London w'ilh a view' of rsiahli'lnng
a maruiractory t 4 free reed». Ibis intention
was mn carri^ out; he relurncd to Stock*
Iftlm, and was hMJovi'ed In Ikrnhaid .Vti'elin
Weber, wliogase up hi' po'ition as tondut tor
at llaiicncr to oittain furtlter iustrurtioii from
hi' old master. '1 hi* aN<a"inaiioA <»f Ginlavus
.VIolphuN III. ulioiA lie liked ;nHJ cc'pvttrd,
on IU Mar. i7U.'. siarted him i»ll wiili WVber
on anniiicr king tour (hriwigh Sw>tlen, .Nor*
v.ay, IVniiuiL and ilw .\VdMTl.md<.* In the
IM XI 4X'ac^ Ih' ui«‘k rONik.i (ourv<'ol lertun*' on
hannonv, and 10 1701 wrrn to P.«ti' (<> inar
ihei h«>rn«*' .ki «Mn|>,inu«l b)' winil nwtrnincni'
with W'liult tin* nr'W'k^n rejtnblic sub nunri’d
it' kasis, .(IhI tu add i!h* rewilt of Ins nlmaa*
tioh' lohi' 'Pedymrho or Char.K lorhlu Music
uf Ihsi’T' Naioai''. At Saint*Sidpi(e he g,ne
.10 <.rgaii |M rfocrn.tnte Jor ilir |>«Kir, the
fetiipt* rif v.hkh were 1 •>,•«■> Ihn*'. On Ms
mum lH’’.*.ne a secund (onrseol lec(iir<'S In
i7U7,and ill l7>/»erei«'d his orihistrinn at
SomMkJiii. Atji*ul this time hn ten y.us*
i*n*<.ig4 iio nt O' ro>,d iuu'H .d dim lor « .inie to
.in end. .iimJ I.** |iro|h»'ed lo le.iie Sweden.
lUil his w IhioI w .is . iHi'ok'red so sust I'slul ih.it
tiK ri'gent ftrevailiHJ <m him to pf'jittng his
»1ay till iIk siMiiig uf I7yi, In tiiat year In*
rre<*h«<| (exit ilw* .Swxdl'h tomt .in annual
jKiisMxi *4 yio (hdlars, di*|'art(d (<« JVnmark,
and ni.idr an uiiv'ually iwotratted slay in (he
Danidi 4a|M(.d.
VitsvA ,\mj <ii Kwssv. In the sunmKr uf
I Boo Vogler |>rocnxkd to iVrIni. 1 here he
appealed lo the srirnthts hy Ins ' |>,Ata /nr
.AkirsCtk* and to ihc religimjs ssoild In M<
IWoptHah tu rcdiHc ll«c ( «ni r.OH'gaiidnnlding.
He seas rnirusu*d with iIk m onsiriittion of
tW organ in .St. Mary's uml gave a |><*rforni*
amr uii it mi 2H Nov. iHtni. Jhe King of
l*rus,ia commissioned him to build an org.m
at Xi rnKuppin. Hut ihn dkl not keep him in
I'rus'ia. He >el off to I^i iprig, gave tljixr
organ rciiiah in die >|>ring of lUor, and (hen
wot on about June to I’ragui*, where he was
rrreised with great ImiHair and made guver nor
of a musk whool. It was pciha|H in cotisc*
quritcrofihe failure of his orihiMt Ion tbai hr
left l^raguc fur Vienna, arris ing about tlie end
of iSoaorMHne time in 1803. He w*a' reported
to be ImimJ 10 Vienna toseritc an opera, and
rumours of the furthcoming work were con*
Siam iJiroucbnui 1803. ‘Samorl’, Iiowcser.
did not actually appear till j; May i8o.|, at
the 'llicaier an dcr Wten, ^icr more than
fifty rrlicarsals. An inleri'sting circumstance
Connecled with bis slay is his meeting with
hrelhos’en, arwl ihclr extemporiaing in luin
' *f* ck«i dale MOW iiTim hij uaveK «o ik« L,in,
‘ Pesoseiv iTjiA
VOGLER
.|0
on the pianofonc. Another i« that here Gans-
bacher, and through him \Veber» became his
pupiU. Weber made the vocal score of
‘ Samort When Vogicr had been more than
two years in \'ienna, his wanderiog instirtcts
revived and he spent the summer of 1805 at
Salzburg, en rouU for Munich. There he ga>‘e
organ recitals, and at Christmas had his
Pastoral Mass performed in the court cbapel.
When Napoleon, on hU return from Austerliiz,
paused at Munich to celebrate the marriage of
Eugene Beauharnais with the Princess Augusta
of Bavaria, Vogler was the musical hero of the
hour, and 'Castor and PuUux* was performed
on the wedding day, {4 Jan. 1806. He made
some little stay in Munich, occupyirtg himself
as usual in simpUrylng organs ir^ pMUHhii^
theorciiral works. In Sept. 1 807 he turned up
at Frankfort o/M. and shcvtly afterwards
received an invitation from the Grand Duke of
Darmiia<it, J.nuis I, for whom he had written
'Lampedo’ nearly thirty years before, to
settle in that town. The duke gave him a
salary of 3000 florins, a house and the titles
of KaptUmtisUr and Privy Councillor for
Eeclesiasiical Affairs, and the Or^r of Merit
of the first class.
Here he opened his last and most succeMful
school of music and in the remaining sue and a
half years of his life became very fond of the
dull old town, and the accusations of charla-
tanism that had pursued him down to 1S09
did not penetrate to Darmstadt.
On at June i$io Weber undertook a 'mail
literary work at Vogler's imtigation. Vogler
had remodelled some of the chorales in Birit-
kopf'i second edition (1784-66) ofj. $. Bach’s
chorales, published under C. V. E. Bach's
supervision, honestly thinking that Bach was
open to great Improvement on the score of
beauty and correctness. He now begged his
former pupil to write a commentary on Ills
revisions and publish them for the benefit of
students. That Weber embarked the work '
with any amount of eagerness there is no
evidenee to show; probably not, his mind
being entirely practical and by no meacu
pedagogic. As a matter of fact the ana])‘ses
were done very perfunctorily, nor were they
all his own, for Chorale VII was done by Gott*
fried ^N'eber and part of Chorale IX and all of
Chorale X by Vogler himself. \Veber fell hU
unfitness for the task, and so expressed hinudf
in the introduction. That he considered
Vogler's alterations improvements is not sur-
prising, for his acquaintance with Bach, like
his knowledge of hist^ in general, was
small and he knew as liidc as Vogler did of
the original intention of the chorales in
question.
* Publisb«d in ume ycu br Pct«n ut
‘ Zwdir Cborsk vm Sebastian wnetaebeket^M
Vofkr, <er«linleti von Carl S^tarla vm \Sthn ew.
In i8(2 Vc^kr journeyed through Munich
and Vienna, where it was notic^ that he
*' preserved his long-acknowledged mastery”
of the organ. He employed himself in com-
posing foe stage, concert-room and church,
and his best work, the Requiem, was the
occupation of his last days. On 4 May 1614
his friend Gottfried \Vcber visited him on
passing through Darmstadt and remained till
midday cfi the 5ih. The following day (6
May), at half-past four in the morning, the old
musician died of apoplexy.
CoufOsmoHS. — As a composer Vogler
aimed at retaining the simple and severe
beauty of the old church music and yet enrich-
ing it with (l>e wealth of harmony at the com-
mand of modern music. He was thus most
har^y in hU treatment of a earn /erma. He
brought to this task a facility in vocal counter-
point gained in the ecclesiastical schools in
Italy, and an intimale acquaintance with ihe
resources and effects of an orchestra acquired
as KapfllimitUr at Mannheim. HU Symphony
in C and hU Requiem are his best works, and
contain original and striking music. The over-
ture to ‘ Samori ', whose iiuignificani ihemrs
and fine desviopmcni make ii a lypc of lu
composer's work, was performed later siill, in
1847, and the characierUiic l^astoral Mass was
both popular and impressiv’e.
iNxovATrOKs m riia OaoAK.— But it was as
an organist and iheorisi that Vogler made most
stir. He would iravcl about playing such
things as * Cheu-Tew, a Chinese song a
* Hottentot melody in three noies \ ' The Fall
of the walls of Jericho ‘ Thunderstorms ’
and the like as i f with l he design of conceal ing
his complete command of the highest ranges of
organ piayii^. His extempore playing never
failed to create an impression, and in the
eie>’ated fugal style he easily outdistanced all
rivals.
In organ building his first practical efibrts
were made in 1784. Five y^ears later he com-
pleied an instrument which he called the
Orchestrion and gave performances on it at
various dales at <^sierdam, London. Stock-
holm and Prague. It is described as being 0
feel square, 6 feet high on each side and 9 in
the centre. This box contained about 90a
pipes and had shuilen for cmcenda and diminif
rad». The reed-stops were free reeds, and
variety of power in their case was gained by
three canvas srrerns in the wind-trunk. As 10
the elTeci produced opinions were much
divided. At Amsterdam it was asserted to be
the ant piks W/ra of organ building, at Prague
it was declared a failure. Vogler was also
prepared lo *' simplify ” old organs. He
claimed to iwork such a metamorphofis in an
instrument in three weeks that iu effect would
* Ckritlmaaa meai^ns s perionniBM •B(end«d to
rvaresont “ The Lw iwOfment fi AiSa' ”•
\<K;U':R: Works
1
be largely enhanced, chough many of cite <4(1
pip« were fcnuncd.
I’eachixo.— A s a iheorist N'oglct developed
che ceneu of Vaibcii. His s>‘i(cem of harmonv
was founded on acousiics, aitd its fundaiiMnial
principle was that tioi only che iriad [common
cliordi, but also che discords of the ievenih,
ninth and ulevench could be introduced on
any degree of the scale wiilioui invotving
modulation. He vs cut es'cn beyond ebU and
allowed chromaiically altered bxms of chesr
chords and inversions of ihcni.
Ic is at a teacher clui %’oglrr lias nsosi cbictis
on poslertiy. As a siitging'inastcr lu* was it)
great request, and Alnysia NNclx r uwrd all(l«r^|
everything iliac wxs .‘idinirabk in her uitging
10 hii insiruition. Ic was, liowvver, lo ihr
leaching of compmiiinn ihac Jtr dire<ied his
greatcsl c (Torts. From Ui< schools at Mann,
heim, Siotkludni and Djriiuiadi cattic foriit
Winter', Riiicr, Kr^us, Dami, K<«i*ach<r,
lb A. WcImt, lUroii von PoisJ, fbinOiacher.
C. M. von Webrr and Meyerbeer. Sti*rlwUl.n
received lesions from WighT, and Kncvbc. else
t»rgai)i>l, and (Joctfrird Weber were very
directly iitflnenced by him. f. ii. si.. «br.
•isi. -SrMAriuiti. K. I*. F... 'Mil iWsn b^'ph
/Auffvbnre, laitti.
S HI rrt At>, r, 'AkJ.c S«.rlrr -mvi pi^ef^inmiMlur *
0>. I.M,.
VSisij ftr, S., 'AIM V*»ler »i»h st«ittk Mtfp|l>v«nu4«.
.JW'.V""* "V-P|ii-«ku WlTNMvnvM*
• Lit buUji nil «II Vuikr'bH^ali ’ I't. J.M., os#?).
c:.\tai.oci:k of works
OhhKA^
'IVt Kniirnidnti von Sinm^ ', »p«rptu ^luvihrmi
I7?N.
' Alli'rt III viiA n^irrii ' 'Mwoh h, i fli k.
.rnirMMHi MHiit- jfkr UiPihr IKwMt>Ht, is«m
I..I Kprcnetip' |•Jri1, Ovveiliflulmap. is
l.p ISitivilivnif * iWtMilln. ~ w irf Sitwr m(
(•itMAlnv ", I'th).
^ ISKiKP*. (uUjr ofipfj MiriiNh. Jjn.
* ', Vretirh Ap«rA ‘fWnOwdMS ibMilH<<A'
C.KOJv •ih J.l*4 Br-hr*. 'UrvhO. oppf«
ilvAckhuliB, isIMr.
oppiB ,n 2 *fw. owih hy r. X. Hiilip*.
>V lAinia, 17 kUv )Ao4.1
RM.U'rs
k (hvAP iljppfIVfIkti'
|S«ihbc«(|i.
* Keiiilpf.twu
I<e rirfcrtnn silLBPolv.*
MF.C.ODK.VM.V
‘ Uinp^lA • IXiinniadi. 1779.,
I.SCIDKMAI, MtMC
"'rnurp mmI inurliKin in sJuknitPMpS *II..Mae
• M«einl>puia, 1771 )'.
ai«*r Cut • Mptma* at Iw'kw,
ejrlv i^t, ^
F-»al .h,.« KAtwb.^. • Die vm Sam
kitK' fLeipii*. Vpl.
ii'priufe r»t KfAitbw't ■ Dtr trfiwii aul KocmaMaea
40(1 oilm.
ifteewjKhflbietnd u» beiac caUrO a Mil
IfT, apparpfttly ^ <i— liliiiBi
« hn ai'pPAr ifv ihe * MaMvbelmrr TornrhnleV
fROlAX.lKS
fro toe tie so CitwikS ' .Aimirfe * <S«ii kitulni, 1 7K7).
fpolcf iiu toeihe eoga;e i i»e f >iof<iui(jv ui 1 V (MssIIkJim,
*;as).
SCCl'I.kR CifDRVL VMIKK.S
* Ihm caniau <Ro*Hkrk l>dmi*t»vl(. i;7<7k,
’ S44>«ny(k« (Wil. 19 .kuenwii * <Dro(i/ii'ii:liolnv, lyaCt.
’ I'tHMdHMVi wsd I rial fiar>vii>iiica iMkr Liili ilcr
llaABMiip ’ '''MrklK^m. zR ^ftr. I79<>i.
'Die Scala i«kr |vmM>ilwine MHMilHklMiiCM uikI
.SM>rk«mt ', Ax kiipraito, ilMni* & mvIi, lUnii*
* rVr KhnoiibeicaAe 4rT .Mlinea im NViii,tlint.ie,
1(14*. ewuM '•rth vsoniit. tor full qkIi.
* TeslMrtu oiler Knefsltod *, with urth, '
’ J'li^ I aifdMiltHieen Ivi tier /uruskLithh eirtii
V icIeelK'iMm *. (liievAt vtiiX on b. svconip.
'tViciiiMlt (aab* (' VVoi|ikBlenr, (Iveuv Tx i
VOMS*.
* J McArMliutem 4e% Hi i.ru ^ts 1 4 Juim *, « b^xus tor (
SI>S««1.
* Ikr Altai brre*. Ae 4 v^ii e«, uidi pt*.
* ].* iut«i4iH*eilel >«4e aHa axira /tone in l.jixMtij,'
SONGS UUII M.WOlOKfi:
* Ike HhuAe Murcen; llir volk MoimIuim l,t.'
'Ih ixhrr KofCCtUMMt.’
i ML'Ki.ll MC MG
I.
Nm, i. * Mi«v» v.'mrirt* Ml II mi , In 4 oftb, a
Nm. 4 , * .Unsi tWiMHte ' «*• 1. Hu . !•>• I VAMCs, fM(b.
A •efaa.
' M«'«j ik
•x*
sk^vi^roc<'>uwj ' HI F ana, l<x 4 voket k
pro IkfuiKlM* tKeiimem; mi IN im«.. for \
v**Mes A oerh.'
' NlwM .^e>Mis iki.'
OrmMs blow. W 4 voices A orroa <r< t77ii.
(mioaii blM. toe 4 VMn k wvh.
V. l'>v(H> Mott n
AWioi. .* fi^lMos Misnero ikv40(4n<lH« 1 nujtoor
vat tbot ( iMv t k« jtw cl ba^ts ». ISo V | Vw lilii I
C BM i f aiilMi' ir. 17-7 .
Miserere * « I.) loj . I t 4 verces. <nch. & oibao.
• Mncreic f». IN'.
' In p«eiH *, IS. \'.
Ml n* Mto Domioe*. onb.
fuhii. *frhev Js Maie»ve( *.
'JXivhU RoM.J'oInt. nerh Motes Mnokkohjit Clxr.
seuHiHi sm Ciorai.MsI f,m 4 rrel pjiw, ime. the
SCMor. w M, u. 1807 <.
•Uie I-HINI- • Kiho GXXNIIJ , tx 4 lacu's
StMiev «fih pi. WM.
'Wvieytk 1x4(4' /conspoved tor Concert
S|MriMel4l ferMjpiMrmav brfoie t7Kgr.
• K<r«t« rocb *. he 4 voKn «i«h pT,
• Ave Keeiiu he 4 yotin nnh wfin m nt.
Doosinn'. hr 4 vrucn wnb 01440 or pf.
Ijurlw , fee v<|ir»nv. vhtmm otcoh oUJitato
•rch.
'Poit^m im|4rti* (Sertniit ISietnciar socnom 1
v'oiesftorch. '' '
> Kvmts. no.
‘7e Dcom ' io IX hr4 vo«p| k orili.
kync . stilb oreh. (Ckl. C776>.
' M i B O it t K vub Mtb. '17771,
'5«Ab4( Mater', wiibocch.
'fzee persis aac ^ rym * (aboui 17771.
.\vc NI»m Sidla ' artJ ' Croddii l(er<Mcs '. tor a i lunrs
oMh <«04n or pf.*
'TV ef (toi Rfflvjem for lomsclf
wcHOml mou of N oekr » U(er v<-*rs. 1 1 h as esteemed
to* tujnt »«k. Uesnko the oedutory eonitivu«ts .s
Menuiem.>i iimcwns Aim ’ <a fctiincs), 4 • Libecu me
liMlinM' aad on 'AbMluiio ad
' lo (W li^ary at Darmsl-Al k 4 •Orvi.klb Herodes
xnh .Mck. 4«ted jm. and oIm a ' Hymnut Avc
•Maos swBa. • 4 vwibvu (enra buwnenu'. Dowbl*
•hntkd wiib ihev «orb. . pwHojy
4*5
VOGLER: Works
VOGLER (J. & G.)
' \'eoi Sorcte SpiriiiH Gr»«lu»l in fi^ mj,. (W 4 x-ak^s.
ortK. & er<An.
' fe^auAi me dKent orch.
* Aim* Rp<Jrinf*ion% *, orcb.
' Inn RedentpW orch,
* n* c«rli ' and * l^iMiaM Doninum *. orcb.
* Ave Roginj (tegan.
' S*K‘e Kesin*’ m F, (itt 4 voices with nr pf. «d
lih~
' Sslve Krsiiia * Av-e Re«ina/ *nd * AlaksRevlempteeh
for 4 voices wilh orrut or pi, WM>
* Cmitm ptocmionsiH pro (nto comrit GbriuS/
* Vesperae de Pasrhsle' <>4 Afw.
* S'esperae chorales moduhs mtHHis omoue «iiJi orrK
(liiese Vrvpen m*f be MSenixol «oib i>ie «a^
iieal mecilioiMJ }
* Ve*p«rae rhoriles, 4 vncum cimb orfsne.’
i Lolin Hvmns, for 4 voices wtlh pt^adhh,
tot 4 voirn v»»ih ereut or pf. W Ii4.
13 C:hMrch H>mrM, 4 or 4 \M«t mutt. (First
Srriesk,
6 Chiirrli Hkmnt, fnr 9, 4 or 4 voiees vrucr. (SccotmI
Series),
C Chureh Hynuu. for ^ 4 or I voiees unoec. (Thud
Srneik.
6 Crhiireh Hytntrt, for 4 or 4 \oir«i uiucc. vFearih
Serves),
C Chkirvh Hymns, fee 3. 4 or I vokn uimcc. iTtfib
Serves).
3 IlvmM, for 4 voices with pt.o^M . ; * Drl^iio smirii'
iViiii.): * TVul csrilM rs< ’ lA) : 'OSabiUrk*
<V),
(i4oo).»'Citer*l«* riRi^), .'OCoilvi Wve
ilifi *. orch.— * Hnsuchei Vaser uitm \ oeeb.
4. MivreiiANsocs
* l)»e Aurvi'lehuns Jew,*
* PvailifmA modern ecriesiasrii orum ' <r. 1)79).
Fnivies 4 4. «hi ihentrv of Fertc 4 «si'> * S<*b«« MMct *
1777).
' $. Kilisii I t.ietl * ifirr 9 eboiri).
INhTRUMENr.U, MUSIC
Op. I. C ’JfiM. pf,. vvolMi ft biM.— Dvm IVie ftyie ft
violin.
Op. a. S cmt Aonota*, pf.
0 |). 3 . 6 c*»y bonaui, pf. ft vMin,
Op, 4 . 6 borious, in ihc form of cluru. (rno ft 4Mrie(«,
pf., violin, vn 4 « ft bow.
Op. >). 4 C'«rv<er(ot, pf. <ln iwo boohs, raeb coMsioutf 3
C ireos).
. 4 I'rios, pf., vMvii ft b.***.
Op. 7. $ Trios. 1 /.. violin ft boo*.
Op. 4, 19 easy l^veniseemenii of HoiionoJtluitKver. pf.
<two SooKi, lis in eMh>.»C«n«eno, pft <plorH
before the Quern of Franco).
f)p. o, na easy I’reludrs be or«»a ee pi, <<. ifr|).
(Vsirerin, pf., prvMed wiib • Coneeeio by KMUcher
about tyba, .•Nocturtvr, pf, ft >irmfs,~* (XoMor
C'euKerUni*', pf, vMin, mela ft b»— 4 SoMias
for « pf(. H794> — Sonau, pf, (4 boivdS>.—Sessau
t' Her chelirhc Zwut *). ef, with iwifips (C).—
PiHes. I*f. — * Air de Morlborow|b *, vor. pf.
hfarch w»ih vor. pf. (4 Vor. (*Lted aw dm
LupiMr*) pf '«i4 >'or, pf. (F).— FbMorell* *, pf.
{o>bvil i 4 o 7 ).— 'Caneonnto vonesiono vond* ( 1 ,
• 4 o 7 I.~V 4 t, iMorch ond Svredi^ »k). pf. (e.
tbra),'— *Polona>4c lavonir’. pi. <t><na.) (t. i4i»>.
—S Var. on March frearv * Sbmori *, pf.. yieba ft
» rllo (F).^ Var, Dun f Was braoeben w *) m
’ .Somori pf,. vMiUi ft cefW <D). 4 Var. ob Duo
in * $omnn pf., v lolus ft eoUo (C). 4 Var. m
Trio r&knfto HofTnunp*} in ’Samori’. pft, yieha
& edb (A ).— 7 N'ae. on Theme frocn «h« Omiurc
10 * Somoei *, pf,, violin ft eeib (O,
* rolrmrloo or charaeiertsue mvaic m diflrrent nacksu.
pf ft strings if iTpah— * PolroKbs'. a <haroci«r.
•SCK or*an-e«A«err. arranged be pft rnift vyelin ft
eeib W fi4, (f i4a4).*
Var. pf.. vrilb oreh,— \'ar. on * Ah qwe diroi*ie Maman *,
pf. with oreh. — Syrophony m C ma. (iT;pl.>-l>o.
' The march m described as * <5. Tordre d. Sdrophins
but (his appears ro be only a short vay ed puiiiM
* matekrt <ks Chevalicrv de Tordre des S^raphiiu *. Tbe
SerapKin 11 ihe oMsi Swrdbb Order.
* PMblv Ihe same. The eonteas ol the Utter ary
ffv»en m a footnote lO the burth edition.
is D mi.— Do. ta C.*,— * Baieritche National*
svmpftcmie.*~* L* invocasiooe for guitar.*
(.Srr D.D.T. 9nd Series, XV and XVt, Mannheim
Chamber Mode, ed. Riemann.)
THEORETICAL \VORKS
* TopwifriTbaft uad ToaseUhupst * (Mannheim,
«774).
* SsimtnbilAingAuBst * {Marmheim, 1776).
* ChurpfaUisehe Tonorhule * 'Mannheim,
* hfa n nhev m cr Tonech ub * (Offenbach).*
* Be«/achtund«a der hlannlieimer T<»schule’ (Speyer*,
'77«-«b)-
Cssai de dtriger le goilit des amaieun de piusique *
(Paris. t749).
* lauochKtion to ihe Theory of Hamveny * (Swodhh)
(Ssockholm, 1793).
* hfnhod of Ctat*ier and Thoroufth Bast * (ScredUh)
(Slochhobn. 1797I.
* Orran School * (Swednb) (StocUMlm, 1797),
'Choral System * (Oppenhatm, idoo).
* Data lur Ahustik’ (Oaenbacli, i9oe).
* Haadbuch aur HarmoriK Lehit, uAd G«neral*Bau *
(Prague, iftoa).*
* Auiserung uber Hm. Knechts Harmonik * (Prague,
1803 1.
* CtkUrung dee BiKhstahm die In CnindHst der . . .
neu n erbauenden S. Peiers Otgel in Munehen
verkommee * iMutuch, ile4).
' \’ergkirhunfiplaA der voriM nui der nun umge*
sehaffenee Orgel in llofbcihause au Munriirn'
(hJunieh, 1807I.
* L'bee dse harmonwhe Akustik * (Munich 1 OlTenbach,
tU'fi.
* CrundiKhe Anleiiung eiiin CUtierslinnven * (Siuti*
gael. Vienna, iduyi.
' DeutKhe Kirch^tmmik die vor 30 Jahren lu 4 Sing*
nimmen und der Orgel herjiitktimen, und niit
«tnee modemen IniinunenialbrBleiiung berriehcri *
(Munich. 1B07).
* Sniem fur den Fugenivau * (Offenhach, ilii).*
* Ubee CStorab «M KiKbentmanpe. bin Bciirig rur
(bsehsehie dee Tonkunst im ip* Jahrliunderi*
(hlunaeh, 1814),
To iluo elaas of works Ihe bUowing roay also b« (itiv
assigned :
* VerbeMerung dee Porkelsrhen N'erlnJeiungen * (0
* Cod uv** «he King * f) (iTMh
3f P fel y d* i foe Orvon in every bey, wUK an analyiis
(hlunieh, «4u4).
It Clkorah of J. S. Bach (aiYangtd by Vogkr ami
anatvied by C. M. v. Weber) (Igipsig, about
i4i«).
Sre ofio Beaumarrhan (* Samvoii lib. f\*oUaire]^.
Weber (it, van. on * Conor uitd Ptiihis ' ft '.Samon '
be pf.t. Wikmamon (friendship ft cvllab.),
VOGLER, Jotm (Johaiaa) And C«rard
<G«rbanl) ( 4 . ?; d. ?).
Germart i6ih*eciiiury music publishers, pos*
sibty broihen oT the preceding. They went
10 Ixmdon und 4 bout 1770 were esiablishcd
9A music sdlcn and music publishers in Glnss*
house Street, near Burlington Gardens. Gerard
* The last moveenoni in thii Symphony u caikd * ’Fhe
Bcala *. At Knyvelt's roocerl in Willii's Roomi on aj
Feb. iIm. tlw :>ecsi^ farl opened with a ' Men* hym*
pftsnie be t clarioeti. • olios, a fluts, 9 hoirs
tnampel 'obWigatl) * — ** rvevei performed in ihiv
eountrv* ~ by Vogkr. bail what lAis «i*w it teerm
impofBible to secrtain.
* TIms may be tlw work of some muiiriin of like
bme. Chriiimarin abo sfieaks of a Sonata tor har|>.
with accompaniment br fluls and relb. Rink, in hn
Autobiotfra^y, menbons Variatkies for Clavier 00 s
Swedish hfarch in C aaojoe.
* This embodiea (he Ivi.named work.
* This mbodiea the throe pryeeding works.
* A magaaine recording the progress of lh« school,
17:6-79.
* A transiaiion from thr Swedbh. .„
* Fits declapes that ibbwork wss not publuhed UM
aftee the author’s death. The prcfkee, however, e
dated “ Dantstadt. i4ii'*. ti seem* to havo been
written be the isurvedon of Meyerbeer.
VOCRICH
vok:i:.tkaimn'<;
43
was the compo^r of a once popular
' Tell me, babblijif Echo Robert Womum
succeeded lo their business, probably about
‘ 775 - F, K.
VOGRICH, Max (WUbebn Karl) (i.
N'agywebcn, lrans>Kania, 24 jan.
New York, iq June
Ausiro'Huiigarian pianist and compwer.
I laving made his debut as pianbi at the age
of seven, he later Mudied at the Uip/ig iUtn-
servatory aiuj toured js a piani't. 'IJw latter
\*»n of Ins life was chicU) dn oinl to coni^tosi*
don; he lived siur (lively »r> New ^*i>rk,
Weimar, London anti again in New York,
W. N. k.
VOGT, Aufustua Stepfaeo 4 . \N'asliing*
too, Ont., 14 Aug. ibi'i : «/ 1 orontu, 17 S«p(,
C^anatlun organist and ctmJueior. He
siudjrtl music at the New England iU>nv>r\?i-
lory, iJosUm, and at tlie Leipstg Con« r\ator>
under Reioi'ekc and Jadassohn. Keturiitov
to (Janadu he he)<i an organisrs p^ni at
loronto and particularly itUerested hmrwir
m the practice of « upprlU clnsral music. In
idj)j he fuunde<l the MemleKvihn <lln>ir
there, lx ginning with iBo sings rs. all care*
fully cliosen fur vocal aliiUty and muskianshlp
coaduitiag it from iu foundatioti uniii
• ^•7. when he resigned and was sucteedrcl by
H A. I'riikcr.
fmto the first Vogt vrt the highest standard
Iw forc Ins siftgrr*, and the high reputation of
the Meodeiksohn Choir wa* the result of his
brlllunl abiliiies as a ehoral trainer. Under
him 1)10 choir not only |>erfe»rn>ed a wide
• epertory at Lome, but matie many highly
iu^ctssful appearanrri in the principal cities
die C,S,A. *lu commemorate his sen ices
to music a \*ogt Sockiy, wiih senlof and
pinior Lr.inch«s, was founded at Toronto in
"J 3 7 • Its pur|N>o; ii to sli m u late creat Ive work
»n‘ong >tnmg Canadian musicians. Under
its au.ipKes m.iny new works have Ixvn per*
formed, and it imances ihr jmUicalion of one
ouisiimding work by a new composiT each
'*’5™ Ji. c. c.,adds.
VOGT* Guauive (I. .Strasbourg, i& Mar.
• 7oi ; d, l*aric, 3 June 1870).
Errmh oboist and comtiovr. He studied
at the Pans Conservatoire under Sallantiii and
t**ok the hrsi oIkmi in lytyy. While in
Keys ehics he began to play in puWk, and
he was apiminled solo ol>oe at the Ibcalrc-
ilulicn m lOoi and co-profc-scor at die Con*
«Tvmolrc in 1B02, In 1805 he entered the
h-nd of the ImiHrial Guard, was present
at Amurlju and during the oecupaiion of
' lenna made the acquaintance td Havdn and
Utethmen. After the peace of Tilsit he re-
tumwi to Panq never to leave it again Ibr any
distance. After sotne lime at the Theatre
•‘‘'ydeau, he succeeded his frieiKl and maMer
SalUntin as first oboe at (he <)|ktj (18141
and professor at the (km»rrvdioir<', where Ik
taught with marked success from 1 .Npr. idiG
to t Xov. Hiv fame njiread. Jin<l In
1825 the Phdiurmonic StKleiv inviu d him lo
Lorulon. if is lonv wa» iliooght to lx* llim,
harsh and fitreed, hut lu« execution wnv As*
toniihing*, and Ik w,<s rngjg<d again in
i 8 i 8 .
Vogt was an original im tniKr ol l!i« Sim ku<
Je> Ciinterti du Conservrfionr mimI pl.nid
(iirrc regolaris nil Ins nsignairon m ih]|.
often producing with smrc>> <<>cn(MKiiii>n\ ol
Ills own. .\s lirsi oImm* in Uk* nn^l ih.i|Kl
from l8i^ lo iH{o Ik was dec«>rM(e4i by ilit>
l,egion «■< Honour in tHju. He fi>rmi.i in.mv
talented pupiK, includmg Urnl, \ niit. S er*
roust, Barrc', l,avign« , UUbarre. Cras, Colm.
brrihCtcmv and llruvani, Vogt left a ron*
sickrahlr numlHT of pieces fiw the oImk, 1 fu-
lilirary *d lie* Uoiise r\ jione Jms ihe ni.Arni*
Mripi of his Metlu>i W ilir oImm', .ind di«
tiniseurn romains his olme, c^k .ingl.us And
barvOMi i<
VOICE*LE ADING. . \ r k t n i.ml .\n » -i ii an
needogism winch must on tm Ad (Mini !»•
alhiwrd to intrude into the J.|ji{lish languat:* ,
whkh has its ejwn perfectly adeipi.iie utmi lor
what Chrrman niuskiMiis IniiiL’ in llnKlnh*
speaking c<Hlnt^H^ widi lu evpir*s \yy this new
vubslitg le. I hat term i s ” pa n.w r it iug ' * A M<I
it serves it* puriHwc unambigooudv, whkh
cannot be said of “ N«/ice-leading '1 his js
simply a literal transliiion of the German
and, like many hleral iraiula*
tiw« it.g, ' Das UawJern ’ = ' Wandering
fail* to reproduce iJie original nu^anlng; for
Stimm, thejugh it dcKs mean “voice “ in cxie
^se, aho means " part ” in anollHT. and it
Is the latter which » Intended to l>r convoed
here, since a “ pan " in pari-wrinng is by no
iwaiu necessarily a voc-l part. Onee and for
all, Iwiwever many Orman scholars writing in
English, or disciples of (ierman scholais
writing m jargon, may use tlie lerin '• voice*
leading”, and however iinprcsvicely learned
the boob or articles in which ii occurs, it will
not do if English is to be allowed to remain a
precise and independent language. Unfor*
lunalely it has already become a ” dktion.irv
word ” in the U.S.A.* e s
VOICE-TRAININC. Tliis article deals
cwlusively with ihc levltnlcal asincts id sing*
mg ; matters of hisior>’ and inicrjirclalion w ill
be found under Sinojko.
OajFcnvEs. ^The object of voicc*irauiing,
in the sense of the term ai>i)rojjriaic to this
artick, as to enable the singer to perform tlic
musKo-verbal usb $ri ftir him 1^ the tom-
poser. Singing is primarily that branch of the
rtarmwiwMi
V*Ol CE*TR A IN I X(j : Obj« live* — Nfcr hanks
4 »
art of mu&ic of which (he human voice is ibc
instruniem, and it cannot satisfy the cars and
mind of the musician unless the musical tasks
arc well performed, or, ir» the absence of this,
unless the musician is persuaded to keep his
musical sensibilities in the bacl^ound. The
))oint is not without imporiaocc because there
have been a number of insiaiKcs, during
recent years, of perfornters being hailed as line
singers on the strength of gifts which had litik
to do W'ith juusic per m. It is euentlal to the
welfare of the art (hat those whose business it
may be to write or speak about ii should be
able to draw a Rrm line of demarcation be^
tween what is entitled to be called " singing "
and that which is not. A performer may have
great poetic and imaginaiiv'C gifts, together
with an impeccable musicianship; but if he
U unable to sing drad in tune, or to keep the
tone pcrfecily steady, he is not a singer, w hat-
ev'er cbe he may be, slrtce in these respects
he is unable to conform to the elemcoury
demands of musk. It is of vital importance
that this point should be accorded the widest
degree of approval, not only because faulty
intonation and unucodine^ of tone are in'
fallible symptoms nf an unhealthy method of
using the voice, but aho because whene>’er
the voice is used in the manner required for
singing, they cannot posibly occur, except
for reasons of unconirollaMe nervousness or
physical deterioration due to age or disease.
I'he art of music makes upon the singer hve
elementary technical demands :
(a) I'hc sound must be sonorous, m., it
must be clear and ringing, being neither
breathy (except for occasional effects), nor
dull, nor strident nor hollow.
{h) The singer must be able to produce at
will a sound of the finest quality of which the
individual Instrument is capable.
(r) The intonation must be perfect and the
tone perfectly steady.
(tf) The singer must be able to keep the
Row of sound continuous and unbroken ostt
the full compass of the v^cr, whether singing
either very slowly or at the fastest tempo.
(r) The singer must be able to swrll or
diminish (he sound at will, keeping the rate of
increase or decrease un<ler perfect control.
The ariiculativc side of the art of singing
imposes one single technical demand upon the
singer : the ability to make his words clearly
audible at the back of the largest auditorium
in which he is likely to sing, at all stages of
vocal compass and at the fastest rate of
delivery.
These are the fundamental (eehnical re*
quirements, and the object of voice-trasiur^ is,
Rrst and foremost, to enable (he ^nger to meet
(hem. And it cannot be too strongly empha-
sized that of them all steadiness of tone and
a ccuracy of i ntonat ion are the first and grraiesl.
\N'i(hout them iltcre can be no music — and
tberefore no singing.
In the final aruly'sU the whole art of the
votce-uainer is built upon a single elementary
princli^c of phy’sics : Aat ii U tht neturf $f icu^
<0 he wtamenahie M pfepuitiw ; oi, to put it in
homelier language, that sound cannot be
pushed about. This is a principle which is
usually violated, lo some small extent at least,
whenever one person speaks (o another, since
the act <S communicating directly with an*
other person tends to engender the idea that
the sound must be directed towards the person
addressed. Purilscrmore, whenever the two
persons concerned are at some distance from
each other, ^ when the speaker wishes to itn*
part emplsasis to his words, the natural tendency
is to try to propel the sound more forcibly, in
order to make it co\*er the increased distance, or
to five it the isecessary emphasis, as though it
w’cre being hurled like a cricket l»ll : in ether
words, to shout. The fundamental dilTcrence
in technique which determines the unmusical
quality of a shout, and the musical quality of a
full tone when correctly sung, is that whereas
the former is the product ^ a more or less
violent effort lo propel the sound towards the
person addressed, the latter is the product of a
technique which does not attempt to interfere
with the natural behaviour of sound, but which
allows it to radiate outwards with no propulsive
assistance from the singer. The business of
acquiring such a technique Is one of some
difikuhy, while that of assimilating it, so ihni
it assumes the character of a subconscious
reaction to the w’ill to sing, takes a consider-
able time, depending upon tlie pupil's apu*
tode and perseverance even more than upon
the teacher’s skill. Net'erihcleu, in the last
rce^t it is nothing but this absolute quelling
of the instinctive urge to propel the words
towards the audience which ntarks the dis*
tiiKtion between the vocal ineptitude of the
singer and the experincss of the true
singer, which in fact makes singing an art, not
only by virtue of the aesthetic ends It seeks to
achieve, but also in respect of the technical
means it employ's to acliSc«*e them.
Tke MacHAHKs or Voica.— The voice is
the product of a continuous collision of ttvo
Ibrces or energies : (i) that of compressed air
and (ii) that of a muscular tension or resistance
plac^ continuously in opposition to it. Its
instrument is an assrmMy of four distinct
mechassisms whose modus operandi is largely
determined by the end lo achieved. Ihe
mechanisms in quesliem are : (i) a bello\vs
(lungs and respiratory muscular sy'stem) \
(ii) a vibrator (the larynx) ; (Hi) an ampUfi^
(chest cavity, windpipe, pharynx and licsd
cavities); (iv) an articulator (tongue, palate,
teeth and lips). The function of the bellows
is lo pfxnidc the first energy, i4. compr«sc<l
\'OlCE-'rRAIN'lX(» : MrrliaAicv - 'rccUnical Hbion
45
air; lhai of Uie vibcaior u lo ptov'nh ihc
second, i.c. an opposing cnuscular rcsi&iance :
(hat or the amplifier to reinforce die resultant
laryngeal sound by providing a Urge and
partially enclosed body of air is-hich can be
set in vigorous vibration ; and that of the
articulator \i. by reason of the nuraeri»u< shapes
it is able to nssunie, to impose ivords upon the
amplilied sound. It is a characierisiic of all
four human mechaiiistns that each possesses
the ability to influence the wAt ayir/aWiof the
other three ; but it is unquestionable that the
prrsers’ation of a sound mechanical l*asii of
N-oice re(|ulrcs that each nieehaiiism sha I he
as free u possjNc to perfi.rni its task. «r.*
hampered by ihc others. I'he four mechan*
isms must work siinuUanroinK l>ul iiMlept nd*
cniiy if tfie best results arc to be achirsed.
llie attivc ineehanism of ihe b.'IJows U
ihc (liaphraem togeilirr uith iis avsoeiaied
muscular system (the munles of the nl», back
and alxlom^ni ; while that of she Ursisx con*
silts of a pair iii vibrating li|B, itHtethcr uiih
a highly M/mpli<ac.tl system of tiny nionles.
irudons tiwl laniUges. Ami as tboe two
imih.uiisms lonsiituic the aitiv'c pritieiple of
voire, It is firsirable that the voice-trainer
should have a clear understanding, ivm
neceuarily ol die anatomical miiiuhar. I.ui
certainly of thrir mechanical prii>ii|>|> of
operation.
'rhe diaphragm rnnsiitutes what is often
tailed the “ prime mover ** in a large number
of physical operations; Wi it is a eharactcf*
tstie of this iffcai nui«ele that its movements
are always inicialM through a system of in-
direr I «mtroL \M,cn wr smir vmlrntly or
\>U)w Air out of the iiwjuih, it is ihc diaphragm
svhich draws ihr air in or pushes it out ' Init
^vc perfrtfm neuber tJ* ih*-sc acts at the dia*
pheagm Itself. 11, c •• hanrllcs- of tlw human
heliows arc always somewhere else.
The aet of blowing the nose pros kka a crude
Jwl reasonably arcurair simulacrum of the
fundamental a. t u, be p-eformed by the singr r
In this act wx Wing the inner surfarn of the
nostrds close enough tognlur to cnalilr vibea-
tion to occur. Wr then apply a pewsurc of
air and ihe nsult u a sound. A wind player
Tu rfonm the same type of act with his lips • -
HU olwist at the reed. The fundamental art
the sMigrr is that of " blowii^ •• the closed
wmdpipe, and to learn to sing is, primarUy,
to learn to perform this act with the greatest
*Kill and delicacy.
J he first meclianiral corKlilion to be esub-
iimcd in the generation of sotind as that of
air-compression, and the seal of the air.
expressive act is the larynx, for it j, here,
and here only, that the singer closes the air-
Wyc from the lungs to the mouth. Unlike
the diyhrap, the ean be activated
^aher directly or indirectly, so that phonatioo
may be iitiiiaicd cither by an a<i ul rv|Mr.iMoit
or by a co(iiinuou> net of coniproslun rxcrird
briow’ Ihc larynx. B\il n dvlibrralc a<t of
expiration is essentially direriional — It iin*
pitet ihc propulsion of the breath out of ilir
mouth, and it appear^ that there must be an
inherent ssrakness in this irehnique, since j|
docs not seem posable to (sropel a hrcuih
deliheraielv without simultaneouslv occasion*
ing a subronseious elfoci to push the sound
along with the breath.
\M»er« viewed as a simple souiid-jiriKlucer,
ing iis amplifving mikJ acliculative wxliotis
out of aec« »unt. ilte liunaan vocal irisirumetii
bears a rrinariablv su^nig mrchahical re*
sendiUncc lu ilie famdiar ganirn iiatul-sprav,
Ilwrr is, lir*t, a ** mi/rle ’* ,il»r laryns) Irom
whkh a **‘|ir.ij*‘ idw vmind-wave sysieinj
emcrRr^, travelling. Ot*ce il has lefi ihr no/?le,
ae(«)rdii»g t<» the lassi o( its own nature. Next,
there is "l>arnl'* uUr cheti au<l luntjs
which ItoWs a su|qiK ol duid fair . I.astlv,
tlicrr is a “ plunger “ tlu' diaplir.teml whit h
maimaiits ilic fluid in c<Hiif>f<->'ion a< it is used
up and dun drawls in a Irish sujiply. Ant)
wrice il>e human " plunger " twn only l>e
aedvainJ by ji»dircet nxeam. tlj. two .shima*
tisr nseiho'ls o|«n to lire sttign Ix-inc i aii
act r>f rxiiiratum -I the n:outh anti u a loual
gc'iiire ol t\u- l.irsnx iiw'lf, U is hnpnssilile lo
av’osd ll»e ctmthision ibat the rrquiremeius of
an ideal > .unthpitKluetlon ap|>ear lo dm, and a
cht^ee of the latter method. It is olw ious thni
whenever ihc at i ark n made along the line of
dir^tion uken by ibc outgoing sound, ii mu«l
In tmposMbCe lo quell eonqiletrls the tendency
lo pfffpei the souikI, sime such an attack is
propuUry by .sat or. , No rrtlieless. hreause
Ihc idea of plsonatiiig U me, ms of direct
lary ngeal acii<Ki is usualU felt to l>e not cl
.tmi even tn a r eruin ex,, ml “ unnatural '
alilkargh spct'el.lesi infants and singing. bird,
appear to use this nicilwd exlcnsiseiy. - it j<
proposed at thh point tn make any
drtuiiic procwiuneement as to iJic rights or
wwgs <,f this technique, but first tn preveni
Ihc evsdrncc left to us by the oWer school of
-nging. and m indicate sueJt mothfications
as have taken place m slnging-technltiue since
«5 heyday. It ,$ generally agreed by all whose
judgment w critical and exacting ihat the older
«hool nf smgen ezhiUted a far higher desrer
Cii i«hjocal proficiency than is usually attaincsl
iCMiay, so that such cviderKc as remains tn
... >nrtU<iHs ihrv cmphnc**!
shrujU be of considerable value.
XectiNtTAL HisTCmv.- Singing, as an an.
« opp^ to the practice of “natural ” or
parr^sinying. seems to have been originated
in lialy at sonic period during the :Gth
ccniuiy, and ibc ichod of iu birth quickly
«med Its me, bods the title of M
(beauujgJ song), owing to the beauty of die
46
VOICE-TRAINING ; Technical History
rcsuiu which i\£ dUcipIn were enabled to
achieve. So far as can be ascertained, the
inieniion of the founders of the M «u*$o seems
to ha\'c been to discover an am\ver to the
technical problems set by the polyphorusts, of
whom Palestrina was the leading Italian
representative. In polyphonic music, to a far
greater extent than in any music that caoK
al^er it, the moods and emotions of the verbal
text were expressed whdiy by mu«ca) means,
j.r. by the way in which the interweaving
sound* pat terns w'cre moulded and arranged.
A choir singine (his type of musk is, in iut,
the nearest thing to a vocal orchestra it is
possible to imagine, and it is very probable
that the strong cmjdiasis unquestionably laid
by the beUcantists upon the instrumental side
of vocalism was initially their response to the
iiutrumenial nature of the demands of poly-
phonic music.
The principle of translating pceik (or
prosodic) mood and emotion into terms of
music, as opposed to using the arts of the
elocutionist in order to express them, seems to
have been adopted as a governing principle of
M eanlo, only lo be relaxed (o a certain extent,
as will be seen, in the case of rcaJe dkloMM.
And during tlte long period which saw the
decline of polyphony and ibe development of
the more modern art of harmony this principle
seems to have been jealously safeguarded by
l>oth teachers and singers. Emotional and
descriptive " colourings *’ were given ex-
pression through ** colorature ”, embellish-
ments suited to the emotional atmosphere. In
the invention of which the singer was accorded
a great deal of liberty, the composer acquies-
cing. It seems to have been a general rule,
accepted by composers and executants, that
whenever a musical phrase was repeated, il
was to be first sung exactly as written, the
repeat being embellished at the executant's
discretion and according to his taste and judg-
ment. The embellishments were not dictat^
by the composer because it was recognised
that what was suited to one voice and tempera-
ment would not necessarily suit another. The
idea of a singer’s adding ctote-patiems of hk
own invention to those of the composer is now
generally regarded with indignation; but it
should be remembered that not only did those
earlier singers live much closer than we to the
time when " singer ” and ” composer ” were
synonymous terms, but that the idea of em-
bellishment being the hall-mark that distin-
guished the artist from the skilled craftsman
was very much more ** in the air ” than is (be
case to-day. To bring the question down, by
analogy, lo a more everyday level, it was
considered that while any sound craAsman
could make a good piece cf fumliure, it was
the faculty of introducing suiubk embellish-
ment within the functional framework that
raised a Chippendale to the loftier status of
artist. The present day is unfavourable to
embellishment, preferring a functional plain-
ness often carried to the point of surkness (or
cvfia dreariness), and as music-making shares
the artistic atmWphcre of its period, ^is pact
of ihe singer's w^k, in which he was allowed
to exercise his creative as well as his inter-
pmaiive powers, has been consigned to
oblivion. In earlier times, however, not only
were musicians expected to be more versatile
than now, but also, men seem to have been
wholly free of our modern ideas of intense
specialication, belie\*ing that the consequent
loss would outweigh the gain.
The school of the M eaitbt had already
reached a high peak of technical achievement
when it was tlireatened at its very foundations
by the nature of the dramatic vocal music
which followed hard on the heels of poly*
phony. The new movement in vocal composi-
tion was in the direction of what was thought
to be a more ” natural " Imitation In music
of the tonal indeclions of speech, the new
dramatic works consisting mainly of p^tUndo
recitative supported by a some\vhat dry accom-
paniment on a coniinuo. The movemenl
must iAe%*itably have been regarded by the
bcl<antists as involving a technical retrogres-
sion towards the '* natural '* or p^rlen69 type
of singing. The pendulum had swung too far
in the reverse diction, and the relwIUon of
the singers was initially more conservative
than anarchic.
The victory having gone to the singers, they
certainly proceeded to abuse the liberty they
had won, to so great an extent that by the
time that Cluck came on ihe scene they seem
to have reached such a pinnacle of licence that
a composer must have been hard put to il to
recognize his own music in performance.
None the less, the intransigeance of the singers
resulted in a technical legacy so rich that it
did not exhaust Itself until the beginning of the
a«h ccniury, after w'hieh little trace of it
remained, even lo the Italian schools of song.
The Technical Ryidkncb. — A reconstruc-
tion of the technical methods of the htl
school must depend for its sicceptance upon an
interpretation of such remaining evidence as is
coherent, logical and consistent with the known
facts and t^ known results. The facts still
known to us, (hough feiv in number, arc
usually ftmdamenlal. The results still avail-
able for study arc enshrined in a collection of
old gramophone recording large enough and
representative enough to enaUe the closing
phase of a great epoch to be appreciated by the
cultivated ear and even, possibly, to be under-
stood by (he expert. As an example of ^vhat is
meant, there is an FonotIpia recording of
“Eceo ridente U cielo”,ftom ‘The Barber ol
Seville made in 1904 by Fernando de Lucia,
\ 01(!1>'I RAINING : Teilmical Hnior^’
one of the la&i of the great tenors of the M
c«nio school, which stUl makes an occasional
appearance in collectors' lUu. ^Vhrn %hk
record is compared with the very best nsodern
Italian recordings of the same aria, not ^»ly
IS the older singer's incomparably greater
masicry of his means demonsifaieJ l)e>‘ond
dispute, but it al>o becomes clearly apparent
to the expert ear that he employ ett a lerh'
nique quite diHerent from that of the nKxlern
Italian tenor. If the remaining tnidcncc is
carefully studied, the essential ciatnre of that
dirivrence should i*eCorne ilear Iv tisr com-
petent vuicc'iraini'r.
J'ltus, when all tlie avatUbIc csideiKe is
taken iiilo account, the n‘clirncal basis of M
<cuto can Ik; summed up in ihiec pro|x>Mtium,
each of which may be cunsidemi io be un>
sliakahle ;
^1/ that the lecbnical r«>un<luih'n*>iojie of
M (nnlo consisted of the /iwiid tt/, that is to
say, the pracihe of suelling aiwj dinnnishing
d»' vocal lone ;
Ui) that the clastic lest <4 tli^ M <«Ma
school fur & welbsung luxr was at all liinet
that of the caTicllC'IUmc whkh must iiui
Hkkcr (or the mirror whkh mo*i renuin wn*
«lmir|e,|) when held close m the open imKilh
ol the singt’r ;
(iii) that the M vchool of singing was
a »Uki>ol of ’* the voice u|x>n die breath ",
Ibis terse description, originally aitrlbuicO
to Crrvccntitii, loecns to have cnmmarvded
Keiirral approval as an arcuraic {ilivugh somC'
what Sibylline) sumtning-up of tlic method.
Im orihT fully to understand the implica*
li'im of tlw (iru i»f iln-n. profsredtiona, It is
iU‘Cew»fy for the voice.irainef in have a clear
mental picture <d the causes of increase and
decrease of louiid. A vocal sound cun lie
snbjceied to a proCf« of increase or decrease
in two dilferent wa)*. First of all. it can be
mireawU instrti mentally, that is b> Increasing
the weight of air*prcssurf acting on the glottal
jip» and thus amplifying their viliraliunal
swing When this is done the alternate
comprcidojis and expansions of air act more
vigorously upon oqr eardrums, and the lone
sounds louder and can I>e heard farther away
from lU source : the sound- wavvs acquire more
cne^y an<l trav>eJ a greater distance before
dying away. The second process combu of an
increase of anleulailve gesture, by whkh ilw
cuiMc capacity of ihe oral chamW, together
with thai of the pharynx, is made logger,
i his ^uUs in an increase etf umal ampliiude
or wlumi;, but it dues nothing whatever to
make ihc tone swell. 'ITie reader who doubts
Jhe accuracy of this statement can test it for
^iiijself, quite slinfdy, by singing a Awmb
•••'d ^ progressively increasing the «ae of the
'xiwel chamber as the note is softened. If the
•ncreasc m cubic capacity caused the lone to
swell, llic bigger vxmel chandier would aiilo-
maucally convert a dmiHUffth into a fres/eiuh,
whereas es*ety enmpeient singer knows that
this is not so; in fact, it jv a stnind ride nl
singing that the softer tlw lone, the tnorc the
throat must be ojKited in order lo conipcnsate
in ampliiude (or iJw decrease in laryngeal
energy*. It canmn l»c too well untlrrsiood by
the voice-trainer that all crrxrWi ,snd dimiuu-
Air essentially jiK reaves aji<l (hxreuNe>
t'f energs, the ** |»<mvT siatloti (Ting thr
larynx tlwlf.' .k swelling the t<uje cooNists
ol .in inenase ol ilu* i iseigv imparted lo ifie
vKind -waves bv ihe vdsraK#. and its only iriK*
causation tonshu of a dehUraie ami urn.
trolM iiHrease of air-|>nsvure ivih d at the
larynx.
Use twu cpialiiies in cpuMh/n niav lx*
ripresveii as i.a) InKiiuiv ol uate and sFi
Vidiime of i4air. *||m‘ elUxl of the lita is
[divsieal, ill that ilw impiintniiemv ol dw
actual < oiupreNOvKo aiul i sji.iiisionN of the
atoH^spliere u|kki I he e.uilrum are iiifm-
eigoriMis, or luf mi« ; lU* etiei t of die second
is ae^iJuiic, in that. Imau'e a greairr IiimIs of
|»aruai(v riMlcHrd air i.iki-. |url in ihc vilu-n.
lioti but IMH iihire vigoroiish >, a qn.dily ol
spa< iiMisness is iiiijune<i lo the rouilaiil |i»iir*
vowel.
The |ierfecli<Mi wlutli was aiiaioixl in ihe
rxecolwm tf the nriM iwr hv ihe ».mgeis of
she M MhrM*| coiistiiulei an arguinrnt
•f overwhelming fiKie in lav our uf ihe fat I
that this technical deviir was exeruted by n
deliberate and (ontrolle<! exertion of ins rgy ai
the bryiu itself: indsxxl, it is dillniilt to die
pfunl of impoaubilitv to >« luiw oilierwne it
toiAl liave lu'i n hr«>i>glii to such a pii< h of
jicrfesiioo. Arnl as ihis exercise formed the
Iwsn upon whkh all else was liuill. ii hdlows
lliat M r«Me was a schoH of inirnsitv of wijer,
as sipposed to one of sxduine ol voice. |i U
oiniously of <l«c greatest impoilanre that the
vmee-trainer diuold uiulrrsiaml clearly the
ddfercncc in v»^d effect denoted Iw these two
tew for tlicre is no ew aping ilieVonrlosion
that if vocal la/ranVy i> to lx* the first objective,
llien vocal training most st.xrt at ihe larvnx
Itself. Ixt tis see how ilu$ |j borne out by ihc
otlicr two propositions,
I here k in these iwti |»r<^>osiiions (i.c. ilic
test of the candle-flame, and the sxiice upon
the Uealh '•) an apparent paradox, the «ilu.
lion of whkh prosTdrs us with very useful
evkJrncc as to the prartke of the M eoMe
school. 'Iln* apparent cooiradiriion Ik's, of
course, in ihe fact that if iltr singer's voice is
fell by lum to Ik- floating upon a moving
stream of lireaih • the iiK^aning generally
attached nowadays to “ the voice upon the
*3* '" " **• “f ‘he J'
>*»va* n ll»r ’• nuua k
a*
1C
43
VOICE-TRAINING: Technical Huiory
brcuih " — it is certain that the breath loss
will be hcav 7 enough to cause a flame to
flicker or to cloud a mirror.
The researches of modern scientists into the
behaWour of vibrating reeds have established
the fact that the efficiency of a double reed is
increased to a remarkable extent when its two
vibrating edges are brought into really close
approximation, so that the whole air>pressure
acts upon them and is converted into sound.
I'he application of this fact to the human voice
means that it can only achieve its fullest
degree of sonority when the approximation of
ilie sharp edges of the glottal lips is close
enough virtually to block at each vibration
the air*passage through the larynx into the
pharynx. But it Is clear that whenoer a per-
fect approximation is achievcd» the singer will
feel no sensation of breath flowing outward
from the mouth, and the fact that he does so
can be regarded as proof that the approxima-
tion is imperfect. This is almost always the
case in normal speech, and only to a lesser
degree in that of "speech^song", since it is our
habit to use otir speech as a medium of expira-
tion ; wc breathe out as we speak, and we
generally manage to do so without slotving
down our rate of l>rcatlnng to any marked
extent. Indeed, so rare is the faculty of perfect
approximation of the glottal lips in adult
human beings that it is usually necessary to
<1cvisc a special technique in order to secure it.
What, then, may the result of perfect
approximation be expected to be, when ex-
pressed in terms of physical sensation? And
Ito^v is it connected with the old precept of
" the voice upon the breath "? Jt certainly
seems as if the third proposition ss'cre intended
to provide an ansv\ er to the second, in terms of
physical sensation, rather than to contradict
it. First of all. the singer is much more likely
to experience the same kind of sensation as
does an oboe player, who always feels that he
is leaning breath against (he reed rather than
expelling It. There is, moreover, another piece
of evidence available to us, now usually
neglected, which sbeds a great light upon the
meaning ** the voice upon tbe breath The
old school seems to have attached great im-
portance to what was called the of
the voice, and a welUpMsed vmce was often
described as ^ app^iQt«. “ Appoggiare
means to ** lean " ; and when the idea of (he
voice " floating upon the breath " is changed
to that of “ leaning upon the breath ", the
whole picture changes at once. French voice-
trainers — and indeed many others — often
instruct the pupil to " lean the v^ce against
the mask of the face", a technical trick which
is easy enough to pick up ; but what is one to
make of " leaning tbe v^ce upon the breath **?
There is only one place where tlw v^cc can
be felt lo be leaning against tbe column of air
bdow it. That place is at the top of the wind-
pipe, \vhttt (he breath ceases to be “breath"
arid becomes “ voice ". That this was, in
fact, the meaning of the old precept is strongly
suggested by every item o( evidence now
remaining, for the fiist method used to achieve
it seerns always to have been that of articulat-
ing the vowel at the larynx. Manuel Garcia is
alwa)*! careful to describe the icup dr la gloiu
as a neat "articulation”, and there is evidence
in abundance that he sternly condemned the
forceful and violently explosive form of it
(aught by certain teachers, which he called
“the sir^ of the chest Consider Sir
Henry \Vood*s irutruction for the attack,
given in his ' Gentle Art of Singing to “just
say the vowel at the vocal cords “ — a notable
departure from normal speech-practice, which
he must surely have learned when acting as
Garcia's studio accompanist at the R.A.Nf.
Consider, too, the remark of the old Italian
singing -teacher in New York, reported in
(he correspondence columns of ' Musical
Opinion ' > : " You modern singers ahvays
teem to want to make your notes in your
mouths. Wc old singers always made our
notes in our throats, long before they came
into our mouths ! "
The two arguments usually advanced
against the *aup 4t glwt method of attack are
(tf) that sound made in the throat is bound to
be guttural and (4) that tliis method of attack
has proved to be harmful to the delicate
mechanism of the larynx. Regarding (e) it
need only be said that sound becomes guttural
only when it is (rapped in the throat * ; ^1 ^al
sounds are made in the throat, whether we
like it or not. As for (^), since so many great
singers have both praetis^ and recommended
the dr ghtu, the answer must surely be that
all depends on how it is done. Certainly,
there have been far too many of them to allow
the question to be profitably ignored.
There is also a third argument, and an
important one, oAen advanced nowadays to
support an objection to this method of attack.
It b said tltat the effect of the discovery, by
modern science, that the breath is stopped,
not by the glottal lips, as was previoufly
support but by the false cords, is to in-
validate the method. It is difficult, however,
to fdlow tbe logic of this rcasonir^. It u
certainly probable that the (cup dt gloii* was
empiric in origin i none the less, the sio|)page
of the breath by the false cords as a preliosinarY
to phonaiion has a scientific basis and, it
would seem, an extremely strong one, to
support it.
Whenever a sound is launched in ihe
' * Tb« An SiAriaf ptsiiti.
* •f J»llv la^. , .
* By »lw siinfflln* of the lonpoe-reol, whirl* inr"
pushn down Ut« epigloiiif.
VOlCfc-TRAINlNC; M«ihods of Teaching
oiaiiDer of ipeech> iV. by an act expirahoo
initiated at the mouth, the mccbanicaJ position
at the glottis at the moment of phonal ion is
oae of '"pressure dUrquUibnujQ ” ; there is
a rapid build*up of plus pressure at ibe
underside of the glottaj lips and a state of
“zero pressure’* abo\x them. But if the
attack U preceded by a closure of the false
cords, which lie at a short distance zbovt the
gloiiaJ lips, then the mechanical portion at
the moment of phonaiion U Mte of pressure
equilibrium; pressure is equal on both sides
gf the glottis, and this constitutes a mechanical
condition exactly similar to that of no prruuce
at all. (It is the fact that there Is a pressure of
tiearly 1 5 IIk. per square inch on b<Kh sides of
a window that prcvonis (be thin glass from
being broken. If the pressure were on one
side uiily, the glass would have «»bever>’ much
thicker to support the tseigUc.) And Jt is at
least possible (hat under such a tostdiiion, the
arytenoid muscles having nu upward weight
of compresskoii to uvercontc in Isriiigmg the
two cdgi>s of Ute gluital Ups lugcther, ilie
approximation ii iherehy enalded to be much
closer, and that it prrsi-rses tlsc sharp edges
of the glottal lips. Certainly those singers w bu
haw luarnt to use this technique invariably
display a much greater sonority atid depth of
lone tfian thewe who have not — a fact which
seems to 8 upp«>ri the conleniitm.'
i'ite conclusion is therrrore juslified (isai the
bfl eanl9 schcK^ w*» essentially a sehool of
phonation at the larynx — “ihc voice upon
the lireutli ", as op^iosed to (he more modern
conception of '* (he voice mingled with Ibe
brc'ath ’* ; and It w’as (his conqdeie dcpar(ure
from hahiiual speech meduxjs whkh dixin-
guished it from tlie fuiUmh xhool of singing
wluch probably pr« cedetl ii - and whkU lias
cerianily succeeded it.
Ml utous w TnAiNiNu.— It b s-cry diflicuh
to achieve a complete understand Ing of the
underlying basis of the nivtitods of training
employed by the M raaM school unless those
methods are viewYil within the frainevwirk of
the generally accejrtcd "three register"
system, and that of the carefully devbed
" styles of sotig ”, the purpose gf which seem
to have been to provide an exact ami curnpre*
hcfisible technical basis fur every type of task
with which the singer was likely to be faced,
l or this reason It is adw^blc to examine these
a%|K:cLs of the M t«ni9 Ix forc proceeding to the
inn hods of training actually emplos ed.
file Registers of the Voice.- -VVbclher the
registers arc tlic product of three changes of
' ( 1 »« «Jiier vieorf of a <«r« ily ew««t«4 r««a A
ncliflj*, f|,j( (1,^ iMpt'foio* airwAiwe ik«
of ihertdy curreaia ^ Um rotw*,/
VOL. IX
phy'sicaJ adjustiiKni of the laryngeal mechan-
ism, as Carcia suggested, is a quc>iion that
may be left to the scientist. J'he point of
praclka] importance to ihc viHcc-lrainvr is
that there axe unduuUnJly Uirec changes of
acoustic sensation pcrceivcxl by an cvjKTt
singer when using the volte over its full
compass, lltese cJianges occur In all voices
(if I hey arc nut prevented from occurring;,
whether male or b’niale, aitd it is of vital
importance that the singer sliould be aware <>(
(hem. so as to know, at rath stage of pitch
cliai^e, where (l»e voice may lx c*[x cial to
apjsear (o come lo ccm. It Is dear tbui if the
singer H not to jir.>|H’l Us vxiitc towanJs some
pre-sekxied locuhtv, f.r. ui "pla<v” It de*
libcfatdv, he must know ajiproxinutely where
It may be exjxxted to " pUe '* itself; not w
that he may help it (e> gel litcrr, but in nnlcr
that he may be enabled to amid imcilcrlng
with Its srlbplacirig. on the iiilvlaken as>unip*
liuit that it a|>pears lo be f^iwing itv’lf in
a very unnatural place. It is absolutely
cswniial in siisgiiig to make a lirm dbiiiinion
between wliat is truly natural and what Is
nserely habiiuaJ, amJ it dues no; follow,
because tlie vokc appears to come i<> resi in
the region of (he mouth tvlich tJie glottal h]>i
are uv^ at s|>caking pin lies and in im llicicnt
approximaiKNi, tUt it will necessarily come 10
rest in that region tlirouglusul its entire ctmn
pan and with dose af^oxiiiutloii when ihc
object is 10 prodnee a musical note, *lhe case
is far otherwise, as any sound*phvslcwi who
has made a study of the singings vice will
conluin.
It is probable dial ilic "registers" were
called " (hrsi ", •• mkldlc " (or " medium ")
aiul " head *’ breausc iIk“»c terms foiincd ai
exact a descrijHiofi of lU' nciHislie ltKal||i«
c oocerned as ti wav inwo ble to ii iid . 'I'hu !t no
iiuddk " reghiiT, whiih ha« always U*en
sofiietiung of an enigma, is a parii< ularjy idler-
esiing anempt to av*gtd inaccutaiy, -.n will
presently be seen.
The Cliesi Register.— So called bccau«c,
from the lowest notes of tlic voice up 10 ihe
rjni U or E>, the lone seem* to proceed from
lary nx uraigiti down ilw wincJpi{>c into (he
chest, ITiis teclmique, which, licCaii^ it
invoIvTs so compleie s deivariure from every-
day sjseech metlsods, must be dclilieratcly
employed (r.r. die singer must mentally
direct the (om-siream in the dircciion In-
d«aied% apjxars to ev oke a cordal vihration
in the grealfM degree of mass. 1 1 produces the
fulint and richest tongs gf tlx Inslrunicni, an<l
witlxnit it (he low notes arc invariably weak
and possess little ttavelling power.
The Medium Reg««er.— At the first D or £
there u a change. The note appears to be
Nung farther forward on the cr>rd«, and die
tone- vowel BOW a(^ars to come to rest In
i>
50
VOlCE-TRAlKING : Klciliods ofTcachii^
the roof of the mouth. Kevertbeless, to call
this the ** mouth *’ register would not be
quite accurate, and the use of the term
^vould inevitably lead to much “ jawy ” tone,
hoUmv'Sounding and without a good ring to
it. In this register it Is the base of the vowrl
which appears to come to rest on the roof of
the moutit. ]f the soft palate U kept hrm, as
it should be, and not allow'ed to become
flaccid, the body of the vowel seems to
function above the roof of the mouth ; or, to
put it in another way, the vowel seems to start
at the roof of the mouth and to develop up*
ward to\vards the head cavity, and never
clown ward into the mouth. \N’heneveT the
voivel is felt wholly in the mouth, the tone Icaes
ring and becomes hollow.
As the notes ascend in this register, the lone-
vowel is felt to come to rest progressiv'ely
farther back in the roof of the mouth, until, at
the upper it seems to be focusing itself on
the raised uvula and to be ** opening " itself
upward into the bulge at the back of (he head.
The Head Register. — While it is possible to
ling the upper Ea in the medium ” position,
it appears to have been considered by many
bel 'Can tilts that this note forms a better intro-
duction to the head register than the P above
it, and that placing the change at the £ led
to better ''head'* notes. (There is evidence
of some difference of opinion on this point.
MathilJe Marchesi, the teacher of Melba,
Calvd, etc., seems to have Iruiited that the
change should be made on the Ff.) At this
note the vowel appears to " close ", i.t. it can
no longer be sung " open " in comfort, and a
marked change of physical sensation occur.
Whereas in tlic two lower registers the singer
is always aware of the voice emerging from the
mouth (even though the tone-vowcl may
appear to come to rest in some other locality),
in the head register this sensation dbappean
completely, and the voice Mcms to function
entirely at the top of the head. It is exactly
as if a ball, thrown at a wall, failed to bounce
off again, but instead shot straight upward at
a wholly unexpected tangent. Jl is vital to
remember, however, (hat the singer does not
direct the voice towards the top of the head ;
it goes there of its own aceord, so long as its
progress is not interfered with. A head-riote,
in fact, is best described as the product of a
pressure, deliberately applied at the top of the
breast 'bone, and well to the front of the chest.
The soft palate Is raised as high as it will go,
the lower jaw drawn right b^ck, so that iis
angles sink downward into the neck, and the
tube of the throat seems to prolong itself, so
that it appears to terminate at the place where
the pressure U applied. In singing very high
notes the singer should feel that the throat
extends right down to the very bottom of the
chest.
hfaauel Garcia was of the opinion that,
while the three “ reglstCR exist in all voice,
the “ chest " predominates io the male. The
present writer su^csis that the three registers
should be regarded as three “ acoustic posl*
lions ", ilut their causation is primarily a
question for the sou&d-physlclst and only
secondarily for the physiologist, that they
operate In all voices, male and female alike,
and that what predominates in the male is not
the chest “register", but ehest resonance,
mving to the greater length and thickness of
(he male glottal Ups. (Chest resonance is
caused through the vibrating membranes
setting the air in vibration below the larynx, as
well as above it.) It is bis experience that
whenever the question It approached from
this standpoint, the characteristic " break " of
(he female voice does not occur. The
" break ", in fact, seems to be the result of
singing the highest chest notes with too strong
a ^cath pressure, and the very fact that it can
be trained out of existence seems to suggest
that it need not take place. (The bel'Cantlsis
called the " break ” iV pentietUo — the little
bridge.)
It should be carefully noted that while the
male instrument can tolerate the maintenance
of the full chest position well up in the vocal
range (although even to men the persistent use
of it is tiring), the female instrument cannot
do so. \Vomen should never maintain the
full "chest " position above the low E>, and
it h better to allow the acoustic change to take
place on the D. The hnt two or three notes of
(he medium position will at lint be very weak,
but they will develop Avith practice.
Tbe particular value of a proper apprecia-
tion of the salient points of the " register "
theory lies in the fact that the singer is (hen
able to foretell with accuracy in what locality
his voice may be expected to appear to come
to rest at each stage of pitch, so that he does
not try arbitrarily to " place " his vowels, but
allows them to " place ’’ themselves. It does
no( seem posslUe to avoid propelling the tone
when (his knowledge is lacking.
Tbe Styles of Singing. — The various
" styles " of singing formulated by the bel-
cantists were primarily based upon tbe
adaptation of a certain technical principle of
voice to ilie nature <^Che task to be performed,
(he principle being that tlie voice has two
" tones " (which must not be confused with
(he " registers ”). These " tones " correspond
roughly with those of the organ : " diapason
tone ", whkh is the result of a low position of
(he larynx, and "flute tone", which results
from a sli^ily higher position of the insirv*
men(. It seems to have been regarded as a
matter of great technical importance for the
singer to be able to recognize the correct
stylistic basis of every class of vocal material —
\OlCE-TRfVlNI.\G; P/rpariitf clw Insirumcni
and ofi« of even grenier imponanec ihai (he
composer shouJd be faoiilUr with it. Hwre
cao be litde doubt that tke older compceers
adhered closely to the various styles ct sot^,
and it is possible that a p'rat deal of the
Iialiao reaction to Wafer’s vocal music
sprang from the conviction that by igwing
the old rules of vocal MTitlng he was striking ae
the roots of the M tsnia technique.
The following styles were formulated ;
I . Ccu/e or plain style. This style,
which Garcia calls ** the noblest of all
styles ”, calls into play every *' t«« ” and
” colouring " of the voke. l‘hc tttukke
of Giordano. Caccini, hcarlatii, etc., are all
written in tliis ityle. as are nearly all the
songs of SchuUrt, Schumann and DraUms,
and most English art songs.
a. Cante jWiSe> or llorid song. This, ilte
pitito di par9f9fie of llic brl*canii>c, ^saj suIk
divided into:
(c) di ag/hVe. Tliis was twully ece»
euted in the "flute” totic, the "dia-
paton " tone being considered too un-
wieldy to permit of the great rapidity,
(lexibiliiy ami neatness of caecuiion
required for this style.
(i) di kwi,74. I'his, the greatest glory
of the florid style, wai sung in the
• diapason ’• tone, the " divisions ” being
nmg more slowly, in full voice and with
full dramatic and interpret Itx eflect
llravura required great power and the
ability to impart passion to the voire.
Allioni, Tletjcns, GrisI, Malibran and
\iardoi*Garcia were notable exponents
of this style.
(f) di fflaeisra, A sort of limited llorul
style adopted by singers wImhc voices
were \vaming in power and agility.
dwfemert, or dcclamaiory song,
I his was sulidivided into ;
(a) S«r\4i<}. Sung utually in the "dia-
pason ” lone, and always with a <4tuaPiU
basis.
(k) tluffu. Sung usually in the " flute "
tone. All recitative was sung in the
declamatory style, the full tone bring
usually reserved for wdaritu r/rwMntose
and the lighter tone for we. The latter
was luualiy sung U. in
imiiatjon of speech, but an actual speech
iwhniqgc was permitted for comk effect,
I lie most salient fact which emerges from a
ci«c study of the recordings of the old school
01 song IS that these singers always seemed to
knowejacily ^vha^ they wanted to do with any
P^cce of Nwal music - and, also, exactly how
w do It It «cms probable that their acoiraic
knowledge of the technical bads of the variow
w success.
Much of Che operatic music of the pou-htosart
« IS declamatory, even such lyrical favour-
ites as Gounod's * Faust ' consisting r<rr the
most part of an elaborate form of rfdlatiio
with occasional formal aria'c anti
cnsemMes. 'Fhe complete absence of retiMaty
were from these operas means, of course, that
the singer's voice is never given a rest, but must
be used almost ivhoUy in ‘‘diapason” tone
and, (or the grcaier i>art, in reete dnlamaio.
This is rKM to be taken as meaning that such
operas arc in any way unvocal; but it is
possible that the need for the sl:ig.T lo l>c able
to recognize the exact nature of lUc la^^k, and
the technical means which it will call into
play, is e\‘cn greater in their case than in ihat
of i l»e older operas. 1 1 u «o easy to ma kc some
^ n show' in declamatory music uiifi
means which, to sav the lea»i of ji, are of
(hmUful validitv- To sing it reall) well, hotv
ever, requires great ipciinical proficiency and
an exact know'ledge of ihe mean« m the singer’s
disposal. Tlse closer the composer gns to the
" iiainralnesi " of speecli-inlleriioii^, the m<)rc
Ihsrklv is his nrnsie sireun with ir.ips for ihr
unwary or die unskilled, and the nmre dilfic uli
It K to sing. iltorough knowledge <»f the
vocal styles equipped the singer with a kind
of framew'ork within wlucli he wa» able ti>
ImiW up hii ione>w*ord piemre on prr-selected
technical lines, so that the final irwdt was, so
to speak, compart and clear raiWr dian
sprawling and nebulous, \S*hrn everv instru-
ment in tl>e vocal ensemble knotsx the exact
Haying required for earlt different
t^, and when each insirumcni plays alike,
the results are more likely lu be worth
bearing.
l*Mr.\Rixc TKi Ivsfawtvr,— The tcch-
meal pri nr j pie dial wems to emerge fr<)m the
preHmiiiary imiructium given l»y the brU
canmu lo their ^xipib h dial ihe vocal mcchan-
ism IS not whtJly a mtisical iiwtrumcnt when
m lu normal position of relaxation. Uv this
H meant that it is incapalde of meeting fully
itK demands of looc-qualKy and of comp-ass
wtuch will be made upon It, and ihai it cannot
be kepi under a skilfully managed control
unfea lu various component pans arc first
brought into ccruiin positional rclaijonships
Uhmann
called this the " propagation form ", and
spraks of the '•snakcliic " capacity for swift
muscular contract ion and relaxation whirh
must be pottcssed by the singer. I'he M
<mt4 student had to begin by, as it were
•‘ making the instrument ", and was taught
always to mamtain it in the singing position
wlule iakii« breath, the only relaxation per-
milted being whenever the pupil had to
break the tmtrumcnt " in order to swallow
excess sabva. The " instrumental ” position
was as (bllows :
The Organ of Air Supply.— The body erect,
chest wcU raised, shoulders weU turned out
52
VOICB-TRAINING : Brcaih Management
and the feci well planted. The Momach
slightly drawn in. The singer rnust never
lean on the stomach.
The Larynx. — In a slightly lower position
than that of silence, '^e position of the
larynx depends wholly upon that of the soft
palate, which must always be raised to some
extent at least. As the soft palate is raised the
larynx descends. The pupil was told a]wa)*s
to prepare the larynx for the note. (In a letter
to Fraulein von Jaeger, Jenny Lind says:
Before you sound the note, the larynx must
be properly prepared in the position in which
the forthcoming sound lies, whether high or
low”.!)
The Amplifier.— The throat to be opened
by dratving hack the chin, an action which
nolens the throat without unduly opening the
mouth. If the mouth u opened by dropping
the chin, the throat is automatically closed.
TJtc true opening of the throat gives the sensa-
tion that it is no longer a separate organ, but
hu become an integral part of the mouth-
cavity; the singer teels that the vowel-
articulativc cavity has been transferred to the
bottom of the throat, so that the throat no
longer exists as such. Manuel Garcia makes
this point clear when he writes: '‘The real
mouth of the singer ought to be considered the
pharynx This seems to be abo the real
meaning of the somewhat cr>'ptie aphorism of
the bel-canlists ; " L'ltaliano non ha gola **.
It is important to remember that sound fell
in the throat is not necessarily throaty ". It
only becomes so if the tongue-root is stiffened
so that the epiglottis is pushed down. This
happens whenever the singer tries torae/ar the
\x»irc in the throat.
The Articulator. —The soft palate raised
{ste and kept firm — It should never be
permitted to l>eeome Aaccid ; the tower jaw
looM and rrtraetrd, the lips in an easy smiling
position w ith I heir corners tending upward.
The mouth opened about the width of the
little finger. An exaggerated mouth opening
closes tite throat. The tongue placed Atmly
in the selected vowel position. The longue
should never feel Hmp ; it is not something to
be kept flat at all times, as is too oAen sup-
posed, but something which makes \‘ery
decided vowel gestures. You cannot gesture
firmly with a limp member.
(The importance of a good understanding
of the function of the tongue In the articulathx:
process cannot be over-emphasized. A great
deal of the bad articulation singers is
caused either by a lazy, Aoppy tongue, or by
a tongue which the singer deliberately tries to
keep fiat when it ought not to be. Similarlv,
it is not always realized that the “vowel-
moulding machine " of the singer consists of
> W. S, R«luifa, ' AnatyH) of iHe M«i2>o<l of JcaivT
• * Kinu ea Sinfing \ passim.
the soft palate and the centre of the tongue ;
that the dnger feels this machine to be working
mainly at the bottom of the throat; and that
it is felt to be a very compact little machine,
which does not sprawl all over the mouth.
The vowel gestures should always be Arm and
decisiv’c. Whenever discomfort is felt at the
singing larynx the trouble can very often be
traced to an indeterminate vowel position of
the tongue and throat. The vowel mould
must alwa)*! be clear-cut. It should feel small
but exact, so that the vow’el feels small and
concentrated. To spread the vowel all over
the mouth is to court trouble.)
BiteATii Manao£M£?4T.— A correct method
of breaching and breath management was
regarded as the foundation-stone of the htl
fAitfa. It was laid down that (he method of
breath management practised by tins school
enabled the executant to sing, in the btl etnto
sense of the term, the reverse being implied.
Chi sa respirare sa can tare “ — “ he who
knows how to breathe can sing It thus
appears to be certain that the respiratory
technique adopted could not have bwn that
normally employed for speech (t.r. the tech-
nique of breathing out against the closed
glottis), since an>*one could use this method
without special tuition : and in order to dis*
cover its nature it will be necessary to con-
sider what alternative methods, if any, are at
the singer's disposal.
The importance of an efficient method of
breath management lies, of course, in the fact
(has the air in the lungs, when compressed,
constitutes the source ^ energy upon uhicb
the vocal membranes depend in order to
vibrate, and it is clear that the character of
the sound produced must constitute, to some
extent at least, a refiection of the acro-dynamic
conditions established at the top of (he closed
windpipe. Indeed it is not too much to expect
that the fundatnenial characteristic of all vocal
tone mutt be ultimately determined by those
conditions.
The human body is provided wiih tu‘<*
different mechanisms capable of causing a
compression of air to be rstablished in tl^c
lungs and %vindpipe uhen the glottis Is closed.
I'he first mechanism cnnsistt of the respiratory
muscles themselves, whkh can be used to pr^
the diaphragm up%vard, the technique of apph*
cation consisting of a kind of inward contrac*
(ion of the upper abdominal muscles effccied
immediately below the base of the breastbone.
This appears to be the technique employed by
vocaI animals for all acts of phonation; the
v^orous inward contraction of the abdominal
muscles can be plainly seen whenever a dog
barks or when a cow bawls, and abo, signifi-
cantly enough, whenever a speechless baby
pbonates. Adult human bcirtgs also emplf’y
it, not usually for speech, but for acts of a
VOICE^TRAININC : Breaih Managcmeni
mor« aoimal aad therefore a more natural
nature than speech — for clearing the throat
vigorously, for instance, and for grunting and
groaning.
The second mechanism of air compression
consists of the natural elastic recoil of the
luDgs, which, when filled, react like inflated
rubber balloons and so press the air against
the closed glottis.' This appears to be the
mechanbcn usually employed for the produc*
(ioa of the speaking voice, when no deliberate
effort is made to control either the weight of
air pressure or the race of air expendic ure. We
speak by breathing out against tlie closed
gloitb, aod the ultimate source of our sountl*
ene^y b then the elastic recoil of the lungs,
which, in recoiling, decrease their mass, thus
creating a condensation or partial vacuum in
the chest cavity, so that the diaphragm b
drawn up, so to speak, instead of being pressed
upward from below.
These two mcchanbms consiiiuie dte only
sources of sound 'energy at the singrr's dts«
posal, and as the second b that habiiually
employed for speech purposes by the great
majority of human beings, no special training
being re(|uircd to teach them how to use it.
it is difficuh to avoid the conclusion that ii
must have been Uie first of these techniques
— the controlled pressing up of the diaphragm
by the respiratory muKles — that constituted
the respiratory basis of the M mss. In order
to cstablbh the probability of this it b only
necessary to compare the consequences which
must ensue when one or the other ofthoe two
methods b employed.
First in or<lcr of importance comes the
((ucstion of control ; and whereas the action
of the respiratory muscles in pressing the
di.iphragm upward can be controlled directly
and with great exactness, so that the anent
of the diaphragm can be either accelerated or
decelerated at will, the recoil of the lur^p is
not amenable to dlreet control. No man can
feel the action of hb lungs, and what cannot
be felt cannot be govern^ by the direct con-
trol ^ the conscious mind. Nevertheless, a
certain form of control over the recoil of the
lungs b arbitrarily imposed by the structure c^
^e words articulated, for the rapid alternation
of vowel and consonant musi rtecessarily cause
them to recoil, not smooihl) and evenly, but
equally rapid jerks, as would an
inflated balloon, the frequency artd violence of
« ptobMy not
« •uelf » prftviCe a mail oT uttfkkM
••eoroui 1(9 - enrrev of tftoU )w««rw
wllsam s«oemMv«lr. am«iM keavUv ypM l
!^n, wl»«n«v<r w<hniow« of e.pirauw. «
a kiJi JT* mpiraiorr c«<k apiwon to b«
iiu «Jps««Sed iQ Um pfoceu ; (k« wd<kt of li
'UI.SI aiKl. »f> fto.ag 90, lielpi lit duplirafi* u» iKewd
D3
the jerks being determined by the incidence of
the Consonants and the vigour with winch the
syllables are accented, the most violent jerks
of all occurring on strongly accented syllables
preceded by explosive eonsonanis. Thu m eans
that wlienever the recoil of the lungs is etn-
jdoyed as the main source of suund*enei^y,
ihe word-structure causes ihc delicate laryn*
gcal mechanbm to be subjected to a persistent
' ’ a ir-hammer ’ ’ which i l w as not cons i r uc t<d to
w’iihsund, since the alternation of vowel and
consonant in conjunction with syllabic accent
does not form part of nature's phonator) plan.
The maximum strain is imposed upon any
mechanism, wh<>iher muscular or metallic,
w’hen it b continually subjected to pressure
applied in jerks, and there are the siroi)g('St
grounds for believing that it is this pe rsi stent
“ air-hammer *' caus^ by ihe w’ord-s true tore
and accent in conjunction wiih the pulmonary
recoil chat tires the voice so quickl> when the
speech effort has to be unduly prolonged or
intensified.
Thai Ibis is no mere spciulation scrim to
be proved by the Uhavioiii nf ihr indicator*
needle of a microi^imc gauge, vs hie h cart be
seen to execute an abrupt kick up the scale at
each syllable when speech is bring bruadcast,
il>c most extensive movements occurring on
the accented syllabl(*s. A microphone trans*
jates sound energy (i.r., compressed air energy)
into electric energy, so ihat the nccfllc of its
meter gives a very accurate picture of the aero*
dynamic conditions prevailing at the lop of the
closed windpipe. And this being so, every
kick of the indieator*ncedle must represent a
concussivc blow of compressed air at the
glottis. The less skilful ihc speaker, the more
violent are the mov’eincnts of the needle at
each syllable — in oilier words, the more
vi^ent are the air concussions ai the closed
glottia. Yet it is a commonplace of modern
leaching that the consonants should be ukxI
as springboards of attack, so to speak. Tlic
real truth seems lo be that sound produced in
this nuinncr is emit led with the maximum
of jerklness, ilie consequences being
that it dors not travel well and that much
damage is thereby inflicted upon the delicate
laryngeal mechanism.
On the other hand, the cffecl of the more
truly natural (though less habitual) method
of breath management — the inward con*
traction of Che upper abdominal muscles —
is lo decelerate and control the ascent of the
diaphragm, thus preventing a jerky recoil of
the lungs and enabling the air-pressure at the
closed glottis to be kept steady and compara-
tively low. Experience In using this technique
reinforces the conclusion that expiration and
phooation are in reality acts of an opposed
mechanical nature, the fundamental difference
lying in the fiu'C that natural pltunalion (tiiist
54
VOICE-TRAINING: Breath Mana^ment
of ncce^ily cau$e a suppression or suspensjMi
of tUc normal expiratory process. To put it in
more homely language^ in efficient singing the
larynx should mo%'e the breath out of the
lungs : (he breath sItouUl not be regarded as
the mover of the voice. It has been slated,
and with much weight of scientific authority,
that we eompreas air by breathing out. The
present Nvriter suggests that while the state-
ment is true enough in fact, there b a false
mechanical principle implicit in this proposi-
tion. We do, but we ought not to. Nature's
purpose in making the lungs elastic is not to
enable us to compress air, but in reality to
allow us to dissipate the compression caused
by inflniing them, with (he minimum ex-
penditure of muKular energy. When we
employ this mechanism, which is essentially
one of energy conserN aiion, for the purpose
of developing and discharging energ)* (i.r. by
phunaiing), wc are not co-operating with
nature, bui working against ii.
The arguments in favour of the'* respiratory
squeeze " having been the technique of breath
management adopted by the M eaafe Khool
are very strong. The following may be
advanced :
(i) Ii appears to be the method employed
hy all vocal animals in their natural state (or
the purpose of phonaiion.
(ii) It is certainly the method used by
human infants before they 1101*1: learnt 10
speak. This can be icsted by anyone, who
need only place the hand lightly on the upper
abdomen of a crying baby to discover the
truth.
(ill) It is the only method available lo the
speaker or singer by which a steady un-
spasmodic compression can be maintained at
the glottis during phonaiion.
(iv) It is the only method dial permits a
direct muscular control to be exercised oi*cr
the ivcight of air pressure in the lungs. Ihe
inward press of the upper abdominal muscles
can be governed with considerable exactitude.
The recoil of the lungs is not susceptible to
control.
There is, however, an additional feature of
this technique that eonslituies an argument of
overwhelming weight in its favour, li causes
a complete transformation of the singer’s voice.
Those who are instructed in its use can detect
in a moment, from the mere sound of the voice,
ivhcthcr it is being employed or not. so that the
term ** singing ” has a special significance for
those who have been taught to use it. It is
related of Santley, the celebrated F.nglisb
baritone, (hat having been asked to adjudkaie
and award a prize for the art of singing at one
of the great musical academics, he refused to
make the award on the ground that norte cf
the competiton had been caught the art of
singing. This tallies with all the evidence
now available of the teachings of M cmIo.
Their method caused a certain vocal ebar-
acterbiie eo appear in the voice of the exe-
cutant which was otherwise absent. Up to
the time of hfanuel Garcia the physical cause
of this vocal transformation remained undis*
co>‘ered ; all (hat the old leachers could say
about it was that it occurred when the breath
was correctly managed and was absent when
it was not.
There are very strong grounds for believing
that (he eflcctof this method of breath manage*
menl, when used in conjunction with a correct
attack, is that suggested by the late Charles
Lunn, a British teacher of singing, in hit book
‘ The l*hUosopliy of Voice '. Lunn deduced
that its elTece is to establish an adduction or
drawing together of the t*eniricular membranes
or " falM cords ”, accompanied by a disiension
or dilation of the ventricles of Morgagni. He
suggesied that the ventricles would become
inflated by the air compression within the
ventricular chamber. This does not seem 10
be probable, how*ever, from the mechanical
standpoint, for so long as there is an opening
from ihe ventricular chamber to the throat,
the compression within the chamber could
hardly be hea\7 enough to cause the inflation
of ihe veniricta. Nevertheless, it is equally
probable that the ventricles do become dilated.
An authority on the subject of instrumental
sound*physies consulted by the present writer ’
gives it as his opinion (hat ivhilc compression
could rwl, and, indeed, should not exist in the
ventricular chamber, the dilation or distension
of the ventricles would fulfil an essential
acoustic purpose in providing a stabilizer for
the " vortex currents ” circulating in the
ventricular chamber, and that this might be
expccicd (o give a greatly improved tonal
characierisiie. Be that as it may, there is no
doubt that the instrument does, in fact, display
a sudden improvement of tonal charaeieristic
whenever the breath is correctly managed;
and the argument is strengthened by the fact
that it also causes a complete change In Ihe
sensory picture perceived by the singer, ai
compared with that evoked by the now
familiar expiratory singing. The change
seems mainly due to the fact that the singer
is no longer performing an act of expiralion
as he sings (he larynx is now moving th<
breath out of the lungs so 'that the singer no
longer feels the breath-How as a deliberately
w*Uled movement of air. The greatest change
is that the singer now feels the voice lo be
starting neither at the mouth nor at the
larynx, but in the lungs themselves, the gbttu
appearing to do no more than to add die pitch
and vowd articulation to the sound. The
highest notes of the voice then appear to
originate at the upper abdominal muscles
' BoDAvia.Huni.
VOICE-TRAINING: Breaih Mana^emcm
aod to Suppress the broathing-out process
almost completely. Thb would sppear lo
be m line wUh the teaching of Manuel Garcia,
who is reported to have begun every course of
training with (he follots ing summary descri)>
(ioo of the vocal instrument : *' The lungs are
Tor tone emission, (he glottis is for pitch, ihe
oral cavity is for vowel and limbre, and the
front of the mouih is for cortsonanis
Ii cannot be too strongly cmphasi 2 e<l, how-
ever, that when the breath is maisaged so that
it appears to be moved by the Iar>'nt. instead
of being regarded as the mover of (hr voke,
every single sensation evoked by the now
habitual expiratory singing U quiic changed.
In the first place, Uic attack ol the souikI is
eompletcly transforiiird, sinre the singer is
now unable to attack by moving the air in
the mouth. Tlir clearest picture of whai he
actually docs is to be got through an analog> ,*
He does at the tup of the closed windpipe
exactly what he does at the approx iiiiatetl
nostrils when he blows the nose, at the same
lime combining the act of ** blowing the
wj nd p ipe with ih a t of vowel art k ulai ion . *1 he
reader has only to try blowing the nov» to
discover for himself what kind i/f respiran^y
action it inUiaics, and there is no dUU fence
whatever in mvchanical principle between
blowing the approximated nostrils and
*' hluwing " the approximated voeaj mem*
liranes, LiU Lehinonncalled this process** lean*
ingthe breath against the chest ’\and describe*!
it as her invariable method of attack. Its elfeet
is to lower the whole vix al process so far as tlie
singer’s percepiions are engaged, so that the
tone srcini to pnKced from the lungs and tl»c
pitch and vmvel artirulaiiun from the top of
the windpipe. 'J'he lop of the pharynx is then
fell to be playing tlir main part m moulding
the vowel si Iain'S, while the nioiuh appears to
be no more than a passage for the already
complete tone- vowel. 'ITic lone*vowel is then
leli to be flowing in the factual direction, frun
the lungs towards the back of the head (for
the throat lies behind the larynx), and to be
developing all over the back of the head,
whence it seems lo be reflected forward. The
singer is aware of the process of reflection
without giving It any active assbiance. The
higher the pilch ascends, the farilier hack the
toncvowvl seems to develop itself, so that at
about the upper F ii appears to mov-e itself
well behind and abovr the vowel cavity (the
top of (he pharynx), and to be functioning in
the bone structure of the back wall of the head
and neck, (Concerning this aspect of vocal
technique, there is much significance to be
lound in Caruso's story, related by him to
John MacCormack (and passed by the latter
'• h used in iu nxtu#,l J.iuen
rei«mW*iKe orr»nB m fuKdon bew^
»n(wu euenliAlIv diflV/epc " (CXO.D.),
to hb biographer, Mr. L. G. Strong], that the
great Italian's teacher used to make him
practise bending Toward, with the crown of
hb head touching the whII, in order to get
the high notes to go far enough hack.) Never-
theless, it is im{Ktrlant to rcmeml><*r that such
notes are not lo be '* pla< ed " wvll l^ck, but lo
be allowed to *' place '* thvmv lvrs well bark.
*n>e central principle of cfn<i**nt singing is
that the tone must lie alUivsi**! to (low out
and to place *' itself where it will, \’owe]
and consonant gestures apart, the physical act
of singing must be carried on hit wren the
laryn.x and the upp<'r alKloniinal musclrs anti
the vokc allowed to dct'chip itsf*|f in tin* region
appro]>rialr lo the pitch. I it tensity .ind vowel*
limlire. ’Ihe tunr*niaking mrch.'tnlvtn, in fact,
reseml>U*s the hand* >i>ruy all end y liM'niioiu'd- *
liui a hand*s|>ray which is worked by simul-
taneously pressing (henoszlc (the larynx) and
the plunger (the diapheagin) inwards each
other, il»c fluid (air) in the barrel (lungs)
Iseing used up by this uetion. The funriion
uf the plunger Kitnphragin) is to regulate the
weight of prosit rr, while th.-it nf the nor/le
(larynx) b l<> gowm the rate of exix itdiiuii'
uf the Hum! tati) by adjusting iruir to give si
lini't or coarst r sitray (i.r. a v»U<t or Juudor
sound), 'file student cannot l>r Uh> t ontiantly
reminded that whenever the pressure at the
lop of the ebest or at the base ol the neck
liecomes uncomfsirtablc, It 1$ Inreausc the upp<'r
abslomina) muscles are not being used firmly
enough to lower the pressure. Jhlorl at the
throat b caimd by laziness at the respiratory
muscles.
It will be readily undrrstfKxJ that such a
metliod of breath man.'igemcni eannoi be
employed at all unless the act of inhalation
coftsiiiutes a preparation for it. Jf the in*
halation is aecomiianlcd by an *' out " gesmre
of (he alnlominal muscles, so that these
must Ics are being pusited out at the end of the
inspiration, Ihe power to snake them contract
inward will have been surrcnilend, and con*
ifol will then pass to the clastic recoil of the
lungs. That b one reason why abdominal
breathing b the enemy of good singing. It
also constitutes the reason why the " in" breath
of the singer must be taken in two stages, as
Manuel Garcia Insisted, I he first stage con-
sisu of the descent of the diaphragm, which
causes a slight protrusion of the upper ab-
dominal muscles in the triangle immediately
below the breastbone, llib protrusion, how-
ever, must on no account be allowrd to
become too pronounced, or the power to
contract these muscles inward at the moment
of attack wUI be lost. The secorid stage of the
" in ” teeaih consists cf the expansion of the
Jovrer ribs, together with a slight inward move-
ment of the upper abdominal muscles, so that
the upper abdomen becomes flaitenvcl; the
36
VOICE-TRAINING: Breath Klanagcment
drawing in of the lower abdorrten should hav^
begun, of course, with the first stage of inspira-
tion, and should continue as ihe second stage
ts proceeded with. In correct breathing the
\jpper abdominal muscles execute first a slight
''out" and then a si ight * ' in movement as the
breath is inhaled, while the Io^ver abdomen is
drawn in right from the very start of inspira-
tion.
This form of bi'cathing must be praciiietl
very slowly and carefully, and the teacher
cannot possibly be loo particular about it.
It is commonly believed that the an of singing
lies in taking a full breath instantaneously and
without showing that the lungs have been re-
filled. In reality, this is a physical impossi-
bility, and the sooner the pupil realizes It ihe
better. The attempt to take a full breath with
great rapidity invariably results in a complete
loss of control, w hile the rapid inhalation of a
large quantity of cool air dries the throat, dis-
turbs any mucus lodged in the windpipe,
roughens the delicate ctiges of the vocal mem-
branes and is inevitably noisy. The half-
breath or ** snatched breath " of the singer is
ewrniially clavicular — a small amount of air
trickled into the top of the lungs without
abandoning the muscular control below the
breastbone; just enough is taken in to keep
the phrase going, and no more. Roekstro
describes Jennv Lioil as being stry skilful in
the use of the clavicular half-breath. Pull
breaths should always be taken as slowly as
the music will permit.
Finally, the singer should beware of the
besetting sin of all bad singers ~ the attempt
to lake in too much breath. The lungs should
be fully inflated, but without allowing the
lower abdomen to protrude or (he upper
abdominal bulge to ^come loo pronounc^.
The power to press the diaphragrn upward
must on no account be surrender^. He who
can manage (he breath enables himself to
sing; he who, by unskilful inhalation, puts
it out of his own potver to govern the steadi-
ness and weight of the air pressure continu-
ously and unremittingly through each phrase
Sung, thereby puts it out of hb power to sing.
Tna Attack op tkc Sotmo.— The very
first thing to be realized by the voice-trainer
i« that the word “ attack constitutes a
thoroughly bad piece of terminology when
applied to the voice, for the very good reason
that U is bound to engender in the mind of the
pupil the idea of striking a note, as a piano-
forte string is struck with a hammer. A vocal
sound is never attacked : it is launched ; and
(he gesture of the irtstrument which brinp It
into being always partakes of the nature of a
caress. The an of the singer lies in making
(he laryngeal caress quite firm and dean, so
that the note begins exactly in the centre of
the pitch and at exactly (he required imeiteity.
being neither slurred up to pitch nor swelled
to ilw requisite intensity. For this reason the
instrument must be prepared for the note
before the note is launch^ {see Sec. * Prepar-
ing (he Instrument ’)« ^nd this entails a
momentary pause of the breath after inspira-
tion is completed. An attack which is the
product of an uninterrupted "in-out’*
gesture of the breath, or where the laryngeal
gesture follows immediately upon ihe com-
pletion of inspiraiior), is of the same order as
a vkdin note which is begun by a careless
dropping or slapping of the bow upon the
siring. Like the violinist, the singer must
always begin by a careful placing of (he
bow. As will be seen presently, his "caress"
is essentially a movement into pressure, and
it must be carefully made. (Incidenially, if
Manuel Garda had only hit upon the idea of
calling the ecvfi de ghtfe the eeresse Je la gloHe,
a great deal of subsequent misunderstanding
might have been averted. In (he De Lucia
recording of " Ecco ridenie il cielo " men-
tioned abov'c it is particularly noticeable how,
at the passage :
the old bel-cantist launches each of the
with an unmistakable caress of the
glotiu, whereas in every modern recording of
the same aria heard by the present writer
the method of attack used for these notes can
only be described as a hammer-stroke of the
breath.)
The first " attack " exercises usually given
to the beginner wTre those classified as meisa ^
asre or " voice-placing " exercises, the ph^a^
being used in its more literal seme at th*^
stage. The researches of Nava, Sandey^s
teacher, led him to conclude that the first
" attack " exercise used by many of his pre-
decessors was one which introduced the
technical dcv*ice known as the itiksanoae or
" vibration of the larynx ". In this typo of
exercise, the pupil first executes an articula-
tion of the tone-vowel (the Mp JeglaiU)* then
allows (he (one to diminish — though not to
the point of extinction — and then re-
energizes it by means of a gentle pressure
(vibration) of the larynx, repeating this pro-
cess three or four times, thus :
The exercise was designed to teach the pupij
to place the voice at the larynx and to control
VOICE-TRAINING : Coup dt C/^//^rorpoia's Method
57
it by direct laryngeal action. The vihtoziom
wa$ practised on every inier^’aJ <£ the scale
ami on all votsYls. It >vas only when sufficient
skill had been attained lo the management of
the larynx that the pupil w’as allowed to
reverse the process, r.e. to attack a note softly,
and then to swell it by a controlled manage-
ment of the laryngeal pressure. Once the
pupil had learnt to do this skilfully, the two
halves were joined up and the practice of the
full mei\a dt uxt was begun.
For tlte aiiaek by means of the glottal
articulation, the type of cxcrcbe appears to
have l>ccn as follows :
the pupil being required to use the rests to
prepare the instrument for the next note.
'I1te exercise was also practised chromatically
and with changing intervals.
These two methmls arc thrue referred under
* The Technical Evidence * above. 'Phe
general principle seems to have been that the
reap dr gi9lk was to be used when attacking on
a vowel, the Mirdciew method of attack b^ng
that used when the note was preceded by a
consonant.
SpaciAi. Nora on Tiit ‘'Cour ne Olott*'*.
—This method of “ attack which has been
the object of so much vituperation during the
post hair'CCniury, depends absolutely for its
safety of execution upon the absence of any
accompanying effort to push the tone upward.
I'he object of the executant is not to use the
larynx as a kind of air-gun firing a vowel-
projcctilc, but to allow the tone to ffow
through the vowel-mould without assistance.
It should never be regarded as a sudden
release from pressure, ime always as a light
and skilful gesture Into pressure. Once the
student has grasped the essential point, that
the singing-pressure into which he attacks b
always below the point of breath-stoppage, it
U possible to launch the fullest lone from a
«up de gfflWr without causing a correspondingly
loud " snap ”, since the approximation of the
true cords and the deliberate closure of the
fahe cords arc two totally different tilings,
the latter of which need never be other than
^ light as possible. The tomp dr glotU is
not absolutely essential to a correct attack; a
twie can be quite well attacked by means of
the or tonal gesture of the larynx,
although (his method is apt to cause a ^igbt
slur when executed on a vowel; but It un-
quwuonably permiu a more perfect approxi-
nation of the t*ocal cords than is possible by
asy other method. Correctly used, it is the
greatest voice-tonic and developer of a)!.
Incorrectly executed (f.r. when the votvel i'j
** exploded ” upward and outward) it is a
voice-wrecker.
The technique of the coup dt g,lol{e is superbly
illustrated in Dinh Cilly’s ma^irrly recording
of Caecini's VAmariUi in which every phrase
beginning on a vxiwcl is attacked from the
stopped-l^ath position, I'herc are seventeen
cl^rly audible CMpr gfcl/r, executed ovxt a
wide \‘ocal compass, in this one recording.
The record is, in fact, a most valuable subject
for study.’
NoTV. ON PoaroRA's Mlihods. — The
greatest of all voire-crainers is generally con-
ceded to have been Porpora, the teacher of
Caffarelli. Farinelli and many other of the
greatest singers of his day. 'I'he only clue to
Ins methods now remaining consists of an
essay written by Isaac .Nathan, who, as a
pupil of Domenico Corn, stands in the direct
line ai onK* one rcmoNc from Porpora, for
Corri was himself a pupil of the great singing-
master. NaihaiPs essay was published in jUi3,
fiffy*six vvars after Porpora’x death, under the
original title ofNXn Essay on the History and
Theory' of Music, and on the Qualities, Cap-
abiliiies, and Management of the Human
Voice’ >-a title changed, in a later edition,
to (hat of ' Musurgia Vocalis It is ihtis
quite possible that the methods which Nathan
advocates are not of his own insTniion, hut
that they originated with Porpora himself.
The unusual feature about this treatise is
that Nathan advocates the execution of the
fim exercises in the softest possible voice,
which he calh the " feigned ” voice. This, he
i»
a tfmirt v«itlnlA4W4s(iHn, • lofl s'kI sound
m«S«Me<l s|mrfAilT •<> ih« <lim, and (hicfly in ihe
back «l llv ihfMi ami hrsd • an >hwir J arwl lupprrtiMl
Oushir of (•(M iHai caixes* lb* illwtion »l bring lirArti
ai a dntofKf: — Jl b s («,rel ai^l ntel.alMiui luund.
rafted Irom aCk. like wiio (li« mack tpcil uf an «<ho.
lie aho states tliai this voice Is in common use
among the Hel^rewa, and is termed by them
(he sxace of a child ”, and is of the opinion
that it IS partly the cultivation of this voice
vrhkh is respiMsIble for the peculiar rivcctncss
of the voices of Hebrew singers. Experiments
made by the present writer with his own voice
have led him to believe that the ” feigned ”
voice b simply the very softest sound of which
the instrument Is capable, the "echo” or
” veniriloquial ” effect being obtained by
letting the sound lie immediately under the
vocal cords, whence it seems to run up the
back of (he head as suggested by Nathan.
The method adv*ocated is to start with this
sound on a note " within three or four of the
* Cffly, bewvver. t K»avkf piewur« tliao ji
•dvHOMC vM 4 tludvAi.
r>c
\ DICE- TRAINING : PorjMra'5 Method — Vowels
loupsi fomp,i«, and to practise that sound
until a roriain degree of softness, mellowness,
steadiness, roundness, fullness, and richness
can he given to it at will This fundamental
note IS then made the ke>'noic a diatonic
scale, and the second, third, fourth, etc., of the
scale arc atklcd in the same fashion, each note
being perfected l)ofore going on to the next.
The method of establishing each note seems to
have Iwcn that of the mesM di tett. and Nathan
prints a whole page of such exercises (here
reproduced), on which sixty dilfcrent patterns
doubt that if a singer could perform all these
crtsttttdofdi&ujtyeHdo variations as accurately as
required, and at all stages of vocal pitch, he
would be [technically] what Porpora called
CafTarelh when dismissing him, “ the greatest
singer in the world Whatever the truth
may Iw, they give us a unique insight into the
qualities of earnestness and patient persever-
ance which a great master demanded from his
pupils in those far-off da^'S, and persuade us
that there may be more in building a voice
than just " sirtging as you speak
I ft IV i»frr ftniit ,mHt
miH »• /-w
•Itllp ffUttUf Itl
^ H-W, uiltnf <«'
rkf MPf. t
U mitmt ai itr «»
*• r««M «<W
^ /'H <*«
f « pv»t y «frM4
•mH.
«• MM MWl*./*'*
taf y
y<«r (MM,
Til' l•mt.
IlMtf rft
f4t^ aM****,
—ffp 1*1 «
«U.M. *4 *• (»
fa«(.
9v aVf 4
<a Mvaa ai (V <*<tf *»
•f HMaf, Avf
a •-a
im •*••*. ft'*
1,^'f
«<•«•«( f* pa,*,.
nt »<ai. arc t<*fu
t'lifff — <>a
*• H* Ht/ra
aa
b ay a, «« / n , (*N 0 <-**
frt grrrtf m*m^ •* rM
fixVra.arrw**
* ('94»M lnrr««( a*a
ji W f ■ <■»«»«. i*4<( y
>aMJ wam Niia« •rwn.
•baaiaf rV /m •#«««•
a <-«aM
twim ••
aav «a*i^ Wl4.
ra> «»<•••**
BM« t*f fTMrawaaai m
«< a « w »a<»i a» i» ••wra<t.
a tia«a(l **<
igtrta naf»”. Hfti*
bua a ••Hta lafi*!* aaa
I i»44im la(<r««'
C^Maa/ 4'rMafr,
MKba gnf*aH<vftiM a'ta
**«ia
A favirWxaw a««M^
l*a a* Mm Sa
larr liUrg t-taU.
n* •#»«. aaiy fny**
Mffir tlP^ •• litap*
4 >-aaM Iwrraf* a«4
ti94*n Aarrmi. faapay
ahVf M a at f • r ca
lapMatai-yVa-'t.
/»» A'w, f"*"*
»Im<, •atm"'#
of the arc Illustrated. (Qctc
cannot help wondering if this, or something
very like it, was the legendary page of exercises
to which Porpora is said lo have confined his
pupil Caffarelh for five years, for there b no
Vowais.— As » to be expected, ibe vowels
practised were the five simple voweb of the
Italian language: Ah^ th (as in *'get”), ih
(which in singing b soinething between the
sounds of '* it *' acd " eat "), e (the sound of
VOICE-TRAINING r Vowcb^Consoaanu
“got") and u (“oo"). NcvcfthclcM, the
meOiod U fuUy practicable m all lao^agn.
It seems to have been a feature of the old
(ttchiDg» however, that the Ups muse play
little or no part in the voweUfonninf process,
(he student being taught to shape the vowels by
vigorous gestures of the tongue and soft palate,
at the same time maintaining a smiling posi-
tion of the Ups. (It should be noted that the
sound "Ah ", which b ohen said to be the
vowel formed by the articulator when in a
position of relaxation, is really nothing of the
kind, requiring just as vigorous a tongue
gesture as any other of the voweb. The true
relaxation vowel ” of human adults is the
familiar " er " of the hesitant speaker. When-
ever such a one is thinking on his feet, so to
speak, his relaxed tongue falls ineviubly into
the "er" position. It should also be noted
that the " oo " sound can be made with the
tongue and soft palate, and without a pursing
of the li|H ; this results in the open ** oo " of
the word " good ”, quite different to the shut
vowel of" cool ”.)
The lower jaw was to be kept looee but still
during vocalization, and always drawn back.
Some teachers — among whom was Emma
AJbani — made the pupil hold a pencil
between the teeth in the early stages of train-
ing, both for " note and vowel " and " note
and word ” exercises, 'fhe idea wat to teach
the student to maintain the smiling pcaition
of the llm and the retracted jaw for all vowels,
and to do the active work of artieulalion with
the tongue, soft palate and lips (the latter for
the consonants only), without wagging the
jaw or uting the lips to form vowels. Never-
theless, although the pupil was instructed to
make clear and unmistakable vowel-moulds
by means of movements of the tongue and
soft palate much more decided than those
of speerU — in which the jaws are nev*er pro-
perty opened, (bus saving the longue a good
deal of lalMiir — the tone- vowel was always to
be concei\*ed as a unity which appeared to
proceed from the instrument itself, and ne\«er
as an unrelated duality. The student was not
expected necessarily to hear the vowel at the
larynx, but to be aware that it was apparently
being articulated there; it would be heard
(r.e. the voice would appear to come to rot)
in the locality appropriate to the pitch of the
note and the vowel In use.
"^e general principle involved may be
aptly illustrated by comparing the larynx lo a
vprmg-bution eleciric lamp emitting a ray of
white light, and the different vowel cavities to
a SCI of coloured slides which are placed in the
path of the ray. The primary activity of the
Singer is thus to keep on pressing the button ;
e»s secondary activity, which must be simul-
taneous with but independent of the first, is
to change the slides by a vigorous employ-
otent of the tongue and soft palate.
Note oo the English Vowels. — J'he Italian
language as it is spoken has seven simple vow'tU
and Oo diphthongs.* The KnglUlt language,
on the other hand, has iw’elve simple voweU
and innumerable compound vowel sounds.
Phonologisis dinde the simple vowels inin
"long" and " short ” vowels, but it is clear
(bat no such cUisjfication can be maintained
in sirring, when any vms’el sound may be ul
any duration, from a demise miquaver lo a
doaen bars or so. In singing, all vowels are
" long ’’ vowels.
The simple vowel sounds of the English
language are those of the following words :
" Arm " •• Tarl " " (Wd " “ Vp ••
" At " " Kat ” " Orb " " Good ”
" Ell " " It •’ " Own " "Cool "
All other vowel* arc compounds oft wo or more
of the simple ^'ow'el sounds, and in singing it
is correct losing the note on the fir^i vowel n|
the compound, merely flicking oil the second
vow'd as the note is eiuled. TJie nnly cxcup*
tioris to |]u< rule are iljr word* l>eginniiig ivith
the lei ter / ("youth", ">awn'’, "yell”,
**)ar<|", " y(Ac ", etc,), where the second
vow-el sound Is sustalnnl.
1 he fact that Knglnh has such a numerous
collection of vowel sounds does not mean that
it is an " unvH>ral " language, but merely that
the Kiiglish-spcaking singer needs i© work
much harder at his vocaUraiion than the
Italian. Indeed, in one respect English is the
easier language of the two to sing correctly,
for iu vowd sounds are on tite average
narrower tisan ilie Italian. 'I'he broader the
vowel, the harder h is to vocalize correctly.
When tlsc recordings of the old singers arc
compared with those of the moderns, it is
iinpossililc to avoid the conclusion that where,
as the latter strive for volume, i.e. a very broad
vowel with not much tonal ring, the former
fas-oured a narrow vowel, but a tremendously
sonorous tonal ring : intensity of sound ixtsin
volume of sound.
CoKSONA STS.— Consonants are the identifi-
cation marb of the word . TJie singer’s art I ics
in ^jculating them firmly but swiftly, with
rapid flicb of the tongue or lips, so as to
impose the minimum amount of discontinuity
upon the ieg^lp. This is particularly necessary
unvoiced consonants, the
. ^ ''*hich is to cause a momentary dis-
laryngeal compression. Ic i«
physically impossible lo maintain simultane-
ous points of compression in two difFcrcni
paru of the instrument. $o (hat unvoiced
om^anta such as K d./. hard g, k, p. s, t. and
to a lesser extent. <h, sh and tend to break
“ LV^ ^ f " a fKl
). iwo of th« e. thr fim «r wlik li cwfiocniit
i V "• b "o ^^oneuc
fOwvsieai «n Eaf Inh for ihe acrenlcd f.
€o
V'OICE-TRAIN*INC ; Legato and Sojicnuto^ Resonance
the WyngcaJ appog^ and throw the voice off
its fulcrum, so to spealc. The remedy lies in
swiftness of tongue or lip gesture, aiwj in the
maintenance of the ariiculaiive thought con-
centrated on the larynx. Jusi as the vowel-
tone was conceived as a unity, so must the
word-tone be conceived as a unity, having its
point of origin at the larynx.
MovEMErrr or the Voice, Legato and
S osTcNUTO. — The larynx was regarded by the
bel'Caniists as an instrument of
being incapable of executing tonal jumps with-
out breaking the flow of sound. A distinction
seems to have been made between the business
of*' keeping the engine running*', so to speak,
and that of changing the pitch of the note. In
the letter previously quoted Jenny Lind has
this to say of the two processes ;
Tii« hold mull M h»nK lordlwr ihai ihcy one
wh«k<. and (hi* mu(u from IxMiit* ami WikiA* iKm*
SI «ne and the witk iim« if | m»v m «iprn« an-irtf
— thrmih il it almwii impo&*iW« is rKplain ihu cfeativ
in word*. . . . ti l>«i in ih? flrubilKV of ih« br>ns
and mull tliere^ te nrscuidl. diii< r«u« ««er«i«,
IMh. M dial ihii flei>biliiv of ih« ihroai m*y be «MKklr
Uevelaiied. The aiiKk of the rvue* »iU thwt
^ove<l ; and die iirinc of nmn ml* feUow.
Tilt biggest diflkiiUy, in this respect, k
encountered in singing descending phrases,
when evYry natural instinct is at w'ork to
persuade the singer to slop vibrating the cords
deliberately, and to allow the scilce merely to
fail down the phrase of its own s’olillon, in-
stead of actively singing down it. The great
Caialani is reported to have likerted singing to
mountain-climbing in the following pregnant
sentence: " To get to the top is easy; it is
climbing down again that b so difficult
And it Is true enough that it has become the
rarest of musical experiences to hear a singer
sweep triumphantly down the final cadence of
an aria, with a swell of the voke as il descends
to the closing note, in the manner of the older
singers.
It was often said that the singer's notes
should resemble pearls on a string: but it
seems to have been fully realized, and sternly
inculcated, that the most imporiaiu feature of
a pearl necklace is the string, and dial only
when it was kept unbroken could the "pearb"
be strung on it. The " string ” ctf the singer
was the glottal portamntt — the deliberate act
of maintaining the air-pressure when passing
from note to note, the pearls being made by
an extremely delicate use of the dhfttmt :
*' binding and striking al one and the same
time ", hut without relinquishing the glottal
(The Dinb Cilly recording of
‘ Thi* much mnr be utd of dtc di&rvli Undine
and nrikina ” conrepi, that (he " bindiAS ^ u tli« triHli
of an unramiiiins “clrnth *' oT ibr fnittralorr musek*.
>0 inat prewure-manatriKni b ne>*er Tflajtd hr a
*< nfla ianaAi , wliile lha laryni iuctf d«« Uk ** ainUac **
If bftauie of ihc low nremre (berobr
Aiabhihed. U the tmarr l«u so ai Um sionaaeb. ib»
(inbias vrill drfef>«rai« inio a lerin of nasu ot
SrunU, *<•
* AmaxiJIi ’ mentioned above affords a perfect
illusuadoa of the maintenance of (he glottal
even during the articulation of the
most diflkult unvoiced consonants.)
Resonance. — It seems to haN'e been the
view of the bel-caniisis that once the singer
had achieved an efficient control of the degree
of approximation of (he glottal lips, together
with a proper undersunding of the " register ”
pcsitiems, the only addiiional precautions
required to enable him to evoke the full
resonance of the voice were an open throat, a
retracted lower-jaw, a firm soft palate and a
vigorous and clean-cut vou’el gesture of the
tongue. The action necessary to swell or
diminish the voice must be taken al the larynx,
as for the mfsst vta, a ereicritdt being made by
progressively increasing the firmness of the
laryngeal appagjia, and a giminutaJe by pro-
gressively decreasing il — without, however,
rela^ng the degree of approximation. The
4immiien4» was not to be made by opening the
cords and letting unphonaied breath pass
through, but by maintaining close approxima-
tion and letting less breath pass througl;.
The retraction of (lie lower jaw was con-
sidered to be of paramount importance,
Garcia going so far as to recommend a piece of
tape lied round the neck and chin in difficult
cases : not in order to force the chin back, but
to remind the pupil to keep it back. Expcri-
rnce of the retracted jaw technique shows that
the effect of a well retracted lower jaw to-
gether with a firm soA palate is to evoke a
highly concentrated tonal ring in the palatal
and head regions, and it is suggested that the
explanation of this phenomenon probably lies
in (he fact, discovered by the distinguished
sound-physicist the Rev. Noel Bonavia-Huni,
that the soft palate is a vibrator which is loaded
the uvula. And as the result of the palatal
ring is to set the hcad-cavities ringing ^vith
sound, it may well be that the palatal vibration
sets the air in these cavities vibrating al the
frequency of the lar^'ngcaJ note.
The t*oice associated with what is now
called "mask** or "nasal" resonance was
termed mt* ki'tnca (while voice), and its
emF^oyment, save for an occasional inter-
pretive effect, was strongly deprecated as
b^ng voy harmful to the instrument. In-
deed, such evidence as now* remains to us is
remarkably consistent in that no mention Is
ever made in the older writings of the possi-
bility of reinforcing the vocal tones by a
deliberate use of resonance. The conclusion
is slrM^ly indicated that the bel-caniists seem
to have regarded the vocal amplifier in the
same light as they would, say, the tube of a
horn — a mechanism whose contrSbuiion to
the final product es wholly automatic, and
whose "amplification factor" is alw'ays a
constant, with the proviso that the human
VOI CE-TR AI N I N'G : — (i wlusions
amplUytng tract is capable of altering iis cubic
capacity without altering the pitch of the note.
Ne^’ertlleles^, it seems to have been fully
realized that an alteration of cubic capacity
merely effected a change in (he \*olume of the
tone ; It did nothing whatct'cr to add to or
subtract from its radiation power. The only
thing the singer could do about the am^ifwr
was either to keep it open or to obstruct it, and
obviously the more free from obstruction it
was kept the better. So long as that was done,
nature would do the rest.
Tub Study or Aoilitv. — O nce the pupil
was able to sing with a correct " placing of
the larynx on all voweb and throughout the
full compass of the voice, the study of agility
was begun. The purpose of this course o(
training, the minimum period for which was
usually two years altliough the farther back
one goes in vocal history, the longer was this
period — was to render the lar)ngeal and
throat muscles supple and agile enough to
cope with the most dilTicult vocal gymnastics,
and thus to make the voice strong and evrn
throughout its entire compass. It seems to
have been considered that the vocal muscles of
a singer and the playing muscles of a pianist or
violinist licgin iheir working life in the same
condition — awkward, stiff and Imperfectly
developed for the task l>erore them and that
they must be given exactly the same kirtd of
treatment before proficiency could be aehies'cd.
It was Itelievcd, in fact, that It was impossible
to l>ulld a strong and healthy organ, which
^so\iUi easily withstand the great strain
prtrfcstignal singing, without putting it through
a long course of agility.
riic exercises pr.Tcliscd corbisied uf srales,
** Oivisiuns ”, srales in trills, the mfsu A’ j«rr
in iu many variations, g^rghtggt li-t. vocalhes),
and «(/>«!, the last of whirh were used for a
threefold purpose : to exercise the voire, to
icarh sight-reading and to ensure a clear and
firm articulation of vouch and consonants
ssiitioiit displacing the voice. Among distin-
guished composers who contributed to the
great Italian collection ofgergAcggt and seZ/rggi
are Kossini, Panseeon, Uordognl, Scarlatti,
l*»rpnra, Muliul and Cherubini. Every one of
various types of exercise had one common
technical basis — to leach the singer to make
the reipecdve functions of the four mechan-
isms of voice “simultaneous but independent",
no matter what the nature of the vocal task
might h«. And indeed, it could be truly said
of Garcia's pregnant phrase that in these three
words is to be found the whole of the “lost
secret " of the M ranw.
Ceneml CoxclU8io«-— The remainiog
evidence ov*erwlietmmgiy supports the con-
clusion that M canto was a school of vocalizing
M the larynx ; nevertheless, it must not be
•magmed that it was a school of “ the voice
conJincd at the larynx ". The singing voice,
so far as the singer is concerned, is something
with a centre and two ends, l*he attack,
which is aJ way's made at the ceoire {the
larynx) has an instantaneous result, either at
one end or the other, or at both simultaneously,
dcperiding upon the pitch, intensity and timbre
of the note. The greatest mistake a singer can
make is to try to localize his voice in this or
that nook or cranny of the body. The act of
singing, in fact, resembles the stroke of the
golfer in that it is an act of co-ordination, in
which many parts of the body have a share.
The sensations of singing vary, not only from
note to note, but with every changing degree
of intensity and with every change r*f timbre,
the only |>ottible general rule being that sound
is fdt to a greater degree below the centre on
the low notes and al>ov'e It on the high ones.
The singer sliould remember that while the
centre of ilic voice — and the seat of all ^'ocal
activity — is always fell somewhere immedi-
ately below (he lary’nx (Nathan places a
sigriificant emphasis upon the imporianee of
the windpipe in the management of the voice,
and seems to imply that the larynx should be
regarded merely as iltr closed top of lhat
organ), the upiwr end erf the vtxce can exicntl
nghi up to like lop of the head and the lower
right down to il»c l>oitom of the breastbone.
This fact iwi withstanding, It cannot be too
strongly emphasized that the entire bel etinh
mcih^ is built upon the isolation of the
continuous “carets of the glottis" from
the processes of breathing, lone amplification
and aniculalion, and upon giving ihis all-
important aet prccedenre over them. The
laryngeal muKici must be neither overloaded
with air-pressure so that they tire, nor under-
loaded so (hat ihc note h flat ; the vibration of
ihc cords must not l>e made unsymmetriral by
the use of incorrect resonators; the whole
s'oeal machine musi not l>e thrown out of
balance by the expulsion of the tone caused by
cvef>day speech methods. Much has been
said here of “ air-compression ” ; yet it is
vital to remember that the differectcc between
(he hel-canlist anti the /M/ZaxA singer or the
" mask ” specialist did not lie in the employ-
ment, by the firsi-namcd,of a heavier pressure j
the bel-eantisi alwa>s seems to be using a much
lighter pressure for the same pitch and
intensity. Ji lay in the fact that, whereas the
compression of the two latter types of singer is
always consequent and not subject to dcliber-
ate com red, that of the bel-cantisi was always
deliberate, directly controlled and consciously
managed. U is true that after long training,
patient perseverance and professional experi-
ence ilsc act of singing loses a good deal of its
ctwioee deliberation, as does the bowing of a
skilled viohnist or the fingerwork of the pianist •
nevertheless, like these two, the singer can
6a VOICE-TR A ININC :
never reach the pomi ivhere steady practice
becomes unnecessary.
The more skilled the singer becomes, the
less he rveed* to concentrate upon the “ bow ”
of his singings and it is this fact (and becaise
the vocal mechanism U buried inside tbe
body) which accounts for the constant dearth
of good teachers. No one can teach singing
who cannot himself sing correctly ; yet the
more skilled the singer, the less be relies upon
a conscious understanding of what he b doing,
so that when, after a long career, he comes to
teach others, only too often he has forgotten
the long and carefully graded stairway of
technical development by which he himself
climbed to success, And even if be does
remember it, he does not often know why each
step was placed where it was, or how to adapt
it to the individual difftculiies of his pupils.
He (hen blames the pupil when the fault is hb
own for undertaking a task for which he is
quite unequipped. A singing-teacher must
learn how to teach: to be able to sing b never
enough ; and before he can do that, he must
learn what he hinuelf was never taught — the
" why " as well as the " how
Tua Technical RaCftustOM.— Any anah'sis
of the causes of the present widely deplored
decline in technical skill must perforce be an
expression of personal opinion : nevertheless,
such an opinion may be of value if it b built
upon logical reasoning and scientihe truth.
Whether, as the writer hopes, thb oeniial
pr<wi<o is satisfied by what follows b a question
which the competent reader must judge (or
himself.
It can hardly be disputed that a singer
should always sing well within his resources,
which means, in practice, that he sh^ld not
be required to put too heavy an air-presfure
on his larynx. On the other hand, it cannot
be denied that the effect of the sudden increase
in the density of the orchestral barrier initiated
by Wagner and Berlioz, and continued to only
a slightly leu extent by the later Verdi, Puc-
cini, etc. , was (o push opera singers (the opera
house being the ^at incubator of vocal skill)
to the very limits of their resources, very
few trained voices being naturally big enough
to ride the new orchestral thunden without
being extended to the uciermost of their tonal
capacity. The cfleci of this new feature of
opera performance seems to have been to per-
suade many of the leading singers and teachers
to explore the possibility of achieving a similar
increase in the penetrative power of tbe voice
through the deliberate reinforcement of the
tone by the use of “resonances" which the bd-
cantists seemed to have neglected. The c4d
Italian maxim “ Cerca la qualith e la quantiU
vertk " seems to have been dbregarded, al-
though a moment's thought sufhco to cataUbh
ijs scieniihc truth, since a musical sound always
Technical Regresuons
iravds farther than an unmusical one of tbe
saiM pitch and intensity. The idea of
" singing on resonance ", which eventually
supplanted the older idea of singing with the
instruraeot, was supported by the great Jean
de Reseke, who threw tbe whole weight of
hb unquestioned authority on the side of tbe
" resonance " schocJ. (It b significant that
whereas (be pregnant aphorism of the bel-
canibi Alessandro Bonci — “ Singing is like
squeezing paint out of a tube" ['Daily Mail’,
5© June 1908] — attracted little attention,
even at the time of its publicaiion, de Reszke>
L* grande question du chant e'est une
question du nca " is remembered, even to this
day.) The singing- world was looking for a
way out of a new dilemma which it felt that
M evuo could not provide.
The effect of the new doctrine was to turn
(he thoughts of voice-trainers and singers
away from tonal Intensity, what sclentbts
call “radiation efficiency", which b governed
by the closeness of approximation and ampli-
tude of “swing" c( the vocal cords them-
selves, and to focus them upon volume of tone,
and ii b a regrettable fact that they were
often supported in their theories by physio-
loguts and medical men whose knowledge of
sound-physics was neither deep nor well
founded, and whose ignorance of the all-
important subject of instrumental mechaAlcs
can only be described as abysmal. The idea
ofthitf stepping up the power of voices brought
with it (hat of enlarging the breath supply of
(he singer, and here the physiologist stepped in
with deadly effect- A large number of medical
men, failing to understand the special mechani-
cal nature of the breath technique required
for (he peculiar purposes of singing, extolled
tbe virtues of the " natural " low breathing of
sleep, iosbting that only by this means could
tiM singCT accommodate the large amount of
air (^uired for heavy singing, and also main-
taining that by tising this method singrn
would be enabled better to “control" the
breath. Hm first apostle of the new gospel
seems to have beest Dr. Loub Mandl of Paris,
and (he idea was hailed as a great Improve
ment 00 the rabed-chest breathing of M
The effect of abdominal breathing In singing
b twofold. First, the outward thrust of the
abdominal muscles whkh infallibly accom-
panies it — for singing b not sleep : it is an
energetic physical activity — denies to the
diaphragm its vital liberty, by ascending, to
* Aa«cior«Qihetufro(ia«$ouihWsle3DiutDit«is<i
Besrd (oU Uw preMfit wrii«r thst wbeo vkciim ot •heH
duesMS vcw pemsded to brtsthe nvore abdomieslly,
in order lo lemre « deeper do«e«i< of the diaphrsfin. it
was dbeovesed, whea the X-tay pNetofraphi wrr«
wramioed. (bii. eoeinry to npeeiaixon, the diaphracm
did AM drrcctxl lower. The prolrusioB oT the lo'^r
abdoiae*. in bet. exercised no isfivenec whatever on ihe
detent of Ihc dtaphraent.
VOICE-TRAINING: Technical R^^rewiona
maintain a ateady weight of compression at the
inscmnent. This is immediately reflected in
the tone, which becomes unsteady, the degree
of mbrato corresponding exactly to that of the
rise and fall of the air pressure In the windpipe.
The second effect of this kind of breathing
seems to be to blunt the sharp edges of the
glottal lips. In a pamphlet written in tddp
(' Why Abdominal Breathing is Fatal to Bel
Canto *) J. G. Veaco suggested that the reason
is that whenever a deep abdominal breath is
takeo quickly, the edges of the glottal lips are
sucked inwa^, so that they fold downwards
under themselves, and that this constant fold-
ing under causes the edges gradually to lose
their sharpness. Whether this is so or not, it
is certainly true that the tendency of deep
abdominal breathing is gradually to impair
the musical quality of the instrument, and
Veaco*s suggestion oflers a plausible reason
for it.
The result of the new theories was to focus
the attention of singers upon the facial mask,
nose, bard palate and teeth as '* resonators
or tone reitiforccrs. This widely accepted
coneeption of singing brought Into the held, in
lu turn, a number of sound-pljysicists who,
reasonably enough, were concerned to correct
erroneous ideas and to teach the voice*
trainers which parts of the human iostrument
were capable of acting in such a capacity and
which were not. None the less, the effect of
their intrusion was to conArm even the most
painstaking teachers in their mistaken idea
that the tone must be " placed " somewhere
certainly in the right places and not the wrong
ones, but " placed " nevertheless. Thus, a
^eat school of song arose which taught that
" placing " the voice meant, not maintaining
the act of singing at the insirumem. as of yore,
but placing the sound in some chcMn nook or
cranny of the head. The result was to alter
the entire conception of singing, so that It
remained an art only as regards its aetbelic
objec lives, its technique gradually losing its
instrumental character and becoming a mere
specialised extension of the normal speech
faculty. So far was thU alteration carried that
in Great Britain, for instance, a very influential
school came into existence the fundamental
bvis of which was "Sing as you Speak It is
difflcult to undersiand the train of reasoning
which underlies such a method as this, since it is
^pcrlence common to all that nothing tiro
the throat so quickly as the attempt to speak
^tinuously at a pitch higher than the oonnal.
The mere act of trying to speak in a natural
manner in the region of the upper B> or C,
tw instance, is enough to show the impossi-
muty of using this method at the upper limits
of the voice, for not only does the throat make
an immediate protest, but the speech-tones
“come progressively more strident as the
GS
pilch ascends.* The "sing as you speak"
singer is thus compelled to adopt a diflerent
nelbod for the upper voice than for the lower,
since the system is practicable only within the
normal speech octave — an illogical state of
affairs, to say the least.
There seems to be no scientific foundation
for the belief that the operation of the human
amplifier of voice can be influenced bencA-
ccQily by any act of " tone-placing " : on the
contrary, there is good reason to bclic\'e that
this section of the instrument gives its best
results when no attempt is made to interfere
with its working. A singer can only " place ”
lone in a preselected spot by setting up an
obstacle in the path of the sound-^vaves winch
will force (hem In the direction required,
while it is almost impossible to " place ” tone
at the front of the mouth without occasioning
a Subconscious attempt to push it towards the
chosen place. A voice sounds forward because
no obstacles have been placed in iu path; it
is not forward because it is " placed ” there.
As regards the general scientific contribution
to the technique of singing, iu elTect has been
to place too marked an emphasis upon the
minutiae of voice, and thus to obscure the
main objectives of the voice-trainer. The
leaves ai^ twigs and branches of the singer’s
" tree are the physiological and acnusiic
deuils, but the " tree " iuclf is a creation of
very simple mechanics — the meclianics of
the hand-spray already mentioned. 'Ihe
singer’s ** tree " will surely grow JicaJlhy
brandies and leaves if the simple mechanical
conditions necessary for iu growth are safe-
guarded. Singing is an affair of skill, but not,
so far as the singer himself U concerned, of
complexity. The greatesl clement of difficulty
IS introduced by the necessity to articulate, so
that the singer must learn a method ofariicuU-
lion different from that of everyday speech,
and of such a nature that it does not impose
any modificatiem upon the correct mechanical
working of (he singer’s " sound-ipray ”
/'ar/aad», in singing, should always be ea«n-
and never a real per/oMb.
There are, of course, many other factors
vd^h have operated to a lesser degree to
bring about the modern decline in technical
pr^ieocy, one of the most widespread of
which is (he leodency of modern composers to
disf^ard (he peculiar nature of the voice
when used as an instrument of music, and to
(real it as one which can speak any word on
My note of the vocal compass, regardless of
(he vowd and consonant structure of the word
V » u»w»rd tWnch ' ©f ibe upn«« aWotolnal
tt mijniuried dt^nc rpt^U. ihe ipeskinj. voice
drop» w « piuli snd bee©mri m©re
d whil« th« «i>^rr reel! (hsl he i$
TiJ?^ but from (lie lunn,
Tte • ^ mmt vdtuUe Uehnniue for pvblk ipeaken
ce«bftn, leciuren. «e. — W
04
VOICE-TRAINING: Vibrato
or of the position of the note, or of those
which precede and follow it. Then, too, there
is the strangely recurrent aspiration of com-
posers to jettison their musical heritage when
^v^iting for the voice, and to imitate as closely
as possible the “natural” inlkctions of speech
(I do not refer here to note-values, but to the
rise and fall of the music), not realizing that
what they regard as much easier to stng,
because it i» so close to speech, is in reality the
must difficult of all, and the most uncongenial
to the singing-voice, since it puts the singer
bct^^'een two stools, where he is neither wholly
a singer nor wholly a speaker. It cannot be
too w’idely recognized that the most congenial
of all tasks for the singing-voice is, simply, to
sing eanlabiU.
The introduction of the microphone has
undoubtedly had an unfortunate effect upon
vocal technique, and signs are not wanting
that the Lad effects of so-called “ microphone
technique ” are becoming progrcssisTly more
widespread. In the first place, of course, the
use of a microphone means that the »riger is
no longer compelled to make his voice hoard
over wide spaces ; it need <mly travel the two
or three feet that separate him from the
microphone. And as even the best loud-
speaker is by no means a perfect reproducer,
Ixing somewhat unequal in its treatment of
consonants, the necessity to achieve a clear
and crisp articulation of these indispensable
identification marks of the word has studio
executives, in many cases, to urge young and
inexperienced singers to place their voices
right ” on the lips ”, so tliat the w'ords are
almost spat at the microphone with tight
consonantal gestures of the lips and tip of the
tongue. The inevitable results of thm mis-
taken tactics are a n^raSa, faulty intonation, a
thin unmusical tone and a complete absence
of Ugaia. If a singer's words are not clearly
heard, whether in the concert-ball or from a
loud'Speaker, the cause is nearly always to be
found in a faulty method of vocallsatioA; the
singer has not bnn (aught to keep the work of
the vil>rator and that of the articulator simul-
taneous but independent. The act of spitting
words at a microphone will merely put the
whole vocal mechanism at the mercy of the
articulator, and so make a bad position
infinitely worse. It is noc enough for a singer's
articulation to be clear; it must be
musical, or the voice will not lasi.
Special Nora on the AapouctATuzA.— In
view of the disapproval often expressed by
modern musicians when apficggi»ivt not
indicated by the composer arc introduced by
singers, it b advisable to empliasize the p«ni
that certain have an essential
technical basis, and that their omission must
inevitably lead to bad singing. If, for instance,
the soprano who sings ” Dch vieni non tardar,
o gioia bclla ” omits the appoggiatura on the
Arst syllable of tbe word “ bella ” because
Mozart did not insert it, either she must care-
fully refrain from giving the syllable its proper
accentuation, or, if she accents the syllable
without making tbe appo^iatura, she will
in^Uhly slur up to the note from below. This
type of appoggiatura is, in fact, a technical
device for dealing with a physical contra-
diction brought about by the accentuation of
the word: the descending pitch demands a
decrease in air-pressure, while the accentua-
tion of the syllable requires an increase.
Whenever iliis happens, the appoggiatura is
the only solution. Only the singer can know
when an appoggiatura or a " changed note ”
is necessary to avoid bad intonation. The
a(q>oggiatura U, in fact, a tcclinical device — a
singer's licence of the same order as the poet's
licence, w'hkh should always be granted him.
It is necessitated by tite fact that, unlike any
other musician, the singer must accent words
as wt[\ as notes, and that in many instances
the result is a conflict at ihc lar)nx which can
be resols'cd only by the introduction of an
appoggiatura.
The ViBKATO. — It was a tenet of ihe bcl-
cantisi that the presence of a vibrato was the
infallible hall-mark of a faulty method of using
(he voice. A personal friend of Manuel Garcia
has recorded that, in reply to a question
regarding a CMtcert from which he had just
returned, the old maestro said r "Good voices,
yes. Dut I heard no singing. There was
al way's that horrible irkreia.” This seems to
tally with the rest of the evidence: singing,
as the bel*caniisls knew it, meant something
very well defined, in w’hich the vibrate simply
could not occur, except through uncontrollable
nervousness or the physical deterioration due
to age.
liic term vibrate, as applied to t)ie voice,
means an involuntary and uncontrolled
oscillation of the pilch of the sung note. In
studying the causes of tills now prevalent vocal
disease, the voice-traincr must first clear his
mind of (he erroneous conception of the forma-
tion of vocal pitch usually engendered by the
use of the terra "vocal coMs” to represent the
vibrating lips of the glottis. We all lend to
think in images, and in the great majority of
cases that little word " cord ” persuades us to
accept a concept ctf vocal pitch formation
which is essentially that of (he stopped string,
wliercas in reality there is a great deal more
in it than this. It is too often forgotten (hat
whereas the frequency at which a siring
vibrates 1$ determined by three factors, all of
which arc Inherent In the string itself—
length, tension and %veight (i.r. mass) — the
vibraiioo of the ” vocal cords” Is deierniinw
not by three factors, but by four — length,
tension, mass and air-pressure — the last ol
VOICE-TRAINING : Vibraio — Inicrprctaiion
65
which b AOi inhcreot in the " cords bui is
external to (hem ; and it is (his last factor
which is most important of all.
If a length of narrow elastic membianc is
strung at a tension between two fixed potntSi
its frequency of vibration will not var>’> no
matter what method Is used to set it in vibra*
lion. It may be stroked with a bow. sirurk
with a hammer, plucked like a harpscring or
blown upon like an Aeolian harpscring, ytt
the pitch of its note will not alter. But if two
lengOis of the same membrane are fixed edge
to edge across the wooden tube set in the neck
of an air balloon, $0 that only one edge of each
membrane is free to vibrate, the pitch of the
consequent squeak «vill vary with es’cry change
of air-pressure in ihe balloon. The membrarte
lino longer a "free*' vibrator, but to a certain
extent a " forced " vibrator. Similarly, if a
singer, while singing a note, receives an un-
expected and vigorous punch in the region of
Ihe iuimach, the pitch uf his note will Hy up,
nor will he be able tu prevent it from so doing,
no maitrr how accurate his ear. I’he surge
of air-pressure at the larynx has been ivo
sudden to allow the vocal cords 10 alter their
tension so as to correct it.
Now a mil Of " shake " represents a con-
trolled rapid osciUaiion of the pitch of the
sung note ; and it is a fact known to all com*
petent teachers that the trill cannot be pro-
duced by orthodox vocalization, for the ten-
sioning muscles of the glottis simply will not
oscillate rapidly enough to cause it. An
attempt to trill by orthodox vocalization
always results in what the Germans call a
fiMkstrilUf — a sound like a goat-bleat. The
trill is in fact, caused by a controlled oscilla-
tion of air-pressure in the windpipe, the
trachea acting like an accordion, stretching
and shortening itself with extreme rapidity and
so causing an oscillation of (he entire larynx.
The lih/ato resembles the trill in that it too
U caused by 1 rapid oscillation of air-pressure
in the windpipe; but whereas in the case of
the trill the extent of the oscillation is con-
trolled and exact, in that of the eiitas* it is
inw>iuntary and uncontrolled. Involuntary
oscillation of air-pressure can only have two
physical causes: (a) the accordion -like
oscillation of the windpipe and (A) a iremM
of the diaphragm. The former U caused by
laryngeal muscles pulling against each other
instead of working in harmony with each
other, and the most prolific cause of this b the
elTon. whether conscious or subconscious, to
propel the tone out of the mouth or into the
mask, The p^rlanJo or the " mask " singer
will in^iiably develop a if the practice
IS persisted jn. The diaphragmatic tremor b
the result of breathing too low and, particu-
larly, of using the abdominal muscles to with-
hold the breath from the larynx. The present
VOL. IX
writer has seen a very strong man — a coal-
miner— set his whole body trembling with
the muscular effort of keeping the diaphragm
rigid, which he had been taught to regard as
" l^eath control " ; in ivhai a tremulous state,
then, must his diapliragni have been !
A man can go for many da>'s w'llhout food,
and for three da^*!, and in some cases longer,
without drink. But if he stops breathing for
four minutes he dies. The diaphragm is so
pow'erful, and so conditioned by the vital
urge iu maintain the respiratory cycle, that
the attempt to keep it rigid brings an immedi-
ate rebellion in the shape of a violent iixmior.
Once it has descended for ilu* in- breath, it
must be allowed to press upward against tlie
air-cushion prov'ided by the inflated lungs;
that b w'hy w*e alw’ay’s lake a deep breath
before hfiiiig a lieavy weight, and then stup
the breath at the larynx.
Tise <ikr«r# can also be caused by the cm*
ploy'ment of a heavier breath pressure than
the lar)'nx can cociirortably contain, and here
the mcdrrn conductor, with his partiality fur
(he big battalions, cannot be absolved from
blame for (he prcM’nt state of things. It is
hopeless to expect 1 single liuinan voice, how-
ever ample, to compete wiih great batteries of
uombocm, horiu and trumpets, with a bau
tuba or tw‘o thrown in fur good measure, with-
out emerging from so unequal a contest in a
somewhat impaired condition. Conductors
and composers ought to remember that when-
ever a voice is well used the singer himself
hears very little of it : it b ilie hollow, jawy
Cf ^Mcyngeal voice which sounds big to ita
pcasessor. A well-used voice is produced with
the greaiest economy of means, and it en-
genders the sensation of a small but ringing
point of sound : it may be compared w’ith the
brilliant point of light at the nozzle of an
oxy-aceiylene burner, whose tremendous
radiation of heat-waves is invisible to ilie eye.
The linger who can remain content to work
with tins small point of sound while great
surges of orchestral (one are apparently
e^lfing him r^uircs a will of steel to hold
him (o hb technique. It reassures him, under
such conditions, to liear hU voice growing
bigger in hU cars than the orchestra, and so
he forsakes iniemlty for veJume and a manage-
able air-|»e«ure for a heavy one, because ihe
sheer weight of il»c forces set against him wjU
not let him bdieve that his small but ringing
pipe can be heard above the din. After a
year or so of fighting this unequal battle the
mosa ample and robust v^ce will inevitably
develop a wiraia, for the singer has forsaken
Singing and has turned to a quasi-musical
shouting.
The Technical Aseect or Interpreta-
^^w*«“-The respective arts of the elocutionist
and of the singer are built upon different
a
66
VOICE-TRAIXING
VOICING
technical basc$, and it is clear that the
aeatheiic object ives of any artist roust be very
largely influenced by the techoicaJ
adopted. This is particularly so in the case of
the singer, since there can be but one method
of using (he vmcc which can be said to
establish ihe most complete cooperation with
nature in the execution of the particular task
to be performed. It is hU clear rec^nition of
the exigencies of the task and the means
necessary to its accomplishmeni which marks
the successful voice-trainer. When we sleep,
for instance, we co-opcraie best w ith nature ^
breathing abdominally, since this form of
breathing best fulfils her peculiar purpose
(f.«. peculiar to sleep) of keeping the body
alive with the absolute minimum expenditure
of cne^. But when we must lift a heavy
weight, we co*operate best with nature by
stopping iJir breath at the laryru fur the dura-
tion of the efTcrt, so as to enable the che>t and
back muscles to w*ork at their highest eflieiency
and without causing the chest to eollapae. In
matters of technique, the means are deter*
mined by ihe particular end to be achieved.
The art of the elocutionist is based upon the
verbal phrase; that of the singer Is based
upon the phrase of music, since to base it upon
the verbal phrase would occasion that Inter-
ference by the articulator with the vibrator
which Is absolutely fatal to the singing-voice.
Thus, the old fundamental principle of M
canlo, that the emotional content of Ihe verbal
text must be expressed by means which are
mainly musical, still holds good t(vday. £>*€0
in declamatory music that composer w’ill be
best served by the singer who so skilfully
welds musical accent to verbal accent that the
verbal accent emerges naturally from the
musical accent without impairing the lyrical
quality of the music. And while it Is agreed
that the singer may no longer interfere with
the notes provided by the composer, It is as
true as it ahvays was that the principal means
of intcrpretaiion available to the singer ts to be
found In the sensitivity of his musical phrasing
and in the fact that in his most eff^tivc
touches of “ word-painting he never forgets
for a single instant that his jMr/«wl» is a
eantando which Is employed f M/j-per/aadr :
something which gives the impression of
" natural speech, but is not. r. x. (ii).
bi 61 .icx;rapky
Auix, SV. A.. *TIm rriiKipWs«r V*oweI rr«iHia<M(we*
(Proc. Mus. A«., Vol. XXX, 190S).
Lov'R. ' Dvn**<ik : • Nvw
10 FtN Vok« ProUwiMn * iLanUgn, ta«t).
BSMKKt. Katb Cmi. * On tbf MkIuubib> «f (he Human
Vdiee ' (Pmc. Miu. Au.. V» 1 . V(. i : * On nuxo-
graphs of ihc Throai in SiAfinc ’ IV^. X. laSi) ;
’Th« fUfuien of (he Humas \’ok« ’ (Vol. XIII.
in6*.
' The Teehnieue of * (London, 194$},
Carozzt. C. n., * PraetkaJ aucrouioeis oit Vocal
Culture ' (P<ee. Mm. Am. Vol. IX. 1U7).
Daas<. VV. S., Varioue artieks T.. me.
FiuA'Mvpc, F. C.. * Vocal Vibrato, Tremolo and
JwMcf: tbeir N’acuee, Causes and Trealmeni’
iChdord. 1946).
KrucT. FaA».Ktvx. *Thc RKldk of ihe Voice MM. &
L., XXIX, t 9 *t.p. sjB).
* Uliai is StAfine? * (M. & L.. XXX, 1949, p. Si6).
NlACMAaev. Axuakd, ’ Lc Bel Car^to * (Paris, i94d).
FArrrinA, C«a*lu, * L'An (k chanter * (I'afir, 1945).
Sasvlzv. Charles. 'The Vocal An* (Proc. Mus. Ass.,
Vol. XI. 106 $).
SHALasecAur, Usliian, * &tnein( as an Art’ (Pm, Mus.
Am. Vol. XXVI. 1904).
VOICING. A term used iri organ building
to express the methods of obtaining a par-
lieulax quality of (one in an organ pipe, of
regulating a series or rank of pipes so that iheir
tones slialJ be uniform throughout and shall
bear a correct relationship to those of other
ranks of pipes in the instrument and to its
aeouslical environment.
The quality of the tone of due pipes is
mainly dependent on (t) their general shape,
(a) their scale, i.<. the relation of the diameter
^ the pipe to its speaking-length and (3) the
thicknra and quality of ihc material of which
(hey are made. After the pipe-maker has
turned out a set of pipes to the given scales, the
voicer can produce a great amount of tonal
variety by (1) regulating the quantity of wind
admitted to the pipe at Its foot-hole, (a)
regulating the thickness of the ** sheet of wind
by adj vitir^ the width of the Buci (3} adjusting
the angle at which the ** wind sheet strikes
(he upper lip by pulling out or pushing In this
latter, and depressing or raising the languid,
(4) by “ cutting up the upper lip so that the
height of the mouth has a correct proportion to
its width for a particular class of tone. Various
other devices are employed and these include :
putting small regularly spaced " nicks " in the
front the languid or the lower lip to pre-
vent unwanted Initiation phenomena and to
stabilize the speech of the pipe; bevelling
(he lips ; cur>’ing the upper lip and adjusting
its thickness, ^meiimes the upper lip is
covered w’iih a piece of folded soft leather, but
this practice usually leads to pipes yielding
tones which do not blend with others. In
England it has been used far too often during
the last half-century. Sometimes a dot is cut
in the back of an open flue pipe. Although
this tends to give the pipe a ** horny ’ quality
ctf tone. It was formerly much favoured for
diapasons, as it was believed to enhance their
blending qualities.
Certain classes of flue pipes, such as those of
nsuTOw scale, which are used to give siruig
tone, are fitted with a wooden or metal bar,
bank or “ beard ** between the ears of the
pipe and across the lower part of the mouth.
\VjHb has introduced various '* baffles” at the
top of the pipe body, known as “compensator-
amplifiers”, which tend to prevent #ic pipe
from overblowing to a harmonic.
The voicing of reed pipes is dependent
chiefly on (i) the quaniUy and pressure ©fair
voigtlXnder
VOLBACH
67
admitted, (3) the shape, maierial, curve aod
thickness cf the toogue. (3) its portion, size
and shape with respect to the aperture of the
shaUot, (4) (he relation betweea the length of
the tube and the pitch of the note produced.
The shape of the tube will have been hxed by
the piperriaker before the voicei docs his nork,
but it is an important factor in determining the
tone of the pipe. For instance, cybrsdricai
bodies encourage the odd'numbered har*
monies and are used for clarinets, whereas the
thin tapered tube of the cor anglais terminates
in a “ bell ", as In the orchestra) instrument.
Voicing is the most artistic part oi an organ
builder’s work, and without great skill in thb
aspect of his art the instrument remains a
machine. A delicate ear, a skilful hand and
great judgment and expericrKc are required.
After the pipes have left the voicing*room
much careful adjustment will ><111 be required
when the organ has been erected in its per*
mancni home. An organ pipe U very sensitive
to its surroundings and it is only by this final
and painstaking regulation that the best
results are to be obtained. w. t. s. («i;.
VOICTLANDER, Gabriel (k. Reideburg,
<■ 130b; d. Nykobing, Feb. ib43|.
German musician and poet. He spent
most ufhis life as a trumpeter, hrst at Lubeck
(iCas-33), then at Cottorf (court*truinprtcr
to Prince Friedrich 111 . i633-3b) and lastly
at Copenhagen and Nykvbing as trumpi’ter
and musician to Prince Christian. In 164*^
hii important collection of * Oden und
Licdcr * was published at Soro (Denmark)
and Jive editions had appeared by 1O64. It
contains 93 tunes (only one by himself/ corn*
poicd by many of the bc^t Fiuropcan mudtians
of the early tyth century, including several
by J^nglish composers; fur these tunes N’oigi*
lander wrote poems in a elewr mieiure vf
scnousncsi, humour and satire, r. t. d.
bjBt,— FiKHBs, Kvaf, Osbrial ^.l.ai.U..
XII1 t *
KBNNiHot, 'Stvn uhrr CsIhmI VoiiiUftakr’
r Otc Flu»iUe<*«KuM| I'a;,
VOIRIN, Jeao Fran^oU (k. Mireeourt,
I Oct. td33; d. Farts, 4 July tSds).
French bow maker. Hr served hb appren-
ticeship with Jean Simon in Haris and later
worked for Vuillaume. According to the then
prevailing custom he started his apprentice-
ship in his twelfih year, being already familiar
with the rudiments of his craft and acquiring
greater skill in the service of VuiHaumc.
On the termination of the Franco-Prussian
war Voirin estaldishcd himself at 3 Rue de
Bouloi. Hr was n<*arly alw’ays found at work
un the top door of die house in whkh he Jived
with his wife and three daughters, and where
he welcomed visitor, especially the repre-
sentative of the London bouse that sold his
bows IQ England, His feUow-workers there
were Lamy and Thomassln.
Early in the 1860s his health began to fail,
but the end came with tragic suddenness. On
the last day of his life he was at work till
es'enii^ when he dctided to call on Kugchc
Oand to show him some bows he Jiad made
fur the exhibition at .Antwerp. On the way
he had an apoplectic fit and w’at carried to
tlie nearest apothecary’s and from there to his
l»om*', where he died the >am(' night without
r^'g.iining consciousness.
,\fiiT F'ran^oU Tourte, \*oirin was the
alilcst of the Fr«’nch bow makers. While in
\’uillauine's employmint hr sh<iwod no signs
ufoubunding merit — perha|M owing to lack
of encouragement, N\ hen he l>ccitme hiv own
master he gave rein to hi» Micas and produced
a bow in ewry detail of which grace and
elegaiHC prevailed. Mis vlicks, accural* ly
worked, are thinned down tow'urJs vuch ec*
tremity, more wcmkI being left in ihv cent re.
Use Iw’ail ii gracefully shaprd an<i iJie face*,
both ofrliony and ivory, are light in subsuncr,
as are also the iikuI parts of the mountings.
In every deiait wc fiiHl die maker trying to
combine elegante with ulihty, and therein he
dilfers from the mure inivculin*' work of
Toutte and his fidUswrrs. He thus piudmrd
a bow of divtinciivT sty I**, and only on run*
occasions did hr revert to that evolved by
'I’uurtc.
It ii of interest lo record the prirev than{e<l
Iry Voirin for his Ikiwi. .According to a bill
dating from 1879 the trade price of the how
was io francs for which the I.ondon
firm charged 9 is. In 1884 Voirin raised his
price lo the trade to francs (iin,), whih* his
gold-mounted Imws were sold at from 723. to
I m. His silver-mounted lx>ws cost Jrom 04s.
to 33s, A. I’. II.. ahr.
VataoaMi. Claud* d«. ManUmiviHe ijoi.,
* TiioA e< I' Aurora hi, .
Votataa, CUbari d«. Sn Rcustcl I’FVwin il«
I'arjHinec balki Krn./,
Votiar*. VtA««*c. Xti K<Kr.iiJiaI caiitilji.
VOrrURES VERSEES, LES (Opera). Set
BotetDicu.
VOIX CELESTE. 5 rr OitCAX Srors.
VOlX SOMBREe (Fr. <* darkened voice).
The French term for the vviled voice or locr
pei 4 Ui, in contradistinction to ihe eotx elaire,
o.
Stt *(m Veiled Voice.
Vajoavie. L 5m Ko«nier H, fr.. * RaiMnS of
Lasoxua lUcid n.), Kovafovic tqvln«K ^ do,^
MevmAitn (* Herbuturtt opera).
VOLATA (lul., flight). A run or other
rs^id passage.
VOLBACH, Friu (k. AS ippclfurth, Rhine-
land, 17 Dee. 1861 ; d. AVicsbaden, 6 Dec,
*0kO-
German conductor and composer. He
studied at the Cologne Conservatory and
else where, and in 1686 joined the Royal Insti-
tute of Church Music in Berlin. There he
remained until (893, when he accepted the
68
VOLKERT
VOLKMANN
poit of music dirccior at Mainz, where he
conducted several choral sociciiea, removing
to Tubingen to take up professional v^’ork to
1907. During the war of 1914-18 he con-
ducted symphony concerts at rest camps and
in 1919 became professor in the University
of Munster. He did much editorial work and
published many educational books, notably
on orchestration.
Volbach's style in composition is dbtin-
guished by melody, a warm expression,
pleasant fancy and clear individualiiy. He
brought to bear upon his work a full know-
ledge of vocal and orchestral efCrcis and a
power of embodying hU thoughts in scoring
which is both effective and artistic.
In England he became known by the sym-
phonic poem Op. 91 , played in London at a
Promenade Concert in tgoi. * Easier* ftw
organ and orchestra was given at (he Sheffield
Festival of 1909, and in a revised fi>rm at a
Promenade Concert in 1904, in whkh season
* Alt Heidelberg * was also played. A lei of
three * Sitmmungsbllder * for chorus and or-
chestra was heard under the compeoer's
direction at the K.C.M. in London in Dee.
t904. Hb chief works are as follows :
SPS'S ' Die Kuwt tu lieWn prodveed
Uuwtklwf, 1010.
Chersl b*ll»«h ’ Urr Tfoybftd^M * aad ’ Aia Steg.
fri«dbninr%«n * Ter mcn^t k errk.
Ch»r«l b«ll«4 * Konii Laurifu Raetvfancfl ’ (or bar*,
ioiie. min'i eharui a areh.
* Kymne tn Maria * (Daniel Car chanie, tala inau. It
argai).
* RaOacI ‘ br eh«>rva & orean.
Ballad rwlr * Vom fagen und der K»nigs*aehic« *
(Oribeh Tar lata vaicn, charui 4 arek.
^mphany, B mi.
aymph, pmms *£« warm rmi KaaifftktAder* and * AU
Hci^ibrrc
Symph, pa«m * Carter * far amaa 4 arch,
S iru«i, D mi, bf 9 me., viola. <«llo 4 pt
inwi) C ma. be wind inica. 4 pC
D K., adds.
Biai,, • SeiiwAKf. Geoao, * Priti Volbacl« W«rke'
(Munster, rgsO.
VOLKERT, Fnax (i. Frledland nr.
Bunr.lau, ? Feb. 1767; Vienna, 99 Mar.
•845).
German organist, conductor and composer.
He became conductor at the Theater an der
Wien in Vienna, for which he wrote about
T 50 SinisfikU, musical farces, melodramas and
pantomimes, which were very popular in
their time. He abo composed graduab for
4 voices, organ pieca, trios for violin, cello
and pianoforte, variations, etc., for pianoforte,
songs, etc. E. V. d. *.
VOLKMANN. German family of musk
publishers. Set BnerrKOPp & Habtel.
VOLKMANN, (FHodrich) Robert (k
Lommaizsch, Saxony, 6 Apr. i6t$ ; Buda-
pest, 99 Oct. 1683).
German compeaer. His father, cantor and
Khoolmaster at Lommatasch. taught him
music, with such effect that by the tiroe he
was twelve he took (he services in church. He
chcQ had instruction from Friebel, the ** town
muucian ”, in violin and cello playing, and
later from A. F. Anacker, music^ director of
the seminary at Freiberg.
In CS36 V'olkmann went to Leipzig to
study systematically and made the acquaint-
ance of C. F. Becker, and also of Schumann,
who exercised a great influence on him. In
1837 he published his first work, the * Phan-
tasiebilder * for pianoforte, at l^ipzig, His
next step was to visit Prague as music teacher
in the family oi Countess Stainlcin-Saalen-
siein, where he remained from r 839 to 1841.
He afterwards went 10 Budapest, where he
set up as teacher and composer, holding
various offices between 1S41 and j 8^. In
1854-58 he lived in Vienna, producing many
compositions. He was appointed professor of
ccmposition at the National Music Academy
of Budapest in 1878.
In spite of the great popularity of a number
of his works on the Continent for many years,
Vdkmann's music failed to obtain a perma-
nent place in the estimation of musicians.
Fluent, graceful, clever and not without
originality, it misses ihc qualities that make
musk immortal.
CATALOGUE OF WORKS
]NCID£NTA(. MUSIC
^ Ovenur« (• ShAbeipc«r«H * Richard III '.
79- for Shsketpesre’s * Ruhard (II *.
CHURCH MUSIC
«4 Mau I, D riu., bf iiuib votcu.
«$. hlatt N*. t, As ms.. mate v^ces.
47, OfTenarv f** soorano, eborui ft ereh.
CHORAL WORKS
gp. 4 PartMnci br unaccatnp. men'i voices,
aft * Orel geiMitchc Chare * with {rf.
4a. S Raruengs (or unaccamp. mcn'i <heru».
$4. a FMlaongi br unaccamp. men*i vaices.
S ’ Weihnachultcd ' br tela vakas & rhems.
* Alidcunclter Hysnnus ’ fee uaaccemp. dawhie
men's charui.
TO. * Zwvl geiulKhe Lieder ’ for unarcomp. (harus.
91. ' Dret nachieltslieder ’ br unaccemp. eharus.
7$. t RarSsan f s br wnaeeamp. ckanis.
— 4 Ransengt br ueaccamp. men’s vekes.
— ’ Wetkstacht ‘ br S*pan childree’s chorus.
ORCHESTRAL WORKS
44. Svmpheny Na. i. D as.
ja. * Res(.0«venttr«.’
S i. Sympbaav Na. a. Bp laa.
r. Sere4a«le Na. t, C ma., br tigt.
4s. Serenade Na. s. F ma., brsigt.
— Caacen Overture. C nu,
SOLO INSTRUMENT ANO ORCHESTRA
99. CeUaCancefla.
e ' CaoaemtMk * foe pf.
Serenade Na. }. D bL, br celb 4 ngi.
VOICE AND ORCHESTRA
49- * An dia Na«bi * br eMlsalia.
40- * Sappba * be seprarc.
S5. * Kireheaarie ' br bariiane.
VOLKMANN
VOLKSLIED
69
CHAMBER MUSIC
Op.
$. Tno Ne. t P , for vn., & ft.
), TK« No, «. mi., fe^ «eUo A pT.
9< SiKttg Qu«rt«t No. 1 . A mi.
Striof Quanet No. a, G mi.
34. Siring Quartei No. $. G ma.
9$. String Quorlei No. 4. E mi.
97. Siring Quariei No. P mi.
49. Siring Quarre* No, S, £9 ma.
* ScUumm«rU«J ’ (or Kom & barp.
VIOUN AND PIANOFORTE
to. ' Chani do Troubadour.’
t$. * Ailegreito caprireioia,*
91. ’KapMdie.’
el. Sonatiua Nw. 1. A mi.
6j, Saiiaiina No. •*.
VIOLONUEIJ.O ,\ND PIANOFORTE
7. ‘ Roirunoo,*
74. * (!apr>c<io.*
PlA,N()FORTE SOLO
I . * Srchi PhanlaiieSiUrr.’
! * Ditlivrambc und lMi.a(a.’
' SoMkeiiir da b(ar6ih.*
B. * Nocturne/
l9, Sonaiai
17. ’ llurh drr l.irder,*
18. * iToiiiiche I aA<v.ri««n.*
19. ’ C’.>vaiina iiml ttanarolo.’
90. JliiriBrarian Songi.
ji. * Vi«rgr4d ’ {iHU ' VOcbrad
4 i. 4 Marclirt.
19. ’ WanJerOriitcn/
4). ’ Plianiaaie und (ni«niw*iao.'
48. Vanalion* imi a riiro^ br Handol.
97 t ' I.iedar drr Grotunuiier.'
90. ’ Drri ImproviiaiioAcn.*
41. ’ Au lomlKAu <lu Comit .SMthcayi.'
91. * Ballade und Schoririie.'
— Variarioiii OA The ’ KheiA'»«iitli«d *.
* • ’ Capriraiatio,*
PIANOFORTE DUET
1 1. * MuMkaliwbn BildcrhucK.'
94. 7 Hungarian Skeithei.
39' ‘ Die Taerteeiien.*
4'* 3 MjfcKeti
9V * K'trhiiiio uiid Manih>Caprke.’
37. Swnaiina.
80\c;s
1. jVuf*.
13. 3 Songi,
lb, 9 Soon.
99. 3 Suniit.
48. ' l.iedrrkreii ’ <ur rnniralle.
39. 9 Si»r>ii Tor toprann o« imer.
94. * Brbehrie ’ for topegoo.
a . 3 Sonet for mriao<ioprano. with ceRe.
. 3 Sniift fiif tofirene.
74. 3 Senift for tenor.
DUETS
87. 6 Dueu for loprana A tenor.
C.
lUns Volkmann (*. 29 Apr. 187s), *
grandTicphcvr pt Robert Volkmann, Mudied
Art and muaicaJ hbtory at Munich aikd
Berlin. He u his grvat'uncle's biographer
and his researches with regard to Astorga '
cleared away some of ihe legend* which
surrounded the career of that compocer, but
have in turn been superseded by later In*
vesiigaiions. H. c. c., adds.
BIBLIOGRAPHY
VoisMANji. Kaxs, * Robert Volluiuim* (Drodes. 1903).
' >Sr< AtrosoA <Bibl.).
' Robon VeUataan ’ (Dresden, ipssj. a tfnalkr work,
’TWraauebe Versekbeii* der Werbe von Rubart
V^kmana * (DrsadeB. 1937).
VeutMAXM, Rooear, Letters, ed. by Haru Volkmann
(Dreadea. i9S7>«
VOLKSLIED (Ger. •folksong). This Ger-
man word is only Itterally the cquivaleni of the
English ** folksong " ; actually, although the
lerm may indicate true German folksong it
is also in use for any kind of song so popular as
to have become current among the people at
large, w’ho learn t\*ords and tune in their child-
ho^ without being caught the names of author
and composer, though these may be identifi-
able, as in ilie case of genuine folksong they arc
not. Any extremely simple sirophic German
song may achieve such currency, and it will
then be said by Germans to have become a
fWAs/tfd**, which is possible so long as the icrm
is accepted in its special sense, but not if it
really means *' folksong ". Ivven a song by
a great master, if it happens to l)e simple
enough, may come to be called a as
in llie case of Schubert's * ISeidenrusIcin
which nothing can make a folksong in the
English and more precise sense of the term.
As a rule, however, IVfAjhVtfrr are things
of inferior quality: sentimental words set to
even more sentimental tunes. I'he settings are
always iirophic. i.r. a tunc repeated unvaricdly
with each verse, and the tunes are almost
w’ithoui exception squarely symmetrical, j.r.
constructed in regular four-bar phrases.
^^'here (he A.B.A. form is used, the first half
of tlM song will probably lead to a half-close
in the dominant while the second, starting
with a new " B ” idea, will lead back to '* A "
and to the tonic, with a slight new twist to
bring about the tonic close where the domin-
ant appeared before. On the other hand such
a tune as that of ' Die Lorelcy where “ A ”
remains in the tonic at the end of the first
section, may have a new twist on its return
after ** B " merely for the sake of variety and
(as in (his instance) for the purpose of placing
the final tonic note an octave higher.
' Die Lorelcy ' is, of course, a characteristic
example of a f'attx/j'ed that can by no stretch
of imagirution — at any rate non-Germanic
imagination — be called a folksong, for not
only are the words not the genuine folk ballad
they appear to be, but a deliberate imitation
of (he folk-ballad manner by Heine >, but the
tune is by a minor composer whose identity Is
no secret — Friedrich Silchcr. Other specl-
mestt by Sikher which ace regarded sis Vtt/As-
iiedfT are * Aennchen von Tharau ‘ Morgen
rnuss kh fort von hier ' and ' Zu Sirassburg
auf der Schana’. Further well-known ex-
amples of the same kind of thing are Kiicken's
* Aeh wic war's mbglich dann ', Drechsler’s
* F»r eeauine Cwmb (dlkieaf tet Folk Music.
DwiiM me Nsu •««iine jt> Germany (1933-43) it
WM <Seierib«d •• beme br an “ author ”,
*0
VOLL
VOLTA
* Brud^rlein fern ’ (to gWe an Austrian
example: this came from one of Ferdinand
Raimund's popular Viennese fairy-tale plays)
and the Swiss patriotic song * Tritist im Mor*
genrot daher * by Joseph Zwyssig. These last
two are mentioned here to show that the
Austrians and the Cerman-speaking Swiss
share the delusion that Volkiiif^ are Oerman
folksongs. Further familiar songs of the land
arc * Das acrhrochene Ringelcin‘, of which not
only the composer U known (Friedrich Gluck»
1814), but the poet too (£ichendorff, 1809) ;
* Es kann ja nicht immer so bleiben’ <Himinel»
1O03) ; ‘Kommt a Vogerl gcflogen' (Viennese
dialect, Wenzel Muller, tSao) ; theChrhtmas
song 'Stillc Nacht’ (Frana Gruber, i6t6).
It must not be supposed that similar con*
fusions are unthinkable among English-
speaking people, many of whom may be quite
capable of taking, for instance, * Drink to
me only with thine eya* or e%’en 'Rule,
Britannia ' for a folksong; but they are not
likely to persist in that notion on I^ing told
that the author of the former is perfectly wvU
known (Benjonsen) and the composer at least
suspected (? Dr, Harrington of Bath), and that
in the latter case both are easily identified. In
other words, they will rtoi l>e prepared to
assert that a popular song both w’ords assd
music of which are by welUknown penorn U
capable of brrming a folksong. t- a.
Kuckeft. Sikhc*
V*]l, Sff Lkki (I. * Psinii Lcben '. mod. hl).
VOLLERTHVNf Georg (k, Purstenau nr.
Danzig, 99 Sept. 1876}.
German conductor and composer. He
went to school in Berlin and studied there at
the Stern Conservatory and with Wilhelm
Tapper!, Robert Radeeke and Friedrich
Gernsheim. He became conductor at the
German Theatre in Prague {1899-1901), the
Theater des \S'estens in Berlin (1901-9), at
Barmen (1903-5) and \fama (1905-8). Later
he taught in Berlin and Paris, and in 1935 he
became professor at the High School hr Music
in Berlin.
Vollcrthun's works include a symphonic
suite for orchestra attd many songs and duets,
and the following four operas were produced :
' Veede ' (Casscl, 1916), ' Islandsa^ * (Mu-
nich, 1995), * Der Frcikocporal ' (Hanover,
1931) and ' Das k&nigllche OpTer* (Hano’er,
1949). A. i., adds.
V«llni««Jfer. So Bard; (‘ kftnk^l \ ux*0. m.l.
BiiwAi {' TuruvOol % d«.). Numssrincr (* Mwslwl *.
do.),
VOLLWEILER, Carl (i. Offenbach, 1813 ;
d. Heidelberg, 37 Jan. 1846).
German composer. He was a pupil of his
father. Johann Geo^ Vollweiler, and had a
varied musical career in Germany, Austria
and Russia. A manuscHpi Symphony, two
trios and many pianoforte pieces are among
his works. c
VOLLWEILER, Johuia Georg {b. ?,
1770; d- Heidelberg, 17 Nov. 1847),
German music teacher, father the pre-
ceding. He was an esteemed professor of
music at Frankfort o/M. and the author of
two instruction books, one for pianoforte play-
ing and one on singing in seh^s. Both were
published by Schott of Mainz, Vollweiler
was the teacher of some renowned musicians,
includji^ Johann Anton Andri and Georg
Aloys Schmitt. o., adds.
VOLOCESO RE DE’ PARTI (Opera).
S/e Zbmo.
VOLTA, LA (Lavolca, Volte). A late
Renaissance court dance of remarkable popu-
l^icy osTT a comparatively short period of
time, Arbeau (* Orchisographie ') described
it in 1588 as “coming into fashion"; his
description of it h our only full written source
of information for the volta itself. There is
at Penshurse Place, Kent, a celebrated paint-
ing of Qpeen Elizabeth dancing La Volta
with Robert Dudley, Earl of Leicester, of
which the date is likely to be subiiantially
earlier than Arbeau’s description (Leicester
died in 1588}. The Dolmctsch family possess
a lute manuscript containing the music of
37 La Voltas; it is attributed to about 1610,
by which lime the fashion was probably in
decline. Cesare Negri’s ' Nuovc inventloni
di ball!’ (1604) contains a description of
a dance eniitM * La nizzarda ’ which is
evidently a variant of tlic standard \‘olta.
The musk of the dance is in triple time;
though commonly written w’ith six crotchets
in a bar, ii should be taken as a simple 3'4>
each bar being mrntaily divided into two.
The reason for this notation is that the dance
itself falls into units of two bars (of 3-4 lime),
as is also the case with the galliard, usually
w’ritten in 3-a time.
Arbeau calls the volta a kind of galliard,
and it resembles the galliard in fitting ener-
getic and even violent mo\'entents into a
comparatively slowly moving beat. Thus
despite the vigorous character of the dance, its
musk must be uken at a steady speed, with
much the same swinging lilt as (he galliard,
(bough not quite 10 slowly. The ehiracterittic
feature of (be dance, from which its name
derived, is a series of three-quarter turns, In
part executed with a high Jump by each
partner and in part in the following still more
exhilarating manner: the gentleman throws
his left arm round the lady's back, clasping
her about her waist; with his right hand
placed firmly beneath her bust, and his left
(high pushing her forward, he helps her with
a powerful thrust to rise into the air. If his
thrust and her spring arc timed to perfection,
she will rise with surprising ease to a remark-
able altitude, both turning rapidly the while ;
but it is evident that any disposition to hurry
VOLTA, PRINIA, SECOND A
VOLUNTARY
th« mu5ic can only lead to cataatiophe.
The volia apparently did ikm share tlie
tendency of so many Renalsance and Mbse-
quent court dances to develop into abstract
musical forms during their declining vogue
in the ballroom. The entire FitawilUam
Virginals Nfanusrript cnnialns only cts'O
examples, neither elaboratrlv treated. One is
by Morley* the other by Byrd, as follows :
WlllUa BTEO
a, t>.
Bias. > UubutTKH. Majil, 'Oaiko U EnftMMj aimI
cLanUon, (949).
VOLTA, PRIMA, SECONDA (Ital., time.
first, second;. An indiratiun -- more com-
monly seen in the ahltreviated forms '* ima ”
and " ada ", or with the numerals alone •
that the portion of an instrumental rnosemeni
which is to be repeated is to undergo rerialn
inudifirationi at the close of itj rqseutiun. in-
stead of being repeated exactly. The words
" Priina volia ”, or the figure 1, are placed
over ihe first version, and ” Sect^a volia ”,
or simply a, over thr second. At first the
player giies straight on to the repeat, but the
KConit time he passes over the beginning of
the line where " Prima volta ” stands to the
double bar, so that the t>nfUon after the
double har is played instead of that liefore n
V«l(Alr*, FraacttJ* MaH* Ar*«*s d«. 5r« Act>c«l«
AisfieliiM Acriru
< •!<•»< '. xs.J K> m. I . bea^m* i< hsn t • \*mvm I*, l
fcllMM ( /airi owtal. <:«m«Imwov». Tr^o e C«a.
dide Cawl (* *.oarrai,
^mu Ibiditv t m. ht y •» fuiKMlj, Ocxmm f«or*
U Irrw «rn*h IKni F*« w,«>.
I OtUno dells (.hina * 4 ' .SeHwrAfniOe ballett*
Orlur 'meieesiwsliS. : a eper*»b**e<l«i» V.i. Knioaer
{ Cand^Ap , operar. .SradelU rChmlcnaiJiie \ dweal
wnrki; M-vf rs„ * AUel*-Je di (JuevJaiw '. opersi,
Mw««nr I ’Belle Ar»«iw\ opera 1. Hkyel <*. ‘ Fde
Lr.rle , pupoet npef*). Komeau fy ain.). Kown.
I Slsofriefu> »• & ’ S<m(r*mi«k ofwrMi, Hoier
* of randnre’). Xemiraencle tRamM. nperA^
Sponiini f ' Olyinw. opet«t. ^iwsu r Hetmich IV
WA). , lA«Krr<li ritow,m. »vpe»»i. Verd. r Altiro
V,""*'' I .Unwrlan *, ypero). Vl'oeW '* Altire*.
b«lleii. /ifiiarelli r AJiita eeerA)
yOLTl SUBITO tltal., turn over
quickly ). I his direction, nearly always
abbreviated - V.S.”, U used in manuscripl
and old printed music, at the bottom of a
page where, without it, it might be supposed
for one reason or another, that the piece had
7 t
come to an eisd. In the appendix to Vol. I
of G. II. Dsitrr's life of J. S. Bach, part of a
song, • Best du bri mir from the musicdKwk
of Anna Magdalena. Baclt’s second wife, is
giv’cn in farsimile of the composer's writing,
doulde bar closes the page, but evidcnilv
the song docs not end then* ; the ( omposer, to
prevent any niistake. has added the leord^
fo/lt <it«, the meaning of w hieh is precisely the
same as the more usual version of the elireclion.
j. V. r.-M.
VOLGMIER, Jean Baptieic {b> ? Spain,
r. 1O70: d. Dresden, 7 Oei, 17^81.
Fleinidv violinist, diikimer player and com*
ptaser. .Mihough probably lx)rn in Spain, he
was of Flemish extrarhon an<l hb n.une in
sakl to have lieeii originally Uoulinyer. He
entered live ehx total cha|>rl of iVussia cm 22
Nov ibqi and vxm l>eeatne maiiif Je eofK<ri
and director of the dancr muvie at the Berlin
«uurt, when' he was famous for 1 ns ballets. In
Dec. 1706 he imxluced ihrrt' an opera, ‘ Sirg
dcT Srlsoiihni ulx-r die Helden’, written
jointly with Finger and Strieker, hU share
bring probaldy ihe dance rnusir. He was
dismiss^ m 1706 and on a6 June 1 709 ho was
appointed to the Saxon muri at
Dfoden. There hr kept up his furnu r rrputa*
lion fi>r danre music and diverusvemrnls, but
was aho celebrated as a violinist, esprcially in
French music, and as a perfor/juT on an
jftsirumeni of the HotibuH (dulcimer) kirul of
hb Own invention.
N'olumler was on friendly terms with Baeh
and an enihustasiic admirer of hU genius, and
It was at h»s Imtigaiion that the ranious
match was arranged at Drewlen between
Each and Mart hand, which resuhecl in the
French organist's departure Uforc the event.
adds, a, i ,
_ ic»ll*b.;. Smeker 10 • .Sica Jer
VOLUNTARY. An organ jolo played in
connection with a church service but not
forming part of it. Fhc term is explained by
the fact that it is merely a casual adjunct to a
service, limited to special occasions or dictated
by eonvmienee. The use of the word as a
musical term seems to have been confined to
the Eftflish language, and ita significance In
the matter of form was extremely vague. At
the hands of its chief exponent*, e.g. Dcnjamm
Cooke, Thomas Adams, NViJIjam Russell, the
Wesleys, etc., ihc vtJuniary took on a variety
of shapes, comprising the prelude and fugue,
the hymn-tune varied, a group of movements
suggestive of the suite or sonata, etc. It is
worth noting that when the music publishers
Coventry & HoHut asked Mendelssolm to
wntc some organ music, ilieir request was for
iJir« Volumaries ". The change of title
was dtM to the composer, who wrote (39 Aug.
1844) ;
VOLUNTARY
vomACka
7fl
1 have been husy abeut (he or^ao piecn wbkh yxfa
wanted me to write (o< veu. aad (hev are neariv hnkhed.
1 iliould like yew le call theoi, * Three Sonatas Sot ^
Oman * ImieaH of * VoluAiarka Tell me if you like
this title as well ; if net. I ihmk the name of * Vehoi*
larirs * will suit the pieces abo. the moee w « 1 do oea
knew wha( it means precisely.
T hough the term apparently dtd not come
Into general use until the i8lh century, many
of the pieces by B> rd, Gibbons and other eariy
keyisoard wriien trere obviously designed for
use as voluntaries. As English organs at that
lime had no pedal board, composers ^ten
wrote indiscriminately for organ and virginal ;
and there is liitlc difference in style between
pieces called ' Voluntary ' Fancy', ‘ In
Nomine ' ' Fantasia * artd * Prelude Two
of the earliest accessible examples of F.ngitsh
organ music of the voluntary* type are a
' Clorificainus' (in which a plainsong theme
occurs in the alio) by John Redford and a
Voluniary by Richard rVwood.*
The voluntary is now used only ai the
beginning and end of a serv’iee. For a long
ptriod, hoNvcveTi it was a prominent feature
during the service, being called the *' middle
voluniary An entry in a Vestry Book at
Boston (Lines.), under date 99 Apr. 1717, is
of interest as showing that the voluniary has
long had a recognised place in the musical
arrangements of a parish church ;
Ye er<jnl»t whp sHaM be rh««en M serve la ye Pylth
CKurch of Bestm shell ptey: Up«n Sufsdasv H«lr
Daics. end et often si there sK»U kappra so be • Sermon
Of Homily. One short Velunury he fee* ve servke
betiris, end another immrdiately aher r« Fim Levon
. . , anU a N’olwniirv Immediotety y« Mrviec h finhhrd.
Aho cn Communion Daks, a volwnUrr beewees y«
.Sermon and v« bepinnine of ve Communioo Srrvke.
a ahoii Voluntary a( ye finbhlnf of ye Commuesso*.
Austere in its early da>'S, the svyluntary fell
from grace during the 18th century, when,
despite some admirable examples that are still
well worth playing, the general style was
superhcial. As evidence of its triviality durii^
this period may be cited the well-known essay
in 'The Spectator’ of 08 Mar. 171*, on
' Merry Epil^ues after Tragedies, and Jigging
Voluntaries '. Similar compdaints may be
found in periodicals a.s late as the middle of the
19th century, at which time the custom arose
of using transcriptions from all kinds of
sources, often inappropriate. There is ck>w a
belter and rapidly improving standard, owing
to the general recognition of the principle that
a voluntary should justify itself on the grounds
of (a) musical quality and (k) Alness for use in
connection with divine service. Tbe ideal is
reached when the principle of Alness is de-
veloped from the general to the particular
and voluntaries are chosen to suit the liturgical
season — and cs'en a given Sunday or holy
day. Thb may be done without great diffi-
* tf* Im Noanm ffrr ib« uic df a pAfiSmIar plsfo-
Mni (h«nw.
' be<h isAutd in John E. WetCt secies of* EngMih
Or|sn Musk ’.
culty, as there b now a large repertory of
admirable English, French and GcfTiian organ
music based on liturgical themes from plain-
song and chorales to modern hymn-tunes and
car^. Thanks to this wide Acid of choice a
service may open and close with organ music
not less appropriate than the hymns and
anthems. Thus used, the voluntary amply
JusiiAcs itself, both as a decorative accessory
and an aid to devotion. k. 0.
VOMACKA, BolesUv (^. Mladi Boleslav,
dSJune 1687).
Cfech composer and writer on music. He
was the son a schoolmaster who was him-
self a versatile musician and a keen cultural
w’orker. He was attracted by music from his
childhood, and during adolescence his interest
was fostered by the encouraging conditions in
hit birthplace and particularly by the advice
and help of his fellow<ountryman K. Sleeker,
the weli-known composer and theorist. Having
received his general education at the *' Gym-
nasium " of MUdi Boleslav (1698-1906),
VomKka read law at the Charles University
in Prague (LL.D. In 1913). where he also
studied in the organ department of the Con-
servatory and was afiei^vards Kovik's pupil
in composition, attending the newly founded
master courses (t 909 -J 0 ). He practised as a
solicitor until he entered the service of the
Ministry* of Social Welfare (/919), where he
remaiew^ until his retirement (1950). In
spite of his very sucersiful career in the civil
service he took a considerable part in musical
a ffain. H e worked for various inst itu lions and
soeieties, particularly in the music department
of the UmWeeVa Beseda (Society of Artists)
and its publishing section, Hudebnl M^ice.
He was music critic of the dailies * Cas '
(1919-ai) and ' LIdovd Koviny ' figai-sS)*
Many of his considered articles appeared in
the periodical ' Hudebnl revue ' and later In
ihe'listy Hudebnl MatIcc-Tcmpo’, of which
he was editor In 1923-33 (with Stanislav
HanuS as co-cdltor from 1937). A word may
also be added here about his booklet on Suk
and his w'ork (1933).
VomUki's earliest attempts at composition
began in 1903, but not till he had received
a systematic schooling did his dcsdopmenl
become organic and individual. The influ-
ence of a merely capricious experlmenialism.
represented at that time particularly by
Schoe n be rg and shown in several Vomafkas
compositions dating from before the Arst
world war, was thrown off In a short time,
and exccuive subjectivity gave way to a Arm,
manly style of expression, healthy musicality
and consistent workmanship. These qualities
made Vomadka one of the foremost composers
of his generation by about 1920- He w»
wanniy appreciated at home and well received
abroad. Several of bis comporitions (piano-
VON HEUTE AUF MORGEN
VOORMOLEN
73
forte Sonau, Sonata for and pianoforte,
etc.) were often played abroad.
Unfortunately \*ocn&£ka’s further activity
aa a composer has been hindered by the mani-
fold duties imposed by hU official career, and
in addition his creative enthusiasm was
paralysed for a time by undue aiientton paid
to the aims of musical work in relation to
changes of social and cuUuraJ views.
The following is a list of Vomiilu's principal
vsorlu ;
Opers *V<Mlnik‘ i*’rhe NVsWr G«blin’i librnio W
AUolf tN«hif, bated wt K. |. (.rWn’t poeot «4 the
unie name), 4 kU. Op. 99 ^ 19)4 37 .: p(«d.
17 l>r« I 937 >
Canuia * Knmanre ^vatejinka * <* Roenaner oT Sa.
Cenrpe’j. (Slaniilav HanW. C)p. is (19^9 43 ».
CaiiUia mrivtm* '/'Ihe ' 1*4 Oeail’i.
dlaiMi'j.Clp. it
Ckfitau ‘ Sirater m«>sku * <' tlx Keeixr eJ ilir |jC>ii*
houte*! >Jih ’ Dx Rallad of ihe Sail.M .
Op. aa 1 1031 3 V.
Wlatleii«fk 4 i|> 4 t>* iTdlnolK fix (hueu>
end or<li.. < Ip. 7t *
*Twp> 4 ovy oCi* t' Mx Nloter'i F.to'l 'Wtdber. t.r
men« chonji. Op. 16 1 ( 944 * 97 ).
‘ S.O.S,’ I Petr Kritkai for met)** thixut. Op. 17 0 * 147 ’.
^vmpl»(»l»lr prxni ’Mbfil* TYimiiIi’j »iUi ihivrut
lAMtuMlM Sota^.Op. so O914 * 6 . rrv. (QV*'
Symplinny t* ma, *‘(.trih (.fAwa'i. (>p. 47 *1041*4^).
(Ivcrture ' llokla *, Op. so 1 l•) 4 a<.
* 'O'i *» 5 (tHipt VSIlh 444 n. fix pf.l. Op, 1 1 ' l*) 4 l»'.
* eVtu $ t*^iii 4 ’ r the Wmv Pimb ik» Baiile*
rxUt ’) I y rata Atdmrk^ • ) (onirt vriih on h. ' ar pf. 1.
Op. 13 11942 ail.
* <jiiarl«lh(v>* l«x tici.. Op. 312 ^19411
SonaU iVir vn. ft pf., ( ip. 3 1 l 9 >t;.
’ l 1 le<Uni ' <’ 'I'lie Qursi 'j, pf. pxtn. Op. 4 1 1913).
‘ Iniftm^rii * r<ir r'*^. Op. i f|«ii I 7 ».
yt. Smiiu (. Op. 3 '191 71.
W. h«iiau, Nn. 9. '* 9 UMi fmians**. Op. 49 N949)
S****!*.
Niiniprnui t*ari*nnKi.
O.
Dcni , 11*11 r 7 M . H.. ’ R. Vom 44 ba ’ fPranx. 1941'.
VON HEUTE AUF MORGEN (Opera).
Sff Scillll NIIKBCS.
Vaodel. J««»t » 4 M d«». t*r AlUtt K.. ' l,.■llrrt ’.
i<i4i<l. in,l. Cuywn lit . ’ A<>4m in HaUintwIiap* ft
* l.>K»rrr '•«lo.J. J>xprMl>rr>ck '’<4iUKrtkl tan AmtlH'.
do. ft * Vaufi near Avnpp*"-* ’. 4 i«wp ft •toh,*. FihI
IchotMt*. M'oieOxre *k. Monntkefnlam
(' NtWi l» *. iiKid. fr.>. t*l}tvr ' ’ fheaim *. <lo. », Rant
^ Adam in miliiiKKliep' ft * Jtn^ph ih llmlien \ da.l.
^luiuwiiiuM '< «onit<. \>rr>' 1 * l.ixiCrr iimmI. m.’,
Zaii«t»|n itiMXHxt ftom ' Zttnn f’Oip*
brpchl tan Aimtrl *. preluUn).
VOORMOLEN. Alex. (Aleuoder
Nicbolae) {h. Rotterdam, 3 Mar. 1695).
Dutch tomposer. From hit earliest InfacKy
he exhibiird a strong talent ft^ music, which
it is not unlikely he inherited from hh great-
grandmother, who was a Rameau of Dijon,
prolMbly collaterally descended from ** the
creator of the modern science of harmony”.
Left an r>rphan at an early age he came under
the care <if guardians whose chief method
of earing for him was that of placing him
in successive boarding-schools. At five yean
of age he was already experimenting with
plea«ant chords on the piano, but when three
years later he was placed under a pianoforte
teacher his enthusiasm for the instrument
waned, though he continued to take an in-
terest in music generally. In 1909 he became
ft student, under Johan Wagenaar, at the
Utrecht Music School. Wagenaar wished
him to become a pianist and placed him und<'r
the tuition of W. M. Petri, but the boy pre-
ferred to spend most nfhis time at composition.
IVith W illem Pijper aitd Drrnard \^'aecnaar
he formed a “ group " and at scvctiiecn he
priduced sh^t Preludo for piano whkh
attracted attention by their pitjuant French
{(vling. 'llsme, and a Sonata wriilrn about
the same time, he dcstroved. but a * Valse
iriste ' f<ir piano was primed, aiul he al'o (In
1915) wToic a Prelude to Maeterlinck's ' La
Mort de Iituagiirs* uhl<h has i.iken Its place
in the repeciory <*r Dutch orfheNtras. .-Uirr
this he w’eni to Paris, where he stud led under
Ravel and Roussel, and then NCtilcrl for m/iiic
time at \*ecre. iieur Hu'liing, to desolc him-
self to composition. A short stay in Vienna
was follovixxl bs' an ins'ilation lo act as music
critic foe the ' Nieuw’e Rotlerdantse Conrnnt
whkh io«ik Imo to 'I Im* llocm , where h«’ re-
mained until lUe imilireak <»■ war In li)|o. lie
still remaim’d anise ai a <iini|ww«'r, htiuisiT,
and in l<i3i w'as awardi'il a inom’tiiry prize for
ihc (jcrrormanre of sein lions from his seioiid
' baron Hop ' Suite, the inspjraiton irf these two
suites being a local legend. At ihi% time he was
rndeavcMiring to free hlmsi’ir from Freni h
influciHe*.
Voorimdcn's Jiandling of hii mtnircrs is
much lighter thart that of most of hh con-
temporaries. and hU Freni h extraction and
educaiNin arc still often ei idem, lie has made
no serious experiments in tonality, though his
tec hn ique is q uite ntodrr n . S(>mc of hi » works
sliow considerable deMriptiw* )>owTr, but the
strength of his mu*ir in general hes in its
alwtraet dia/m and a rrcqueni feeling for
subtle humour and a kern sense of the stage.
He is sesrrely seir-eriiaal, and a large nutiil)er
of his works have been withdrawn and others
revised after publication or after several per-
formances.
'Fhe following is ft complete list of \’oor-
inolen's compositiom up lo the end of
those not included hating been discarded by
him ;
CHOKl
i »««« 9 S ftx Mnw^omp. men's chAciu
4>R(.Hi;SJKA
’ A S w(*e
''rh« Ihrcc Kiutfhu’ i«wi«iiom on s Duwh rotksviiio.
5 iMie * RaroB H<«’.
* Ktew Suit*.*
’ SllUgoiA.*
* Arelbyu * (n'mpbonk f«)ih after Lomu Cou|xrs 4 ),
CHAMBLR UKCHF.VJKA
BsHel 2:«we 10 L4ncefMl«jk'« * S(He(rel Jer \’vl«r~
landwhe K<‘npli«^n
SOLO I.SSTRL'M LSI'S A\D OKCtILSI'RA
tkneerSo tor 9 obon.
C««X 4 Tta for o)hx.
Conretto fercaHo.
74
VOPELIUS
VORLOVA
CHAMBER MUSIC
String Quartet.
VIOLIN AND PIANOfORTB
J Sonatas.
VIOLONCELLO AND PIANOFORTE
‘ Divertiuemeot.'
PIANOFORTE
* Le Souper clandestio * (* EoiKiductMe, Va!u ei Pm«
trot V
* Falbalw * (3 pt«e« 9 ).
' Tableaus dct Pav>*B<* * (S pieces, a b«ob).
* Le Livrr des enfaeu * (34 piMes. 9 bMk»).
S^nei.
* CUphanu* (Etude).
* Suite de cla\erin.*
Sonata.
SONGS
’ Deuv MotaliUt d« CStarIn Perragli ’ (hith t^e).
* Liederen van ]»oude * (P. C. Bouteiw) (camralML
* Troi* Po^mn de Henrt de Rtfnkr * (>M|h voice).
4 Old Dutch Poenw.
' Zemerranf * {Jan Luveken).
* Drie Cedichten van K. M. RiUte* (low veke).
i Netherlande Poems from (he i 7 th-ip(h<e«it^ poeu.
DECLAMATION WITH PIANOFORTE
* Beatriii ' iBoulen*).
H. A.
Biti..— DauotN. Siu. ' Hei Musiehletee im NederUad
linds i 8 do ' {A/naterdam, 199)).
SAMoeaa, Paul F.. * Moderne Nederlandetbe Compoi
nitten * (The Hom, ino).
Samon, R. van, *De Piano en bare eooipeoieiee *
(The Katve. igasi.
VOPELIUS, Goitfricd (^. Hcrwipdoif nr.
Zitiau, aSJnn. 1635 ; rf. Leipjeig, 3 Feb. 1715).
German orgartiet and compoacr. He br-
came canior ^ the church of St. Mkholas a(
Leipaig in 1675. He wrote some original
tunes Co hymns previously set to ocher music,
but is chiefly known as a harmoniser of older
melodies in four voice-parts. He adopts the
more modem form of regular rhythm (gener*
ally 3«2). and freely uso the subdominant and
major dominant even in minor keys, and che
accidentals I and v He published in iS6a (he
*Mcu Lcipsiger Ccsangbuch’, which contains,
besides other tunes, coo hymns from Schein's
' Cantional oder Gesangbuch ' of 1677.
R. u.
Settfi^ ChaAi
VORHALT (Ccr.). 5 rr ScsaaNsiOH.
VORISEK (Woeaischek)^ Jab Hago ( 4 .
Vamberk, ii May 1791 ; rf. Vienna, 19 Nov.
1B25).
Bohemian composer. In the parochial
bir(h*reglster his Ghrbiian names arc given
as Jan VSclav. He began taking lessons in
music from his father, a schoolmaster and
music teacher, with so much success that he
acquired a remarkable ability in playing the
organ, pianororie and violin at the age of
eight. From 180: he attended the '* Gym-
nasium ” of Prague, where he was also a
pupil of Tomaiek for a short time. After-
wards he developed his inborn ulent by
rigorous self-education, studying phiknophy
while he earned his living as a private music
ceacher. Following the advice of Professor
J. N. Zieius, the well-known friend of Beet-
hoven, V«iS^ tefi Prague for Vienna in ]6($,
in order to read law there, but chiefly to
become acquainted with Beethoven. From
1614 Voriiek was a frequent visitor to Beet-
hoven, who expressed a favourable opinion of
hb compositions, as is tesliflcd by Tom&iek’s
autobiography {* I.ibussa ', 1646, p. 360).
Besides, Volfiek became an intimate inend
of Hummel, Kieyerbeer and MoscheJes, and
took pan in the musical uMs of R. Kiese-
wetter and J. Sonnleiiher. He also made a
name as pianist, teacher and conductor of the
Cesellschaft der Musikfreunde (from 1618).
Having finished his university studies he
entered state service in 1822 and was ap-
pointed first organist to the imperial chapel.
After some months of failing health he died
(^consumption, at the early age of thirty-four.
As a composer Vofilek represents a transi-
tional stage between Beethoven and Schubert,
whose ' Impromptus ' and ' Moments musi-
caux’ appear to be deeply influenced by
Vofflek’s ‘ Impromptus*, Op. 7. This very
interesting set of pianoforte pieces was pub-
lished for the first time by Mechetti of Viemia
(1822). An exemplary edition has recently
been provided by Vladimtr Helfert in his
collection * Muslca Antiqua Bohemica', Vol.
I (1924). Among Vof lick's other printed
works the following should be particularly
mentioned: Symphony in D major; ' Intro-
duction and Rondeau brillant ' for pianoforte
and ^hestra, Op. 22 ; ' Rondeau ’ for siring
quartet, Op. n; 'Grand Rondeau' for
violin, cello and pianoforte, Op. 23 ; * Ron-
deau ’ for violin and ptanoforie, Op. 8i re-
cently edited by Helfert and Jan Mafik in the
c^lection ' Ancient Grech Masters Vol. If
(t 933 ) pian^orte Sonata in Bb minor,
Op. 20. A considerable amount of his w«k
has remained in manuscript (church music,
instrumental compositions of various kinds),
most of it being preserved in the archives of the
Cesellschaft der MusikTreunde in Vienna.
o. 6.
BiM-— KxHt. W-, ‘ Dm lyrisehe KUvi«ntilck Sehuberti
« 0 d «einrr VortaBt«r ' (AM.W.. Ill, 29).
VORLOVA, SUvka (k. Nichod, 15 Mar.
composer- She was attracted by
muac from childhood and made her
attempts at composition at the age of eight.
Having received a secondary-school educa-
tion, she studied singing and pianoforte at the
Conservatory in Vienna, but did not nnisn
her trauiing because of the loss of her voice.
Later on, however, she took a diploma as a
music teacher. She resumed her syscemauc
study as late as 1934, taking
from J. ftldk^ in composition and F. Maxjaa
vOrOsmart\'
V 02
75
in pianoforie, and shortly afterwards her
name became knowi) lo the public, soeral
of her compositions being performed and
received with encoura g ing recognition. In
1945 she enrolled in Ridhy's class at the
Master School in Pragtse and graduated in
1948 as (he first Csech woman ever to have
taken the degree in composition. At the
present time ( 1 950) she occupies a distinguished
position at home, and her name appears fre-
quently in the radio programmes abroad,
'rhe following are her principal w*ork» :
CsAiaia icme ’ {* A Small Coualry')
bv Compoi*r)« Op. f (taSi~ 4 J
Canisis ‘ Z pivy («oodvar>v ' e * The S<»nK *it Can^vana *>
(Vla«liirir Iftach), Op. >0 11046*49^'
SympKoAv. On. tSiieir-aai.
Ksnusy fnr crllo & oren., sip. S ‘.lOsv*.
SuiAf Qusrtrt. Op. j * i 9 S 9 i.
Naa^i. F ma,. Op. 10 1 1944*.
* BarctTte noty ' CulMretl Notes ill*, p*e<et. Op. 9
(1944I
.>eu 01 Miir*.
CSliurum.
ArranremeAti of folkvwtt. C.
VarMASHy. MllhaJy. tafkai <F.. ' Jumtrot ^
'runik 'i incid. m» r Ki-IjU <ch<>nni. Matra\ <hof«n
for * ArtCkJ 4 brr«l4H ' j onh. >.
r’Ss4p llAn^ A|>era», inulr*WH« <k<.wt»;.
nnei I' 'I uaJs 4 A<ii|.
VorO*imio«« A. F. •'•t/ ftebibov i be« \ lib,
VORSCHLAC (Oer. ; lial,, tpp'jf^taiuTa).
Ornauckts, a (i).
VORSPIEL (Oer.). Stf Par.i.i'oi..
VOS, Laurent de. S<4 Vnz.
VOSS, Charlea <C«ri) (>. Schmartow* nr.
Orinmin, 30 Sept. / Parh, 20 AuK.
1U83}.
(Icrman pianist and composer. He re*
ecived lu» niusicpi education in Berlin and
so I (led in Pans In i84r>. where he hadasueem*
ful career as pianist and teacher, turning out
a great nuinl^er of pianoforte pieces to suit the
taste of the day. He also w rote a Coneerlo In
t luinnr which was highly praised by Mendels*
*f>hn. j A r.*M,
VOSS (Vossiua), Garhard Johann (^. at
or nr, Heidelberg, c, 1577; rf. Amsterdam.
J9 Mar. 1649).
German scholar. He was professor of
rhetoric at Leyden in 1616. He was presented
by l4iud lo a canonry at Canterlniry in 1639,
but it was not residential, for he became pr<w
fessor of history at Am<terdam Unis'ersliy in
• 633, His works bearing on music arc ‘ Dc
artU poelicae natura ac constitutione ' (1647)
and ' De quatuor arlibus popularibus gram*
niatica, gymnaslica, mustca el graphka liber ’
j, A. p-.u.
VO$S,laaae (>. Leyden, i€i$i W. Windsor,
31 Feb, 1689).
I'.nglish scholar of German descent, son (ylh
child) of the preceding. He was in 1649-^3
at ihe court of Christina of Sweden in Stock*
holm. He then went to England and was
given the degree of D.C.L. at Oxford in 1670
and pri*«cnied by Charles II to a vacant
prebend In St. George’s Chapel <rf Windsor
on C 7 May 1673. In the same year apjicarcd,
anonymously, his important contribution to
musical literature, ' De pocmaium canlu ei
viribus ry’thmi *, a treatise on the alhance of
poetry w’ilh music. There arc some curious
criticisms on the w-ork by Roger North in the
B.M. Add. MSS 33,^31, fo. ^3.
J. A, F,*M.
V«*a. J»Juipa Hciarieh. Sit Brshnu ^psiUuMpL
Loewc iMtiKk. ).f<iidFlw«>]ui <3 fconpj. Vtrber 113.
J snop*.
V#M, hichard. St* Henuhel 1* Nuhi« opfrsi.
VOX A. SwG.P. Vi'oiA,
VOTOCEK, EmU <L Hottinne nncl
Labern, 3 Oct. td 63 ; J. I'rj^ue, 1 1 Oet. 1930).
CUeeh eomposiT and wTiter. He was a
widely acknowiedged &|>eclalist in organic
chemistry*, having octupled the chair in thit
subject at the Prague Polytechnic from 1903 to
1938. lie held six honorary diKioraies and
was honorary memlier of numerous corpora*
lions and societies at home and abroail, etc.
He was attracted l>y music from l>is youth,
I Hit his interest in it was imprdesl by the mani*
fold iluliet of his career. At the rifx* age of
thirty he started a sysicmailt study of < (imposi-
tion as a private pupil of Spilka and rctuained
under the guidance of this teacher foi six
years. /\rcer an interruption of over twenty*
liv’c years he was able to resume loinposiiiun
and w'roie an astonishing numlier of works
(nearly Co during a comparatively short
period of about lificen years), including 3
orchestral w'orka, a large amount of chamber
music of varioui kinds, pianoforte sonatas and
kU of poetic piren, songs, partwngs. etc.
Exceptionally prt^ific f«>r his age. he was dis-
tinguished by technical skill and frediness of
invention. He also compiled a Crech diction*
ary of French and Italian terms (1946).
V6TTERLE, KARL. Sec B^RbKRbiiBR*
VCRLAO.
VOWEL SOUNDS. See Acoustics.
VOX ANGEUCA.) - ^ -
VOX HUMANA. | Stops,
VOYAGE AUTO UR DE MA CHAMBRE
(Opera). Stt Grisar.
.vr Wu MaitirF. Xauer dr.
VOYEVODA (Opera). Set Tcmaikovsky.
V02 (Voa), Laurcoi de (k, Antwerp,
*533i / Cambrai, Jan. 1360).
Flemish composer. He was a brother of
the painter Martin de Vos. Having been for
some years a musician at Antw'crp Cathe*
dral, he was appointed mazier of the children
arsd director ^ music at Cambrai Cathedral
by Archbish<^ Louis dc Berlaymont. His
attachment to the latter caused him, during
the troublous times which followed, to compose
a motet in which the lext was compiled from
(he Psalms in such a manner as (g dcKribc the
banishment of Derlaymont, the usurpation of
Inchy, his iniquities, the murder ofciiiaens, the
V 02 IKA
VRANKEN
?6
vain hope of release through the Due d^Akn^
and the probable short duration of the
reign of the wicked. The motet, written for a
large choir » was performed after vespers In the
presence of the usurper » who had him seized
and hanged without trial. Lacroix du Maine
(* Biblioihique fran^aise ') mentions de Vot
as composer of published motets and chansons,
hut only one motet, for 5 \‘oices, published
by Phal^ in * Concenium sacrorum ... *
has been discos ered so far.
]. A. F.*M.
VOZIKA S ?(*.?: i. ?).
Bohemian (?) t7ih-i8th'een(urY double*
bass player and composer. He was chamber
musician to the court of \Vuricemberg at
Stuttgart, whence, according to Schubert, he
was dismissed on account of his cynkal char*
actcr. He was then appointed to the chapel of
the Archbishop of Tner at Coblenz, He Is
described as the firsi soloist on the double bass,
for which he composed some solos. He was
still living in 1750. t. v. d. s,
VRANA) Frt&cilek (^. Byufice pod Ho»*
tynrm, Moravia, 14 Nos*. 1914).
Czech composer. On leasing the Brno
Conservatory, where he studied both the
organ (1 919-33) and eomposition (under
Pctrielka, up to (934), he entered the Prague
Master School, where he was a pupil of Suk
and Xovik for composition (1934-36) and of
V. Kura for the pianoforte (1936-38). In
1939 he joined the staff of the Czechoslovak
broadcasting organization to svork at first at
Ntoravsk.'l Ostrava (up to 1943) and after-
svards in Prague. Az a fairly proliftc compoaer
Interested mainly In (he forms of instrumental
music hr at first showed a certain disparity
between a rather impersonal invention and
a consistently elaborate construetion, but he
gradually attalnetl to a considerable degree of
indlvlJualiiy and balance.
The following arc VrAna's chief works:
Ov«rwire No. s. Op. i} fi 93 P^.
rr. C^oAcerio wKh mw, iA Omi).
Suii« fur irllw a pT., Op. >p f ipsi-os).
%>iisio toe vn. a pr„ Uo, ao (ip«}>.
Soti.tio for^ello a t>t.. Op. S)
Pr<]u 4 c onH lor pi.. 7 (ippl).
n*. Sensis. Op. 11 (1434).
c. f:.
VRANlCK^, Antonia anti Pavel. Sft
Wka^^itcky, Amton and Paul.
VRANKEN. Dutch family of msisicians,
(1) Joaeph Vraoken, aea. (P. J. Joseph)
{h. Bunde, in June 1870; d. Daun. Rhineland.
I June 1948), organist, conductor and com-
poser. He studied with his father astd later
with Henri Tibbc at The Hague Corucrvaior)*
and \Villcm Robert at Haarlem, as well os with
Rol>ert Ress in Berlin. From 189c to 1910 he
was director of the music at Utrecht Minster,
after which he remo\’ed to Rotterdam as chtur-
^ The spelling is ptobaUv wroetc. as is ibe case of
most Bohemian muMciaia living in Geraiaav.
master at St. Dominic's church. For many
years he was conductor of the Palestrina Choir
at The H^ue, where his interpretations of
(he older classics wot acclamation as models
of their kind. HU compositions Include a
Chrestmas cantata and several masses, of which
latter that *In nomlnejcsu* Is the best*known.
(2) Alphona VrmokeD (k Bundc, ii Mar.
1879; rf. The Hague, 9 July 1953), organist,
conductor and composer, brother of the pre-
eedirtg. He recelv^ oiyfan lessons from his
father and later from his brother, also from
local teachers and from .Anna Fles at Utrecht.
After several appoinimenls, as organist, choir*
master and cortductor of choral societies at
Utrecht he removed to Amsterdam as organist
and choirmaster of St. Augustine’s church,
where he gave the first performance of Dlepen-
brock's ‘ Misaa in dir fesio '. For some lime
he was pr^essor oi solo singing at the Catholic
Uiuv’ersiiy School of I’llburg, but his chief
w*ork was that of conductor of various choirs
in .Amsterdam and Utrecht, iitcluding the
Amsterdam Bel Canto, which specializes in
the performance of the work of Palestrina
aitd his contemporaries. In recognition of
his work Oft behalf of church music he was
decorated with the Golden Cross of Honour
by Pope Benedict XV. His compositions in*
elude many choral works, such as a great 'Te
Drum * and a * Pater nosier \ and a ' Can-
zona ' for string orch., etc.
($) Jaap VfankeD (A. Utrecht, t6 Apr.
1897), orgajuvi and composer, son of (t)>
from whom Ite recels’ed his first tessoru
in organ playing, pianoforte and theory.
He studied at the Rotterdam Conservatory
under H. H. Sikemeier and from 1916 to
1918 in U.S.A. under Percy Gvctschius and
Cul Friedberg. Returning to hit own
country in 1990, he was appointed organist
and choirmaster at the church of St. Anthonius
Ab( at The Hague, where he won a high
reputation both as an organist and teacher,
many of his pupils taking Important positions
in various parts of the country. He Is best
known, however, as a composer, his worb
being published ^ leading houses in Holland,
Germany, America, France and Belgium.
They comprise a Mass for men’s voices and
organ, pAxJuced at the Church Music
Festival at Frankfort o/M., one for mixed
voices and organ, two for mixed voices «
ttppelU (eniirely polyphonic), written for
Mechlin Cathedral, ‘ Hadewych Tripr> rh
for baritone solo. English horn & chamber
orch. commissioned by the Netherlands Music
Festival (Aachen), ' Siabat Mater ’ for coo-
tralio ar^ baritone solo, mixed chorus «
orch., • Hel Keren ' (' The Coro poem for
women’s voices, soprano solo, stgs. & celesta,
an organ Toccata and Fugue on ‘ Veni sancte
prims’, an orchestral Suite produced by
VRCHLIGKY
V REDMAN
77
Schuricbc at Wi€sbadm> ' Concert^ Music '
for cello and wind iiucrumenis, and many
moicu for men's and mixed vdeo a teppflU.
From 1943 to i945> under the National'
Socialist regime in Holland, he composed
nothing, but dcsoied his time 10 >4Tiiinf a
treatise (probably the first in the Dutch
language) on counterpoint ^published in 1^8;,
in which he applies strict classical rules i<*
modern texts. I'hb work has been tran^ated
into French and English,
(4) Joseph Vpaohea, joss. (Joseph Jacob
Hubest) (^. Utrecht, j 8 Mar. 1900), organ*
ist and conductor, brother of the prcieding.
After receiving lessons from hb failier, Ise
studied at the Rotterdam (lociservatory under
Wouicr Hutsthcnruyier artd Artur Loewen*
stein. At the age of twenty he was apputnied
organist at the important Jesuit elturch of tlse
Immaculate Omreption at The Hague, later
also becoming musical director there. Mean*
while he had studied engineering, taking his
diploma In that profcsKlon at iJelft, but he
never practised. Like his father and uncle
(Alphons) he lias w<ia a great reputaiiim as a
choral cuiiduttor, succeeding Hubert Cuypers
as conductor of the Haghesanger^, a famous
malfvoite cltoir, and conduct irtg various
other societies at The Hague and Kotierdam.
VreUtchf. JarocUv tSmU PrM*). S.f
IWinll > (WjK'. «l>(»r«| UIIjUi. C4»lubiM
((.•i<niyi* UfipeniM’. oiwrAi. Chv.iU I'ZAbni*,
l ArmiJ*', l.b.. i clM»r*l
Silmli Ub. . ' IhM*«d.»niu McMrynu
ijh»v ; dn UihaIvmi a oe^h.i. P«eni«r 1. B
>uic* , |d,,{ ‘Simvx, -. iiKHi w.; 0 r«MAuU*i.
Uh.<<<;k ^i« K«r«Kwrk«i |»«mi. Kvik
NSmrf^k fL, ‘(,jfdrn M l-kn*. . Svx^k
t narloc^n \»*«ri«0«i. OtirCii
Vvt|>.kkk UnAlirr8*i
I* Ss Ahib fhjdSk tnwtA'. ^
VREDENBURC, Maa (^. DruMcb, 16
Jan. iy>4).
Dutch comp<iser.‘ He i«*mpletcd the
education he had received from local teachen
by studying at the Ecolc Normale dc Musique
in Farb under Paul Dukas and was advised in
various matters by Albert Roussel. He then
became teacher at the Haagsch Conserva*
lorlum, a private iiutiiution at The Hague,
conductor of the rounkunst choir at Schiedam,
music critic for various papers and musical
adviser for the Film Uga. He also, with a
number of colleagues, started what for ses eral
years was a very successful Haagse Siudiekring
voor Modernc Murick. In 1936 he became
Pans muiical correspondent for the ' Nieuwe
Rotterdamse Courant * and of the broadest*
mg society A.V.K.O. He also broadcast for
the underground radio, and on the capitula*
tion of FraiKc removed to Nice. In the
autumn of 1941 he went to the East Indies on
behalf of the I>utch government and a yeas
• R>» 9»f*fU Vref« bolh E>ui£h and Ctom iaLaev ui
au «*rty iwenua he tired in HetUad.
later was interned by the Japanese. In the
camps he et^agvd in musical education of his
feliow'interriees. In Oct. C945 he returned to
Holland.
During the occupation most of his manu*
script works witc dmtroycd by the Germans on
t he ground of h is J ew j>h race. Fhese i ni I udod
a prelude to a Palestinian opeiwair play which
had been jda^Td at I'he Hague and ivon iiigli
eni oniunu for tit uriglnaiii) . I he in^l^ume^•
lauon I piano, ilute, l.nglish horn, bavs clarinet
and strings; in partuular wai highly prai'^d.
As pianist 1h* Itav made much propaganda
fur modern niu‘>k. and Jiav toured Belgium,
HollaiKJ ami Luxemburg with the cabaret of
l>ika Mann, tise iiuvvha ’Ihomas Maiiirs
daughter.
Hiv wurks Mill kiutwii in exist are six pietes
for pf. ;<)|). Ij, * id Kleine KlavuT'lukkcii '
H>p. 5 '. * Drie Jlederen ' (to Dutch wordvi,
a »<*ng * \'ous m*aver dii ’ (or medium volcr,
Sonatina Inr nbor & pf. dor Ja.ip bUiiyn'i, n
dasHe*cycli* amJ a series of wordh’vs songs with
]>f, arioinfMiiiinml.
In lyi7 he js'UmI 1 lxK»k, * {>angs de vljf
lijneii *, of comim*nt> on muNU during the last
50 years, with rbapuTS on Him music, music
and radio, musk and sorial Ide. jl. a.
VRBDMAN (VreedmBn). FiciiiUl; family
uf mustciaiM.
(1) Sebaatian Vredmaa [b. Mechlin, c.
1543; d. I^cydcA. He prnbably learnt
muMC as a chorister at the collegiate church of
Saint'Rombaud at Mechlin and held some
appointment there later on. In 15B0 he left
on account of religious trouldcs and settled at
Brussels. Later he went to Antwerp and then
(o Holland, where fur a time he lk*cd at
Utrecht with hU son Michael, leaving in ijdli,
on the laiter s marriage, for l.,cyden, whore on
13 May ijOcj l»e signed a coairact for five
years as carilJcmncur to the loivn liall and as
composer for the carillon. He published two
liooks of dances for the cittern with Phal^c of
Louvain in isOB and t569.
<9) Jacob Vrednsan />, Mechlin, e. 1^63 ;
/ Leeuwarden, Sept. 1631), son of the preced-
ing. He learnt musk at the choir*school of
Mechlin in i 57 «-? 7 i hut left hl« native town
with his father in 1560, following him to
Brussds and Antwerp, Later he went to
HoHand, settling at Leeuwarden, where he
married one Marie Gereits and acquired
citizenship in 15BB. He published a treatise
* Isagoge musicae ’, in 1618 and composed
masses, madrigab, vi Handle and songs for
scv'eral voices in the Frisian dialect.
(S) Michael Vredman Mechlin, c.
1^; d. Utrecht, 12 Jan. 1639), brother of
preceding. He must have studied under
his fatbec, with whom and hi$ brother Jacob
he left Mechlin in *580, After living at
Bru&seb and Antwerp with his family, he went
78
VREESE
VROONS
to Holland and settled at Utrecht about 1563,
establishing himself as a maker of violins ai^
citterns. On 5 Apr. 1586 he married a
daughter of Pieter Tanneken of Antwerp. In
!6!2 he published a book on violin and cittern
playing at Arnhem.
E. B.
VREESE, G. de. Stt OeviteasE.
VRETBLAD, (Viktor) Patrik (6. Svari-
ni*. 3 Apr. 1876).
Swedish organist, musicologist artd com-
poser. He studied pianoforte with Hilda
Thegcntcum and composition with J. Denie
at the Stockholm Conservatory in 1893-1900,
and also in Berlin, and was wganist of
the French Reformed Church, Stockholm, in
1 900-7. He entered the Postal Service in igoo
and was Controller i9$3~4t. Since 1909 he
has been music critic 10 several Stockholm
papers, including ' Social Democraien ' in
1940-42, and since 1938 chief of the Press
Department of the Swedish Radio Service.
From 1900 onwards he arranged a series of
evening performances of motets at St. Oskar's
Church, Stockholm, and he has given many
organ recitals in Scandinavia and the Baltic
states. He was elected a member the
Academy of Music in t90i,
Vretbiid made a special study of the works
of J. H. Roman, upon whom he wrote an
authoriiative monograph and sontc of whose
\vorlu he edited. Hn own compositions in-
clude suites for orchestra, symphonic pieces,
cantatas ; pieces for pianciforte and organ, and
Songs. Among his literary publications arc :
* J. H. : Svrmk mus^kem TsOer ' (BwcliMin.
* J. H. Keman: en MiMMite<knu>f * (Swchkolm,
*04$).
* K»n*rrtliv«i i Stockholm woOcr i70o*talrl' (Stock*
holm, toiS).
* Abbe Voom wm proframnwmwiker * tS.T.M.. iosy).
* hlamU Mwt»k' (m ' S\'c«ukOiUneiko lolbhopt*
ikriflcr') iLurxI. ifjol.
* Den Ijecknko tonkoniiwt ’ (SiecUtcfai, iMo^
* Polrti i muikkhittorien * (Slockhdoi.
a. p.
DiBL,— Arikle in * Rotter i Rodto* <1941. No. aSI.
VREULS, Victor (k. Verviers, 4 Feb. 1876;
d. Brusscb, 26 July 1944}.
Belgian violist, conductor and composer.
He studied first at the Conservatory of
Verviers, then with Sylvain DupuH and J. T.
Radoux at Liege and took a finishing course
at the Schola Cantorum in Paris with d’lndy.
At that school he taught viola and harmony
from 1901 to 1906. In 1904 be obtained the
Prix Ysayc with his Sym^xmy with solo violin.
From jgoC to 1926 he was director of the
Luxemburg Conservatory. He appeared as
conductor in France, Holland arwl Germany,
and in tgas he became a member of the
Academic Royale de Belgique.
Vreub‘s worb include the operas ‘ ^ivier
I e simple ' (Brussels, ThCitce de la Monnaie,
9 Mar. 1922) and * Un Songe d'une nuit
after Shakespeare (Brussels, Monnaie,
17 Dec. 1925): a ballet ' Le Loup*garou '
(Ghent, >937) ; symphonic poems ' CortCge
bir^ue ', ‘Jour de fete’ and ‘Wcriher’
(after CtMihe), * Suite de danses ‘ En
Axdennc ' and ‘ Ouveriuce pour un drame *
for orch., pieces f<v small orch. and 'Adagio '
for stgs. ; 2 Poems for cello & orch., ' Fldgle '
for flute Ic orch., ' Morceau de concert ' for
trumpet orch., ' Fantaisie ' for horn &
orch. ; stg. 4tet, pT. 4tet, pf. trio ; sonatas for
vn. & pS. (2) and cello & pf. ; pf. pieces;
songs, etc. a. b.
VRIESLANDER, Olio (b. Munster, 18
July 1880; 4. Tegina, Swiiserland, 16 Dec.
I95«)«
German composer and scholar. He entered
the Cologne Conservitor>', studying the plants
forte with Max van de Sandt, a pupil of Liszt,
and composat ion w ith Ot 10 K Jauwe II. Ini 904
he settled at Munich and in 1929 he went 10
live near Locarno in Switzerland.
\’ritslai>der's artistic dc\elopment received
a decisive impulse from his acquaintance with
Heinrich Schenker, under whom he studied
in I9n-i2, and he ranked among that muii*
clan's most enthusiastic followers. After his
master's death he took charge of a new edition
of Schenker's ' Harmoniclehre The latter's
particular interest in C. P, E. Bach may have
induced Vrieslandcr to make this composer hit
special study. In addition to a biography of
the Hamburg Bach (1923) he wrote the studies
’ C. P. B. Bach als Kiavierkomponist ' (' Gany*
med'Jahrbueh 1922) and ' <!. P. £. Bach als
Theoreiiker ' ( 1 92 3I, and edited clavier worb,
songs and symphonies by this composer.
Ai a composer Vrieslandcr attracted alter*
tion chiefly by his songs In the Brahms iradi*
lion (' lieder aus des Knabcn Wunderhom ,
* Eherrot lunaire * [Albert Giraud)), songs to
poems by Goethe, Gottfried Keller, Theodor
Storm, Conrad Ferdinand Meyer, sacred
songs, etc. k. 0.
VRONSKY, Virya. Set Basi''.
VROONS, Frana (k Amsterdam, 28 Apr.
‘9'0-
Dutch tenor singer. He studied at the
Amsterdam Conser\aiory and at the Pans
Conservatoire. He has sung in both opera
and concerts in Paris, Stockholm, Brussels,
Amsterdam and New York under such con*
duciors as Richard Strauss, Kleiber, Walter,
Monicux, Mengclbcrg, Furiwanglcr, Klcirky
and Klemperer, and in London under
Beecham, ^ull and others. In Oct. >95^
he sang In Mahler's ‘ Lied von dcr Brde ' at
the Albert Hall with Kathleen Fcrricr. He
specializes »n French opera and German song,
to which his voice, dry and not very large, but
admirably ^oduced, is well suited.
VROYE
VUILLAUME
79
VROYE> Theodore Joseph de (^. Vilkcv
b-ViUe, 19 Aug. 1804; 19 July
1873).
BcJgiftn vmter on music. He was ocd^lned
priest in 1828 and dek’oted all hb spare time
to the study o( plalnsong and the liturgical
singing of the Church. In (833 he waa ap*
pointed canon and precentor of the Cathedral
ot'Liige, when be conducted the ser%’kes with
a care and taste which produced remarkable
results. He published a * Vesperal ’ (1629).
a ' Graduel ' (1831) and a * Proceujonale *
(1849) which passed through many ediiiuns
in Belgium; also a * Traik du plain-chant *
O839I, a * Maoualc cantorum * (1849) and a
* Kituale roman um ' (t862). His last work.
' De la musique rriigieuse ’ (1866). written
in conjunction with the Chevalier van MIe.
wyck, was a collection of documents andoUer*
vations relating to the Congrevwn of Paris
(tSbo) and Mechlin (1883 C4I on sers’ke
music. j. A. f.-M.
Vraksl, .^1 <;n«Tun {m«mori«l ssmpK. dilKyrasnb).
VUALRANT. 5 m ^^'Al'.l.aA^n.
VUATAZi Roger (A, Gerveva. 4 Jan. cSoS;.
Swim organist, conductor and composer.
He studied at the Conservatory and Academic
dc Miuiiiue of Ckneva, where Alexandre
Motiu. Otto Barblan and Emile jaques-
Dalcro^e were among his teachers. In 1918
he liecame organist to the Freiwh JYoiestant
Church at Geneva ; he also conducted several
choirs and was appointed to the staff of the
Academic de Muiiqur, Prom 1928 to 1934
he was music critic to the 'Journal de Genive
and he ti now 095 «) conductor of the »yn»*
plionic broadcasts of Kadiu-Gmeva.
Vuatas may be classed among the French*
bwiss comjK>>ers who exploit with llie greatest
thorouglinos the various poMibilitles of musical
exprmion. His work embraces practkally all
the categories of music. If some are not with-
out a certain ariificialily of construciton, hk
sense of instrumental, particularly orchestral
sound is remarkable. The following are hiv
chief works :
■ ^hUj»jrem-dey» » (L. Mayurej, Op. 1
• Le Mxi^rc U'Ahralisni • iF, Ckdv«i>n«»j, tune om
Op. ts.
Orat«nw*A;*t4W’ rtompwrj fw sUo sakrs. «Wu
« I ' ‘rrsH* pT Uw abovej
• I u ^ ‘ ^ therm. OO. H k I9»)
H^e for lenof. ft atth.. Op. 30 <c«>«i
••Wirjil gt4l«r.A * Mg,« for j
inwrus ft orth, * 1447).
P^lnu. muteu ft paruon«i.
, Piitei tur vth.. Op. m.
f*!*! Consul ’ f«r Op. 39.
rusur ' UjvmavatiM • P.r onh, '1941)
radio imuk for onl
{> 944 HS>.
Vn, C^ccno.
• ‘l«,d»tin« pop^m afuionj ’ for (5 iw
(.tonkin*, • tet 5 Op, «. ^
for s *ruu., Op, «a t* 93 SJ.
n- a Wf «a worb.
>onii.
Anaaceownu JikI. Ba<h** * Das mwikalische Opier *
•sd * Die KuBU d«r Fuse ’.
H. E. & K. V, r.
VUCKOVIG, VojlsUv {b. Piroi. l^crbia,
1910; d, Bdgrade, 1942).
Yugoslav conductor, musicoj^isi and com*
poser. He obtained a doctor's degrees in both
composiiksn and musict^og)' in Prague. In
Belgrade he was in turn professor at tlie Sian*
kovic School of Music, juniur professor at liiv
Academy of Music, chorus master and ijien
conductor of the Belgrade Symphony Orciu s*
tra. He was municred by the Nasi police in
Belgrade in 1942 during the occupation.
\’uckcw*k was undoubtedly one of ilie most
gifted and original of (he younger generation
of Yugoslav composers, and lus loss is siill
mourned. In his short life as a e<im poser he
showed at first inlluences of Schoenberg's
teachings and of the quarter'tone system of
Alois Halia. 'I'hese, however, were much
mcxlihed by the tinse ufhis death, and he was
slmwing an incf<aring interest in Serbian
musical folklore. 'I'he ratnposltions he left
intJude the following:
S^akfritgny N'a, i.
Ssmph. wnfb: *8t*<i»tfnM Koad’. * Tettamrni .4“
.ModM MukMCtJi)* * And * Siuroi Jlrrald *.
Q<iarirt
i Svnrs ax and Hi«Mj «M»rmUk.
StsviaJ <hor«| Morki.
jn me tpnere 01 musicology, aj)ar( from
numerous ankles and essays, he published
the books 'A Materialistic Philosophy of An'
and * Muiieal Portraits witile his last >>w>k,
'Musical Aesthetics', remained in manu*
K. T.
VlIELT A. Set F< u,K .N 1 1 mc : S t* a visi t .
VUERT, Ciaebeo de. Set Wanx.
VUILDRB. PhlUppe de. See \\ii ncR.
VUILLAERT. U iLtAt.RT.
VUKLLAGME. French fjmily of >iolin
makers.
<i) Claude VuUUume ?, 1772; rf.
Mcrecoun, Vfwgn, 1834), the founder of
(he business. Hr married a daughter of the
oW violin maker Francois Medard of N'ancy
arwl set up las w-orkshop at Mirecouri.
<a) Je«a*Bapti»ce VulUaume {b. Mire,
court. 7 Oct. 1798; / Paris, 19 Feb.' 1O75),
son of (he preceding. At the age of nineteen
he went (o Paris, where he v.xa'ked with Fran*
90b Chanot, and in 1621 he joined the
organ builder. L^te had been a member of
die firm Chasioi.l>te, Simon eW & Payonne,
and besides his organ building dabbled
in fiddle making with Vuillaume, at No, ao
Rue Pav-^e Saint*Sauvcur, where his business
w'as known as Liti & Vuillaume, In t828
Vuillaume ended this association, establishing
himself at No. 46 Rue Croix des Petits-
Champs, and in ihc same year he marrictl
.Adile Guesnet of Clermont. The frequent
. * .'^ **.'*?*• ’ ^*1 <•’«* dkikianaire uxivend J««
• (««»*) «>vcs 19 M*i.
VUlLLMfME
VUILLERMOZ
&o
inirrcours« which VuiUaume had with such
men as Pique and Savarl, during hU partner*
ship with Lete, ramiliarized him with (he
methods and styles of the old Italian violirt
makers to an extent (hat oenlually made him
one of (he most expert connoisseurs of his time.
As soon as he left Lei6, Vuiilaume attempted
to put his knowledge and technical skill to
practical use. But there being then a demand
for old Italian instruments, hi» own otiginal
work was at a discount. Instead of fighting
against the prevailing demands, however,
N’uillaume turned them to good account b)*
placing on the market a Stradivari model
violin of extraordinary’ merit, bearing the
master's label within, in raesintile. For this
instrument he charged 300 frs. Ihls specula*
(ion proved a complete success. Orders
poured in, and there Is little doubt that In the
desire to meet his clients' demands he adopted
(he practice of baking the wood from whkh he
made some of his fiddles, impro>ing their
immediate appearance, but proving fatal to
them is time went on. So brilliant was the
sueeew oC Vuiliaume’a venture that he was
soort able to put a $00 frs. cello on the market,
which found equal favour, and this w’as the
foundation of his fortunes. The fidelity of hli
copies increased, so that even experts found it
difficult to distinguish between the copy and
the original when they were placed side by
side,
VuiUaume was an ins’entor as well as a
dealer and maker. A ponderous and cccentrk
steel bow of his, apparently the only surviving
specimen, is in (he Victoria and Albert
Museum in London. In (883 hr introduced
a new model fur the viola, constructed on the
scientific principles of bavart, so built that the
moss of air contained within gave the note
F $4t’33 Vibrations per second. But the in*
slruments hardly rccommer>ded themseh^ to
players on account of their bulk. His mute,
patented under (he name of smrdrVw
(Paris Exhibition, C867), was an ingenious
combination of mule and laihpiccc, allowing
the player to mute the irutrument by a push
with the chin, without ceasing from playing.
A copy of his huge double bass, known as the
octol^ssc, the large proportions of w’hich
necessitated a complicated but ingenious in*
vcntlon of machinery for tuning, is in the
museum of the Paris Conservatoire. He also
invented a machine for regulating the manu*
facturc of gut strings in such a manner that
false strings should be entirely done away
with.
In t 827 Vuillaunse was awarded a diver
medal at the Paris Exhibition; he obtained
others in 1834 and 1839, and in 1844 two
gold medals. At the London Exhdution of
]8s I he obtained (he council medal for hk
perfected octobassc and a magnificent quartet
stringed instruments, receiving in the same
year the cross oS the Legion of Honour.
Finally, in 1855, at the Exposition Universelle
in Paris, VuiUaume carried off the " Grande
m^aillc d'honneur and from that moment
he was pronounced )ws eoncoun.
During the latter part of hU career Vuil*
laume established himself at No. 3 Rue Dc*
mours aux Thermes. There many violins were
made by his w'orkmrn which passed through
his hands for supervision only. These bear
the label " Sainte Ckcile dcs Thermrs ", with
the date and number. Vuiilaume is said to
have issued from his w'orkshops no less than
3000 Instruments before his death, which took
place at Rue Demours. One of his daughters
married Dclphin Alard.
(3) Nieolaa Vusllaum* (^. Mirecourt,
1800; / Mtrecourt, 1871), brother of (he
preceding. He worked with Jcan*Dapiiste (s)
in Paris for ten years, but returned to Mire*
court in 1894, establishing a successful business
there in cheap violins.
( 4 ) Claude FrangeU Vuiilaume (i. Mire*
court, 1807; 4 . ?, 1663}, brother of the pre*
ceding. He w’as a pupil of his father (r) and
made violins for some years, but finally gave
himself up entirely to organ making.
(5> (Nicolas) Frafl 9 oia VuiUaume (f.
Mirecourt. 13 Mav idia; 4. Brussels, ifjan.
1876), brother of the preceding. He also
sers'cd an apprentiership in Jcan*Bapiiste s
(a) worksliop in Paris and ci’entually settled
In Brussels at No. 30 Rue de T^N’fque. He
was appointed violin maker to the Brussels
Consersaioire, and sescral medals were
awarded him. He was made Chevalier of the
Order of Leopold.
(6) S^baaiUn Vuiilaume (h. Paris, 1835;
4 . Paris, 17 Nov. 1873), nephew of the pre-
ceding. son of (4). He was an excellent violin
maker with a wtvkshop for many years at
No. 77 Boulevard Bonne Noovcile in Paris.
He gained several medals and vvas the pos-
sessor of the unique machine for bending
bows invented by his uncle Jcan-Bapiisie
Vuiilaume (a). b. h.-a.
Sm *6* (apfMxntk?).
WTLLERMOZ, 6mil« (f. Lyons, 23 May
1878).
French music critic. He studied law and
literature at Lyons University and music a|
the Paris Conservatoire, where he was a pupil
of Faure. In spile of his success as a writer of
songs, operettas and seitlt^ of folk tunes, he
abandoned composition in order to devote
himsdf entirely to musical criticism, first m
the * Mercufc Musical ’ and -from 1911 on-
wards as editor of the journal published by
ibe S.M.I. (Socldtd Musicalc independante),
of which he was one of the founders. His
interest w», however, not confined to musical
matters, but extends to all branches of artistic
VUKDRAGOVIC
VYCPALEK {Ladislav}
6 i
and inttUettuaJ achievemeDt. He wrote
for ‘ Le Temps *, ‘ L* Excelsior * L'lKustra*
lioQ \ ‘ L'ficlair ' and ' CandJde ’ as critic of
music, drama, literature, cinema and gramo
phone records. He also contributed to a
number of French and foreifn joumab, and
to the * Encyclopddie fran^aise He was re*
sponsible for the * Edition Musicalc Vivante
editor of ‘L’ Impartial Fran^ab' and president
of the music section of the central committer
for broadcasting. He published * Musique
d'aujourd’hui ’ (1923), a collection of his
critical articles, ' La Vie amoureuse de
Chopin ’ (1937), * Cinquanie Aiu de rausique
fran^aise * Visages de musiciens *, ‘ CJothilde
et Alexandre SakharofT ' and * Maurice Kavrl
He was made an officer of the Lrgion of
Honour. a, k. (u).
VUKDRAGOVIC, MihaUo (». Okucani.
Serbia, J900),
Yugoslav conductor and composer. He
studied music In tielgrade and Prague. He
has occupied posts as director of the Stan*
kovic Music School, director of musie to the
Uelgrade Ksidio Station, conductor of live
Ra<ll<> Orchestra and the Belgrade Plul*
harmonic Orchestra, professor of the Belgrade
Academy of Music. 1 n 1948 he was appointed
rector of the Belgrade Academy, a post which
he still holds (1939).
As composer V'ukdragovic first showed a
marked tendency towards impressionism, but
later liecaine increasingly interested in the
national folklore, which led him to adopt a
simpler style and yet to achieve a more
personal expression.
1 1 is works include the following :
Ihcidftiul muiic r»r plan.
MtuK fur Ainu.
Csnist* ii>t >4.lo 4 M«h.
Char&l ftoiiti.
' AymaAnMii* MciliUiinni ' Tm wfh.
^rmph, pntm ' The RomI m VKtsrv *-
d Atrine Qi^anctt.
VULPIUS, Meiekior (*. Wasungen,
Hcnnebcrg, c. 1560; d. Weimar, [buried 7]
Aug. 1O13).
German composer. He l*eeame cantor at
Weimar in 1602 and held this post till his
death. He composed some chorales, noiaMy
' jesu Leiden, Pein und Tod ' Christus der
»i mein Lelwn' and •\VeltUch thr und seit*
hch Gut’; but arcompUshn] much more in
han^iair^g tunes for many voiees, in whkh
showed himself a sound contrapuntbt. HU
chief works are ' Canuones sacrae cum 6, 7 et
a v^ibus ' (Jena. 1602) ; ' Cantioncs aacrae
5 i 6 et 8 vocum’ 2 pts. (Jena, 1603-4);
Kirchengrsangc und geistliche Lieder O-
h***,^"* Andrrcr mlt 4 und 5 Stimmen *
^•P*ig, 1604), which the second enlarged
Wilton bears tlir tUle ‘ Eln schdn geutlich
^esangbuch ’ (Jena, 1609) and has the melody
VOL. jx
in the treble, whereas most of hU settings have
it in the tenor ; ' Caniicum B.V. Mariae 4, 5,
6 el plucibus cocibus ’ (Jena, 1603) ; wedding
hymns to Latin words (1606, 1609 and 1614) ;
* Opusculum novum ' (1610) ; two books of
* Deutsche sontaglichc cvangelische Spruche ’
for the whole year (1612 and 1614) ; a Passion
oratorio (St. Matthew) (1613I, in which the
narrator has a lenw voice. His * Musicae
compendium* (iCio) went through many
rditiems. It is interesting to note dial Goethe's
wife was ** burn Vulpius of SVeintar **.
It. M., adds.
WOTA 1 1 taJ . fern, adj . void , empty) . The
term has two meaninp ; (1) an indication
that a note in string music is lo \k play <*<1 on
an open (empty) string; (2) that of an Italian
equivalent of an empty bar or bars (/niiure
iMla), the "grnvraJ pause ** usually marked
G.P. r. B.
VYCFALEK, LndUUv (I. Prague-
Vriovkc, 23 Feb. 1682).
Czech composer. Hr was educated at the
"Gymnasium" of Krllovski Vlnoltrady, then
a Prague suburb (1893**901), and afterwards
he studied modern philology at the Ciiarlet
L’niversity, taking the Ph.D. in 190C. He
was deeply dcs'oicd to music from his boyhood,
learned to play Ixith violin and pianofurie,
and became a cerufied music teacher in 1903.
In 1908-12 he studied comjrasilion with
Xovlk. Meanw’hilc he had joined the staff
v( the Prague National and University
Library (1907), where he was appointed
keeper of the Musie Orparimenl in 1922, a
post he held for twenty yvars until his retire-
ment in 1942. In addition he has been active
on behalf of various institutions and societies,
particularly the Umilreka Beseda (The So-
ciety of ArtisU) and in the Czech Academy.
Vycpakk's first appearance as a composer
look place on 9 Dec. 1909 at a Prague concert
of Novak’s pupib, when he was twenty-eight.
From the very beginning he consislenlly
sought hU own way. In his earliest works
only was he Indebt^ to Novik, and the in*
Huence of the older Czech masters was hardly
pcKepiible in hU works at all. Nevertheless,
he is seen lo be sirongly aiiached lo the genuine
Czech tradition by his devotion lo folk poetry
and folksong and by the earnestness and
purity of hb moral, social and religious views
as a Sjnriiual heritage of the days of the Union
<rf the Bohemian Brethren. After a compara*
lively short |>eriod of subjective lyricism
Vyepairk developed an entirely Individual
siyk, austere and ascetic in its diatonic direct-
ness but compcllingiy eloquent and elevated
in its polyphonic consisiency and monumental
construction. Again and again he rccalb Bach
as his admired master and inspiring example.
VycpAkk’s output is neither large nor
striking b>' variety of its forms. Up to now
VYCPALEK (LadijUv)
Si
(t9^) hi$ works bearing: opus numbers are no
more than ihiriy-ihrce. He has not coniri*
buted to the stage and also left church music
entirely untouched, yei preferring s’oeal
music, in the widest sense of the wont, to
instrumental music of any kind. He reached
the peak of his creaih’e power in three can-
tatas which are among the greatest creations
in modern Csech music b)' reason of depth and
sublimity of aim as well as stylistic purity and
technical mastexy.
A word may be added here about Vyc*
pilrk's gifts as a very hne translator of modem
German and medieval Latin poeio’ used by
him in several of his compositions, as well as
about his admirable article and notes written
for the ' Hudebni Revue ' in the early years
of his public activity.
CATALOGUE OF ^VORKS
CANTATAS
’ O oMiednk h v«eeeh tiovtU ’ OT the L««i TluAfi
Man >< from iwn AlorAviia (0Jb«nri, Op.
il (lean.*
*A]*heUa»<ny i«n tlostk* ('BSmed i« ih* Uaa').
word* fr»in ih« Pialnw, Op. es tiessK sM.
T, C. MiMryb.
* C«>ke rekviem » imrl a vyhnwpcni ' (’ CSMb Rc-
! uiein — Death and ReOempiiafi *> (Bibikal wardsi,
(p. 9« (t94P).
LNACC0MRAS1£D CHORAL WORKS
5 Chorum tor naard wikci, Op. d { ifie* • aj
I. * MaticU pulMci * i' .St4<kol MMntfau') tOu-
bor 0tei»no>.
9 . ‘ Chvalosptv * (* T)ic H>ina of ProiK (Rkhord
Dahm»0>
$. * avuj <liieb k«l« jHlol ' {' tvhe imM OK h« breaJ
«iih laan ‘i (OociSt).
4 C>^oru4«« tor m«H’( vek««, Op. 7
I. * Trm* ’ C»rih? ’) (bleiKsa).
1. ' OUth ’ {• The Fire ’i (Oiobar Thoerl.
). * hteft iotyy * C The Sons of iRe H»rv«M '>
(Oehmrl).
4. * U mote ‘ V Ai the Sea ’) <Delwncl>.
* N«i« joio ’ (' Uur SpriBfiifne *). mixed *«■*«> CJan
Nrruda^C^ i), » (isii).
‘ Dei nyneili * C^Tho freteoi Sirviftk *). ami's vokeo
(Notuda). Op. IS. It < 1910 }.
* In mroioriam *, i ehoruses (or men't vpk««. Op. il
I. * * (* The filffim *) IJarodav VrehlKky>.
a. * Vkebo mijt ' {' AU tt PMain* by *> {h!*eMa»t*la^
j. * Za mrivymi ' (* For the Dead ^ (ThoerS.
* Z (cskeho domova * (* From ib« Cweb Home 4
Chorum (dr women's votces. {J. V. SUdek). Op. «$
(i949>
I Ukoiebatka (Lullobyl.
f. Zvonv nrdeini (Sunday BrIU).
3. Malitce (1*0 Mother}.
4. Domoye ! (Mv Home!).
*Z hlubohmii ’ (’From the Depth *>, 7 choruses tor
mrn's voiert Ij. V. Stodeb}. Op. 9S ti9>«)«
I. Annv (The Belh).
a. IWH Sitf proporm (Under the Bonner of Lite).
}. AS bude sbonSorio (Up 10 the End'.
* K svatenu Varlovu ’ (’ *fo St. b’enceilm *). Car miied
voirvs (K, ’foman). Op. )» (ipsij.
* HutCiv litas ’ <* Hut’s Voke *X (o* mUed vusccs |K.
Toman}, Op. 37 (l9St>-
MEN'S CHORUS WITH U’OODWI.VD
* TulSei * CThe Varzants') (Karel Tomafi), Op. 10
(I9»4)»
* For a fuU account of the canuu ut R. Newmanb.
’Some Cmbosloyak Clmal W'wki II (Mtm T..
I Mat. 1907). The work wos first heard in E^laod in
i9»d, at a Liverpool Philhartnonk Soeiety Concen
under Sir Henry J. Wood. uans. bv Roaa Newmaids.
VYCPAtEK (Vratislav)
ORCHESTRAL WORK
' Vahdru srdee ' (‘ Sussuni cord^ ’), a raotasy-variatioos oa
ebureh tunes of the hme of Jan Hur. Op. 70 (iPSd).
CHAMBER MUSIC
Sarinf Quanei, C ouu. Op. 9 (1909).
SofMU. D ma., * CbvAla bousli ’ !o Praise of ibe
Violin ’) fee meeeo<soprano. violin & pf. (words
Cram a poem by Stanislav Hanul) . Op. 19(1 9 S 7 *S 0 } •
* Dueito ’ vh. It Ysola. Op. 90 (ifiSfi).
SOLO INSTRUMENTS (UNACCOMPANIED)
Suite fee viola, Op. 9 i (1999).
Soitc fee TO,. Op. 93 (i 99 o)«
VIOLIN AND PIANOFORTE
Sonalina. Op. 30 (1947).
PIANOFORTE MUSIC
‘CrsMu ’ (‘By the Way 6 pirers. Op. 9 (l 9 N-t 4 ).
SONGS
* Ticlui usmJem ' (’Quiet Keconcilemenl 4 lonfi.
Op. I <1908-9}.
'SvMa V (emnetach * (’(jthti in iKc Darknea*}, $
ion|i (Anlenln Sova), Op. 4 (1910}.
* Twrhy a vidioy * (‘ Foret^tars and Vuiou 5 sour*
(A. Membm). Op. s (ipto-iG).
' Slavi»«ui livota * (’ FesUtal* ofLtfe ’). 4 sonp (Richard
Dehmrl). Up. 8 (1919-17).
* V boil dlam’ (*ln Gad’s Palm'}. 4 songs (Valery
BrtMov; Cae<b iraiis. by P. Klkka). Op. 14
(«••*)<
* ProbdaeeM * {'The Awakening’), 9 sonp, Op. 17
(193a}.
’ Na maloufenou ’ (’ Th« Parting ’}. 6 songs (two of
them ariantesnrnu of felbongs}. Op. tj (X 947 }'
RECITATION A-NO I'lANOFORTB
* Ditka ■ Lackrosaou’ (’ Tlir Maid of Loehroyaa *)
iLadisUv Quh's v«rs*an efihe Scou ballad}. Op. a
Opnth
FOLKSONG ARRANGEMENTS
7 Moravian PoUuonfs for voka & pi.. Op. 1 1 a ( | >
9 Folksongs fee vaeioui combinaTions. Op. > iF
7 Moravian Ballads fee medium voice c pf.. Op. la
’ Votna^’^l’ The War la Matavian falksongs for
enedium t ok e & ft-. Op. 17 (I 9 I 7 )<
’ Laska. Bofe. Ldska ’ I’LoW.my God. Love'). 17
eavian felkaongs Car voiee * pf.. a parts. Op> at
Op. t 8 (t 949 >'
C. 6>
VYCPXlEK, Vratiftlav {i. Rychnov nad
Kn^inou, jojuly 1699}.
Cacch writer on muaic. He waj the son of
Jo$ef VyepS lek ( 1 B47- 1 994) . Having received
a general education at the “ Cymnasium ” 01
his birthplace, he studied at the Charles
University in Prague (Ph.D. as late as 19J0)
and afterwards worked as a secondary school*
master up to 1 950, w hen he joined the staff of
the State Institute for Folksong in Prague,
He b an assiduous collector of Czech folk
dances and the originator of this branch of
Czech research. The widely known Vyc*
[Kilek's Dance Ensemble (VyepAlkuv taneini
soubor) beais his name. Among his wofjjs
a comprehensive monograph on Jan NiaJit
(1943, 9nd ed- 1945) and a number of Interrsi*
ing lo^cal ireadses must be mentioned. From
jfW? to *930 he was editor of the review
* Cali hudba *. As a composer he has been
chiefly interested in various forms of vocal
music. ^
WAART, Heodrikus AJoy^ias Petros
(6. Anisierd&m, 26 June >863 i d. Voorburg
nr. The Hague, 2 Apr. 1931
Dutch organhl and composer. He studied
ai (he Royal Const rvalory at The Hague
under W. 1*. G. Nicolai, C. L. W. NViria and
others, finishing hU studies as a state sik-er
medallist. For some time he travelled as
pianut, organist and violinist in various parts
of Holland, bui on being appointed organist
of the Unglish Church at I’he Hague at the
beginning of the century he settled in that city
teacher of those Instruinenu. ilis reputa*
tion us a composer rests chiefly on a children s
operetta, * Hans Springer in T V'eld some
hallei music and other light works, as well as
a number of short choral works. Hr also
wrote three symphonies, a concert overture,
an * Uasiern Fanusy ’ for orchestra, a Fantasy
for piHRoforte and orchestra, a large quantity
of chamber music for strings and wind, and
many songs. a, a.
WAGHT AM RHEIN. DIE (patriotic
song). .Vrr Naiio*<ai. ANititMs; GanstANV.
Wn.inu.si, Cabl.
WACHTEL, Theodor (6, Hamburg, in
Mar. 1823 ; rf. Frankfort o;M., 14 Nov.
German tenor singer. He was the son of a
jobmaster and began life by driving hb faihtr’s
cabs. 1 1 e learnt to sing from M me G randjran,
however, and obtained operatic engage menu
at irhwerin, Dresden, Hanot er (1854), Uerbn,
Uarinsiadi, Vienna, etc. In 7 June 1HO2
he made his d^bui in lAindon at the Royal
Italian Ojicra as Edgardo in ' l.ucia * and
failed completely. Ho sang there again in
the seasons of 16C4 and 18C5 with better
results; Indeed he obtained a certain popu*
Itrity, more on account of his fine and power*
till voice than from any artistic use he made of
K. His princijial attraction was tli« way he
produrrd a c" direct from the chest instead of
by the customary false iio; he brought out
the note wlih stentorian vigour and great
success, especially when he played Manrico in
* Irovalorc' or Arnold in * Tell'. Of his
other parts may be named Stradclla on tlie
production of Floiow’s opera e*f that name at
Royal Italian Opera, 4 June 1864. and
Vasco da Cama on the production of*L'.\fri-
camc' in England, 22 July 1865. He re-
appeared in 1870 and again in 1877, at Her
laity's 'fheatre. In 1869 he sang in Farb
with very indilfercnl results, but he wa5
suceeuful in America both in German and
Italian opera.
Wachtd’s son, also named Theodor (*. ?,
1841 ; d. Dessau, ta Dec. 1874), began life as
a clockmakvr, but at one pcri<^ of his life w’as
a tenor singer of the some calibre as hi^
father. He died of tonvuinpliun, a. c.
WACLAW OF SZAMOTULY ' (6. Sza*
moiuly near Poznan, 1533 ur *334; d. Wilno,
1387 or 1368).
Polish composer. Ilis lalent lor music
must have shown itself ai a very early age, lor
the hrst dale uf his career known for ceriam
is 0 May 1347, when he joined the royal
chapel at Gratow as slngcr-composer, being
tlwn tbirieen or fourteen years of age. FI is
fame grew steadily, and he soon csiabilsUed
his posiihm in ihc musical world. (Jn 30
J u'y ' 553* during t he ccremuny of 1 he mar ri age
of King bigivrnund .\ugusius (i34U*72;, the
royal band prriurined an am bilious work by
Watlaw, mu>i probably bis dignlhcd U*pari
Mass. Ibis was ironkally described afier*
wards as ** lanto votum conceniu a sym*
phoniacis imHiulaium luii a remark which
emphasizes Uk aniluile adojiied hy W'aclaw ,
who refused tv caleiMl lus fame by si mpli lying
Ins style ami writing in a more |x>pulur and
generally intelligible manner.
In 1333 appeared ai Gratow a large musical
publication cniitlctl * (^uaiuor parium vocum
Lamentaiiones Hicmniar PropJieiar, tempore
quadragesimali in temjdis cantari solitac,
numeris niuticis rrddiiae a VVnceslao Samn.
tulino, Pedono, Screnissimi Rigis I'oloniac
Sigismumli August! music 0. Qui bus adiu nc lac
sunt Eatlamaiionts pussionum. Trisiiuin
Liber Primus. Cracoviac Lazarus Andrrac
cxcudeliai. .SIDUH.'
Waclaw's lame seems to have been well
established abroad. cv[>ecially in Germany,
for lus 4*pari psalm*jnotci ' In ic Domine
speravi ' appeared, among the motets of
Uaudm (dc Sermisy;, Clemens non Pajja,
CiTcquillon, Gombert, Gascogne, Mur<l
Hiiftoi, VVrdeloi, \N‘illaeri and oihers, in the
fourth volume of * l*salmorum seli-cloruin ’
puUishcd by Berg and Neuber at Nuremhrrg
m J554, Ten years later {1564) the same
printers pubhslied yei another collection ot
motets, ‘Thesaurus musicus . . . in ihe
nfih i^ume of which appeared a shon moici
by Uaciaw, ‘ sum Pasior bonus * ' , pre-
ceding a molel by Jan dc Horto and folluwlne
one by Jostjuin des l*res.
AH® At banwewlinu*. Vn<l*v ui
rrequcaily «a<M«h iiMunMily At S^smoiuliki
* 1" “unfci.
04
WACLAW
WADE
In 1554-5^ \S'acUw relinquished his duties
at the royal court of Cracow and moved to
Wilno, where he became court musician to
Prince MikcHaJ Radstwiil T The Black’'),
then Governor of (he Province of ^VU^o and
head of the Polish and Lithuanian Calvinists.
Although associated with the Polish dissenters,
he neither became a convert to Protestantism
nor opposed the Protestants* for his music
enjoy^ great popularity equally among
Catliolics and Protestants. Many of his works
are lost; those which remain or have been
rediscovered, though frequently incomplete,
give proof his genius and justify his being
placed among the greatest Polish composers
of the t6th century.
* Eleven compositions by \Vae|aw of Ssa*
motuly were published during his lifetime :
' bsmeniationci HicrenuM Ptopheue.’
4<psrt mewi * In te Donuiv* tprravi
4 'Pafi motet * Rfo turn psttor beam *.
4*l>srt Mng ’ .Modlitwa fdy dsiiiki «p«e UM : Jwl tii
smierxchs * <* A P* xyer wbee the Cbtldr««i m w
* l««p *). initUllea otily **S. W, " (Cmew. i tat).
4*psrt MBf ’ Christe qui lua e« ct dws ‘ (Cracow. isjS).
' Plri6 e nsredceoiu Psaikim' CTIw NsUviiy Seat
4 voice* (Crscew. iSS^)*
‘ Ach inaj niebieiii Pshh* COb. my Heavenly Lord *)
(weed! by Ttarewaki) (Crxaw. is>b). Mil mai lo
the Protettant chaeeKn in PeSead.
* ftbceriewioay eelowwk ’ (’ T)w Btrued hlan’)
twerd* by TrSyeinkO (Crarew, ft 1)$$).
* Alleluia, ehwaleie Pans * C AMwa. Rsae the Lord*)
{Crieow. ipjl).
* Benedtetto menMet Qvae auac Mmemus*. I'part
melody (Krdlewiec. ss>p>.
* Ceetiarum sciie po*t menwm : Quod MiniM uiUlbin '
(krOk«*w<.
Aleksandcr Polibski in his * History of
Music in Poland ’ (1907) meniiom three other
4*part sonp by Waclaw as well as Psalms
XIV* XXX and LXXXV. The inventory of
the royal chapel at Cracow mentions the
most ambitious and largest compositions by
tVaclaw* as follows ;
4*P4rt * Offiim*.
‘ Cwlamaiwoe* twundec *.
•pan ‘Olhtia
a*patt Mas.
All these works, however, are lost. Since
t68i many of the master’s compoaitions have
been published in Poland by A. Pot! Ask!
(Warsaw, i68t)* J. Surayi^ki in the * Monu*
menta Musices Sacrae in Polonia’ (Poena A,
1887)* W. Gicburowslu in the ' Cantica
Musices Sacrae in Ptrfonia ' (PosnaiS, igaS),
Z. Jachimecki in * Poland* ber History and
Culture ' (Warsaw, 199^30), by Szczepadska
and OpieAski in Warsaw in 1 930.
C. tU K.
BlftLlOCIUPHY
(to Loiio)
StAkOWoLMi* S.* * Scriptorum Polon. Hcksioota*'
(tdsSV
Tsjcssiv*. A, * $>1vu\tm Lib«r Priewas * fCroeotr,
• SM).
(InPoluh)
CxYSotHi, A. *To the Btoersphy of Waclaw oT
Stametu^* (Pol. M.Q . ip^).
Jachmscri, 2.. ' Polsod* bo Khtery sod Cohuic’,
SccUea on Munc. Vel. J (Wanaw,
Poc«biu.A., ‘Wadaw eCSeaatocuJy* ('Ecbomuzycsoc*,
itti).
PizvpvuKi. H.. * Waclaw of Ssamoiuly' (ipjs).
(Ib Cnilish)
* OsJord Hmen of Mudc’, Vol. 11 (*Th« Folyphonk
Period’) (Ox«»rd. lesO).
Waddall, Baloo. Su Barber (S.. ‘ Virfin Manyn \
ehorut), Han (F.. 10 soofi on uaa*. from CUpcm).
Hobt (6 choruses ft 8 canons for cbonii}.
WADDINGTON, S. P. < Sidney Peine)
( 4 . Lincoln, 93 July 1869; d, Uplyme, Devon,
9 June 1933).
English composer and teacher. He studied
at the R.C.M. in London, where he won a
scholarship, from 1863 to 1688. In 1689 the
College sent him for a time to Germany, and
he suyed two months at Frankfort o/M. and
six in Vienna. In 1890 he was elected to the
Mendelsohn Scholarship, which he held until
1693. He was choirmaster of the London
church of St. Mary of the Angels, Bayswaicr,
from 1S94 to 1903. Hr conducted an amateur
operatic society about tSpS, and some years
before that date had been chosen to complete
the score of Coring Thomas’s ’ Golden Web
For many years Waddington held the ap*
point meni of teacher of harmony and counter*
point at (he R.C.M., where he also became
master of (he opera class. Prom about 1896
he was Marxtre «/ piM^erfr to the Royal Opera*
Covent Carden. He was a member of tbe
Associated Board of the R.A.M. and R.C.M.,
and one of the most experienced of the Board's
examiners. His clever setting of Cowper's
'John Gilpin ’ for chorus and orchestra was
h^rd at a R.C.M. concert in Nov. 1894. He
wrote violin and cello sonatas* a string Trio
and Quartet, a Quintet for wind and piano*
r<W(e* a Fania.«y for pianoforte solo, a beautiful
Suite for pian^orte duet, a pianoforte Con*
certo* an overture and an ’ Ode to Music ’ for
soprano, ch^s and orchestra.
J. A. p.*w., adds.
WADE, Joeepb (Anguadae) (b. Dublin,
r. 1801 ' ; d. London, 13 July i^5)>
Irish conductor and composer. Having
punished sonp In 1613-14 collaborated
with John Smith in an opera (4 Dec. 1690},
he migrated to London (1821), where his
talents soon brought him into notice. Prom
intercourse with orchestral performers he
acquired sufikient confidence to undertake to
conduct the Opera during Monck Masons
management, a position he did not long retain.
He had been engaged by the firm of Chappel .
at a salary of £300 a year, to make himself
generally useful ; but he made no u<e of his
gifts as poet, musician and scholar, and
house reaped little advantage from him. He
once returned to his native city — in Dec.
1840 ^travelling with Lavenu’s tounng
part>’. It included Liszt, Richardson the
* About 1998 b tb« wool dxle pveA* but Uw
«f M So^ ei sti House foe* te suppen ihr tirco^
ib«t 1 801 b the reor oF Unh. Sft Mu*. T., 1 898. F* S* '*
WAEFELGHEM
WAELPUT
flautist, the Misses Steele, Bassano, Jolin
Parry and J. P. Knight; tv**© or three of
^Vade’s concerted pieces were included In the
concerts, at which, howe^Tr, he did not
appear, even as accompanbi. He returned to
London, where he died, at 350 Strand in
destitution.
There U little doubt that V>ade was a man
of remarkable gifts and acquirements. His
personal appearance was much in his favour ;
he was witty and quick in perception and had
acquired some knowledge of the l^tJn classics,
as well as of one or two modern languagn,
an<! abo had a smattering of anaiontv. His
memory was retentive in the extreme, and he
posscued a gift for creating mrIo<ly. 'I'he
following is a I bl of his chief works :
Opera * 'the Two Houmi of Crsnsda *. prod. Looden,
l>rury Line *1 heoirr, ji (Hi. lOed.
Opeeeiti * t he hupil ^ lU Vim » ’ ihb. by Maek ].einMU.
pro«l. Loridois, Jjam’* Jhe^lre, $0 No*,,
blune twr the iiliy *Cun\«ni Bellet * (with U'iHmai
Haweei, ilsj.
Orilorio * Jhe Pru^ieev’. ].obd»n. lMir\ |.o*e
Theitrc, 1(14.
*A wooJIiikI life', potini mtroOiKed intn S>ebe«’i
* rfciwh„(> * iiKrtuiitf hv llrihAIA.
A Se»r» •^Srle^t Ain , , i«i6.
* I’elieh Melg<(ie%' (worji hv lompuwri, it)!.
Sonr ' Meet me liy moei>li|hi alone \ >yiig In
•n«l pubUthed ilsd.
Duet * ]*ve winilered ui tlreuiu
'Ihil last obtaineil a popularity equalling
that of the preceding ballad, whkh enju)ed
An extraordinary vogue for many years. Wade
wrote a * Handbook to (he hanofocte ' which
wiu dedicated 10 I.Uai, whose portrait flgurH
in the frontispiece. A new issue, edited by
John Harnett, appeared in 1650. As early as
183: Wilde projected a * HUiory of Music ’,
but it was never printed. Mr contributed
' bent Icy MiK clIany * The lllusiruted
lAjmUin Xctvs ' and other periodicals. He
was awoeiali tl with Crotch and G. A. Mac*
farren in the pianoforte arrangement of the
earJirr issues of Chappell’s * National English
A irs ' ( j 838) . He a ppears to have occasionaJly
signed Ins first name as John, but there is no
rcaton to doubt that it was Joseph.
a. e. 8.. adds.
WACFELOHEM, Loola v«m (K Bruges,
13 Jan. 1840; d. Paris. 19 June 19^}.
Dclgian violinist and violist. He was
educated at the Ath«n«e of Bruges and entered
the Brussils Conservatoire at the age of seven-
teen, studying the vioJirt under McetU and
eomposi 1 ion under F6t is. I n 1 860 he appeared
luwessfuJly at Weimar, after which he settled
at Dresden, attracted thither by his friend C. J.
Upinski. He was offered the professorship of
the violin at Lwow, in the Coraervaiory, but
refused the post to become solo violinist at the
Opera at Budapest. He left this post on the
death of his father, but in 1863 he went to
Pans, where he abandoned the violin for the
' * llie MibuaI World *, lias. p. 5AI.
S5
viob. He flayed (he viola in the Op^ra
orchestra in 16^, and at the Pasdrioup con*
certs, and finally settled down at examiner for
the tdola in the Conservatoire. After the
Franco-German war Wacfelghem went to
Londem, where he played in the Opera or-
chestra, as wvll as in chantlwr concerts with
Joachim, Auer, XJeuxtemps, Sivorl an<<
Sarasaie. In 1673 he was a member of a
quanei society in Paras wath Marsick, R^mC
and Delia rt. He w as in I^nHon r\rr> season
for many years until 1893, w’hen he resigned
his position in Lamoureux's orchestra and
devoted himself exclusively to the revival and
study of the viola d’ amore.
He speedily became probably the greatest
artisc of the 1 9ch century upon ihU instrument ,
and being Highly endowed with ihe enthusiasm
of research, resumed to the world a complete
library of music for the instrument which had
sunk into oblivh^. He played upon a superb
instrument dated 1730. made by Paul Akizle,
a Munich maker who seiilrd at Venice.
Waefelghcm. Grillci ^^iellc^. Dimmer (harps!*
chord) and Delaart (viola da gamba) hounded
the SocktC des Instruments .\nciens and
toured the whole of Europe with greoi success.
On t May 1895 they made ihrir d6hut at the
Salle Pleyel in Paris; In the summer of 1897
they fas« eoncerts at the Salic Trard in
Londtm. A number of Warfclghem'a viola
d* amore solos and violin inrccs wore published.
He was a Knight of the Legion of Honnur
and of the Order of l^cojmld. t. k.*a.
Btai OiaoMir. C. O.. ’Lei Artiitn inuikirnt
b«l«« ’ n j,j.
WAELPUT, Hendrik (i. Ghent, aC Oct.
*845 • d. Glient, 8July 1885).
Belgian conduetor and composer. He
studied philosophy and letters at Ghent
University and at the same time music with
Fetis ami Hanssens at the Brussels a)nscr.
vatoire. While still there he conducted the
orchestra at the Flemish Theatre in 18G6-67.
and in the Utter year he gained the Prix de
Rome with the cantata ' Hcl Woud After
his sojourn in Italy he became director of the
Music School at Bruges, where he was suc-
ceeded by Leo \*an Cheluwe In 187a, He
established a series of Concerts Populaircs de
Musique Qasslque, but was frustrated in his
efforts to turn Bruges into an artistic centre by
the accusation on the part of officials that he
was neglecting hU duties. He resigned In 187 1
ai^ conducted successively at The Hague,
Dijon, Boulogne, Douai, Issoudun, Fecamp
and Lille (18^). On returning to Belgium he
became conductor at the Ghent theatre and
professor of harmony and counterpoint at the
Antwerp Conserv'atory.
Waelput’s works include the operas ' La
Fermc du diable • (Ghent, 1863), ‘ Stella ’
(Brusseb, 1881) and * Berken dc diamant*
WAELR-VND
d6
WAGENAAR (Bernard)
jlijper ’ ; several cantatas ; 5 symphonies,
Suite and ‘ Anneessens-Ouverture * for orch. ;
stg. 5tet ; numerous songs, etc. s. e.
WAELRAND (Waelra&t Hubert (^.
Tongerloo>, Kcmpenland, North Brabant, r.
t5t7; d. Antwerp, tg No\% 1595).
Flemish eompo^r. An old tradition relates
that he went in his youth to Venice and there
studied under the guidance of his great fellow-
countryman Adriaen Wjllaeri; but this lacks
confirmation, and may very possibly be as
a^cryphal as (he similar stof7 usually told
with reference to Swcelinck's so^urn at
Venice, and the lessons he is said to have had
from Zarlino later on in the century.
Waelrand found matriculating at Louvain
University in 1534, and in 1544 he was estab-
lished at Antwerp, as a tenor singer in (he choir
of the chapel of the Virgin ai Noire-Damc.
Three years later he had a school of music there,
where he Introduced a new method of solmiaa-
lion, that known as " bocediaaij^ or the
totfcx Btliieof.i On 25 June 1554 he entered
partnership with Cregoir Coninck in a school
of music and ihe ume year with J. de Laet as a
printer and publisher of music. ITse latter
association lasted until when he retired.
Ilic first ceased in 1557. when he tram^rred
his leaching to his second wife’s house. NVael*
rand was twice married — first in 15^1 to the
artist Marie Corecoopers (alias Loockenberg),
who died before 1556. arsd again that year, to
Anne Ablyn; by his first wife he had six
children.
Among coniem|>oraries \Naelrand was held
In very high repute, no« only as a teacher of
music but more especially as a composer,
chiefly of mardigals and motets. Guicciardini,
in his ’Ocicriitione di lutti i paesi bassi'S
includes him in a list of the greatest Ihing
musicians of his time. His first musical works
were: ’ Chanson* published by Phalise at
Louvain, 1353-54, and *11 prime libro de
madrigall e canzoni francezi [sie] a cinque
voci; Anversa, Huberio Waelrant cj. Laiio,
1536 It as remarkable, however, iha( ^thc
numerous volumes of music which he pulv
lished — Psalms, ' Cantiones sacrae ’ Jardin
musiqual etc- — only tw (of (lie ' Jardin ’)
include compositions himself. He seems in
fact to have preferred to publish either with
' Ain W*]r»n(j, WsIraiK. W«jr«n( or VusIraM.
* The diKovcry oT Wa«lrand’* binb»lM« b due w «hc
rescafcKn of A. CoovmtU, * «t btbhsfrsphk
la ly fwtrsph i« ntinksk dsm tet * { A»iwerp.
• a^?. m. s|.40. A cwUui o n wjih • nagMuke hid
M to (h< opinion ptevieusly unnemJly occratod tiul
the muucion wos a nsiive of Aniwetp (m Feib. ;
hSMdel ond RriaMUnA ; * MoHksjbelm Coovcmimw-
\ XI. 93). 2nd «d. laao ; and xb« £. d*r
’ *-* »u* Pays.aa.% IJJ, *01.4,
* • o '«ron«ly fix e*.
P. SwetrtiiB. 'Aih<nM
i699rp.3S0i E van dor Siracun.
and ReifsmaAn. XI. 9)4.
• 4*. «d. Anttrerp. 1)4$.
Bcifiesc* (Aoiimo.
I, $ 9 . iSa?: atendd
Tylmaa Susato or PhaJfee. Seven of the
collection* of the latter contain works by Wael-
rand. One of these was also edited by him
under the title of ‘ Symphonia angelica di
dUmi ecceilentisimi Musici, a quattro,
cinque c *ei voei ; nuovamentc raccolca per
Uberto Waelrant, 1585 *. a. l. p.
— Beexsa, G-. 'Hubert Wtelrsad • (Pari*, r«8i).
Stt •baS^tmiuiiee.
WAFFENSGHMIED, DER (‘The Ar-
aiourer’). Opera in 3 acts by Lorizing.
Libretio ^ the composer, based on the
comedy ‘ Liebhaber und Nebenbuhlerin elner
Person * by Friedrich Wilhelm Ziegler.* Pro-
duced Vienna, Theater an det Wien, gj May
1846, I St perf in Germany, Dresden, 29 Nov.
1846. lit in U.S.A., New York (in German),
4 Feb. 1667.
WAOENAAR, Bernard (>. Arnhem, 18
July 1894).
American violinist, conductor and composer
of Dutch iMrih. Comir^ of a musical family,
he studied first at Utrecht, where he worked
at the vidin with Gerard Veerman and the
pianoforte with Mme Werman Bekkcr. In
harmony and counterpoint he was a pupil
of JohtA \\ agenaar, and on compleiing his
student period he became a teacher in his
native city. He laier taught and conducted
both choruses and orchestra* in various
Netherlands cities and towns.
Wagenaar settled in the U.S.A. in 1920
and was for a time a member of the New York
I'hilharmonic Orchestra, where he played
the violin. In 1927 he became an American
ciiiten and joined (he faculty of the Juiiliard
Seliool of Music in New York. '
Wagenaar'* first Symphony was performed
by Mcngelbecg with the New York Pliilhar-
monic Orchestra in 1928, and in 1929 the
premiere of his Divertimento was given by
Gabrilovich. The * Sinfonietta * was intro*
dueed to New York audiences by Mengclbcrg
in 1930, and the piece was heard at the Liige
I. 5 .C.M. Festival the same year. Toscanini
performed the second Symphony with the New
York Philharmonic in 193a, and the third was
given by (he Juiiliard Graduate School Or-
chestra under Stocssel in 1997. Virgil Thom-
son, describing the latter work, uTote :
1i is •MihoriLain'e, cul(ure 4 , woridly. iockive vrich*
Ml pc^oMiiy, bnllisni wiihMt Micnuiioo. Throvih*
M( It b bMh f rMious firmty coBvinciof, s nvanlv as
■rrH Af A eefltkavAol>*
Many important performances of hi* works
and several notable commissions hav*e come
Wagenaar’s way. His ' Fanfare for Airmen ’
was commissioned by Eugene Goossens, who
produced it with the Cincinnati Orchestra.
Han* Kindler commissioned ' FeuJlIelon ' for
whestra and ga\*e it its first performance
with the National Symphony (>chc$tra in
• Wc»^* *11 rtvAlr di w ««sd* (iMl *xas bsMd «n
VASW wbieei.
WACENAAR (Johan)
87
The same >'rar brought the Dil&on
Award, for which he wrote the chamber
opera ' Pieces of Eight whik in 1944 the
Netherlands America Foundation commis*
siooed the * Song of Mourning *. a work that
has been widely played aAer its First perform*
ance at the New York Metropolitan <^>ora
House under Hans Kindlcr's direction irt
' 944 «
W agenaar U a faculty member of the
Juilliard School in New York and an active
member of many committees in connection
with the promoting of new music.
The following are hh principal wtsflcs:
OrF.RA
‘ FircesoTEisht' (IM9I*
CMOItM. WORKS
* 'I'Krtr Sonifi Treni tlie Chinese * i ifsi
OkCHi: VIRAL WORKS
bivenimeAio
Svmpheny No, i
’ Sinbnieiia ’ for trnali onrh. '
Srinp^toAv So, 4
Svmphoftv N<.». S ci 9 )&j.
*FaMi*iieito oil Ihrre Briij>k • Amtson '
' Ptnf«r« lyf Airmen * ( i 94 t/>
' PemlWlAf) * t I94t},
' Smic rtf MoMcnint ' ^944
'aymphwnT N<a. 4 11946^
SOLO (SSTRVMP.NT ANtXIHCHLMKA
Triple Cheerio r<>r fluie, rrllo R kofft 'iMU,
Vn. Concerto (1940/.
CHAMbl.R MCSIC
Sirins (hioriei No. a (lO)iK
Suini (iuoriri No. 3 (199^).
Cnnrerimo fur S iiuu. 1194a).
VIOLIN AM> PIANOPORTE
Sonula {>999),
VrOI.O.VCLl.l.O AM) HlANOrORTK
Sunaiino (1934).
nVNOPOKlL Ml'stC
Hunou 11929).
Alto pf, >on«<, 4c.
WAGENAAR, Johao ( 4 , Utrecht, 1* Nov.
I DGa ; d. The Hague, 1 7 June 1 941 ),
Hutch composer, co^uctor and teacher.
His fin I music lessons he received from
Uichard Hoi at the music scho^ in his native
city i lalrr he had organ levons from Samuel
de I^nge at 1 'he Hague and studied counter-
point with Hcr^ogrtibrrg at the Hochschule
Fur htusik in Berlin, He then (in iSS^) re-
turned to Utfevht as teacher at the musk
sc hool and organist at the old cathedral. ()n
the tetiremenc of Hoi he was made dirctior
of tlic sc hool, and i n 1 9 1 6 received an honorary
doctorate from Utrecht University. He re-
mained at the Utrecht music school until 1949,
when he was appointed director of the Royal
Conservatory at The Hague. Meanwhik be
had held appojntmenu as conductor of the
Utrecht Toonkunsi choral society and of sistcr-
organirations at Arnhem and Leyden. On
moving to The Hague he accepted a similar
post in that city, from which he retired in
1 999. after conducting iheToonkunsi society's
ceniemiial concerts. He retired from the
ConserN’atory in 1937.
In all these positions his exceptional talents,
rnmlRned W'ith a rare charm of manner, won
him universal friendship and atiracicd many
pupib. Among these were Fetcr van Anrooy,
Phmvs fXisch, H. E. Knthoven, Her^rl van
Coudoever, Wdlem Pijpcr, Alex VrMirmolen
and his otvn daughter Nelly W’agcnaar, all of
whum have musical characters eniircly diner*
ent from his own.
For all these many varied activities. Wage*
iiaar is best remembered !>)' Itis many com-
positions. .Ml of them are of a romanitc
character, usually in forms at least based on
and often closely following those nl the
cla>>skal rttasters (among whtun he was not
afraid of rnumiftg Johann Strauss, jun. ' , HK
rrmarkaMe skill in the handling of themes and
ir» preniding his music with suiuble vucal .and
imiruRienial colour. <m<i hU niter lack of
barvality in iltuughi ur cx(>ression, gas'C in
manynf ilsrse W’orks a lasting ftopularitv. Hr
could All occasion be so original in lus treat*
nsent of subjects from earlier composers that
tlsey arc rccognired by few w})o hear ihe
works. A sinking instance of this is Ins
amudog and beautifully scored * Jupiter
arnam' for solo v^ces, chorus, piano sol{> and
orchestra. There » scarcely a single original
phrase in the whole of this long work, previous
composers from J, S. Bach or before him
to Wagner, Brahms and Mendelssohn being
drawn on for plirasrs which fit very exactly
the seme of ilse words, and whii h are welded
into a complete, well-formed whole that is as
attractive to ilie scholar as to the man in the
street.
His orchesiration is always of a highly
expressive charaetcr, and he followed the
fashitm of liU day by writing a number of
wofki which cannot be otherwise described
than as lone-pocnu or symphonic poems,
.Since his death his reputation as a composer
lias increaned rapklly Unh in Holland and
al^nad.
The following are hu principal works, as
nearly as possible in chronulogica] ortlrr :
Ovvtiorv. * Kontnt Jan
’ Frtthior’s N(«crfahn *, igne-pMie 9f\er Tftnrr
^ l>c Schiafarvtik *. <u>iau.
' Romaiiik. Jntvrme'iu * for wth.
* Lv^enstofiwr' (* Summer for erch.
aiwcK Cm mR.xokc chocui {gf »»hkh ilie uorU* mI«ci
'TV*. • S'*r*'* ••Mtek-bw*, »ie " r*f-in«ude. uun
luM o(h Mof "1,
* Ole ssA Vrki^Kkap.*
* U? *, qwgit.tffiom opet«.
bim^Mnkug for or<h. {tomiMHed en trccniiic ihe
IwcMTan flrcrT* oTISoctvf j< I. iirthc),
Saul and I) j>4H * h.
Cmnurv 10 RMUnd't ’ Cyrttw 6e Ber«crac
of U,. Sh..w •
WAGENSEIL
WAGHALTER
ee
Ov«rtu(r lo * AmpUirvee ",
OveriuK to Goklonr& ' THe F^ilow^k&l Friiwm *.
loi^nretzo for orch.
* Wkner Dreivi«rteliaki ' {a s*fin oT walun buH on a
po^m bv E. von BaiMrrtfeld, and aAenvuda adao^
ai I ballet),
* Lar«KeiiA ' for oboe & orrh.
' Avcux de PhMre ' (RaeifK). wona for sopeaAO 4 o*eh.
WAGENSEIL, G^org Christopb
Vienna, 15 Jan. 1715; rf- Vienna, 1 Mar.
' 777 '}«
Au$(rian keyboard player and compeaer.
He studied the clavier and organ with Wdger
and the science of composition with Fux and
Paloiia, the former of whom recommended
him for a court scholarship in 1 73$, and as
court composer in 1739, a po»t which he
retained till hit death. He was organist
to the Dowager Empress Elizabeth Christine
from 1741 to her death in 1750, and music
master to the Empress Maria Theresa and the
imperial princesses, with a life salary of 1300
florins. Among his pupils were Sleffan, then
court Kcp<UmeisUr. and lipoid Hoffmann,
afterwards Kapt/lmtisUf of the cathedral.
When Moxart, a little boy of six, was playing
before the court in 1763, he inquired : ** Is not
Herr Wagrnseil here? he knows all about it” ;
and when the latter came forward, he said:
" 1 am playing a concerto of yours ; you must
turn over for me
in old age Wagenseil suffered from sciatka,
which confined him to his room, and nearly
lost the use of his left hand from gout. Never*
theless when Burney visited him he managed
to play several of his compositiom ** in a
masterly manner, and with great fire”.*
^^’aKc^scil started his career as a dramatic
composer with *I lamenti d’Orfeo*, per-
formed in Vienna on 36 July 1740. For Italy
he wrote ' Ariodante ’ (Venice, 1743) and
* Dcmeirio * (Florence, 1746). Returned to
Vienna, he set to music several librettos by
Metastasio: * La clemenza di Tito* (1746),
'Alessandro nrll' Indie’ (1748) and 'L' Olim*
piadc ' (1740)* In 1730 not less than five
operas wholly or partly written by him were
given in Vienna, and a /ai* Uatrate for 4 stnees
to a libretto by Count l^razzo, ' Le cacciatrki
amanti was produced at Laxenburg palace
in 1733. FI is last work for the stage was the
srrenata ’ Prometeo assoluto’, heard at the
Vienna Burg Theatre on 34 Mar. 17G2, six
montKs before Gluck's ' Orfeo Nearly all
hit dramatic scores are preserved in the
Austrian National Library.
In his day Wagerueil was a faNxiunte CMn*
poser for the clavier with both amateurs and
artists. His church music he roodelled on
' Hr WAS in h« «•»> .rhar^ V««r si th« linw el tm Uratb.
f«ot ninny .(Wo, « C^rbsr wstn (\'«|. I) mJ sArr biia
Ft lit. Nciihrr was he riHv-cialM. as Wnry Mi pp wU ,
when he visited him in 1779 ('Present Stale ., .
uermAny I. $> 6 ). thouch that e«(Des neu Um Uwih.
• Qomey. n*., I, jaj,
Ha&se and Scarlatd, hU dramatic music on Leo
and his insimmental works on Rameau. Of
the latter many pieces were engraved in Paris,
London, Amsterdam and Vienna. There arc
several manuscript worb of his in the archives
of (he GeselUchaft dec Mustkfreunde in
Vienna, boch vocal (cantatas, Julian arias,
etc.) and instrumental (trios, quartets, divert:*
menti, symphonies, etc.), Two oratorios, ‘ La
Redertfj««', J 755, and ‘Gioas, ri di Giuda’,
arc in the Nati^iaJ Library ; a Requiem and
two Ma.«ses arc in Berlin, and many manu-
scripts of psalms, motets, etc., are mentioned.
Examples of his instrumental works are pub-
lished in D-D.T., and series, XV. Of perman-
ent value are ' Suatis artificiose elaboratus*,
etc., in six parts (Bamberg, 1740): ' Tre
divcriimenti per cembalo' (Vienna, tydi);
* Divertissement musical six sonatas for
harpsichord, Op. t (Nuremberg) ; and 4
numbers, each containing ‘ VI divertiinentida
cembalo*, dedicated to his pupils the Arch-
duchesses Mariana, Marie Crittina, Elizabeth
and Amalia (all 1760), finely engraved on
copper by Giorgio Nicolai for Agostino Ber<
nardi the Viennese publisher, I'he claim that
Wagenseil wrote the theme of the " Har*
monious Blacksmith ” is disposed of by the
dates. c. p. p., adds. a. l.
B(«k.— H aisiwmo. GOKtta. ' Oer &ivertim«nr»*Befnfl
bri C«or| l^hmMph WAfenirir lA.MAV.. ip^s).
SoAOMriacK. It., * l>k formiU CMwicklunv drr
vw H A n ytehen St a f o n te’ (A.M.Z . Jaw, loss).
y/tnrm. W.. ' G. C. WMnucil. ein VAtlAykr C W.
Glwb' (Z.M.U.. >«t«).
* D*f Opcm bc n i penuii Gwa Chiixoph tVArewKil und
win VrrhAlDm sh biouri wnd Cluck ' (' Hrrmsnn
Abcrt*G« 4 «AlrKann *, llAlk, ipa6).
WAGENSEIL, Johana Chriatopb (F.
Nuremberg, 2$ Nov. 1833; d. Altdorf,
Bavaria, 9 Oct. 1708).
Cernsan historian and librarian. He is
noteworthy for his ' Buch v*on dcr Meistcr-
singer hokischgen Kuiut ’ (1S97). The work,
containing the melodies ^ Prauenlob, Mughn,
Muener and Regenbogen, is important as one
of the chief sources of information on the
methods of the hfeistersinger. NN'agncr knew
the book and studied it carefully when he
wrote the libretto of his * Mcisieningcr' ^ he
also made use of its musical quotations.
It. c. c., addS'
Bim. — THM irsON. Hckmkt, ' ^Vacatr ia 4 tVAzenwSI *
(London, taari.
WAGHALTER, Igana (L \\'arsaw, 15
Mar. 1863; d. New York, 7 Apr. 1949).
Polish-Geman conductor and composer.
He was conductor of Croc's Comic Opera
in Berlin from 1907 to S91 1, opera conductor
at Essen in 19:1-13 and at the Deutsches
Opemham in Berlin from tgis lo 3923. In
1933 he went to the U.S.A. and became
conductor of the Stale Symphony Orchestra
in New York in succession to Josef Stransky.
After another relum to Berlin he went to
Prague in 1933. As a composer he made his
WAGNER (G-O,)
WAGNER (Johanna)
89
greatest success with the opera ' Madragola %
to a libretto by Paul Eger based on Machia*
vclli’s comedy, which was produced at the
Berlin Deutsches Opemhaus on 33 Jan. 1914.
It was given in English la New York on 4 Mar.
t933. Other operas of his were ' Det
Teufelsweg ' (Berlin, 1911), ' Jugend ' (Berlin,
1921), * Der spate Cast* (Berlin. 1922) and
* Saianiel ' (Berlin, igag)* He also wrote two
operettas, ' Oer U eiterkrieg ’ (Elberfeld,
tgeB) and * Wem gehon Helena ? and a
vaudeville, ' Bib! ’ ; a vi(din Concerto in A
major, Op. 1 5 ; a string Quiriei in D major,
Op. 3 ; a Sonata for violin and luanorurte in
T minor. Op, 5, etc. a. t.
WAGNER, Georg Gottfried (>. Muhl-
berg, Saxony, 3 Apr. 1698; d. I'lauen i.V*.
23 Mar
Crrman violinist and composer. He was a
pupil of Kuhnuu at St. ’I'homas’s School,
Leipzig, from 171J to 1719, studying iheolog)’
therr until 1 726. In the latter year he liecainc
caniur at FUuen at the recommendation of
J. S. Bach, in whose orchestra he had Ixrn
]>rinC4>al violin. His niotvt * IaiB und lihrr'
was publnhrj b> Breitkopf & Hart« I in iUir>
as J. S. Bach's work. He also composnl
cantains, oratorios, overtures, concerto*, trios,
solm, etc., which were held in high esteem,
but remained in manuicripi. a. v. d. 9.
WAGNER, Gotcha rd (6. Erding, 1679;
'IVgvrnsce, 1739).
German composer, lie was a Benedictine
monk at the monastery ofTegemsee from 1700
and wrote several collections of sacred songs
with instrumental accom|>ammcnt ; 'Cygnus
Marianm* (i 710), &C (iemtan airs ; *Muwka*
liseber llofRartcn' (1717?. too airs, i voices and
continuo; ' |><t Marianlxhe Springbrunnrn '
1 1 730^1 3t airs ; ' I)av Marianische ImnicVin '
*1730)) 3^ airs, 4 voices with imtrumenis;
also a cantata for 4 vmers with instruenenis,
of which the manuscript is in the Brussels
(kinservatnirc Library. r„ v. d- s.
WAGNER, Jacob Karl (^. Darmstadt, 22
Feb. 1772 ; d. l>arnwuJt, 25 Nov. |023).
German oboist, conductor and composer.
His father was a Darmstadt court musician,
and he was apprenticed in the court chapel
there in 1788, Joined the orchestra a< oboist,
became music master and accompanist fur the
vocal music at court in 1600 and court Kapeit-
mtiittr in 16s t. In (820 he was pensioned.
For (he Darmstadt court theatre he conw
posed several operas (e g. ‘.Siaph und Nilelis’,
i8t t), Stngf^tle {e.g. ' Der Zahnarat ido6),
incidental music for plays (including Goethe's
' Cotr von Bcriichingen ' and MahJmann's
once popular parody ' Herodes vor BethJe-
liem *, 30 Apr. (809), an overture for Shake-
speare’s ' As You Uke It’ and cantatas for
special occasions. He also svrote a large
number of iniirgmenul and vocal works, in-
cluding symphonies, concertos, conccrtaiiti,
overtures, plan^one pieces and songs. Many
dramatic scores of his are preserved at the
Darmstadt library. The (undated) libretto
of his monodrama ' Adonis, oder Die Rache
des Ares ' is in the B.M. a. l.
Wagner, Johaona {h. Seelr.e nr. Hano-
ver, 13 Oct. 1826 ; ^.Wurzburg, iG Oct. t8<)4)-
German soprano singer, niece of Richard
\N’agner and daughter of .Mlwrt \ Vagner, a
dramatic tenor. He married Elise Gollmann,
who had a voice of the abnormal compass of
three octaves and two nom. Jnhanna ap-
peared at the age of six in ' Donauweibchrn’.
In tS43 her uncle heard her sing the part of
M)TTha in ^ Vinter's ‘ Vnierbrochenes Opfer-
fest ' and in May 1844 ohiainccl a temporary
engagement fur her at the Royal Opera at
Dresden.' I’hough but eighteen she had such
Sticcess as Irma in Auber's ' Le Ma^on ' and
Agathe in Weber's * FreiKliutz ' that she was
not only engaged Ibr thrr<‘ years, but the man.
agement paid the fine necessary tn rr lease her
from her contract at the Ducal Ihcaire at
Bernburg. She spent the sumnier wiih her
uncle near Dresden, studying his ' Tann*
hauser ' scene by scene, as he composed it, and
had the honour of creating the part uf lilisa*
belh when only nineteen. Her unrle hud
intended the first performance to take place nn
her nineteenth btrlhday, hut the illness r»f a
singer postponed it until st Oct. 1845.
Such hopes were founded upon the young
Singer's talents that the King <4* Saxony sent
her to Pans to study under Garcia. She left
Dresden on i Feb. 1847, accompanied by her
father, who until then had been her instructor.
Returning in six months she appeared as
Norma, singing in Italian, her uncle conduct-
ing, and she now added many leading pan« lu
hat repertory. Her uncle's pan in ihe revolu-
tionary trouldcs of 1849 and his consequent
exile making it unpleasant for her to remain in
Dresden, she accepted an engagement at
Hamburg. In 1C30 she was permanently en-
gaged at the Royal Opera Houie in Berlin,
with an exceptional contract giving her six
months' leave each year.
In (852 she visited England, but owing to a
lawsuit concerning her contract she was pre*
eluded from singing at rither of the opera-
houses. In 1 6$6 she appeared at I ler Majest y's
Theatre.
In 1639 she married Councillor Jachmann.
and two years later she had the misfortune to
lose her x-otec suddenly and completely. She
Savely entered upon a second artistic career,
as an actress, her very exceptional gifts en-
abling her to do so with brill lam success. This
lasted for eleven years, at the same theatre In
TMUin.. , p. «3a, wner« m s ol
ae J«JV 1844 W»fi*w nmuons Tphinn.'. ftne
of dw psri of lT«n« io hu ‘ Rwnti •. * “
90
WAGNER MUSEUM
WAGNER.RfiGENY
Berlin. Meantime her voice had returned lo
a great extent, and on 2S May 1872, at her
uncle’s request, she went to Bayreuth, to take
pan in the performance of Beethoven's ninth
Symphony, ^vhich he gave to cdebrate the lay^
ing of the hrsi stone of hU theatre there. She
sang (he solo alto part, as she had done on
Palm Sunday twenty*six years before, at his
performance of the same Symphony at Ores*
den. In 1876, at (he opening of the festiva]
theatre at Bayreuth, she took the minor parts
of Schwerdeite and hrst Norrt.
In 1682 Baron von Perfall, Iniendant d*the
Royal Opera at Munich, offered her (he pro
fessorship of dramatic singing in the Royal
School of Music there. This appointment she
accepted {to quote her own words) “ in the
hope of training young artists in the spirit aod
traditions of my uncle, to be worthy inierpre*
ten of his works ". In 1864 she retired from
this post and went to live in Berlin.
M. abr.
Bill., — I achmahn, Haki, * Wafner and ba ftni Ebaa*
btlh * (London. 1944).
WAGNER MUSEUM. A museum do
\'Otrd to Wagner at Triebschen near Lucerne.
A plaque on the front of the house reads;
In dirarm Htut< wohnia
RiCHAItB Waomck
von April i9M b«a April iBst.
Hxr volknd«K tt
Dx MF'«wn»nfer, SiFtCrM.
<Joturdafnmrr\tnf, BrvUkovm.
Kaiarrmarwh, Si^rt«0<tijvll.
On the initiative of the city of Lucerne and
the association of the Swiss Friends of Bayreuth
it was mcuccl and made into a museum. It
wa< formally opened on 1 July 1933, in the
presence of members of the \N'agfter ratnlly.
The inaugural speeches were made by Dr.
Zimmcrii, Mayor of Lucerne. Professor Fehr
and Comte Guy de Pourial^.
In the small but excellent museum, where
an attempt has been made to recapture the
atmosphere of the past, are brought together
many objects belonging lo >V^ncr and dating
from the years he spent there. In dcfererKc to
the tastes of Cosima Wagner, who preferred
pictures to books, there are a number of paint*
ings, sculptures, engravings and photographs
of Wagner, his family and his friends. But
the outstanding feature of the museum is the
collection tsf Wagner's mamscripts — the
score of the ' Siegfried Idyll ‘, Sachs's song
from the ' Mastersingers’, a poem, 'An Dkh',
written for Cosima, and verses dedicated to
Ludwig II — sketches for the scessery of
' Panifal ' and about twenty letters, some of
them of great importance.
One particularly interesting exhibit is the
Erard grand pianoforte, given to AVagner in
1 658 by the maker's widow. This instrument
went with him from Zurich to Venice, to
Paris, Vienna, Munich, Triebschen and Bay*
reulh, and on it \Vagner and Lisst must often
have pUyH (heir worb. It later belonged to
Mrs. U'inifred Wagner and her children, and
b on loan to the Museum.
More than 25,000 people visited the museum
in its first five years. In the summer of 1936
a concert was given in the park of the museum,
directed by Toscanini, in commemoration of
>Vs^er’s :25th anniversary. a. h. (ii).
WAGNER, Peter (Joaef) (i. Kureni nr.
Trier, 19 Aug. 1865; d. Fribourg, Switser*
land, 17 Oct. 1931).
German musical Kbolar. He was educated
at (he University of Strasbourg and pursued
h*s studies further in Berlin under Bellermann
and Spi(ta. He became professor at the
University of Fribourg in 1897 and (here
fouruSed a Gregorian academy for research and
practical study in 1901. His publicalioru,
which deal particularly with old ecclesiastical
music, include important works on Gregorian
and medieval music, together with a ' Ge*
schichte der Messe ' ( >9 1 4 ff )• K. c. c.
WACNER*RECENY, Rudolf (fr. Scasz*
Rfgen, Trans) ivinia, 38 Aug. 1903).
Hun|arian*bom compoKr of German ex*
traction. He grew up in the largely Cerman*
sj^aking part of Transylvania, at the time of
his birth a province In the kingdom of Hun*
gar)’, only to becMie part of Rumania after
1918. In 1920 Wagner*R^ny went to
Germany, where he studied music at Leipzig
and Berlin for about three years. From 1 924
onwards he occupied insignificant posts as
coach in and alMui Berlin. In 1927 he
accompanied the German choreographer
Rudolf von Laban on a lour across Europe.
In the following year a small opera of his was
successfully performed at Gera. This led to
the composition of more one*act operas. Yet
it was not until 1935 that \Vagner*Rfgeny
suddenly leapt Into fame, benefiting with
many otben from the political change brought
about by Nat ism in 1933 and driving numcr*
ous eminent composers from Germany into
permanent exile. I( was the successful lech*
nique of operatic simplification and of a
dramatic r4nfM*siyle with plenty of rhyth*
mical impetus, as established in the operas of
(he officially l»nned Kurt Weill, which sup*
plied >Vagner*R6geny with the ideas for his
own brar^ of opera. The work 10 which he
chiefly owes his fame, * Der Gunstling*
(Dresden, 1933}, is composed 10 a libretto by
Caspar Neher, Kurt Weill's last librettist
before his exile in 1933. This libretto In turn
b based on Vklor Hugo's drama ‘ Marie
Tudor *. The Handelian flavour of its melo*
dies b reminiscent of \ Vein's 'Die Bxiigschaft ,
while its cabaret-iype sonp, primitive orehes-
tralaecompanimentsand clearly defined formal
patterns link it with the ‘ Drcigro«henopcr
and ' Der jasager AltJiough without real
WAGNER.RfiGENY
WAGNER (Richard)
9'
cnusicaj originaJity, thU opera shows a remark^
ably soujsd icutinci (or the requirements oT the
operatic stage.
Wagner*Regeny's next w'orks for (he stage
were commission^ by the Berlin State Opera
and receU'ed their Erst performances there
(the baJlet ' Der aerbrochene Krug ' and the
opera * Die Burger von Calais '). Hb opera
'Johanna Balk \ again to a libretto by Caspar
Neher. had a somewhat mixed reception
when first staged at the Vienna Opera during
the second world war. 'Ihe libretto of hit
last operatic work so far, the comic opera
' Persische Rpitode \ succeeds in uniting Kurt
Weill's two chief librettists in one common task.
Allhough he composed little apart from hb
operas in earlier vrars, \\’agncr'K^ny has
lately written numerous w'orks for the pianCH
Ibrce. In some of these he utilizes the tech*
nique of the twelve 'note scries. It si'ems
difficult to reconcile this vuJdcn prediU'etlon
for Schoenberg's esoteric theory with Wagner*
K^grny's professed aim lo aclilev'c a musical
style of popular simplilieation. devuitl of the
over -elaborate trappings of ipth- century
rotnaniieism. ('hese recent essays in dodeea*
phonic style again prove this composer’s
peculiar gift for brilliant imitation of a remote
musical idiom. Wagner-Krgeny, who lived
at Gustrow (htecklrnburg) after the close of
the id3')-4^ war and later un as a teacher at
the MustklioehsebuleofUcMtoek, wasappointed
professor at the newly fouiHled State Con*
Mcvatory in Berlin (Eastern Zone) in Oct.
KJSO, after having be<ume a member of the
new East* Berlin /Uademy uf Sciences.
lUHl KX.R.sniY
bl RbAM r/, AlPlUb. * Dir Minib Sy riei>er>fts«v>n»’ •* Ihr
\«<l. V*. \m. 9i>, iQSft.
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rHrtJ»n, I4is<,
CiKM.x, II,. * Itfr tfrUtxhrMe Kihc* I’Utr Nfuuk '.
S*ol. X \X, .N'h Hcrlm. i0|7i.
Kami. ’ Muuk und MuuW «lrr *.
\ vk J > I ptK >3) It, ; III*
<tMp4*r tflui CMhi )iH« ib*l(b by
ih* (ofiirxfwr.
WocRvri. R, II,, *Mu«»k «S*r (.«it«fw«sn'
•949h
C.VrAl.OGt'E OF WORKS
OPERAS
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lirr M4>ki« KriaiK* <«riex AimIciwa'i hm-tslc). pt*
194 I,
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MAit Vi).
by Csspas Nelicr. ba«*a .
IxoK (Sg<Sner'» Onnsh veruon *4 Hwo'% * Mai
.,V Il9ii-?4l. Pf*»l. I>x«aen, »« F*k. 19SS
the UarcAr vg.i CaUi* ’ llib, by Neherj. end, Rrri
luhann* ^lk * tlib. by Sthtt). iPecd. Vki«i. 1*41.
hcHv.lc < fVr Daxinw^hcr* * Jbb. by .Vebex
Ikxi Btechi)
BALLET
* MuHtai \ prod. Ceyn. 1979.
'Der srrbrwbeAO Krue ’ KJeisrs play. clM/rco>
fraphy by* lixsie kisudnekt, BexMe. 1937.
ORCIICSTRAL WORK
* MylbelufiMhe Figurinen 3 pkcet (lOyt).
PLANOFORTE .AND ORCIILSTR.N
* OnheMcrsnuuk mil Klav'ier' J>r«MleM,
CH.AMBLR MVSIU
* Kteioe GeiweioscSsfbwMitik ' for tlev. A. uitKl ’jflt r
io»a .
Vrixif Oxarcrt {19404.
Nfrw«c 'I nu lies * •-
’ (ktartenmuitk ' tl 93 >).
PISNOFdKTr Ml'SIC:
* Siattrumuuk * 1913 ).
* KljviedMKhlein * 1 1941 ».
i I I 94 S‘.
* llr««mF*«m * ^ 1043 .
* ItjtMAMMk I ’ 1 I 9 V>^>
* /«*! Kla^MykkaxieXi ia xiA Album ^Tux (<ett^ llerxutr '
luelvouuir *> <* 04 A .
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•*9W-
' Uftebe'iwie* 'I 4 V 0 >
’ 1 «i«xx Aix P«lu" A ' 1 19 V •
’ kUtieitiuck iMriirtur* ' 1931 1.
SON(;S
l.ie«k<l4u<Mxin '(••lleitxrf v'Migt of ilir sx«t' iAx3 i',)
tlOib'.
’ A<Im /KruiteilHvkr ‘ ' I 91 )k.
* lltr I.i^let <lrA Am(Ix(» ' uump. 194G, pukd. I9S1O'
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* |jebetl*e<l o»ll< nf, ' i9yi>i,
* I der deuiM heo IaxUm'K ’ 1 Nl. Rxinani 1 1931 •.
II. I . R.
WAGNER^ (WUb«lm) Richard ib. i«ip*
zig. *44 May 1B13 ; d. Venice, 13 Feb. ldd3).'
(ieritian composer and man of leiters. He
was the culmination of a long line of Wogitcrs
who had. from tlie 1 7th century*, (IUlirigui%he<i
themselves modesily, in Saxrkny. as school*
masters or officials In local govvrnrneiu,
Occasionally there was one whovc musical
prorlivities helped to provide the pr'iper l>ark*
ffTound to the life of the most illusiriou"
member of the family.
xANCEsiny.— The family Iuin been traced
back to Samuel Wagner i (1643*1705). a
schoolmaster of 'rhammenhaiii. IIU grand*
son, Samuel Wagner U (1703-50). was a
xhooirnasier. but also orgattlst and catiior at
Muglenz, a hamlet six miles from Wurzen.
The son of Samuel VS'agner M, Gottlob f'ric*
drich ( 1 736-05) , set tied at Leipzig as a collcc lor
cf taxes. He married Johanna Sophia Eichcl,
daughter of a (.eipr.lg scliool master, and bv
her had four children of v/hom three survived
* WMAXt'KCtrAV alw, aMymiKxtl te write a iFKi.buok
on lit* (nhcMK|«*« uf^ VAxtvcAMF <un»po'»lk«i <1946 49;,
* R«lFXym n M iK* 4 volumti of ' 1 h« I.ife of RicliaxJ
AVtfnxx ’ by Knni NF«»Tn«n are noted iliut: N.I,,
1 1 1 . 1 V i the p4s* r*(cr«M« r% to U'wmxi's ' Mein Leben *
ax* (a th« kjicliih rdition (London, 1911 >.
WAGNER: Ancestry— Boyhood
infancy. The two sons were Karl Friedrich
Wilhelm (1770-18*3) and (Gottlob Heinrich)
Adolf (*774-' 835); ihe daughter Friederike
(1778-?). The younger son, who is to assume
some importance in this study, achieved
literal^' and academic distinciloD. He had
particular enthusiasm for Greek poetry and
drama. Dante and Shakespeare, and edited
classical and modern texts, which included an
anthology. ' II Parna*so iialiano of Dante.
Petrarch. Ariosto and Tasso, d^icated 10
Goethe. For this N^ork Adolf was awarded a
doctorate at Marburg. In the last year of his
life he issued an (incomplete) edition of the
works of Burns, Adolf was more stimulating
as conversationalist than as writer, and his
broad inicresis — he knew Schiller. Fichte and
Tieck — alTectrd considerably the general de-
velopment of his nephew Richard. Richard
\Vagner. recalling Adolf to his second wife in
1874. remarked on the noble, liberal cast
of his mind " ar>d defined him as “ a product
of the school of Goethe ".
Karl Friedrich ^ Vilhelm > Vagner was
educated at the Thomasschule and the Uni-
versity nf Leipzig, where he was a student of
law. He became IVcr-AI/MriK; (Clerk oTihe
Court) to the Town Council of Leipzig in 1 794.
AAcr eleven years he was promoted
and in 1806. after the battle of Jena, he is
reported to have undertaken the organitation
of the police force of the city as Ps/jcri-
/Iktuan’us.' For this position he was s%‘ell
qualified by virtue of his ability as linguist.
In 1798 Karl Friedrich married Johanna
Rosina Paiz (1774-1848). whose father had
been a miller at NVeissenfeb.*
The children of this marriage were (1) Karl
Albert (i7g0-t874), a tenor singer; (3) Karl
Gustav (180 1 -a); (3) Johanna Rosalie (1803-
1837), an actress; (4) Karl Julius (1804-63),
goldsmith; (3) Luise Konsianze (1803-71),
actress, wife of Friedrich Brockhaus, pub-
lisher: (6) Klara Wilhelmma (181^75),
singer; (7) Maria Theresia (180^14): (6)
Wilhelmina OltiUe (1811-83), ^’f
maim Brockhaus the Sanscrit scholar ; (9)
Wilhelm Richard.
The names bestowed on his family demon-
strate Karl Friedrich’s affection for Goethe
and Schiller. Outside his profession he was
conspicuous for a lively interest in drama, and
he was intimate with many actors and w^d-
be actors. Among these latter was Ludwig
Geyer (i. Eislebcn. 1780) who, becoming
' Wheihrr the police appointmcAC wm ib l(eS m
iBio It uncertain, iKe prevaleni bcltef ^ the Wacner
Camily in (he former bclna doubled Iw Bumfl
|«rr N.r. 9?).
* £rr * Mein Leben *. I, it. conccnwie doubt*
res*rdm< her patrmkr. It haa been euccwied that
ihe miller nuriu/ed ibe elTtpriiMr of Karl AuevM, Duke
Sute-WeiAMr (oote. however, that Kart AucuM
wu bom in i)S7).
* Youncer brother of Fnedckh Breckkovt.
acquainted witb the Wagner family in 1801,
was particularly encouraged by them in hb
career — to the uliimate confusion of the
historian.
Regarding the paternity of Richard Wagner
doubtt have been expressed. His legal father
was Karl Priedrsch, but it may well be that
his actual father was Ludwig Geyer. The
first 10 surest this was Nietzsche who, in
1869-70, and on terms of great intimacy with
^VagDer, received the composer's conclusions
on the correspoMence between hU mother and
Ge)’cr. which had been shown to him by
Cacilie Avenarius, daughter of Johanna
Rosina and Geyer.’ Wagner himself would
appear to have been convinced that he was
Geyer’s son, This may have been wbh-
fulfilment, for he had no memory of Karl
Friedrich and his recollec lions of Geyer w*ere
invariably affectionate. The evidence on the
question of paternity, fully adduced by Ernest
Newman*, seems to support Geyer's claim, but
the case cannot finally accepted as prov'cn.’
BovHOOo.—> Vagner (vas bom in ihe Bruhl
at a house — " Der rote und weissc L 6 w*e ” —
later numbered 88 , which was demolished in
1 866. He was not christened for three months
and this, coupled with the extraordinary flight
of Johanna and her infant son to Geyer at
I'eplke. suggests chat Geyer's rnidence with
the Wagners had complicated domestic rela-
cioniKips. In a wider field there were greater
com^ieations, for the Napoleonic campaign
in Saxony came by way of Luezen, Dresden
and Bautzen to Leipzig, where " the battle
of the Nations " went against Napoleon and
the King of Saxony, who had adhered to
Kis cause. The battle of Leipzig (i 6 *i 8 Oct.
1813) brought typhoid in iu wake. To this
disease Karl Friedrich Wagner, already
exhausted by o>'crworli. succumbed. He died
on 93 Nov. AAer his death his widow was
encouraged to take her family to Dresden.
She would seem to have joined Geyer there
soon after the middle of Feb. 1814. On sS
Aug. she and Ce>*er were married. Six months
later — on 96 Feb. 1815 — their daughter
Augusta Cacilie was born.
Geyer, whose ancestors may also be traced
as far as the 17th century, had antecedents
similar to Karl Friedrich Wagner's in legal and
musical associations. He himself, sometime a
law student at Leipzig, was a competent if
restricted artist, a dramatist* of small attain-
ments, s^neUung of a singer and an actor.
* * Oer F9U Wicwr*. «lh ^1. (1896). p. S» >*• .
* Awenanu« vioietl WaeiKr ai Tnebuhen in
Au<, 1869. Nieutfhc WAS there at OvttCinai i 649 *
* N.lll. S94-98.
' WUrt ihu nnick refen ig Wagner** faiher. therg-
fecr. Karl Friedrich I* indicated. .
* ‘ Der belhl^miticHte KinJermcid ' (•*• prrf.
Pmkn. pg F«h. 1B21) — » pcnriii of the ** s
bmiK nun — wa* pr^uced in honour of Wiener 1
UKlaelb birthday at btrrwih.
WAGNER: Youth
93
His dramatic mitUr waa villainy and lus not*
able paru were those oC lago and of Alva in
Goetz's * Egpiont'. Geyer was attached to
the royal court playen at Dresden. He was
more anxious that his stepson should become
a painter than anything che, and he gave him
elementary instruction. He had no desire that
the boy should follow his ovk'n profession, but
Wagner himself in * Mein Lcben ’ emphasises
(he inescapable influence exerted in bis
rarliesi years by the mystery of the theatre.
It had he wrote, ** a fascination like chat
of a spectre.” At the age of sesen Wagner,
small, sensitive and blue>«yed, was sent to a
school at Piissendorf near Dresden, kept by a
Pastor WVi/el. But in lUai he was called
home to his siepfaiher’s deaihl>ed. Hr had by
that lime learnt to play the pianoforte and.
sent by his mother to another room to distract
him from the atmosphere of the sick-room, he
played airs by Wel>er as Geyrr lay dying,
Weber had been friendly with Geyer at
Dre«den. “ \N hat ”, said Geyer, hearing the
hoy play, ** if he has a talent for music ? ”
Ludwig Geyer died on 30 Sept. i6«i.
It Is evident that in childhood Wagner was
destined by his parents for an arthik career.
His mother, nervous only of the deleterious
moral influence of the theatre, expatiated
romantically — having absorbed Leuing and
Winckelmann at second hand ^ on "the
great and tlie beautiful To her influence
may l>e aseribed a breadth of myutical vision
which, disciplined by the practical sertse of
Geyer (and Adolf Wagrter), was to distinguish
the comprwrr. Childhood, though more inter*
esiini; than most, was far from ideal. In
addition to the shock of bereavement there
were Ik>u(s of ilbhealth. combining with
•iul contributory to an rxiremc sensitivity,
Wagner suffered much from disorders of the
eye.t (which early prmision of specuclcs
would have prevented) and also rerurrent
attacks of a form of erysipelas. After Ceycr's
death he was .sent to Eislelwn to live with his
brother Julius under the tutelage of Ceycr’s
brother, a goldsmith. At Elslebrn Wagner
attended his second school, where he was
taught by one Weiss.*
After a year, however, hU education was
again disrupted. He was removed from
Lisle ben to Dresden, where he entered the
Kreuwhulp on a Dee. t022. He was at ihb
lime, and until 1827 when he was confirmed
on H Apr,, known by- the name of Geyer. At
s<ho<.l \Sagner studied Creek, but Utile ebc
with enthusiasm. Temperamentally he was
uiwinted to the rigours and pedantry of high
school life, and smooth academic progress was
-A ’ L prl»»fip4l of th« Khoc4
AH. bu« tU irMhirw Omo
br who bhj yean Uur. aneodeO at E-IrtJTi
•rfwiHHrt from •TaiwMwat*. wShrr
PoHd ihi» w,ih afleciionaie intcrni. ^
additionally difficult under the changing
domestic circumstances. In 1 826. for instance,
he w’as left alone at Dresden, lodging with the
Bohnie family in the Obcrscegassc (later
Ferdinandsirassc), while his mother accom*
panted Rosalie to Prague. Musical experience
W’as for the time bang limited to \Vel>cr
worship arid to pianoforte lessons w’ilb
Humann. ^Veber at Dresden was a local hero
— ' Dcr Freischuie * was first performed there
on 26 Jan. 1822 — for he represented the
triumph of the German people over the
aristocratic Iialophiles. Weber was an ac-
quaintance of the Geyers, as indeed was
Miirlacchi, the head of the rival faction.
\ Vagner's early cnihu>iasni svas largely of
patriotic derivation. He prlsatviy irlt’d the
part of Kaspar in * Frcischiiia '.
In 162C and 1827 Wagnrr paid two vidts to
Pragui’, w'hrrc his amorous adventure* may
be said to have star 1 ed > The nat ti ral dan gb 1 e r»
ofGoual Parhia, the Ikihrmian tnounialns acid
the faniasKS <»f K. T. A. IlnlTtnann rom|>eted
at this time foi ^ Vagner’s princip.tl loy.ylty. In
June 1827 l.uise was offered a ^tage eiigag***
meni at l.eipzig. Her mother then t<M>k up
rnidence there, as did Kkhard alio at
Christmas. At I,ejprig hv sjH’iit niueh lime
with his ujiete Adolf, who aiipeared to Utxl in
him a congenial conipanioji o( intellectual
aiiammenis. ’Fhesr came from natural (|uitk-
nrss and wkic experirnre rather thatt from
a school curriculum. I'o his uncle SN'agner
confaded ihe sordid details of his first es>aY in
dramatic compmiiion • ' Ix’ubald und Ade-
laide This play was chiefly rernembired on
account of a spate of sudden deaths. S Vagner
claimed that these numbered fonv.iwb, but
as the play coniaimvl only tw’enly*lwo char*
acten it is probable that he exaggerated. At
Lciptig he discosered books left to him by his
father, which were a great source of delight,
The Krcurschule was rKchang<’<l, disadvan*
lageously - for he ne\ er sett led to any gen uine
study in the new Khool — for the Nieolai-
schule. Alih«Kigh he aitended the Nieolai-
schule for two and a half years, he was
frequently absent, and a long truancy in 1830
led to his withdrawal. \ Vagner matured
quickly, and his philosophic an<l w’orldly
inleresLs w'ere uncommonly varied.
On the side of politic* W agner fnllowetl
closely the activities of the student body at
Leipzig. Nowhere wa* liberal thought more
aealouily cultivated than in the unisersities of
Germany. It should be noted that the jirnpa*
gallon of much of the most advanced tliought
waa done by Friedrich Brockhavs, Schopen-
hauer’s publisher, who had married Luisc
Brockhaus who
pubinhed Loren* Okan's account of the
aiiHlenta f«uval at ihe Wariburg in 1817, an
event of historic signlflcanee.
94
WAGNER ; Studio
At Leipzig mudcaJ opponunilio abounded.
There were the Gewandhaus coDcerta, and the
influence of his actres sisters guaranteed easy
entry to the theatre. Thus there was acces to
Beeiho\‘en (oflen iodifFercnily played) and (o
opera. Works of particular moment were the
seventh Symphony, the overture to ‘Egmont*,
the ninth Symphony and ‘Pidelio’; the
Mozart Requiem ; the operas of Marsehner
and Auber. The ninth Symphony w’as tran*
scribed into a piartoforte arrangement and if,
in 1830, Sciiou refused publication, he did
encourage the arranger by sending him a
score of the Mass in D.' T^ most important
single event to influence \N’agner's devel^
ment at this time was the p^ormanee, in
tOaOi of \ViU\elminc Schroder • Devtient in
' Fidclio *,
SVhwi ( look Uock titc «»tow mere iHm tlMi> t'*ar*
Isirr], in my ^liwk life 1 esn Ksrreir tcwirmbo MBf
incident io tie eomp^reti with il<it ia iis elle<i ***>
All mImi remrmber thr ■•otHtrom ttmuin at th« ptfiatl
of lier |i(« will ifiury le ib« simoti d«nWA>scal »armia
OilluwU oter him Uy ih« hunMii smI coutK iwrfar w i*
«nve. Afiee tli« ihesirc t le »n Mawsafiuace
■nit wmtr A iherl note to her, eoelorinf that from Km
day mv life had ac^uiretl a meaniiHi. anti that $f over
die heani my name meniionetl with praiw tbe dwoU
rrnirmber that ii wat die who on iIih evenmf maele mr
wlia( I iierewnli twero to beeome.
In 1838 ^ Vagner lurned seriously to (he
study of the lechnique of musical composition.
He burrowed Logier’s * Method of Thorough*
Ba<$ ’ from Friedrich ^Vieek's lending library
and siudlcd scores, particularly that of* Don
Giovanni '. He look lessons in conventional
harmony from Christian Muller. At ihh
point the family accepted Wagner's devotion
10 music, and his education in this respect
became less surreptitious. He declined a
su^cstion that he should lake lessons from
Hummel and tried the patience of his relatives
sorely as, under Robert Sipp's tuitim. he
demonstrated noisily his disiRcliiiaiion to
become a mere performer on the violin.
Compositions included a pianoforte Sonata,
an aria, a pastoral play — with words by the
composer — and a string Quartet. In June
1630 Wagner entered the 'PhomasKhule as
preparation for the University. On Christmas
live Heinrich Dorn, A'o/V/fiwixrr/ at the Leipzig
theatre, conducted the first performance of an
Overture in Dk major. This work was eon*
spieuous! first, because its score carried the
brass in black and the strings in red (the wood*
wind should have been In green, but there was
no green ink available) and, second, because
of the eccentric behaviour of the drum part
which caused both annoyarKe and mirth but
scarcely pros'oked respect for the composer.
Kis less noiorious works were several overtures
(one inspired by (he Polish revolutionaries of
* Tlie firm ot SchoU wi» qwie prefMKd 10 r.»ihA»<K
ih« A/rAAe«in«ni Isut an. IhK in 1677 Waene* wlusetl
p«rmn*ioT>
1S30) * and a pianoforte Sonata in 6k major
for four hands.
In Feb. 163 1 Wagner enrolled as s/iufiMa
mfuiem (a title of inferior sutus and officially
botuid to disqualify the holder from govern*
ment employment) in the University of Leip*
zig. He attended lectures by Krug in phllo*
sophy and Weiss in aesthetics, and went to
Wetrtlig, cantor of St. Thomas’s Church for
lessons in composition. At the end of his
course Weinlig refused a fee and showed
further Interest in his pupil by persuading
Breitkopf R Hariel to publish Wagner's Bp
Sonata. < The work was dedicated to Weinlig.
Abo published were a Polonaise in D major
(pianoforte duet) and manuscript works in-
cluding a Sonata in A major and a Fantasy in
F< minor for pianoforte; Overtures in D
minor, C major and — with a finale — to
Raupach's * Konig Enzio ' ; and a Symphony
in G major, in which — despite Wagner's
symbolist attitude to music — classical stand*
ards were Reserved et*en lo a concluding
fugue.
The studenu of Leipzig were described in
163$ by Edward Holmes at
Uk a*inci^l oflfndtf 7 ih« rcpMC oT the levrn
om a Sabbaia, ai at Utc opers*heitK tlier are ei‘«r ihc
iiwfdtew Ormaadrn of ultnee whrn any luildrn irrup*
i*aa el* talk makn a j>a«ui|t« inatnliMe. arc •
prautl. honoMraMg-mindfd. uxi obli|ine Kl ol
KATMi rrUo«% msd« ue of that uarmih »r duMutlon
and (■•dfpmOenrc of rKararter, the oivrflow 01
11 m vowih alwai 4 (tkauni.
Wagner's proclivities for drinking and
gambling were probably above the average,
although romantic inierprelailon, ivhrther by
\Vagncr himself or some of itis biographers,
has tended (0 exaggeration. The more
generous side of his nature is indicated by his
association with Heinrich Laube on the one
hand and Count Vincenz Tyszkiewicz on the
other. Laube was a member of Heine’s
"Young Germany'’ party >, T>* 8 zkjewicz an
agent engaged in helpmg 1^1 ish refugees to
France. 7 'he iniellectual freedom of Germany,
and indeed Europe, was largely prcsen'cd by
those wriien and seh^ars who, after the Carls*
bad Decrees of 1830, defied imprisonment and
imerdiel to enuneiate liberal doctrines. The
Polish refugees oRen stayed with Brock Uaut
when passing through Leipzig, and it was at
his bouse that Wagner met T^-szkicivicz. 1 n the
» A UtCT *>orl — ‘ Ppte<ua * (:8j6j — dcrivtd
lh« nmo rnOMakAun.
* Pimn Oct. 1I31. (dr about six monOit.
* Ea*wr iSsa. . .
* 'l\« Frdrral Dki (10 Drr. iCt)) inolvcd
“ AI GrrmA* co^munmU unikf like tb« duty oT «n-
fiarrifw with thr trr«ini ttnocerKy the critDiul ut'
■ad nohrt rvculAtiwu of ‘twlr wpocUve «u"U‘«<
MAHMi th« «utKws. fHiblidien. printm *nd vendm 01
(hr noblKAtlMM murd bv iKr KirrArv kIiooI
• VooM Groiuwy \ or ilw ' Nrw l.jirfAtUK ’. to vhicb
briM »AfnHv. Heinr. Hciiw. Ca/I CuUk«w. Hcin<%
Laube, LvdoK WmoUac «ntl Throdor bliAndt.
t» pr«vrai tbe d^buti^ of ihc Abovc’iadicAiro
publkMi^'’*
WAGNER ; Yean of Po\'€rry
95
maimer of 1Q33 Wagner accompanied T)‘a2kie*
wics as far M Brno in Moravia, whence he went
to Vienna — a cl ly w hose gaiety he appreciated
and where he discovered a wild delight in
Herold’s ' Zampa ’ — and then to Pravonin.
where the Pachia girU again stimulated hU
ardour. In Bohemia ^ Vagner went to w’ork on a
setting ofApel’s (to whom letters concerning bis
amorous progrc^s were sent} * Abcndglocken *
and the draft of his (lonmanneaiue * Die
Hoch^eit In Prague Dionvs \N*<*ber»
director of the Conservatory. rehear»ed the
C major Symphony before a private audienee.
'['he Symphony was played, subsequently,
twice at Leipzig, the second time (lu Jan.
1O33J at a GcwamJhaua concert. Laul>r wToie
an encouraging notice (he aUo proffered a
libretto, which was refused, on the 'tubject of
Koseiuszko), while Clara Wieck paw^ thr
common opinion on to Robert Schumann:
" [it) is said to be as Uke as two peas to Ikei*
hovcn'i Symphony in A major
Ybabs or Povrmv. — So far Wagner had
suUisted Oft the generosity of liis Jamily —
particularly his mother and Rosalie - aiwJ on
loans, which were setdom repaid, from h>i
acquaintances. In Peb. 1833 he attempted
independence un in Aurins a month -• the
salary attached to the office of dW* and OW-
riptfiipr at the theatre at Wurzburg. Thb
ap|M*intment lie obtained through the influ*
ence of hit brodier Albert, who was attached
to the theatre. He stayed at >Vurzburg for the
rest of the year. Among the 0|>eras which
he reljcariesi were M< yerbeer’s * Robert le
LiabU’ \ Marscliner’s ' |)er Vampyr ’ (rela*
lively new works/ and Ih llim's *1 j straniera*.
Per the latter twu wurks Wagner, editing after
the maimer of the peri(Hj,eoni|>osed addiinmal
muterial ffor Albert;. Thus he began to
acquire practical experience of scoring foe the
theatre. So far as his official duties were enn-
cerned he was i nergciie, ruthless — with llw
indiscretion of youth — with incompetence
and impatient of routine. During this year
he was at work on ' Die Keen ’ which, after
vacillations on the part of Kingelliardi,
Hauser and Stegmayer, failed to achieve the
desired Leipzig performance. At \Vur*burg
the Symphony was played (a? Aug.) and an
interesting occasional piece was an Adagio for
clarinet and strings, written for a local (riayer
— RummcL Affairs of the heart invidved
Theresc Kicgcl matin and Fricderike Oalvani.
In the spring of I B34 .SehruJer>Dcvrieni was
at Uipzi g agai n Her Romeo in • J Momrechi
cd i Capulctii ' moveti Wagner iinmeasur*
ably. He realized the greatness of the artist.
also the validity of Bellini s style. In J une
he comnLuted to Laube's ' Zriiung fur die
elegante VVell ' an essay which may be sum-
marized : •• We arc too intellectual, too
learned . . , wc have wandered farther and
farther from the path that Nfozart beat out
for the salvation of our dramatic music*'. He
criiidacd Weber. In Xov. he attacked the
indifference of ntuch contemporary singing in
-Schumann's ' Ncur Zciischrift fur Mudk ’. In
May t834, with Theodor .\pel, he went again
to Bohemia, dallied with the Parhl.a girb and
oITerided the eiiizni^ and polire of 'I'<*plice by
^iiigjjig the Marseillaise, a forbidden song, at
untoward hours. Here wa^ Ix gun the plot
of * Das Liebt’svvrlxM an extraction frum
' Measure for Measure * done up to at cord
with the free instinct of the" Vuuiig (icmiany”
sc hard.
'Ihrougli liie agency of .Stogmaver,
Mcri/rr at l<eip<cig, VN’agner wa< tit 1 <TC<J llu’
cnAduciorship of die opera at .Magdeburg •
a (Kwif assignment sslusb prefactxJ a (H'rjod of
unmiiigalrd lurd>lup and di^lrnis m sreund*
rale tlieaires in prosmeial towns. Puking up
his new CAin{ianv temporarily at luiui Iwt.idi
(where, after various disain'e<’rMenls, he con*
dueuxJ ’ Dun (imsamu Wagner fell slrtiin
to the charm* of Minna iLhrntiiie \\ilh<|.
miiw* llaner Sq>i. iHo.**, He ssus not
the hrst. for slw h.td had an illegitimate
daughter - Natalie in iHzlii neilber was
he the la»t, as eseni* wire soon to prose.
N Vagner was. os usual, energt lir ui Magde*
burg, ImhIi as opera and roneert UMiductor.
For New Year's Day 1835 Jk* wrote ‘ lleim
Anlritt des neuen Jahrm ‘ and on lo Jan. he
conducted the overture to ‘ Die Keen ’. An*
other coni ribu lion to the mu sir of the 1 bra (re
was that which he CMtn[X)sed for .\pei's
• Csilumbus '. In .\pr, Sehi.HbT.Dvvrirnt
appeared at Magdeburg. She appreciated
\^agn^r*8 talents rmire diaii hit Magdeburg
public did, and svhrn he adsertisej a concert
in which site was to take (lari on z May the
audience was exiguous and ihc performance a
fiasco. People did not belics'e ilui so great a
singer would agree to apix ar for so undistin-
gunhed a conducts and therefore stayed
away. After this N Vagner reireai<xJ from liis
creditors to Leipzig, where he spent the
summer uxKmpfoyed. In the autumn he was
rc-engaged at Magdeburg and r» lurned full of
ambitions, for the theatre there had gainetl the
support of the King of Prussia, The public,
howrever, was indifferent, and a caia»trop}iic
attempt in Mar. 1836 lo play ' Da* Licbes*
verbot ' led to free fights among the company
their dispersal and Wagner’s aixiication.
During this period he had become engagcrl to
Miooa. The marriage took place on 84 Nov.
1636.
After Magdeburg U'agner had attempted
entry mto the musical society of Berlin but
Without success. ' Das Uebcsverboi ’ was
unacceptable and there were no vacancies for
conductors. Minna at KonigsUrg, hotvevgr,
engjfseered an appointment for Jam in the
$6 WAGNER : Kooigsbcrg, Riga and London
theatre where she was employed. This
appointment was underiaken in ibc summer
of 1836 ' and lasted unci) the autumn of the
following ^rar, when he transferred to the
more prosperous Baltic town of Riga. The
year was barren of artistic achievement,
producing no more than the o\‘er(ure on
‘ Rule, Britannia \ the fragmenury * •* Die
gluckliche Barenfamilie ’ and minor journal'
ism. T)>c fallowDess of the period is explained
by domestic circumstances. Qparrels with
Minna, which had preceded marriage, reached
a climax when she. In desperation, went 10
Dresden logeilier with Dietrich, an amevous
merchant of Konigsberg. U’agner's views
a freer morality stopped short of his wife, and
he fell the blow at his reputation for sexual
eminence. But he pocketed his pride and
chased Minna to Dresden in June. After a
brief reconciliation Minna escaped to Dietrich
again and did not rejoin her husband until he
went to Riga. Sympathy on account of this
disastrous marriage must )k more or less o'enly
divided. \N’agncr was far from ideal as a
husband and hopeless in management of his
financial affairs. Like all geniuses he waa
absorbed in himself and, t before, in need of
an understanding *' wtiman. Minna, the
older of the two, had clutched at opportunity
only to discover that back*stag« low was a
deceptive guide.
During the period of Minna’s second deser-
tion Wagner went to his sister Ottilie Brockhaus
and read Bulwer Lytton's * Ricrui in which
he saw a potential subject for an opera. He
had his eye on Paris, where Meyerbeer was
making a fortune, and where he had already
sent a version of Kunig’s * Die Isohc Braut '
and the score of * Das Liebesverbot ’ for
Scribe to read and (he hoped) for Meyerbeer
and/or Auber to see. He aho had guaranteed
an engagement for the autumn at Riga, where
Holtci was director and to which his old
acquaintance Dorn had helped him. In Aug.
Wagner went to Riga and in Oct. Minna
rejoined him, bringing with her her smer
Amalie ; behind them came the creditonfrom
Magdeburg and Konlgsberg. At Riga
Wagner was Itapplcr than at any time pre-
viously, occupying himself with * RJenzi ’ t,
while Minna proved her contrition by effective
housekeeping {helped by contributions from
Amalie until she engaged herself to a Russian
officer) and by repelling undesirable sidvances
from Ilolici. Holtci. unscrupulous in general
* eoAiluetoeatup waj ietpcilvil br S<belnr».
•*r Rici. wlio, aclinc as lifvm was rtlucUM w
]«Avc Ims Kvniciberjr mhlrev. thus tar the (reawr
part el hit yrar in that lowrt Wapner was eT treeiiaa^
imporiaM*. In Apr, iaS7 h« wa« d> coeilrel. Sdwben
h*«in( retinrl. but i^irc dkaehrO m baoknipuir
tvithia t menth.
* A«i ] cemplewO by a F«b. (090 ; Aei II (is
brie acere) eetnpkictl by 9 Apr. iBsp, Mwer LyiMai’a
neval bad baen publbhed m i 8 u.
as well as in particular, went behind Wagner
10 arrange for him lo be superseded by Ctom.
Thus by Mar. 1839 \ Vagner was again uti-
employed. There being an cfFcclivc " iron
curtain ’* on the Russian frontier and the
acquisition of a passport being impracticable
because of (heir insdvency, the exodus of the
Wagners from Riga, assisted by their friend
Abraham Mdllcr of Kdnigsberg, was romantic-
ally contrived. This was on 96 June. They
went to Plllau, were smuggled ~ together
with (heir dog Robber — aboard the I'hctls, a
Prussian-owned vessel of little more than too
tons, and sailed for London, whence (hey
hi^ed to make for Paris. The voyage was full
of uncomfortable incident, all of which is
related by Wagner. 1 Compensation for the
discomforts endured came in the form of hear-
ing the legend of the ‘ Pliegender Hollander '
told by the sailors. This story had already
oome to ^ Vagner’s notice In Heine's ’ Memolren
del Herrn von Schnabelewopski ’.
The \N’agncrs arrived in London, hiving
been taken by tender from Gravesend, on tr
Aug. and lUyed at the King's Arms boarding-
house, In Old Compton Street, until 30 Aug.
Wagner tried (0 establish contact with Sir
Ge^e Smart (to whom he had oHcred 'Rule,
Britannia* two years before). Smart, how-
ever, was out of town. Wagner similarly fal led
to meet Bulwer Lytton. Having enquired at
the Houses of Parliament, he stayed to hear
the Lords debate. It was a pleasant week,
marred only by stringent hnancial limitations
and by *' the horrors of a ghastly London
Sursday ".
On 20 Aug. the Wagners crossed to
Boulogne-sur-Mer. On the boat they made
the acquaintance of Mrs. and Miss Manson,
Jewessa and friends of Meyerbeer, who gave
a letter of introduction to that composer.
Me)'erbeer, then the most famous and pro*
sperous of opera composers, happened to be
at Boulogne. Wagner looked forward, vvith
the naivety and self-con hdcnce marking hii
character In this respect, to an immediate
conquest of Paris and — through Paris —
Europe. He started propitiously. Meyerbeer
declared (he three acu of the libretto of
' Rienti ’ excellent and promised to examine
the two acts to which the music wsu complete.
He dispensed numerous Introductions — to
Moscheles and Marie Blahelka ; Duponchel,
the director of the Op^a ; Habeneck. the con-
ductor i Schlesingcr, the publisher, fly degrees
some c( these introductions and the further
eofttacu which resulted changed ^Vagner's
fortunes, but he still had to face three years of
privation. Duponchel may briefly be dis-
mised. He " adjusicd his monocle and read
the letter of lotroduction with the air of a man
who had seen more letters of the kind than he
> * akiM L^«n *. 1. 19a ft.
WAGN'ER : Paris, 1639-1 843
97
could remember. Warner went away from the
Presence, and never heard another from
the Director of the Op^a." >
Habeneck was more ui^uential. He may
be set beside Schr6der>Devrient as one who
made Wagner aware of greatness in music and,
in particular, of (he pre'crrunent, passionate
quaJiiy of fieetho\‘en. It was Habencck's per*
formance, with the ConserNaiotre orchestra,
of the ninth Symphony which revealed the
work as it had never before appeared, as one
of the greatest of works. Habeneck, although
he conducted from a first violin part, achieved
a precision of style that was then incomparable.
Habeneck did mote for > Vagner. ** Une
uuverture d*un jeune compositeur allcmand
d’un talent trds remarquahle, Nf. Wagner,
vient d’itre r^pet^e par Torchestre du Con*
servaloirc ci a obtenu lei applaudissemenis
unanimes. Nous etp^roru entendre inces*
simmeni cei ouvrage c( nous cn ren<lrons
comptc.” *
Schlctinger, a German Jew of great financial
acumen, used Wagner relenil^ly in hack*
work. The compilation of a ' School for the
Cornet«k* Piston ' {a still-born project) ; tlic
arrangement of airs by Donizetti, Hakvy and
such composers; the contribution of articles
to (he * Gazette Musicale * : all were proposed
by Schlesinger. Schlesinger may not have
paid well, but he was prompt — ev’en to (he
extent of making advances 10 the impecunious
Wagner on account. **You have already
begun ", wrote Wagner in 1B41, " to rabc me
out of my misery. Help me further now. and
you will find in me a man whose gratitude
knows no limit."
The passages in ' Mein Leben ' whirh deal
with (he i'arii episode make desperate reading :
that Wagner survived the experiences soasc-
queen un absolute poverty can only be atiri*
huted to bis supreme confidence in his self*
rt'cogniaed genius. He did, hosvevcr, enjoy
rnuch symiiathy and some support from
German expatriates witosc acquaintance he
made primarily through his brother* in*law
Avvnarius, a representative of the firm c(
Friedrich Urockhaus, who found modest
Mgings for the Wagners in the Rue de la
Fonnirllcrie (the house, since demolislied, was
said to have been the birihplaec ctf Moliire),
passed KicharJ on to the mysterious Anders,
an employee of the musical department of (he
lliblioihvque Royale and an occasional con*
tni)u(or to the ' Gazette Musicale ’.J Friends
of Anders to become friends also of >Vagner
were bamuel Lehrs, a classical scludar engaged
' N.1. 16M0.
Mu*«»Je <S« t»rk\ Ja».
An4«n, wHow indMUry haJ
• •i'Uo.xnt Uft «( • met wi«h ira bvW-
VOL. IX
by the firm of P. A. Didot, Crn&t Rie(^, a
paioter who had known the Geyers at Dresden,
and Ferdinand Pecht, whose reminiscences of
this period^ arc valuable in representing
Wagner’s personal qualities :
Theuch ««tlv iMMilV'di. lie thoHed sn aiiul^iiru
Ahd A re«oufveSuleeM mkH ^ J hsie never mri null .m
any Mhgr pn'teo. <<»upleJ Hilh a rtmrr ol
r^Wi^iMO and aai lAnale iMbiliw n( AAiurr luch \liat
Hiib atl Kn pMstvoaWons aaJ hit spdtklii.K Iw
ar«c* bresme Vivtal or vutear. I couhl noi (ml admire
ilw MtnKauuible rapaolv »iid timivih i»| will M i>,c
■un uhom no dhirru cmild diMoutJisr fer m«ir Ihati
4 MOMkmi, mIum confiiiencr m Im> ralrni nu tlitatirr
fcouU vanqHHh ... we «oukl cootole liim . . , iImi
( here »eT« tome nlio Isrlinnl im him, of nlioie smi]!
CMite hr ref unrJ (hr uaji>puied venire.
Wagner met l>aube again in I'aris and
through him Heine. Laube w’as gerwrous and
exerted himself considerably on ^Vaglier's
behalf, obtaining loans (which were rarely If
ever repaid) from his wealthier acquaintances.
.•\niong these should lie noted the I^ipzlg
merchant rVxenfeld, a Jew, Wagner's later
attitude towards Jewry may partly be ex*
plained by his frequent indehirdneit t lute in
and to an undmuivdable if rrproachabic
sense of jealousy at frrquem Jeuidi pr<npcriiy.
Wagner changed his best Uxigingx, at Ivaner
1840, for greater respecubilny at No. 35 Rue
du Helder. 'I'liis removal appeared warranted
as Oouin, whom he ha<J met through Me^er*
beer, had promised a |>roduciion of ' Uas
Liebesverbot * * at the i'h^itre de la Ucnais-
saiKc, but on the day of the removal Ant6nor
Joli, director of the theatre, followed pro*
cedent and became hiokrupi. hi the summer
of 1841 the \ Vagners, together with the lodger
(hey were compelled (o entertain, spent six
months ai Sfeudon, completing their stay in
Paris at No. 14 Rue Jacob. Laeh change of
residence was accompanied with unforeseen
trouble.
\Vork in Paris included an overture inspired
by Goethe's ‘ Fausi ', the completion of
• Kienzi a libretto on ' Dcr fliegendc
Hollander ' •, and with the 500 francs odered
as compensation for this the opera was not
only started but completed within seven weeks.
There were also some song settings, the most
notable, historically speaking, being Heine’s
‘Die Iwidcn Grcnadicrc’, with its concluding
Marseillaise. ITie nory ^ rannhauser, prob*
ably in the ‘ Deutsche Sagen ‘ of the Grimms,
and (he Lohengrin poem also came to Wagner’s
iKKicc a( this time. In June 1841 news came
of the acceptance of ' RIenzI ' ai Dresden.
Thii marked a change of fortune and within
«*innAmn4«a * (iCm*.
• Sosko de
19 .tept.. ^ ©vrrtuff wa* writlen on
!i w’ » deblOM' ^rUon> by
^ - * WvJCe, lO I >0)1 JMl”
SLTfcl 1 , 1 ^' 1 ° ' Fogch^r. Mumc w*
o
98
WAGNER: Engagement at Dr«$dm
the year ' Der fliegendc Hollaoder ' was,
partly through Meyerbeer's interest, accepted
for eventual production in Berlin.
Meyerbeer (though Heine cynicaUy syoK
patiuzed with 'iVagner as his prot^) was the
principal material inhucnce on Wagner's
career in Haris, but meeting Berlioz was more
inielleciually stimulating, Berlioz's music
was welcomed by Wagner for its novelty,
brilliance and sincerity — if he criticized il on
other counts — and the composer's idealism
stood out among the general mess of Parisian
intrigue. Ocher acquaintances were Hal^,
Vieuxiemps and Liszt, although the connec*
tions were hardly more than casual.
Drzsden, 1840-49, '^Wagner left Paris, with
relief, on 7 Apr. 1643. He had, in accoed^
ance with hU personal method, borrowed
the money for the journey to Dresden from
Kriedrich Brockhaus. He arrived at Dresden
on 13 Apr. and, having accommodated Minna,
left almost immediately for Leipzig to see his
mother, who was, like her son, much indebted
to the generosity of Friedrich Brockhaus. From
Leipzig he went on to Berlin, anxious about the
projected performance of *Oer Biegende Hol>
i&nder*. He interviewed Count von Redern,
who, however, had resigned the pest of intend*
ant in favour of Karl I'heodor t*on Kustner*,
and KUsiner had rcfuied the opera for Munich.
Wagner also saw Meyerbeer in Berlin, on the
point of leaving the city, Mendelssohn, as
always, inelined loindilTerence to Wagner, and
Kellsiab, the forbidding critk of the ' Voss*
ische Zetcung ', well able on this occasion to
live up to his reputation. After this depcotfing
excursion Wagner went back to Leipzig lo
stay with Hermann Brockhaus, now Pressor
of Oriental Languages, and to extract a
sufficient loan from his relatives to cover hk
living expenses until * Rienzi * should show a
return. By aB Apr. he was back at Dresden,
only to discover that the more influential
among the Dresdeners wished him again
safely distant in Parb. For Wagner was over*
zealous for the conservative-minded so far as
his own operas were concerned. * Rienzi *
presented many problems to the sialT of the
Dresden Opera*: it was very long and
exebions were necessary ; it was expensive in
dresses, more than 500 being required; the
music called for more elfori than Rebsiger,
the conductor, was accustomed to give; nor
did the orchestra take very kindly to the
demands which Wagner made. Fortunately
Wagner had his friends. Chief among these
were FUchcr, the chorus-master ; Ferdinand
Heine, In charge of the costumes ; Schrbder-
Devrient — even though she disliked her
assigned part of Adriaoo; and Tichatsebek,
' Od Kuiuwr** BMitiMl s ec qiwa tA «Scc R«d«rtt
w »e« Bs hii Avtfxtr for wx aeoUa {ur K>l. aisl*
* Bvili by Coiifricd S««i^ *nd opencO b) iBfc.
whose ccDinence to Wagnerian tenor parts was
to last f<^ many years. Count von Luitichau,
the Intendant, may have known more about
forestry than opera, but his handling of
>Vagner was not ui^nerous, while hb wife
was always helpful and considerate. The
king, Frederick Augustus II, should also be
remembered among those whose sympathy
was greater than Wagner really deserved.
Before ' Rienzi ’ was produced Wagner
visited Leipzig again, also Halle, where his
brother Albert was uTestling with the manage*
ment isS a poor opera house, and Teplice,
where he spent a holiday with Minna.
* Rienzi ' was played with tremendous
success on 30 Oct. It brought immediate
fame, so that an English Journal * could write
that “ ' Rienzi ', a grand opera in five acts,
the words and music by Herr Richard Wagner,
has been produced with immense success at
the Court Theatre in Dresden Afler
* Rienzi * Wagner was engaged with Schrdder*
Dewient in c^Kerts at Leipzig and Berlin.
In Berlin Wagner was again introduced to
liizt “as the composer ^ * Rienzi ’, whom
you now wish to know, afler having in Paris
shown him the door “ : $chroder*Devrient
was capable of malice, as is here shown, and
as Wagner himself was to discover. The rat
of the year was spent in preparation for ' Der
Aicgmde Hollander which was produced
on 3 Jan. 1843. It ran for four performanca,
waa regarded as perplexing and was taken
off. Heinrieh Laubc fell foul of this work,
and on it a friendship perished. Nevertheless
interesting material was contributed in Feb.
to Laube's * Zeiiung fur die elegante Welt'
in the * Auiobiofrap 3 iische Skizze
Two deaths at this time caused some con*
cern regarding Wagner's future. They 'vere
those of M^lacchi, the and
Rastrclli, the Mu$ik 4 irtki«r. Wagner wu
offered the succession to the latter, but, this
being the junior post, he refused it. In hb
letter of 5 Jan. he set out hb reasons, Le»
than a month later (3 Feb.) he was invited to
the senior vacancy. Herein he had :500
thaler* per annum and security for life. News
of the appmntment, however, brought the
crediion down from Magdeburg, KOnigsberg
and Riga. A loan of 1000 thaler from
Schroder* Devrient kept them at bay, and
Wagner, moving into new quarters at Osira
Allee 6, proceeded to purchase a library
commensurate with his intellectual jnicresu.
In 184$ there were difRcuUies with the
orchestra, who resbied reform, whether it took
* • The MuucaJ Ex»CToa« 13 Nev. , Thi*
•The hlev itej. ha^
o4«t« " whkh w» mu<h *i»»f daervedly appltMf<« 1
thiP w*. vilueU ihreujawK iht pwiek of
Wafw'a M as approiuakaietr eqMivaleoi ts 9**
£f^inb currcfiey.
WAGNER: Dresden, 1843-1646
99
the shdpe of conveying new life eo Mozstrt and
Gluck or of dismissing incompetent players.
There was desiructive criticism from the
press, which permted continuously from
1843.' Wagner also felt hurt at SehumannU
aloofness and Mendelssohn’s inditTerence. By
way of compensation, however, there was the
regard of Bpohr who conducted * Der
Biegende Hollander ' at CasscI on 5 June. The
same opera waa, lurprUingiy, conducted tw’o
days later at Riga by Dorn. In the surruner
two occasional works characterized the courtly
and public nature of the court conductor's
calling : a ‘ Festgesang ’ for \ci<o a *
in honour of the return to Saxony in 1815 of
Frederick Augustus f, and ' Das Liebrsmahl
der Apostel’* Ibr the Ijcdertaffl of Dresden.
A year later there was * (*rus$ seiner Tfeuen
an Friedrich August den (Sellebten The
administrative difhcuUies of public oBtee
always weighed heavily w the idealistic and
impetuous Wagner. In 1B44 he did not find
it quite easy to appoint Ruckel as his musical
director. I’he Iniendant opposed his nomina*
tion by adducing lack experience and,
rather unpleasantly, by indicAiittg royal loss
of coRfideucc in Wagner himself. Wagner
resigned, hut was persuaded to retract lus
resignation. About the same time his niece
had eome to Dresden to substitute for the
peripatetic Schroder* I >evrknt aisd to begin
a career of great disiinelton. On 14 Dee,
Wel>er was rcinterred at Dresden. At the
ecrcinony Wagner delivered the funeral
oration. But over this. tno. there had been
trouble. T’be religious had objected to the
Idea of reinterment and had l^ern seconded
in their objections by the Intendani, who
was sufficiently an administrator to beware
of rsiablishing a precedent. Other worries
centred on the court chapel, with which
Wagner had some official connection :
I'lic tM.I >f) ihr bwilduM mftr
I vranteU u> r«>»rve the
vf ih^ ntdieU/s. »<M femsia vqkm mmJ
irilr«nlMip tri)e church mwtK a As
• inccmri. I prc|tsrn| PakiitiiM’s * Siahai ani«r * •
^Ukgncrd wilier Ul niy cfTuiu raOcil.
At the l>egitining of 1844 (7 Jan.) ‘Der
liiegcnde Hollander’ was performed in Berlin
— at the bchauspielhaus in place of the
Opera, which had been burned diwn. The
result was not encouraging ^ Mendelssohn
was there but made no sign — for the only
positive support came from Karl Gaillard of
the ’ Berliner musikalische Zeitung Other-
wise the influential press was frigid. On 21
. 4* prwipsl criiK* vrrr« C-irl ftsrwk iXc
^.V^relVrt «inJ Juiiut S«hta«lcba£k, • fricMl of
» \V»>9«i« W'a«fKr «li(l fK>l meet «n i<rrw*» iaiiI
artdeil laipr,
• tr« WilKipf & H*iwl a, iat4.
...-hr ^’•***» wecilwt wW, 'Sineti
• i>e«.nninq nf .S4a r«M * M«j> UWn *. 1 ,
Nfai. ' Rieozi ' was played at Hamburg, but
other attempts to stage it — as In Vienna and
Coburg — were prevented by religious pre-
judice or economic caution, Wagner, how-
ever, maintatrted faith in himself In two
directions. He persevered \viih * Tanii*
haiiser', which w*as completed hy the spring
of 1845, began tbut never finished J ’ Die
Sarazenin V and started (in the summer
recess of 1843, u'hich was spent in recuperatlun
at Marienbad) on the text of ‘ Die Meisier-
singer *. On the other hand, he arranged
with Mescr to publish his w'(>rk> at his own ex-
pense. For the latter projrt't he teat again
compelled to seek loans, and as publication
was thoroughly unprofi table, he ran up large
debts with his jiubhsher,
* T'annhavsrr ’ receivrd its first perlortuanec
at Dresden on 19 Oct. 1843. De>pite their
limitations in psychological msighi, experience
and physical lieauty, T’ichatsrhck, Johanna
N Vagner and \t*ilhelminr SclinKJer-lJevrirni,
as Tannhauser, lUisalieth ami Venus rcsprei-
ivelv, plasvd bravely and after ih’o duhioux
performanres gave an authuriutive display
on the third night whiefi rame<l the o(>cra into
the common repcriorv. It should be rioi<s|
that the success of the o|xTa dc{>e:idrd, then
as now. on the occasional licmt - such as "(1
Star of Kve ” - rather than on the artiaiit
integrity of the whole. Kuuncr in Berlin
refused the opera, complaining that it was too
'* epic Such general lack of success (par-
ticularly in Berlin where, as in Paris, ri^yaltivt
were paid on performances) led to furihcr
ftiuincial catastrophe. Creditors, as always,
were in attendance -among them vulpine
usurers — but Schroder* Devh cm, piqued hy
the success of Wagner’s nicc«* and unliingcd hy
private troubles, allo^ved malice to overcome
charity by putting the maiter of her iooi>
thaler in the hands of her lawyer.
.kl this point I.uiiichau showed real vision.
He arranged a loan of 5000 thaler (at c, per
cent interest) from the Theatre Pension Fund.
Thus fortified, Wagner proceeded to introduce
Beethoven’s ninth Symphony to a nescient
public. His energy in this maiter was remark-
able. That the performance (5 Apr. 184b)
was successful, against all expectation, was
heartening, but the pleasantest tribute came
later when, after Wagner's departure, the
orchoira dismayed a new side of conservatism
by instructing Krebs to preserve Wagner’s
tempos. NVhile preparing this Symphony
VVagner was abo drafiing a memorandum on
the reorganization of the royal orchestra : a
pertinent and business-like document whicii.
alter a year's consideration , was tejee 1 cd . 'Jli c
rqeclioA of this memoran<lum inflamed
Wagner’s spirit, drove him to avoid his
colleagues, to hate the chicanery and incom-
petence associated with court administration
lOO
WAGNER: Dresden, i646-iS49
and to embrace a republkan^s philosophy,
lA^hich, in any ca^e, was oiher>v>se congenial.
The best of \Vagner's chaxacier was contained
in his altruistic efforts to improve the quality of
music, whether Gluck’s ' or Beethoven’s, or
his orchestra’s; to increase opportunities for
Ikcaring music (bis proposal that a winter
series of orchestral concerts should be gis’cn
svas, in facti adopted) ; to institute decent
conditions of employment fev professionjl
musicians under his control. Such efforts
were genuinely appreciated by a cultivated
minority, of whore the chief were Dr. Puslnelli,
a lifelong friend, and Marie, Countess
Kalergis, Both were among the fraternity
(visited by Schumann and Hiller on occasion)
designated as the Monday Society, in which
Wagner discovered much happiness.
From 1846 Wagner passed into partial
retirement, reading widely in Creek philo«
sophy, in German history and folklore, and
working at * Lohengrin ' (finished oS Aug.
1 847, in short score). At the beginning of 1847
Karl Gutakow — indicted as a '’Young
German ” in 1 B35 — became DrtmMkfg at
Dresden. Gutakow, an able man of letters,
had a dangerous recommendation: *' though
completely unmusical, [he) still thought him*
seif entitled to have an opinion upon music
and musicians, apparently on the strength of
the fact that his wife played the piano
Gutzkow not only meddled in opera produc*
tion, presuming to undertake Hal^vy's * Les
MousquetaiKS de la reine \ but abo in
intrigue. Wagner's reaction* to Cutzkow’s
attitude and to Luciichau's support ofCutakow
was to olTer his resignation. Luttichau refused
this, censured Wagner's reckless behaviour,
warned him that future indiscretions would
lead to deprivation of office and increased his
salary to 2000 thaler per annum. Lutikhau,
in fact, behaved more chan jusdy as ^ Vagner's
official superior.
In the summer * 3 t 1847 Wagner had had
high hopes of success in Berlin and of the
patronage of Frederick William IV, who had
been enthusiastic over ' Rienzi * and ' Tann*
hauser ' at Dresden in 1645 and 1648. Again
Wagner was disappointed. There were
royalties from three performances of 'Rknzi'
which he conducted, but Kustner felt under
no obligation to pay Wagner's expenses for
the two months in which he had assisted at
rehearsal. Neither was any prog r e ss made
with the king. The press was hostile.
The years i648>49 were, spiritually. criticaJ.
On 9 Jan. !848 Wagner's mother died. In
Feb. the Revolution broke out in Paris, followed
by disturbances in Vienna and Bcrhn. Wagner
was caught in revolutionary ardour in two
' * Iphiirnia in Aulii »» F«b. it*?.
* leuer le F(rdinin4 H«ine old Au(. ittss (N.l
449 >>
ways. On the one hand he drew up another
memorandum — again a model of clarity and
logic ~ entitled ' Entwurf zur Organisation
eines deutschen Nationaliheaiers fur das
Kbnigreich Sachsen ' * ; on the other he prC'
pared to merge himself with the emotional,
political aspect. The theatre plan was
defeated. It could hardly have been other*
tvise, for \Vagner, among other things, pro*
posed freedom of the theatre from (he control
of (he court and a " national union of com*
posers and dramatists”. On 15 June 1848
Wagner read a paper, compounded of historical
knowledge and visionary acumen, before the
Vaterlandsverein, su^esting the curtailment
of (he power of the nobles and the proclama*
(ion of a republic *' not by us, but by the prince,
(he noblest, the worthiest being; Jet him but
say : ' I declare Saxony to be a free state '
A storm eniued. Wagner was regarded as
politically dangerous. Deputations went to
(he king to demand his dismissal. Again
Luttichau proved his fairness by supporting
>N'^ner.
Debts still accumulated and Wagner ^vas
driven to seeking help from Uszt, ^vhose loyal
compaAlonship was then at its outset. AAer
a Nisit CO Vienna Wagner went to see Liszt at
Weimar. In $ept. the third act of ' Lohen*
grin' was performed at a concert in honour of
the good) anniversary of (he foundation of the
orcheura. ’Fhe performance of the whole opera
was not possible on account of the altitude
of (he nobility. During this period Wagner's
reading centred on Friedrich Barbarossa and
the * Nibelungenlied The proposed drama
on (lie former nes’cr reached maturity.
At (he beginning of 1649 \N’agner was much
concerned wi(h journalitm, and his contribu*
(ions to Rbckel's ' Vdksblaiter ' ^vcre emin*
ently poJidcaJ, The most provocative essay
attributed to him was that entitled ‘Die
RevcJulion which appeared in the issue of
8 Apr. Seven days earlier he had conducted
(be ninth Symphony. At the end of the
performance Bakunin, (he most notorious of
the fcvolulionarics, ” w-alkcd up to him and
said in a luud voice that if all the other mi^ic
ever written were to be destroyed in the coming
world conflagration, (his work at any rate
ought to be saved, esYn at the peril of their
lives ^ Vagner's association with the
Russian nihilist was firm and sufficiently com*
^omising to invite unwelcome attention from
the police. But there were other factors which
led to the issue of a warrant for his arrest and
his flight from Dresden.
* tVhkh ©ver Luukhau'i head lo OUrlaiftdee.
Miuwr «r Uw Jnicriof, who iueewedionw loWJyi"s
orw*te nwmhrn of ih« Chambrt of
Kkhv^ Wieim* b> H«i»ioo Ch^lxHam.
ft. ssa IT., whm tb« spttfh (pwblithed olw >0
br^dn • Aftzewrr •. i.l Jun« iW)
* N.ll. ».
WAGNER: Exite
101
He WSA intimate not onJy tsith Bakunin, but
also Heubner and Rckkd. He auended
secret meetings at the house of Naumann,
editor of tbe ‘Zcitung’, which was the journal
of the Vaierlandsverein. Wafer's interest in
tbe arming of the people was talked about as
far away as Leipzig.^ He had, in fact, before
Easter and together with Rockel given an
order for a supply of hand-grenades. A letter
sent to Rockel in Prague, discovered on
Rockel at the time of his arrest, suggested
previous knowledge of the revolutionaries'
intentions. All this was before the actual
revolution, which broke out on 3 May. The
cause of the revolution, the defeat and dis*
persal of the provisional gov’cmment by
Prussian troops the flight of Wagner, Minna,
the dog and the cockatoo; of Bakunin and
Heubner: the capture, trial and imprison*
menc of the latter pair of conspirators; the
escape of Wagner from the law*, are all
described in memorable narrative in ' Mein
Leben
Immediately Wagner went to IJszt at
Weimar, and, hidden in a box, listened with
picasu re to a rehearsal of * Tannhauser But ,
after ig May, when a warrant was issued for
his arrest, ^Veimar could rtot afford saiKtuary.
So Wagner maile for Switzerland, arriving at
ZUrich,wltha false passport and aft era perilous
journey, on a6 May. Minna was left tempo*
rarily at Dresden, to which she had returned.
Wagner was penniless; hia debts at Dresden
were enormous.
Exile. — Wagner's banishment from Cer*
many brought notoriety, which, for more than
political reasons, persisted and intensified.
But witJ; increasing notoriety came also in*
creasing fame. For this l.iszt was initially
rrspoiuiUlc. Hut there were other friends of
the first Swiss period whose devotion and
encouragement Ixcame part of the composer's
achievement. As for NVagner himself, the
decade which followed the Re>’olutiun at
Dresden deepened his character ai>d his con*
victions in every way ; so that on the one hand
his cgoi<m in personal matters became
extreme, while, on the other, the conceptum
of ‘The Ring' and the necessity foe Bayreuth
formed an artistic intention of an unrivalled
magnitude. The Zurich days were notable
for prose works written as a prelude to this
period of conKlous artistic volition along an
entirely new path
When first he went to Zurich, however,
« agner’s foriune was not so clear as it was to
Ixeome within two or three years, He still
hankered after a career in Paris, where he
’ ^ Iplier front Mocirs Hauptmann lo Fran* |f«tH
S f«w 1049 loiMWcd S IJ. 44 ).
nr.i W*eiK» ob<tAed 9lM*r4% Irom 1
nnhi^r Rotnpirt. whith he poufd. umiLciI “ Arv t
vniii ui aatintx the foxizo uv9p«? *' '
t. fl.
went in June,^ LUzt had published an cn*
couraging essay on ' Tannhauser ' in the
‘Journal dcs Debats’ (to which Berlioz had
contributed a peol<^e) and had introduced
Wagner to his secretary', Belloni. Wagner
duly met Belloni and saw Kfeyerbeer again, as
well as old friends in Kieiz, Anders, Gottfried
Semper and \Vilhelm Heine. The two latter
were, like Wagner himself, political refugees,
Oil 19 June Wagner had word from .Minna
proposing, angrily, permanent separation.
Sympathy at this Juncture must be rmlrciy
with Minna, whose existence throughout ihc
events at Dresden must have I>een beyond all
reasonable endurance. Her i mention to
leave her husband teas, however, caiieeUcd
within a month, and in Sept, she arrived at
Zurich to set up house. She was able to
arris^e only as the result of a donation to
Wagner of 100 thaler from the Grand Duke
Karl Alexander of Weimar, obtained through
the intermediacy of laszt. Sctilrd at Zurich,
SVagnrr dealt wiili hii * Die Kuiisi und die
Ke>'olulion which, refused in l*4ri>, was
publitlied by Oitu Wigand of lycip/ig. He
abo rcvi\*ed for puIsJicaiion ' Die Wilscluiigen'
(written at Dresden m td^). During this
autumn the pliilosuphic writings of l.udwig
Feuerbach assisted the composition of ' D,ks
Kunstwerk der ZukunR 'I’he pamfthlci was,
in fact, dedicated to Feuerbach, whom
Wagner, without success, invited 10 Zurich in
lO^c. The immediate result was the label
attached by BiseboJf, editor of the * Klici*
nische Mutikzeiiung ', to NVagncr'i ^ukvii/lt^
miuik (music of the future). A dramatic
sketch as for an opera for Paris — ' Wielatid
dcT Schmied ' — also arose from the itiierrst
in Feuerbach.
Appreciation of NVagner came jurticularly
from the Ritter family — Karl and Alexander
were Dresden friends of Hans von Bulow, and
ihclr mother became a notable benefactress •—
ai^ from Jessie Laussoi (born Taylor). Frau
Ritter and Mme l.aussot — a pretty young
Englishwoman in the early twenties marrted to
a Bordeaux merchant — subscribed a donation
of 3000 frartes. Frau Ritter cominued her
generosity and from i6^s to iSgC made an
annual allowance of 9400 marks. Early in
1830 Wagner was again in Paris with plans to
dramatize ‘.Jesus von Nazareth’ and to write
a drama (which he had noted as In his head in
his last days at Dresden) on the subject of
Achilles, but neither matured. On 15 Mar,
Wagiser went to the Laussois at Bordeaux.
Taking advantage of M. Lau&sol’s business
engagemenis and Mme Laussoi's inexperi-
ence, he made love to the latter, Minna,
ittai HMeobach, iwo rational
^rriar*ft 10 «hoA W>:ncr wa 5 inun<lu<eU bv Hit
tnenA Akxaitdw MwIVt aivd WMhHnt BaunizaflAar
•fT«ne«<l a paiapMf ,* Mein UbmM, sus;.
!02
WAGMER: Zurich, 1850-185#
whose injunctions thdi he should substitute
$ie ” for Du " in correspondence had failed
to recall his conscience to his marriage vows,
made for Paris and her husband. He to^
avoiding action and retired to Villencuve
on Lake Geneva. Early in May he wrote
announcing a journey to the Middle East.
This did not materialize; Jessie Lauasot (who
had half-promised elopement) returned to the
security of her home, and by July the Wagners,
through the good c^ices the Ritters, were
reconciled. On #8 Aug. ' Lohengrin * was
given (if imperfectly) at Weimar. Lisst chose
happily, and deliberately, Goethe's birthday
for this attempt to re-establish Weimar as a
centre of enlightenment. His evample — the
production of Wagnerian u^orfcs with limited,
provincial resources — was followed widely.
Schwerin, Breslau, Prague and >Viesbaden
took * Tannhauser ' and in so doing spread
Wagner's fame far afield. There were ap>
preciative notices of * Lohengrin* in German
and French periodicals. At the same time the
Saxon police were kec^Kng watch for any
political activities.
By 1 a Aug. ' Siegfrieds Tod *, in mind for
the previous four years, was complete so far as
the libretto was concerned. There were noted
also pouible themes for the music. Ac this
stage the music was cast conservatively after
the manner of the earlier operas.' Intellectual
and philosophic examination of the problems
invoh ed occupied a year or two. at the end of
which \N’aener embarrassed lisst by explain*
ing the full scale of his dramatic intentions.
On 3 May 1851 the Weimar court oflered 500
thaler for * Si^rieds Tod ’ — to be completed
by I July 1853. A fow days aAer his com*
mission ^Vagner, doubtful bmh of perfe r roers
and public, announced to Liszt that he
intended a prefaiocy work ~ ' Dcr junge
Siegfried ’. This text was accomplished in
June td5l. Later in the y’ear letters to
Theodor UhJig* gave promise of ''three
dran\at, with a three-act V«rspifl. If all the
German theatres tumble down 1 wiU erect a
new one on the banks of the Rhine, call
people together and produce the whole in the
course of a week". This shape of things
to come exhausted Liszt's potentialities at
>Veimar, and by so Nov. it was made clear that
Wagner must go his own way, independent of
\Neimar. What Liszt had done for Wagner
was fully and gratefully recognized by the
latter : "... and 1 frankly denote you as
the creator of my present position, which,
perhaps, is not without promise for the future".
By Mar. 1&52 the book of 'Das Rheingold'
was finished, by 1 July that of ' Die Walkure* ;
at the end tA that year the earlier parts of
the * Ring ’ became ' Siegfried ' and ' Cotter*
* St* N'.II, tss-av
• U(im ef <*> Oei. amA 3 Ne\*.
danuaerung When the full scheme was
before him Liszt reminded Wagner of the
direction from the Chapter of Seville to their
architect: " Build for us such a temple that
future generations will say that ilte Chapter
was crazy to undertake anything so extra*
ordirtary
The history d the years of fulfilment en*
hances the miraculous process which produced
the ' Ring '. In 1850 Wagner embraced
literature not ^y to work out his spiritual
salvation but also in the hope of ameliorating
his financial vtuation. In Sept. ' Das Ju*
dentum in der Musik ', which gave considerable
offence and which was (and may be) con-
strued as the outcome of envy — particularly
of Meyerbeer and Mendelssohn ~ was printed
in the ' Neue Zeitschrift '. It was signed R.
Friegedook. Not for the first time Wagner
bid behind a nm dt gwrrr. The book ' Oper
und Drama' (wherein Meyerbeer was again
treated without tenderness but not without
justice) ai^arcd on 16 Feb. 1851. By this
time W^ner had established himself as a
conducts at Zurich, had invited both Karl
Ritter (without success) and Hans von Bulow
to share conduciorship with him, had esiab*
Ushed a firm friendship with I'heodor Lhlig ^
whose ankle on Meyerbeer in the ' Neue
Zciuchrifi * had given him much pleasure —
and had been delighted by Liszt's recent
ankle in the Leipzig ‘lllusirierie Zciiung* on
'Lohengrin'.’ UhUg undertook the prepara*
lion of a pianoforte score of ' Lohengrin'. In
the summer of 1851 Uhlig visited ^^'agner at
Zurich, and the two friends spent a holiday
together in the Alps. On 6 Aug. another
significant prose work was finished — ' Fine
Miitcilung an mcine Freunde This he had
(4 June) offered to Breilkopf & Martel, who
had undertaken publication of the score of
'Lohengrin'. ' Kne MiticMung', an intro-
duction and explanation of his three opera
texts, was bought by Breilkopf for too Rorins '
From 16 Sept, to #3 Nov. Wagner was at
Albisbrunn for a cure. He was boih nervously
and (rftysieally debilitated.
In 185# the subscription concerts at ZOrich
flourished (between *851 and 1855 Wagner
conducted ## concerts ^ the Music Society),
despite the limilatiorts of the local orchestra,
which SVagf>er charactcrisiicaliy endeavoured
to overc^ne both at his own expense and by
drawing up an excellent scheme which would
draw on the public purse. His efforts were
not appreciated by the permanent conductor,
Franz Abt. On the other hand Maihilde
Wesertdonk, who with her husband had met
Wagner at Marschall von Bicbersicin's in the
• Poblghnt (list) lofeUtM ihe «riu;le
* TanAkaw«ef * br BraeUtsw.
* The rteri" (Aunrisa) '** "
EAflek euweney.
WAGNER; (853-1655— Conducting in London
103
autumn of 1850, fell completely under
Wagner's spell when she heard hU perform*
aoce of Beethoven’s eighth Symphony. Late
in Apr. * Der Hiegende Hollander ' had had
four performanees at Zurich, and it would
have continued but for the theatre's oilier
commitments.
The principal associates of >Vagner at
Zurich were Geont Herwergh, the poet, Goti*
fried Keller, the novelist, Gottfried Semper, the
architect, Professor PUlmoUer, whose advice
on F.ddic literature Wagner frequently sought.
Dr. Francois WtUe, a former deputy in the
Frankfort Parliament, and Frau VVille. At
the NVil let’s house at Ntarienfcid the text of
' Die W’alkure ’ was written in June 1653.
"'Fhe acquaintance with the NVesendonks was
the means of giving me the eiiir^ to a dehghi*
ful home which, in point of comfort, was a
great contrast 10 the usual run of houses
at Zurich." ‘ The especial nature of this
acquaintanceship led to domestic complica-
tions in the course of the next few ^ran.
The years 1853 and 1854 were prosperous
In so tar as reputation svaa eojieemed, Imt
pleasure in achiev*cmen( and in personal
happiness was mitigated by iU-heaUh and by
Minna's heart disease which, in the summer
of 1854. caused W’agner the (rouble of staying
with her for some weeks at a guest-house at
Scelisberg. He endured this, so he wrote, w lih
great patience . Minna, how ever, regarded hi m
as a disturbing element. F.arly In 1853 Lhlig
died. The loss of this friend was deeply felt.
On 16 pel). 1O53 Ltut produced ‘ l>er
flicgende Hollander’ before a most disiin*
guished audience at ^Veimar, and in May,
with ihe coll al>orat ion of the Musical Society,
there was a W'agner Fesilval at Zurich, at
which the composer wra rapturously received.
Another spur to fame came with the publica-
tion, early in 1854, of Joachim Raff's ' Die
Wagnerfrage ’. At Basel in the Oct. preced-
ing a group of Wagner neophytes — Bulow,
.]r»achim, svho had led the Weimar orchestra
in ‘ Lohengrin ', Cornelius, Rem^nyi and
Richard Fohl among them — under the
direction of l.lsxt, greeted the master. In that
summer \ Vagner travelled to Italy and aho
went with I.ii.tt to Paris, where he met Liszt's
daughter Cosima, aged sixteen (16 Oct.) and
her elder sister Blandlne, ^ interesting
rneeling was with the son of an old friend
Count Tyszkiewicz. At the end of the year
an attempt to sell the performing rights
of * LuKengrin ' to Breitkopf & Hartel was
frustrated by the conserv’ative element at
Leipzig, headed by Otto fahn. This was
followed in Jan. by a wholly inadequate
^rformance of the c^ra in the same city.
Leipzig did not serve Its natis-e composer svell
at this time.
W'agner was powerless to return to Germany
— the Saxon police had again announced his
liability to arrest — much as he w'ished to do
so. In 1834, through Herw’ergh, he dis-
covered Schr^^hauer's ' Die Writ als \V<Uc
und Vorstellung 'I'his w’ork exrrcistxl a
powerful inlluerKe uis pessimistic ami ultra-
romantic tendencies may be ss’cti lo be in
accord with Wagner's slate of ntind In rOj+L
in token <4 which ^Vagner sent to .Scluq)cn-
hauer a copy of the * Niliehmgi'n ' pi»r*m.
inscribed " NVllh Rcs'crcnte The indu<*n<'i*
cfMalhildr Wesendonk was equally powTrful.
Fnr her \N'agner had written a link* Sonata in
1 653 ; to her cry'pi ic references a re made in t h c
text of ' Die Walkurc ' * ; and from sontact
svith her arose sonic of 1)10 f<'«’ling whirli
in^ired, in 1854, the idea of * 'I'ri>laii und
Isolde
In Jan. 1855 an unexpected inviiadon came
for V^ag^<T to csNuluct the seastm's ronrerti *
foe the I’hilhamionic Society in l.(>ndon. I'Ik*
fee olfered was /C'^ofi. The season in t.on(lnn
was mK wliolly surces>ful. Kehr.ir^«il time
was inadequate, trisiaiitis^ were, by cu^intn,
interspersed in the (irogrammes aii<i nio«( of
the critics prejudged Wagner hy ihe I'lerct*
reputation which liad iireieded him and by
distortion of his views on Judaism. (*<H>rge
Hogarth was tolerant and personally agree*
able, but the rest of the press took its lead
from Davison of 'The Times', who, affrontH
that \ Vagner remained obstinately indlirereni
to hh greatness, fulminated against the nrw
musk. Davison thought Sterndale Bs’nhrit's
reference to Wagner's " vac/ran music ” par-
ticularly happy.
Of Wagner's music LoiHlvn heard selections
from ‘Lohengrin' and the overture to ‘Tann-
liauKr’, which the queen and the prince
consort came racially lo hear and about
which they adopted an opinion contrary to
that of the press. To t he honou r of the O im Ion
public it should be mentioned that they aho
defied the press and gase Wagner a tremend-
ous ovation at his final concert. Among those
who particularly looked after Wagner were
Sainton, leader of the Plillharmonic orchestra,
Luders, who lived with Sainton, and Klind-
worth, a pupil c^ Liut. As Berliua was in
London eonducting for the New Philharmonic
Society, Wagner met him for the first lime.
There waa, by chance, a unewlrt with Meyer-
beer at the house of Mrs. Howard, secretary
of the Philharmonic Society. " Meyerijeer",
said Wagner, “ was absolutely paralysed w hen
be saw me, and this pul me into such a frame
of mind that we found it impossible to exclianze
a word." *
• 5mn.1i. «as.
, * broucki lUr lubject to Watiier’s notJee
(we Mmi Lehnt . It. $171.
* 1* * *4 Mif., 1$ k y> Aftf ., 14 & »B NU» snU
' MeiM (.«ben II, $74.
*04 WAG?*fER: ZQrich» *655-1857
By 30 June Wagner, 1 000 francs * in pockei, Wittgenstein and her daughter Marie. During
was back at Zurich. He then went to Seliv the end of July and Wagner was at
berg for Minna’s sour>mi!k cure, where he Mome*. near Geneva, undergoing treatment,
engaged on a fair copy of as much of ' Die That this was effeciive was due to Or. Vaillant
\Valkure’ as had been completed In score. A (consultant to Lablache and Rossini in Paris)
letter from Bcrlioa and a copy of ' Les Soirdes on the one hand and the novels of Scott on the
de rorchesiTc ’ gave him pleasure, as did a other. Of the latter Wagner shared Schopen-
visit from Robert von Homstein and Karl hauer’i high opinion. While on holiday he
Ritter's Iniimatior; that he and his wife pro^ sketched plans for a new house, to be built out
posed to winter at Zurich. On 10 July the of the projected sale of the whole of the
dog Peps — the successor to the more cele- ‘Ring* to Breitkopf & Hartel. Wagner
brated Robber and almost the only common a^ed 40,000 francs, but the negotiations fell
interest betuxen the Wagners — died. This through.
calamity affrcicd Wagner profoundly ; the The ideal of a secluded home was, however,
next dog, fips, a present from (he Wesendonks, realized by the extreme generosity of Otto
never caught his affection to the sante degree Wesendonk who, in 1857, purchased an estate
and became more attached to Minna. and biiilt a mansion thereon in the Engc, a
Between ra Aug. and the end of the year fuburbof Zurich and on the lake. VVesendonk
' Tannhauscr ’ was played nlrtc limes at bought an adjoining cottage for Wagner’s
Munich, and in the following Jan. personal use and let it to him at a nominal rent. By
and political prejudices had so far been over- Apr. Wagner was glad to move out ofZarieh,
come in Berlin that (he work was given (here, for noisy neighbours had driven him near
Wagner complained of (he general Biuncial distraction as he tvorked on (he 6rs( act of
arrangements (he was quite unable 10 appreci* ' Siegfried *.
ate the control exercised over Dlngehtedt, Hopes of a Weimar performance of the
Intendant of (he Munich court theatre, by (he ‘Ring’ vanished during (his summer, nor was
Royal Exchequer) and was further vk'orrW by (be grand duke effective in obiaining an
painful bouts of erysipelas, ^vhkh he un- amnesty by which Wagner might return (o
generously attributed to the contagious atmo- Germany. A new patron at this time ap*
sphere of I.nndnn. During this winter Wagner peered in the Grand Duke of Baden, whose
endured not only physical but also spiritual interest, and that of his family, was stirred by
discontent. ‘Fhe latter showed itself in with- Eduard Devrient, a friend of Dresden days,
drawal from publie life and in contemplation now Iniendani at the Carlsruhe theaire. This
of Buddhist philosophy.* The pure love grand duke also promised to support Wagner’s
motif both of ‘ Die Sieger * and ' Tristan *, plea to return to Germany. In fact relations
also much In mind, and the supreme union of with Carisruhe were as fruitless as those vrith
lover and beloved in resignation of the world Weimar. Nevertheless, work on ‘ Tristan ’
held Wagner’s present imapnaiion, for, u the proceeded — i( was thought of as a prarnVei/r
pattern of his life worked itself out, true self* opera — particularly under the stimulus of a
acluevement appeared possible only through commission purporting 10 come from the
renunciation. The climax of the Wesendonk Emperor of Brazil (rie the Brazilian consul at
affair \vas soon to come, and its end was fore- Leipzig) for an opera for Rio dc Janeiro. This,
seeable. Wagner turned to ' Tristan * in hii (00, miscarried, fn the summer of (857
blacker moods ; in phases of convalescence visitors included Hans von Bdlow and his wife
to * Walkure ’, which was finished in Mar. Cosima (they were married on 18 Aug.),
(S56. Two months earlier a loan of 1000 Praeger from London, Robert Franz and
francs from Liizt had assisted some of Wagner’s Richard Pohl. To the last-named Minna con-
indebiednc&s to be transferred where it could hded her matrimonial problems which, by now,
be more sympathetically carried. Despite the centred on the increasingly obvious entangle*
help given in accountancy by Jakob Sulzer, meni of her husband with Mathilde Wesen*
there was no more order in Wagner's finances donk. The five settings of poems by her, the
than there had ever been. At home, however, music of which relates to 'Tristan ’, date from
there were pleasant evenings when friends the latter part of (his year and are in them*
gathered to hear the shaping operas. Among selves indicative of a relationship clearly pro*
them, in 1856, were Tichalschek, Wagner’s vocative of disturbing interpretation. Mean-
sister Clara, Liszt — (hough unwell — 10 while Breitk^f & Hartel accepted ‘Tristan
gethcr with the Princeu Caroline Sayn- and by the end of the year Act 1 was com*
• Th« franc Ir. * O(l«nof too Imu foe lvv« y«an. oftrt which the
* « * (air<Kiu€tion a da Baod- pcoAu wvrr lo be thsMi : Wsener hid demanfleO am
J)kisme ‘ iniemted me mow amone 0*7 boeb. | d’tr (* hlem Lebcn \ (I, 6^9 7®)* (The 'mtf d ^
found matenal m It for a dramatk poem which hat repUeed the llo) »a-frane ^ece •"«* wa* in circMi^ea
waved in my miml ever wnee. th««tf h eoly vaeuely ihroa«heu« Europe. TTteee ww /jm* 4 •* ed diHmn*
sketched. 1 nuiv «ill peihap* work <l oui. I cav* it deoeotiaaiiooi raoroe m value from apprOKimaieiv
the ink of ' Die S*eirer ‘ ” (• Uein Leben *. 1 1. 1 5 »- Co Z** J
WAGf^ ; Mathikl« \V«$««Mionk
105
plec«d. Wagner's state of mind during this
period is thus recoUected :
... I dr?cl«p*d s drcMT. iir»«raM snnioa foe
rctirmcot. Wors. lone lo oU wind* om wooibrn.
^coin^ (peat in (CMins Colder^ — Mch wm oiv
mode c( tile. if i( wot dislue bed. I was llutmit iMo
tbe deepe>t (late of irriudon.
A breakdovm appeared imminent. On 33
Dec. Wagner performed, beneath Mathilde's
windov.', an orchestral arrangemrnc e(
' Traume '. It was her birthday. In Jan. he
w'ent to Paris, apparently on business, but in
fact to free himself from Maihilde — at least
temporarily. "I am", he wrote 10 Lisat, "at
the end of a conflict in which everything that
can be holy to a man is involved. I must come
to a decision. . . ."
On the way to Paris Wagner heard, with
emotion, a fine performance of the * Tann*
hauser ’ overture at Strasbourg. In Paris he
met Berlioz — the encounter was unsaliv
factory, Wagner being unable to disguise his
distaste for ' Lcs Troyens and Berlioz being
turned against Wagner by his wife — ami
Mme £rard. The latter presented him \«ith
an £rard grand pianoforte. Such buslnev. as
was conducted in Paris led P.mile Olllvier,
Liszt's son'in-law, to undertake the sur*
velUance of Wagner's Interests In respect of
performances of his worb in Paris. In Mar.,
back at Ztirlch, Wagner conducted various
movements front Beethoven's symphonies at
the Wesendonb', On 3 Apr. he sent the first
act of 'Tristan* to Breiiko^ & Hand. Four
days later he wrote a note to Mathilde to*
grihcT with the sketch of the prelude. The
note was Intercepted l)y Minna and, while not
particularly compromising, It served to loosen
her pcnt'up emoriuns. Inevitably there was
a scene — or rather a series of scenes. It
is probably true that Wagner, immersed in
philosophy, was unappreciative of the sordid
comment possible on his association; it h
equally true that Minna's behaviour was the
consequence nf exhaustion, both physical and
spiritual. Minna may not have understood
the metaphysical aspect of the affair, but
in the physical she was expert. She behaved
neither well nor 111. but naturally.
After the cataclysm Minna was despatched
— for a "cure" — to Brestenburg ^ the
Hallwyler Lake. The Wesendonb escaped
from local gossip to Italy. During Minna's
absence Wagner met, at Lucerne, the Grand
Duke of Weimar, who still expressed imerest
in the ' Ring ' and asked for its eventual
production at Weimar. But words were too
insubstantial a token and, in any case, List
and the duke were hardly as congenial to each
other as they had been. A new friend was
Karl Tausig, sixteen years of age, briUiant,
precocious and talented in the extreme.
Wagner found much (Measure in hb company
and, encouraged by prospective productions
of ‘ Lohengrin ' in Berlin and ' Tannhduscr '
in N’icnna (at the court theatre), and by visits
from the faithful Tichatschek and a new tenor,
Niemann, continued the second act of
'Tristan'. On 15 July Minna returned,
greeted by a triumphal, ^o^ver•bcdcckcd arch
which had been erected by the servant. For
a month the \ Vagners liv’ed gloomily together,
entertaining guests who — as Bulow recorded
— found theimelves embarrassed by dissension
and recrimination.
On I? Aug. Wagner left his ‘‘Awl" and
went, by way of Geneva, to SVnice. He staved
for some monihi In Italy, reading, sight>secing,
convalescing, 'vorking fitfully on ' rritian
Minna was at Dresden. Wagner wrote to
lier and to Mathilde, miseral>ly, egoistically,
endeavouring lo explain ihe Inexplicable.
Minna had the clearer vlsinn. On 2 Aug. she
had wriiieii to Frau Herwergb: "Richard
has two hearts: he Is cnsnaretl on the other
side aisd clings to me from h.abli, that Is all ".
'Fhcrc was, as usual, the other side to his
rorrespondence — ‘‘ wuh the objeet of procur*
ing the necessary means of subsistence, which
at (hat (hue, osvlng (o the divided household,
made no small calls upon my purse ". ‘ Mein
l.ebcn ' omits his recourse, during that winter,
to the pawnl>rokcr and gives no hint of the
desperailon of his mx A reur to Liszt. " Tell
them (ha I Wagner does not care a curse for
you all, your theatres, even his own operas;
he needs money — that is all!"' There
were also letters to Luttichau and to Bclir, the
new Minister of Justice — politely but dls«
eouragingly answered — seeking a return to
Saxony. The fugitive hunt intensified. The
Viennese chief of police, Haron von Kempen,
had ermdnually tried (o force the Venetian
authority to uke action, but the local couti'
cillor of police, Angelo Crespi, was more
sympatitelic to Wagner than to the supervisory
Austrians, By 3 Feh- however, the
pressure of ihe Viennese, together with critical
political developments in Italy, brought a polite
request to Wagner that he should leave Venice.*
On 33 Mar., after caking leave of Karl Ritter,
who had been with him a great deal In Italy, he
set out for Lucerne, where he decided to settle.
>Vagner remained at Lucerne (in comfort-
able rooms generously pul at his disposal in
the Hotel Schwcizcrhof) until the beginning
of Sept. cmly. By 6 Aug. the third act of
'Tfisun’ was complete. During the summer
Wagner was obliged, under legal pressure, to
sell his rights to Muller of Dresden (successor
to Meser) of the three operas wJiich had been
Jr*" ** ^ >• L.»*i haviHt c<Mx»<(
(o ihr dedKaiivn of • Diane d« Salan«« '
bv (he Duke Emsi tt of Saxe.’
ft a
* At the wme time advice wat fiven that a (cqueti
f!**JI*®*^'****'.“ Archduke Maximilian
3L L? JS *ir*S ***“'"• *»*» Wwnt of hi. |,eal(li,
woul4 pcoUabir he craAinl.
io6
WAGNER: Paris, i860- 1861
published there. The 9000 marks they real-
i2ed went to the imponunaie Krieie and an-
other creditor. \ Vagner understood that he
sliU possessed the French rights in these works,
in the event of the music’s being published in
France. In effect he was later to discosYr, to
his chagrin and to the disappoirttment of the
sympathetically disposed French publisher
Flax land, that he had unwittingly disposed of
such rights. But the possibility of success in
Paris — the direcior of the Theaire-Lyrique
had already shown some enthusiasm for pro-
ducing cither * Rienzi * or ’ Tannhauser ' —
brought ^Vagner to that city when undecided
as to his future in the summer of 1859. There
was another point : curiouslv Wagner, after
a ) car's separation, wished Minria to rejoin
him. On the one hand this arrangement
\vould be more economical ; on the other the
habit, to which Minna referred, was difficult
to break. \\’agner reached Paris on 15 Sept.*
and took, on a three-year agreement and ai an
annual rental of .4000 francs, ** a nice little
villa — 15 Rue Newton — near the Champs-
£lys(es. {Needless to say the interior needed
much expenditure to make it habitable, and
within a year the municipal authority pr^
ceeded to effect street improvements and to
demolish the house).’ The house w’asset up
richly ~ for Minna's sake. ** On account ^
this ”, complains Wagner, ” I was after^vards
reproached with a love ^ luxury.” Minna
arrived — with dog and bird — in Nov. In
Oct. U'agner liad noted with regret the death
of Spohr. In Not*, his old friend FiKher died
and early in the new year Sehrudcr-DctTlent.
The trials which VN’agncr endured artistic-
ally at this time were severe. Instead of the
aniieipaied triumph, disaster followed disaster.
Initially Carvalho gave hopes of a perform-
ance of * Tannhauser ' only at a distant date,
when his new theatre should be built. Then
there were tiresome negotiations to obtain a
theatre where conecru (of which three, choral
and orchestral, were planned) might be given.
The Thfktrc-Iialien ^formerly the Theatre
de la Renaissance ~ was engaged, artd the
eonceris were given on 95 Jan., 1 Feb. and
6 Feb. 1 Q60. The press, much Influenced by
Mc>'ccbccr, was consistent in opposition to
Wagner, and his losses on th^ concerts
amounted to t c,ooo francs. Some part of the
expenses up to date had been covered by
Schotts, who had purchased the copyright of
' Rhcingold ’ (by arrangement with >^*esen•
donk) for 10,000 francs.’ If the press w‘as
hostile ~ Wagner had, with dignity, asked
* The iourney money camr trofn SVafnaenk, w}m>
hsd offerra to pwr<‘ha$« ihc ' ftiof *, in ifuLabDcnU, fiw
34,000 fta^t [set N.IIl, m).
* Set ' Mdn Loben 11, 75), As in ihe ooio of hi*
oopvTi|h« n«(oiiaiion* vriUt MvlW, W’a(ner wsi liw
vtcnm oC thsrp proeiiee.
* Schoiu iTied to make Wagner accopi 7,seo Sraiws,
bui he romaihoU adamant.
for a fair hearing in a protest printed in
‘L'Europe artiste' in Dec. 1859 — there was
much support for Wagner's muste. Halevy,
Gouisod, Saint-Saens, Auber, Rossini, Baude-
laire, Champfleury and Tolstoy were par-
ticularly kii^ b^ause they' ^mired the
aitbt, while liberals and revolutionaries (ended
to herO’W’orship, and Germans (and Austrians)
stood firm against French FhlHstinism. There
was (he invaluaUe assistance of Count Pour-
tale, the Prussian ambassador, and of
Princess Medemich, wife of (he Austrian
ambassador. The latter was influential at
court and pres'ailed on the empress (o com-
mand a performance of ‘ Tannhauser '.
The Paris concerts were repeated In
Brussels (34 & 39 Mar.). An invitation,
which was turned down on account of the
impending ' Tannhauser ', came for \N'agner
to go to St. Petersburg, Admirers were
charitable: looo francs came from the
Countess Kalergic, 3000 francs from Mme
Schwabe, and \Vescndonk continued his
generosity. U'agner refused the suggestion
that a ballet should be incorporated in the
second act of 'Tannhauser' (though in the
first act he wished for expansion along these
lines to emphasize the voluptuousness of
Venus's court) ; thereby he incurred the
uTath of the young and fashionable -- the
members of the Jockey Club.* But he gave
himself unsparingly to an unparalleled
se<)uen<c of rehearsals — 164 all told. The
rehearsals began in Sept. Before this word
had come from the Saxon ambassador that
he might return to any part of Germany
excepting Saxony. He went, therefore, to
Frankfurt o/M. and to Baden-Baden, where
he was alide to see Frincets Augusta of Prussia,
w’ho had interceded on his behalf with (he
Saxon fovemment.
The story of (he ' Tannhauser ' production
may be briefly told. The first performance, on
13 Mar. 1861, was merely interrupted by the
irresponsible interlopers of the Jockey Club.
The second performance, five days later,
suflfered more violent demonstrations, for the
interrupters came armed Nrith v\'histles. On
94 Mar. the third performance — Wagner
was not present — was chaos from beginning
to end. The artists, including Niemann, Mme
Tedesco and Morelll, did (heir best ; Wagner's
supporters made eounier-demonsirat ions; but
(he police would not take action against the
''Jockc>*»”. They possessed the pri''ilcge of
bad behaviour accotded to the aristKraey in
the J9th century. They v ere, too, representa-
tives of a more gesveral anti-Oerman faction.
«r French UiM U»w»; “ The Fsrirlaft pnbhc •* f»e»il*er
nmical IW rrlanous mc *n«uc: « reerely
hr am>MnL Waener ivii detcervded. snd lor hi*
«wn isle 1 hope he never will descend low eno«jch to
become « pofvo-or *0 our pleiFur**.” (lO Feb. iw #
WAGNER: 1861-1863
107
'T&rmhiiuser’ wa, of neccsity, withdrawn,
and at thu p^nt Emile Erlaager mihdrew
from die onerous ifbonorary duties of Wagner's
Parisian financial adviser. On 1 5 Apr.
Wagner set out for Carlsruhe, where Bulow
had engaged in helpful propaganda, saw the
grand duke and obtained a promise that
' Tristan ’ should be performed on the grand
duke's birthday on 9 Sept. As singers of
competence were not to be found locally,
Wagner was instructed to engage whom he
could in Vienna. There (Wagner had re*
turned briefly to Paris in the interim "to settle
my aflairs” — i.r. to raise money) ' Lohen-
grin* was played on 15 May. 'fhe Mtt was
unparalleled in Wagner's cxpcricnrc. So it
was when, three days later, * I)er fliegende
Hollander' was given. I'au^ig and Cornelius,
with knowledge of Bulow's arrangement of
* Tristan were imisterii that that opera
should be given in Vienna. Mcretner the
Viennrie singers — Louise Meyer* l^uslma no,
Johann Beck and Alo)s .\nder - • roquiretl i<>r
the Carlsruhe production could not (or would
not) be release. Count 1 jnrkoronski, con*
iroller of the emperor's househfild, aho
suggested that * Tristan ' should he givni in
Vienna. 'I'he proposal was easier 10 make
than to implement, and * Tristan ’ in Vienna
was to be as dilatory in production as had been
us predecessors. 'I'he period ihus introduced
was to be the blackest in Wagner's life.
Kelleciion on the ipih'ccntufy belief in
as applied to music, can only
iricreasc r«'^i)cct for Wagner’s belief in his owm
insuperahje genius.
liic court at C!arlsruhc was informed of the
cliHiige of plans. Lduard Devrient, conscious
of lotnl hmitaiions, w’as not dis^cased. In
l^aris Mihtia wus diwolviiig the houselndd
preparatory to going for treatment to Soden
and to l>n- 4 <leu. On 33 June the dog Kija
died. " The sudden death of this lively and
lovable Hnimal acted as the final rift in a
union which had Umg l»ccomc impossible.'*
Lisiu was hut very accessiMe at thb time, and
hereafter relations between him and \ Vagner
were lew cordial. l>spiie this Wagner, after
three weeks as guest of the amliassador at lb«
Prussian embassy (whose swans are remem*
Wred in the 'Ankunft bei den schwaraen
Schwanen'), went to U'eimat to hear some
works by lisrl. 'Hience to N'ienna, where
I>T. Jirtej)h Siandhartner, a pliysician w ho had
shimn much regard fiK Wagner during his
last visit, put not only his house but also
his niece — Seraphine Mauro — at W'agner's
cl><|>oial. During the autumn pemponrment
uf ‘ Tristan ' became necessary on account of
Ander's loss of voice, a fact which gave the
pre« opportunity for unhel^ul comment. By
Nov. ‘Tristan’ was laid aside, and a him
fnun Maihilde \Ve 8 endonk, whom — with her
husband — Wagner visited in Venice, pro-
>‘okcd a start on * Die hfdstersingcr '. This
was planned I so Schott w'as informed, as
follow-s : the poem 10 be ready In Jan. 1862 ;
the three acts respectively in Mar., July and
Sept, ; rehearsals in Oct. ; production in
Dc<. On thU schedule an advance of lo.ooo
francs came from Schott. W'agner then
returned to Paris, where, through a chapter
of accidents, he was forced into miserable
lodgings. There he >\toic the libretto of ' Die
Mrisiersinger '. At the end of Feb. JB63 he
moved to Biebrirh near Mainz.
ills hope of sanctuary in which he might
quietly w«»rk vtat at once shall ered by a visit
from Minna, .She, phv^ically and to some
CHteni mental I V disordered, inllicicd pain
both On herself and \N agricr by taxing him
with his behavitnjr* with other w'omen and
at the same time Inshiing on hli return to
Dresden. \N'agner, after application to the
King of Saxnny with a supporting medical
(eriifKaic fr^mi Puwiselli in respect of Minna's
ilinru, was on 3B Mar. given periinssiun to
return with " cxi’nipiion from any further
pTtnecuiKm on account of |his| |>artici|jaiiuu
in the ircasonaNc cnierprisc of .May
Wagner only saw Kfiona once again — in
Nov. at Dresden.
'I'he iwr» years thus inauguraitxl hroiiglu
Wagner's fortunes 10 iheir nadir. 'I'o extrari
money from lus friends w’as less easy than
fi^rmerly <, nor would .Schott make ativanccs
without greater security than could be
offered. Some eoncms--to them Wagner
was driven by necessity < paid, but most did
not.* And even if there was iniincy in hand
Wagner rapidly dispersed it. In the years
1662-O3 he gave performances, which (except
at l.eipzig. the " classical *’ sirunghuld) added
greatly to hit artistic reputation : he visited
Vienna, Prague, St, Petersburg, Budapest and
Garivruhe. In the meaniimr 'I'risian* made
no furl her progress in Vienna, and Hanviick,
the critic whose influence was greater than lus
capacity for disinterested criticism, did not
help its chances of performance. His natural
antipathy to \ Vagner was increased when he
suspected. witJi some jusliflcailon, tliai In
Beck^ser was his caricature.* 'I'hc de*
pression of these yean was relieved by the
entry of new allies into Wagner’s life. Artistic*
ally the most important meeting (26 May
1862) was with l.udwig Schnoir (von Carols*
• Bv couMi>S««ic« • t:iiruimai presen I from
«h« We3«n49Aks •mvetS JuriMX Mihfu's tru~ilin
«fWL *
• Aia»meh a fJi fruni ihe <.;farKl Duke uf tVeinur
n*“l thr rent of Uie roumt at Itiehneh,
the preni on die roneert in Prague (S Teb.
»as leou Sonm tflorin-ii, W.}, on the lucxeetlinir
KvMiin lour it.ono marlm
• TTm* inruatipn v> Hear a reatlinc of the W.t of • l)k
Mruie#»»« Hanslick re«anje4 as a tiuaie<J huuU.
Me mav,hav« hno<-m that in ihr orisinal <Sraft of the
lilirruo ilir charactert name wu ilaiu (jcli.
WAGNER: II of Bavaria
106
feld), (he fucure Trist^. The intended
Isolde was Louise Meyer-Dusdnann, whose
sister — Friederike Meyer — assumes brief
biographic significance as a consolation for the
tiresome Minna. Mathilde Maier appe a red
on the scene also in td62 ' and would, possibly,
have married Wagner (at that time contem>
plating divorce), but for her inheritance of
deafness. Finally, in the spring of 1863, there
were Pranr and Anna Mrazek, Bohemians,
who came as domestic sialT to the new quarters
at Pen zing — a suburb of Vienna ^ to which
Wagner moved in the hope of being convenient
to the ‘Tristan' production when (or if) it
should materialise.
In the early part of 1664 Wagrser's credit
came absolutely to an end and recoune to
usurers merely increased the scale of the
impending calamity. As insolvent, Wagner
could be imprisoned. To avoid this irsdigniiy
he fled from Vienna to Mariafeld, the only
house that w’ould ofler him refuge being that
of Frau Wille.* And this only when Dr, Wille
was away from home. At Maria feld Wagner
read Schopenhauer and Shakespeare, w’orked
at ‘ Die Mcisteninger * and related by taking
country walks. VS'hen >ViUe returned, at the
end of Apr., Wagner, feeling himself to be
ptnona non arena, moved on again. He passed
through Munich, then mourning the death of
Marimilian 11 , and reached Stuttgart, where
he look rooms in the Hotel Marquardt. A
recollection of Angelo Neumann, who was
singing the part of Don Juan > at Stuttgart,
gives Wagner's situation at that time admir*
ably :
... I wa> much «nn»yr«| br ibe m«n in «h* fw«i
room, kept walhine abmit lOcmnnilv aiih <r*ak>of
*ho<i. . . . T« mv I wm uiU ih«( ibc ml*
l«M (untwai Richare > . . >l«f«
• . . lelU me cvrhclefliiall)* ihai b« was in aweb wnni
or money ih«i he n«ver amared ai the ubie d’MM.
paymerx hr which was collfciad bs ib« waiicr at the
table. Ke asked me lo cell Warner ihai h« would like
tn place the two beat rooms in the hovsc ai hia diapaial :
that lie miiht come lo she sable d*hO<e. and he would
never ask him hr paymenl, but waa happy t« have h«m
under hit rooT.
Eckert forbade Neumann to transmit the
message, because Wagner would leave im>
mediately. Thus further light shines more
generously on Wagner's moral code. Eckert
went on to say (hat his vrife intended to
relieve his destitution from her own capital
resources. In fact further assrstance from any
of his former benefactors was rendered un*
* Warner's correspondence with her eoniioued hr
ii«ieen years.
* ** Moat of hb fricndi. espcrially (hoae who had aay
money, were tired of him and a little afraid of bins;
they had come to reptud him aa coae^itally vnoapable
of rgoninp hu life with ordinary prvdene*. a^ lh»
dreaded any further demand on their purso*' (N Ilf
304 ).
* Waeiset aiiendcd due perlbrsnanre of * Don Ci>
vanni * on I May (it wu eondweted by |^| Eckert, a
Viennese ae^uaintanre) with a view to 1 1 line she
eompany'i poteaiialiiirs for ’ Trisun *.
necessary by the intervention, at this point,
of the new King of Bavaria — Ludwig II
— who, at the age of eighteen, had just suc-
ceeded to the throne.
MuKicK. — During adolescence Ludwig (6.
25 At^. 1&45) had developed a passionate
interest in Wagner's works. By the time of
his accession he was acquainted with every-
thing that \Vagner had done and, what was
more imporunt, with everything that Wagner
intended 10 do. Boys of eighteen frequently
engage in such mystical devotion to revolu*
lionary and romantic artists. Seldom, how-
ever, are they able to command the attendance
of Iheir hero. Ludwig, when king, was able to
do so. Accordingly, on 2 May 1864, when
Wagner was on (be eve of departure from
Stutigan for an excunion in the mountains
with the Eckerts and Wendclin Weissheimer,
the secretary to (he Bavarian Cabinet, Franz
von Pfistermeisier, presented his card at the
Hotel Marquardt and asked to see Wagner.
\N'agncr, anticipating by such august presence
retributive justice, declared himself to be
"not at home", He yielded so far, however,
(o ministerial imponunacy as to arrange an
interview the next morning. A few hours
laicr Wagner (having borrowed his rail fare
from Weissheimer) was off to Munich.
Equally romantic as the young king, he found
in this ^nomnunt answer to his prayer of many
years before for some princely benefactor,
sympathetic, altruistic and with the (^^'agner•
ian) Ideals ^ German art and philosophy at
heart.
The terms on which Wagner and Ludwig
became associated may be examined by the
nature <d their correspondence. Wagner's
first response to Ludwig's generosity pro-
voked :
T>oc c«Ar« af ibe heavrnlieii emaiion 1 wikI t» yM,
le Ml you that naw ilia marveh of poatry have came
aa a Hivina raabir law mv poor, lovc-lackins life. And
ibai ItTe, Un |>oaVY. iu Iasi tunn, baUnii hancerarUi
la yau. my praamus yawnc kir>r: di*pa*a af ibam ai
yaur awn pyapariy.
Two days later Ludwig promised lo do
avatvibine in my pawtr «a make up 10 yau far what m
hav« Mflared in ine mk, Tha maaa aarat of evafydar
life I wdl httnh from yoM Soa r*ar : I will pro^tc tor
yau tb» Baaaa you hava lancad far in order ihai yw
may ba free to sareod Ihe misblv winRi nf ya«ir vaniui
in like |Mira alhar of raplurau* an. . . . O how ( have
UokaU larward «a iha lima whan I eauid do ihii‘ I
hardly dated Induhta mndf m iha hepa »o taan lo ba
abU lo prove my to v'Oti,
One essentiel to Wagner’s happiness was
ihe presence of Coslma von fiulow. On ihe
afternoon of 28 Nov. 1863, in Berlin, Wagner
and Cosima had gone for a drive, Biilow being
professionally occupied :
. . . wa caaad fvaaahlns into aatb oihar'i era ; and
aa mlaMC (otwuv Ur (he rulUat avowal ^ (he truth
o»CT pv w W Bd IB. la iha point of a eonCsMon. not
Mcdiiwi to ba pul inio words, of the infinila un^ppi*
iMM which wewhad upae ut. CWiih lean ud Mb*
wa waled our eanfawion lo brlooe 10 each other
WAGNER: MunUrb, iS64>iB65
109
•looe.*) A )oA<l wu lifted Eron ue; in >
proround enls w« (euAd tb« nofrmry dtoorfulMS t«
«(Und the cooeert wiihout » iccie o( op p r cw i o ft.
On 29 June 1864 Cosma, with her two
children, arrived at tht VdU Pellet on the
rhores of the Slarnberg lake. Billow, who»e
anbtic devotion to Wagner was also cssemial,
was unable to arrive until 7 July. On to Apr.
1 86^ a daughter — Isd^ — was bom to
Cosima. Wagner was the father, although
officially Bulow carried that honour until
judgment was given by the Bayreuth Lcn^-
gtri(hl in the suceession case of June 1914.
The Bui vw'Cosima' Wagner triangle strains
credulity unless cort&deration Is given to their
respective codes of artistic artd spiritual
loyalty. Bulow, never entirely happy in his
marriage, emerges, perliapt, with must credit
and with the least taint of selfishness.
Ihc only suggestion of professional ani*
mosity at Munich against Wagner in 1864
came m the form of a parody issued on 26
June, nf which the title is self • eaptaiia*
lory: ' StarniKrg l.ake Mysteries — Grand
Fuiure>Mu$ical Trilogy consisting of three
operas For the rest of the year plans for the
muiieal ‘dramatic realisation of Wagnerian
ideals began to develop. ' Pie Kteisiersinger *
continued to grow, and Liszt came to see the
score in Aug. Towards a new opera adminis*
iration Friedrich Schmitt was appointed
singing'ieachcr and Cornelius was encour*
aged — he look some time in making up his
mind •— to eome to Munich as general
assistant. Bulow was appointed pianist to the
king in Sept. On $1 Oct. VVagrwr went into
rcsldener at Munich, The home, Brienner*
«tr4Me 31, was the king's gift. Already the
king had received occasional ofFeringt, In
July a didactic tract, * Ober Siaat und
Religion on 5 Oct. the ' lluldigungsmarscK* '
provided (he music fur a serenade. On 3 Dec.
the 'Hollander* was performed and on i(
Dec. there was a concert of >Vagnerjan
selection*. On both occasions \>’agner himself
conducted. ' Tristan ' looked a possibility f<ir
the spring, with Schnorr and Tietjem in the
title*paru. For the ' Ring ’ a new theatre was
to be erected. For this purpose Semper was
summoned to prepare plans. Here b^an the
first agitation at Munich against Wagner.
This sprang initially from a familiar source:
the project to civilize Bavaria, to create a
new Athens by the Isar, appeared an ex*
travagance. iTiere was not only the theatre
project to cause alarm, but also the possible
J Th« MAimce io purnthmt Mnilwd ftom »
. *rf ' Mfift Ubtn \
Allw^ JO W»ni« W iIm kin< M ihsi hr mt^i
war ■( hand lo ih« royal lummcr letMteaer Dur%
ifta lunimer. arTorr vu*i. Wamrr Ksd u
I® MathiMe Maier that •!»« iho«a4 reheve I
lAliUry life ^ M hovsekoaper .
* Nt riu«n for bui nol pwfermed ®a th« klnc’t binhd
w» «S Avt, ^
implementation of the ' Ecricht uber cine
in Munchen zu errichtende deuische Musik*
schule U’agner himself had recommended
that the pr^osaU should be examined by
a commission. The commission, under the
presidency of Baron \*on Perfall, included
Franz Lachner, Riehl and Rhein berger,
w’bose objections (outweighing Bulow *s ad-
v^ocacy, for he al^ belonged to the com-
mission) repreaenied the professional distrust
o( unconventional practice and, more par-
ticularly, dislike of Wagner himself.
By 1 1 May 1865 ' Tristan * had reached its
final rehearsal ^ with Malvina Schnorr as
Isolde in place of 1'ictjens. if, May was the
advertised date of the first performance, ft
was not an auspicious day. In the morning
jobbers in possession of an old bill threatened
armt. 'Lhis matter was referred to and
settled by the king (uho by now was growing
accustomed to this sort of thing). In the aficr-
noon a telegram announced the imminence of
Minna's death : she did not die until Mar.
iBUj. In the morning also Frau .Schnorr was
found 10 be indisposed. * Tristan ' \\as post*
poned. Visitors who had come from afar
enjoyed, therefore, a prolonged holiday.
PefformarKcs were given, on Frau Schnorr'*
recosery, on 10, 13 and 19 June. On i July a
further perftirmance took place by royal com*
mand and on 0 .fuly the ‘ HolUndcr ', with
Schnorr as Krik. This was Schnorr’s last
Wagnerian appearance. On 21 July \N'agner
received »vord that he was dead. " VS'hai I
lost ", wrote Wagner, •*. . . was in a sense
impossible 10 estimate; his gifis were inex-
haustible. In him 1 lost, as I expressed myself
at the lime, the great granite block, which I
had now to replace by a number nf bricks to
complete my liuilding." This supers<enrd on a
reception of ‘ Trisian * which, hwile in some
pan. at best shosved little understanding of
>Vagner*s aims.
During the remainder of the year Wagner
di«over^ all the disadvantages of royal
friendship. Petitioners put their variuua cases
lieforc him in the hope that his inlluenee
would stimulate the king's interest. More
seriosisly, political machinations with which he
had become embroiled for some time reached
a climax, Wagner had refuse<l inierveiiiioii
l>ref.afed by DmW.
•lihowfh under W*ci>er s reneral ilirreOAn
‘ At wtwx*^ m 9 May Pukw «Jdrtl fed lo thr
•muuWrnne diW9ninil, Kniatermmi of the orrhnira
|»l miaiM (h« McrAre of ihi.iy Mjtli. “ \V|,o( tiors »t
•Mift . lMr>i out **»,hrthrr we lla^e tferiy
morv or lev >n llM Mare r* ••Jf" .am.
iwaied the •Volk.W*n-. Hant v<« bufew. X*
t>yxr«l of inily PruMian *elf.««trem and
•iMofeiKa. wrtr to an knd«««relion of thi< kinU
in «h« pfuwtc tne«n* of the tiofbrauhau*, ouatlernw
be least that wn.ild handed fe
Oo aWofcj a *henHHioofiheold.Munchmon.
H.« IfeW h.i etas, do oo» *0 : aor wouki hi.
^loal aftnuv Lola MoAt«< ,0— bui she we.1i all
110
WAGNER : Second Exile
on behalf either of those who wished for a
new Catholic and federated state under the
sovereignly of Prince von Thum und Taxis of
RatUbon, or those. like Phstermeister. who
did not wish it. Offered bribes by both
parties Wagner, a fervent believer in a united
Germany *, refused any political intervention
Accordingly, steps were taken to expel him
from Bavaria. On 7 Dec. the king, his hand
forced by threats of civil unrot * and by the
reported inability of the p^ice 10 safeguard
Wagner's person, asked chat he should leave
Munich "for a time". At the same time the
king protested his undying affection. Through-
out this time at Munich Cosicna von Bubw
had been at \Vagner's side. Her family lived
in VS'agner's house and she acted as secretary,
hostess and general protector of the malignH
master. Not unnaturally scandalous remarks
gained currency.
Second Exile.*— From Munich ^ Vagner
went to Vevey, to Geneva, to the south of
France (where nc^vs reached him of Minna’s
death) ; he considered emigration to America,
whence an offer had come from the Stein ways,
and eventually determined on residence at
Triebschen on the Lake of Lucerise. In Nfay
the king visited him and tried to persuade him
to return to Munich. Wagner was adamant
against this, and he continued hU oppoaition
even after the Bavarian government 1 ^ fallen
at the conclusion, disastrous to Austria and
her satellites (of whom Bavaria was one), of
the Austro* Prussian war. >Vagner's wish was
now to be left unmolested at Triebschen, to*
get her with Clusima (against whom Bulow was
to inti i lute divorce proceedings), to complete
the ’Ring’ and 'Die Melsttrsingcr '. He
spent six years at Triebschen. He completed
' Die Meutersinger ’ (34 Oct. 1667). ‘ Sieg*
fried’ (3 Feb. 1871), most of ' Cotterdam-
mcrung’ (finally completed at Nov. 1874):
wrote numerous prose works, of which the
most important were ' Mclne Erirmerungen
an Ludwig Schnorr von Carolsfcld ’ (|0M>,
' Ober das Dlrigleren ’ (1669}, 'Beethoven’
(1670) and ’ Ober die Bestimmung der Oper *
(1671). In (869 a new edition of ' Das Ju*
dcfttum ’ was issued — an action which reviv^ed
old feelings of hatred, ft was at Triebschen.
too, that Wagner dictated to Cosima ' Mein
Lebcn a work undertaken at the request of
Ludwig II.
The two main influences of this period were
^ Cy~ Ui< pAfnphkl. wrilleo io lE6s. * Ww iM
JViMieh’ '
* Wasner’t poliuc^ imporUiMe in Bavaria
i* inilKawd in ihe * Memoirs Prince Hehenl^ *
tl^VKlen. 1 90S). In Hehenlohe's iciurwl fw is Liar.
1867 it recoedeU * «i*if lo him by Wutner oa she pre-
ceUinf nihu '*|H«| loM me. amiU prewsiadom ^
noi wiihioe ^ cretlii to hirnsdf. that it was ke
who had reeomirwndftJ me lo Uw kina minism.**
• * Lu<lwia. Freiherr von dvr PiMiea ' kV Euem
Frant (Munich, I 9 S 3 ). PP- sst-rd; * Der juofe Kmm.
Min Minhccniun uad Richard Wafner ’.
Cosima and the Kir^ of Bavaria. Unfor*
tunately the two were incompatible, for
^Vagner’s action in destroying Bdlow’s
marriage and in resorting to subterfuge to
conceal the truth of the situation destroyed
also (he king’s faith in Wagner the man. At
first Wagner would not return to Munich;
finally, by 1869, he could not. In the earlier
pan of their association Cosima attempted to
“ keep up appearances ” and rejoined her
husband intermittently. However, her fourth
child, like her third, was by Wagner. Eva
was bom on 17 Feb. 1867. She was followed
on 6 June 1869 by a son, Siegfried. On (8
Jul> (870 Bulow, Jong dete r red by the prob-
ability of having to resign his official post at
Munich as well as by a fastidious distaste for
vicious scandal, obtained a divorce, and on 35
Aug. Wagner and Cosima were married. On
3 ) Dec. the * Siegfried Idyll ’ commemorated
(his consummation. It was played on the
staircase of ihe house at I riebschen as a birth-
day gift to Cosima and a tribute to the child.
Although Lud(vig was disappointed in
Wagner, he remain^ entirely faithful to his
artistic ideals and maintained his generosity
continuously. But intentions miscarried. The
music scho^ inaugurated, under BOlow, In
1867, proved a disappointment, becoming in
cfleci a CMueraiory ^ter il)e old and reaction-
ary pattern. A newspaper to represent
Wagnerian philosophy — launched under
state subsidy, also in 1607^ proved un*
successful. Differences arose out of perforiri'
ances, in the same year, of ' Lohengrin ’ and
' Tannhauser ’. llie king especially dis-
appro^Td of (he tenor Tichalschek, whom
^Vagner strongly supported. On at June
1 868 ‘ Die Meisiersinger ' was performed, after
the customary acrimonious debates with the
administrators (particularly Perfall, the in-
tendani app^nied by >Vagner lo replace
Lachner). At the first performance \ Vagner
appeared in the royal bm, thus exacerbating
bourgeois feeling at Munich, and indeed in
Germany, immeasurably. The opera was
receis’ed cordially by Wagner’s friends. Some
of the critics, particularly Laube (suflering
disappoinuneni over (he intendant's appoint*
ment) in the * Neue Freic Presse ’, and Paul
at Leipzig, were condemnatory. .After ’ Die
Meisiersinger ’ Wagner left Munich with the
inieniitm of never staging an opera there
again. He did not meet the king again for
eight years.
On 23 Sept. 1869 'Das Rheingold ’ was
performed at Munich under >\’u liner. It had
been agreed in 1664 that the king was entitled
10 have this (and the complete cycle) per-
formed. W'hile, in *869, W'agner was not
happy about pr^uciion under the conditions
prevailing at Munich, Ludwig, not inclined to
withdraw from the dignity of leader of ibc
WAGNER : The Bayreuih Idea
new thou^c, was thoroughly justified m his
actioo. Biilow had resigned by now, and his
Successor was Hans Richter, who had come to
Triebschen as copyist in jd^. Richter, how-
ever, resigned b^ore * Rheingold * was prcn
duc^, after trouble with Perfall. The king
was equally obstinate chat * Die Walkure ’
should be performed. The first performance
was on 35 June 1870, and, despite Wagner's
atiempis to dissuade his friends from attending
what he considered wtnild be an inadequate
performance, a large concourse of distiti*
guisbed musicians, including Joachim, Brahnu
and Saint* Saens, were present. Despite
Wagner’s differences with Munich and Ins
personal notoriety, his European fame was
great. There was a dematwl in Italy, Erancr,
Belgium and iVucsia for hU music, while in
England enthusiasts under the leadership aS
Klmdworih, Dannreuther and Walter Baehe
were combating prejudice and mdttrercnre.
On tf May 1869 U'agncr had been elected a
foreign associate of the Prussian Royal Aca*
demy of Arts, To Prussia he turned hise>'es
with new hope, with reserence fi»r Bismarck
and some thought of replacing Lsidwig U as his
patron by Wilhelm I.
'Ihc victorious outcome of the Prannr-
IVussian war pruvoked ecstatic ’'leuiomaniac ”
poetry and the ’ Kaisermarsch ’ (full score
completed 1 3 Mar. 1871). Saitsfaction at the
Immiliatioji of France — Wagner recollected
bitterly his Parisian misfortunes — led to a
somewhat brutal and uncalled*for outburst
against hii devoted French diKi(dcs Catulle
Mrncles and his wife Judith.'
BAYHiurit — Wagner's Mt /in had long
l«cn the complriiun and proper presentation
of the * King •. So far his dependenre was
entirely on J.udwlgs generosity and come*
crated id ealism . But Mu nieh was, as the w ork
came within measurable disunce of conclu-
sion , unth in ka ble for t he purpose , 'Fhervlbre a
new theatre must be built elsewhere. \N'afner
had had Ba>reuth In mind for some time. Of
this some of his friends, but not the king,
were aware. Wagner was hardly honest over
the matter, but against this should be set,
In mtiigalion. three factors. There was the
engnnity of die task of composition, the fear
of political and professional intrigue and a
weakened constitution which continually
promoted nervous crises. To tlic end Ludwig
proved his inagnanlnitty. In Apr, 1871 die
J\«(fners, after seeing the Wesendonks and
VVilles at Zurich, visited Da>rruth and aroused
local interest in the devclopnienl of the town
as centre for the Wagnerian music^rama.
‘ Kor » cumpicw documenuiioo uT «h« telaiMiwI
W*,nen 4n4 il»« Mrnd«i uf ‘ Warntr «
tvV ; ^ XI. * V. V
I I I
Tlte mayor, Muncker, and a prominent
citizen, Friedrich Feustcl, were favourably
disposH. Their good*\vill was invaluable.
Fftmt Bayreuth the \Vagners passed on to
Leipzig, to attend a rehearsal of the ' Kaiser*
marseli \ 10 Dresden, where they again saw
Pusinelli, and to Berlin. There particularly
\ Vagner was receii’cd with remarkable en-
thusiasm. .A society — the VVagneriana —
tx'as inaugurated for the performance of
^ Vagner's work urnter the directittri of Karl
Tau*lg, then resident in Berlin. I'lu* death
of Tausig on 17 July of the same )car was a
shattering hloiv. Among his principal sup-
porters in Berlin were the highly placed Frau
von Schleinitz and Countess iJoitholT. Wiiile
in Berlin U'a(>ner left his card on Bismarck,
Init the chancellor faded to make the res|x>nse
for which N Vagner must have hoped. There
were, howevv-r, many signs of approbation at
this lime. .A demand for them encouraged
E. W. Frilzsch, of Leipzig, the publisher of the
' Bcelhoten * pampJdel. 10 underlakr puhUca*
tion of the collected prose works, the tenth
volume appearing in 1873. In Vienna the
Mannergesangsereln matir Wagner an honor*
ar>* memlier. .And, although Wagner’s ex*
penditurc normally ejiceeded his income, his
finances were much imi>rovcd as the result
of eopyrighc legislation in 1870. The time
appeared auspicious for an appeal to the
public on Isehalf of the projected theatre at
Ba>Teuih. 'I'he basis agreed on was the
raising of the necessary funds by the issue of
a thousand joo-ihalcr shares. Among those
sponsorirv the scheme were Jimil Heckel, of
Mannheim, with whom the Idea originated
that groups of modest sulweribers might com-
Imoc a« corporate contributors in Wagner
Societies. Acting as chairman of the scheme
was Baron Loen, inicndant of the Weimar
iheatfc. The most imoresilng and noi the
least enthusiastic worker for the eau^e was
Krtedrteh .Vieissche, wlsose acquaintance with
the Wagners had begun at Triebschen in the
summer of 1870.
In the autumn of 1871 ‘ Uihcngrin ' was
received rapturously at Bologna and Florence.
In Dec. preliminary discussions look place
with the Ba>Teuih municipality (who had
already resolved to give the site for the theatre),
with .Neumann, the architect from Berlin, and
with Karl Brandt, the stage machinist from
Darmstadt, who came to xiew the site. At
this juncture \^'agncr was still optimistic that
the frMival might be given In the new theatre
m 1873. But this was without taking account
of opposition both potential and actual. How-
ev*er, on 34 Apr., the Wagners took up
residence near Bayreuth— at the Famalste.
There they were to remain until ihe new house
promised by the long, in place of the residence
in Munich which had been vacated, was
I I 2
WAGN£R. i Pr^pariog Bayreuth
built- On 22 May, Wagner's birthday, ihe
foundation stone of the theatre was laid, cere>
monially, and with a perfonnance of BeeN
hoven’s ninth Symphony,' Wagner’s speech,
referring again to German unity and hoping
that from the project a truly national elicaire
might ultimately arise, is extant in the
collected works.^ During the summer Albert
Niemann came to Bayreuth to study the part
of Siegfried, and work on ’ Gbtierdammerung’
brought into action a set of assistants ~ the
" Nibelungen Bureau " — among whom were
Joseph Rubinstein, Anton SeidI, Prana
Pischer. Zumpe, Kastner, Lalas and Moul.
In Sept. Lisat came to Bayreuth and heard,
with delight, a reading of the sketch of
’ Parsifar. "It is", he wrote, '* impregnated
with the purest Christian mysticism.”
At the beginning of 1873 number of
Subscribers to the Bayreuth scheme fell far
below expectation and, acting on a suggestion
from Feustel, VS'agner undertook concert
tours to stimulate wider artd fuller enthusiasm.
Despite all that could be thus achieved, and
the appreciation of the citizens of Bayreuth,
the available funds could do no more than
guarantee the shell of a theatre. Wagner
appealed to the king, but this time inelTectu*
ally, for Ludwig was engaged in architectural
adventures of his own. Equally inefleciual
was the appeal compoKd by Adolf Stern of
Dresden in replacement ^ a vigorously
drafted, Nietzschean * Mahnruf*. and issued
to the German people in Nov.
Wagner's sixtieth birthday was celebrated
in that year with a view to distraciing him
from his hazardous undertaking. Certain
early tvorks were revived, without his know*
ledge and to his delight, as also Geyer's ’ Der
beihlehemitische Kindermord *. A further
tribute of interest came from Anton Bruckner
who, in Aug., asked permission from Wagner
to dedicate to him his third Symphony.
At the beginning of 1674 \Vagner, desperate,
addressed an appeal for help to the emperor,
using as intermediaries Heckel and the Grand
Duke of Baden. The latter, however, was not
disposed to take the matter farther. At this
point Ludwig again intervened, and his
advisers advanced a loan of 100,000 thaler (10
be repaid by the Wagner Theatre Committee
within eighteen months). Until the loan was
repaid all purchases made with it were 10
be regarded as the king's property. Thb
arrangement finally enabled Wagner to pre*
pare for the festival definitely in 1876. As
work progressed on the theatre, so it did on
Wagner's new house — NVahnfried ~ which
was ready for occupation by 22 May. Wahiw
‘ Wkcnef*! on the ninth $vTnphonv was
wrliien ia ih« fullawiiW >e*r. On ihij aerSornuAee
itt Hemneh Form, * Die AufFuhninc von ^thovea’i
neunler Symphenie in Boireuth * ( 1$$^).
* VqI. IX. p. 39a.
fried ^ documents \^'agner*s personality. Above
the entrance he had inscribed :
Mier, wo mrin Waham Frirden Tftnd
Sei (liar* Haul *00 aur henaeai.
There was also an allegorical panel, executed
by Robert Kreusse of Dresden to Wagner’s
design, representing " The Art-Work of the
Future Before the main enuance was a
brMiae bust o( King Ludwig (a gift from the
king). The interior was similarly monu-
mental : with busts of Wagner (and othen) ;
portraiu of Beethoven, Goethe and Schopen-
hauer ; Echter’s pictures of the ‘ Ring ’ ;
a large and comprehensive library ; and
*' furniture of the most sumptuous kind ",
The house itself carries classical method
cumbersomely. Over the whole no expense
was spared.
In Aug. 1874 Nietzsche tactlessly and prob-
ably deliberately presented Wagner with a
score of Brahms's * Triumphlied ’. This
gesture did not increase Wagner’s opinion
either of Brahms* or ol Nietzsche, while the
latter, proceeding from intense friendship to
an equally intense enmity, was confirmed in
the belief that Wagner’s " false omnipotence
develops something ‘tyrannical’ As usual,
> Vagner was immersed in his creative activities,
and by at Nov. ‘ Gotterdammerung ’ was
complete. Some of his intimates did not live to
see the termination of the work of a quarter of
a century. Earlier in the same year his sister
Luise, his brother Albert, hii breiherdn*law
>Volfram, Franz Schott, Peter Cornelius and
Marie KaJergis had died — for one year a
heavy toll.
From the summer of 1874 and throughout
1873 preparations for (he festival went for-
ward. Wagner from time to time conducted
concern in Vienna, Budapest and Berlin, and
saw performances oi 'Lohengrin' at Hanover
and * Tannhauser ' at Brunswick. Ke was
continuously engaged in raising money and
exploring the potentialities of singers — of
whom, as a class, he was consistently criiicah
Tliroughout (he period of preparation for the
' Ring’ there were the customary bickerings,
indispositions and fits of temperament on the
pan of his associates (whose general remunera-
tion was by way of an expenses allowance),
whkb were inseparable from Wagner's experi-
ence. However, on 7, 6 and 9 Aug. 187^
dress rehearsal took place in the new theatre
' ISWia it «tftuan»lauble nerpi wiihm *
t»rm. EftfliUi » ftom mftdnm to
« nprcMAUtiai •«
“b proUbly otaUe»di««. " from
ft “ trt«rt wdicaiive of W»aner » zmbiuorv,
t. wokmdly. *' MoO npot " hM boon tecoraaondeo
had moived
the *»o» Voouiborm emuic wruion for the
of 'Tannha^'. T*wi» had oo
POK «r Waencr’i propwiy thus, but
^r hr^ bTWaanirrSmod «o fo*t«e .1 (*« N.IJI.
1-4S).
> VAGNER : Tht ' Ring * Production
"3
with j(s sunken orchestra. King Lxtdwig was
present, he and ^Vagner meeting for the Hist
lime since 1868, and he came again for the
third public performance of the cycle (a 7*30
Aug.).' On 13 and 14 Aug. the emperor was
also present, Fhc singers were :
()) 'Das Rlieing^d ’ : Wotan, Franz
Betz ; Donner, Eugen Cura ; Froh, Georg
Unger; Loge, Heinrich Vogl; AJberkh,
Karl Hill; Mime, Karl Schlu&ser; Pasoit,
Albert liilers ; FaTncr, Reichenberg; Fricka,
P riederike Sadler-Grun : Frcia, N farie H aupt :
Lrda, Lui»e Jajdc ; Woglinde, Ulli Lehmann ;
VVcllgunde, Marie Lehmann; Flosshllde,
Marie Lammeri.
(j; 'Die U'alkure': fsiepnund, .\Jbcri
Niemann; f 1 unding Joseph Nie ring ; Wotan,
bcu ; Sieglindc Josephine SebelTzky ; Ikunn*
liiUlu, Amalie Materna ; Pricka, Sadlrr>Grun ;
Ocrhildc, Marie Haupt ; Hchnwige, Lilli
Lolimann; Ortlinde, Marie Lehmann; Wat'
traute. Luise Jaide; Siegrune, Antonie
Amann ; Rossweisse, Marie Lanmteri;
Grlmgerdc, Hedwig Reichcr- Kindermann j
Seliwcrtleitc Johanna Jachmann*V> agner.
(3) 'Siegfried’: Siegt'ried, Unger ; Mime,
Schlowcr; The Wanderer, Beta; Albcrich,
Hill; Fafrier, Reklienberg ; Lrda, Lube
Jaidc; Brunnlnlde, Amalie Materna; The
Bird, Marie flaupt,
(4) ' Goiierdammerung ' : Siegfried, Un-
ger; Gunther, Gura; Hagen, Gustav Siehr;
Albcrich, >Ull ; Brunnlnlde, Amalie Materna ;
Guiruhu, Matlhlde VVeckerlin ; Waltraute,
J.uise Jaidc; the Norm, Jachniann* Wagner,
Sadtcr-fJrun, Scheffaky; Woglinde, Ulli
Ulimann ; Wellgunde, Mark Lehmann;
Hosshildc, Mane l^inmert.
The conductor was Kichicr. Karl Brandt
was in charge of (he machines, Rkhard
Fricke of the ballet, the Bruckners executed the
«encry from Joseph Hoffmann's paint inp;
and the orchestra, of 1 15 players drawn from
all purts of Germany, was led by August
iliiclmj. The deficit on the festival was
1 50,000 marks.
Much MS NN'agncr may have been distressed
by the immediate financial problem (from
which, however, he was finally reUeved by a
new and generous agreement initiated in Mar.
be was rnore concerned with the anni*
hilaiion of his idealism. Bayreuth became
not a consrccatcd temple but an essential
rende4vous for fashionable society.
Jlie esnrA-l iauIi. oT umnv
''ay» 14 lUsO lwr 6 <« UarMrl h»«l c«ru«iJv *iir«<wd
aikhhwn. Nev^f, n MfHWtI. m* bftn
“< Ami pniwes li«d bras
tfiown 10 lunimon an adui u> bvt »« am
remenilirr a day «.b<n «mp«rcn pnnccs*
‘ I Uf r»ni puUk iwtrvrmsfKe »a» from 1 1 lo i y Am.
\i,l i*** l«a«u« nf llw ilinrw of B«u> ;
w^nd from tu lo »j Auf, » S» N.IV. sw It.
of
VKsnous appeararKC mi ihn la 185J.
VOL. IX
had cuoK the anhi; aitJ mt m> onlv niviiv« uat
•MiBiwC U> be (he desire ul h«a«Mir, doublless n unutU
be (heufbl thsi my uparaii.tns would be samricA uiih
fuy wons having twwi sieirormevl and
Clearly (he ihirTeti wlikli ihe hiflKr iMiwcrs mrvL m m>
prucceibnes was due more iv ascoimbni^ta <ii ilie
su«esA*l a^liie ew ent of mv uiideriakiiix dian iw any
(efaed Sue the nlea from wtiKh it had tpiunx.
What was not realized, except by a handful
of intimaics, was that great artists " cannot
produce the great, real, or>e art alone; we
must all Co'opcratc therein. 'J'he tragedy of
Aeschylus and Sophocles ”, Wagner reminds
us, ” was the work of .Athens 'I livreforc,
by 1876, W agner felt as much isolatevi as lie
had ever done before. ‘ l^arsifol ' tvas to be
his last spiritual refuge and his final and
universal moral observ'aiion.
Aficr the Bayreuth festival W’agnrr, with
his family, went for a holiday in Italy; the
expenses were defrayed from the proceeds
(5000 thaler) of the March Composed some
nMjnilis previously in celebration of thu
centenary of national independence at Phil-
adelphia. At IVdogna N Vagner was given a
ciyic reception the had been given the freedom
of die city in 1871 K at .Naples he met Comic
.\rihur (iobineau, in Rome Gios.-umi Sgam*
bati ; at borrento, where be stayed with
Malw'ida \t>n Meysenbug, Nietzsche for the
last time. W hen ^^'agncr discussed ' rarsifal '
Nietzsche recognized a philosophic (and
personal) parting of the ways. Wagner in
scarth of a Christian ideal com radio led the
new NiciZKhean propositions. But incoin*
paiibilUylHtween the two had been apparent
for some time.
\Vlien affairs at BayrcuUi w’ere causing
grave concern a series of twenty concerts in
LoiHlon was proposed to VN'agner by the firm
of Hodge & Essex. A prulii of ,^iu,ooo,
sangoinely expected aa the result of filling
ilic Albert Hall on each occasion, attracted
Wagner — if London, for which he had small
affection, did not. He was facing bankru]>tcy.
'J*he eveniual outcome of the London eonerris,
ef which only ejglu were given », was an addi-
tion to his overdraft of £iio*j. The pro-
moters had nut been aware of the difficulties
atlacl^ to performances in the Albert Hall
(a third of the scab belonging to private
owners, which they may occupy free of cost or
sell at their personal profit). Wagner had
engaged a large orchestra and brought an
eKpcnsiy*e octet of Bayreuth singers, together
with Richter — to assist Wagner with the
conducting, - Seidl and Fischer. \Vhilc in
London Wagner suyed with Edward Dann-
reulher*, met many noiabllules, including
George Eliot (whose distaste for Meyerbeer
equalled that of ^ Vagner himself), G. H
• Uu Kuouwerk tpr
4 '.** * 9 . »8 *iHl *0 .M*v j 8 ij.
irjnJwcd ‘Muik of iKe Vumre
siiU
H
114
WAGNER : Lut Yean
Levv«$ and BroNvning, and was graciously
receiv’ed by the royal family — on 17 May *
he lunched, at the inviution of Queen
Victoria, at W indsor. As elsewhere there were
powerful opponents. Among them was G. A.
Maefarren, principal of the Royal Academy of
Music, w’ho had allowed his (moral) feelings
remarkable licence in a letter of dissuasion 10
Hubert Parry, on the point of departure for
Bayreuth: ** An earthquake would be good
lhat w ould swallow up the spot and everybody
on it, so I wish you were away There was
also a characteristic, academic diatribe issued
in Jan. 1876 in * The Edinburgh Review
^^'itl^oul such opposition Wagner's London
visit of 1877 >vould have been a remarkable
triumph.’
\Vagner left London on 4 June and went to
Ems. Opportunities for the performance of
his operas were being offered in all parts of the
world, but Bayreuth was as troublesome as
ever. There was not only the deficit cm the
festival, but also the aoo.ooo marks on loan
from Ludwig II, and represented by scenery
and machinery. A second festival was con*
templated. ^ Vagner still protested the rteees-
sity for a spccialiaed training'sehool and in
Feb. 1676 saw Issued, under the edilorship of
Hans von Wolzogen, the * Uayreuther Blatter *.
On 31 Mar. the kingi advised by Ludwig von
Durkt’l, made his saving gesture. The most
important stipulations were that to per cent of
the receipts from Wagner's operas ai Munich
should go to defraying the loan, by which
^Vagiie^'^ liabilities had been transferred to the
Bavarian stale; that the first performance of
* Farsi fa I ' at Bayreuth should be given by
orchesira, singers, etc., from the Munich
court theatre; and that, thereafter, the same
theatre should iiave unrestricted right to
produce the work", after observing the 10
per cent contribution detailed above. The
last point was set aside by royal decree on 15
Oct. 1880, so lhat ' Parsifal " your solemn
sttge>dedicaiion*fotival*play shall be given
Only at Bayreuih, and never be desecrated by
contact with any profane stage >Vagner
had no intention to allow thb work to follow
the ' Ring ' into the purlieus of commercial
enterprise, and the * Ring ’ itself had been
allow’cd to go only to maintain the security
of his family.^
‘ On il»e same eveniiie ilw p«em ' P«rM£al’ was
rf*<l to s eathcriftf *t Dannreuihrr** home, la Orme
Scut re.
* Tr>e «uihot, H. H«Aiheo(e $ioUtain. hsJ tivdiomlv
lhrou(h ilte MOtfi of «h« * Rane aiMl hn emv
e JchetciKV of undenUnUtoe b«t not of hoAM>'.
* SfT hlu*. T.. June la??.
* U^wif 10 Weener. 34 Oe«. iB 8 a. * finiU %
nroiecieJ by wm iM>t perSoeened ouutde
asvTeulh until 34 Dev. when it was fvrvn ot the
MeUopotiUB Home. New Yoek. The fim
^rrormsneef in Prance and tnclaod were in (914.
* To Anieb Neumann of Leips^ goes mock of the
«te«lii fw tpreadme the Wafner etilt. Ke prevailed on
Last Years. — 'Parsifal', although con*
sidered as far back as 1857 and sketched in
1665, was not executed until between Aug.
1S77 and 13 Jan. tSS^. In fact ihe score tvas
dai^ 2$ Elec. 1 861, for it had been promised
for Gosima's birthday. llUhealth, which had
iniensified since 1876 and latterly compelled
^V^ner to spend much lime in Italy, pre*
vented strict regard to schedule ; therefore the
last page was completed and subscribed, and
a few Nank pages were left elsewhere for
completion. Concentration on 'Parsifal' de*
manded Iwo conditions : the luxury of KenUj
baih*salis and cold cream, and “ pour ma
chaisedongue une couverture touie belle et
extraordinaire que j'appellerat 'Judith'";
the second indispensable item was Judith
Mend^ herself, to tvhose chirt he retreated
as years before to that of Mathilde Wesendonk.
A number of literary pare/ge belong to the
period of * Parsifal Some were of a tech*
nical nature: * Ober das Dichcen und Korn*
ponieren ' (July 1679), 'Ober das Opern*
dichten und f^mponleren im Besondcren '
(Sept. 1879} and ' Uber die Anwendung der
Musik auf das Drama * (Nov. 1879) ; some,
more verbose and lets informed, on political
and philosophical issues: 'Religion und
Kunsi ' (Oct. 1680), ' Crkenne dich scibsi '
(Feb. ‘Mar. t88i) and ' Heldentum und
Chrisientum ' (Sept. 1881). There were also
' Wollen wir hoJTen? ' (May 1879). in pan a
disillusioned polemic against the materialistic
state, in part an exposition — agaiml Niets*
sche^of religious faith based on pity; and
* Oflenes Sehreiben an Ernst von Weber'
(Oct. 1S79). This last essay complemented a
great love for animals with a diatribe agaiiut
vivttcetton. Again pity is asked to prevail and
again the Nletesche* Wagner aniagonistn Is
clear. There is refiecied in the writings of this
period the influence of the Cou nt de Goblneau *,
whom U’agner saw at Venice in the autumn of
1880 and with whom he held constant Inter*
course until the end of his life. Cobineau may
be held responsible for a particular Interpreta-
tion of the ' Ring ' which assumed consl^r*
able poli(ico*philosophical significance during
the proem century; ", , - in the gods and
heroes of (hat work [he saw] (he verification
of his doctrine of the superiority of the G«r*
manic race to all others
While engaged on ' Parsifal ' Wagner was
assisted by Humperdinck among other amanu*
albwine the ■'
iBiic ea *a snJ *9 Apr., and »i ai»a *a S<W. ‘Ota
) r»MKkk with th« Easwr a^d Mtchadmat fainl. y
e pvrfermaMet Rkhwr lefc^raphed : aiaenift^: *
rwMaoit has OwW fnandlnujlv". TheresOvr Sr«
ann «ct up a Wuriag cpmpaoy to popularua tVajnrt
y methoOs soowlitnn open « cnii«i*iri). ,
• The rteht ©f ihe " i>oWcr raee t® rule
(tnot ©•» •'. «»are*«d in ' HtWentum
m\ was tNWKneed from die Eaai
ce* * I »a54>. S*?.
WAGNER : Appearance and Character
115
eases. In the summer of ( 88 ( four e^’cles of
the ' Ring ' were given in Berlin, through
Neumann, and, if the public was more excited
at the prospect of seeing Therese VogVs ride
into the flames (the one horse capaUe of the
feat died prematurely and only with difficulty
was a substitute obtained), there was tremessd*
Ous social acclamation. The royal family
were present aitd even BUmarck, who came to
' Die Walkure ’. On the last night Wagner
was interrupted in his concluding speech by
one of the heart attacks which grew increas*
ingly frequent. In i 8 d 3 the * Ring* wm first
performed in London ^ at Her Majesty s
Theatre under the corsductorslnp of ScidI:
at the same time at Drury Ijtne Rkliicr was
presenting * Die Nfeistertinger ' and * frisian
und Isolde In July and .\ug. sixteen per*
formances of * Parsifal ' took place at Da)*
reuih.> The principal ariUis wvre ; Amforias.
Th<'odor Rrirhmann ; C>urnemanx. F.mil
Scaria and Gustav Sichr; Parsifal, Hermann
Winkidmann, Heinrich Gudthus an<i Frrdi*
nand Jager; Klingsor. Karl Hill and Carl
Fuchs; Kundry, Amalie Matrrna, Marianrw
Drandl an<l 'I'hcresc Maltcn. Thr conducted
was Hermann l^vi.
On 3O Aug., the patrons, who had been in*
sufTieirnt tv guarantee the future of the
theatre, were met by Wagner. ‘I'hc Paironai*
verrin was diwlved, the festival theatre put
under the coitirol of an adniinUirative com*
miltee and henceforth 10 be open in the general
public.
') hr ukru to ihr mi «f ih«
hdii<U<^ thr fnvoloiw r-ibhr aihI in ihr h«iHli nCeMniM
«hiri|itn, hiiiiijr^l loK^ihrr in Itlllf W^vner Vicieiin
tlir<iiiKhrH,i l.iirniv, |,mI pn<l«(| m lK(»r IiMMaIIiiic I»v
• iHKkilriiMti .Mill Hick vkk iv fwa i>m w>a <4 nil*
i{|iil>r*tr«iMiriif luvfi'ii whniM ll,< irairrir w«» lo
Ixrii .iririly . . , •• tli# mi «.ho«e
betiAll tSAKnrr lo/nril out m iflis. rfirtiuolli
mhHieil, Alia ih« nAvhoi>«<> inuU Uwrefore
iUiwU tt ii>finilelv tS.»m«ii^, ,n lU iKifArtre
llion lUmoion Owl J’Joee.*
In the end \N’a|jier acceptetl the situation
reahsiically ; hit sole corKcrn was that there
was no one to lake over the dirrelion of his
worlu.
On t4 Sept. W'agner and his family left
Bayreuth for ihe leiier rigours f 4 a V'eneiian
winter. *nicy moved inlo a suite at the
PaJa 4 :'o Veiidraixiin'Clalergi. 'rinse passetl
quietly with visits from patlicular friends*
the Schleinltaes, Rubinslelm, Levis; Henrich
wm Stem, a young philosopher; Zhuktw*.
sky, artist and son of ihe Russian poet;
Volkriv, a!v) a Russian and both artiss and
scientist ; and Heinrich ITsodc, who married
Daniela von Dulow in ilWy. From lime 10
nme there were evenings with Lisri, still ,
although murh aged, a lion and as such anti*
y'i-.V.w'.rAirj’ ^ '• ’• *• •• ’»•
pathetic to Wagner, who preferred to read, 10
talk, to plan for a festival for the next summer.
He coniinued literary w’ork. HU most im*
poriant essay was * Das Buhnenfesispiel in
Ba)Teulh, 1883 ', which appeared in the Not',*
Dec. issue of the * BayTcuiher Blatter On
Christmas Bvt Cosima's birtliday {Dec. 35)
was celebrated by a performance of ihc (1833)
Symphony in C major. Ihe score Itad been
mislaid by NfendeUsohn, but from .w>in<’
effects of Wagner's discovered at Dresden the
pans were retrieved. .Mt hough taken ill at a
rehearsal, Wagner was well enough to conrUict
the performaisre in the 'featrt* I.a Fenicc.
His death look place on 13 Feb. 1B63. His
diseased heart, together with other disorders,
krum n to his faimlv, made it clear that his end
W'as not unexpecied. CJosima, however, was
prostrated, arsd 11 was more than tweniy*rour
hours before she could be taken ntvay from ihe
body. Demonstrations of public sympathy
w’rrc widespread and t hararicrisiic • and
appropriate. (U’reusony atiended Ihe journey
bark in Havrcuih. .\s the funeral train left
.Munich ihc funeral music from ' Goiierd.iiu*
meruiig * was plaN'ed. At Munich reprs w iita*
lives of iIk* king and govrrnrnvnt joined the
party fur the hnal ceremonies at Bayreuth.
'J’herc .SiegfruxJ's funeral music was again
played by the liand of the 7th Bavarian In*
faniry Regiment, a rhoral \eork writ ten by
Wagner for Welicr wt* song, sjieechcs were
delisTred b> Munrher and Feu>lel. I he I>o< 1 y
was laid in a tomh in the grounds of Wahn*
fried, now* at Iasi properly titled. In icj^o
Cosima died and was huried in the same grave.
APfEARASCR A.M> CltARACItK. -Wagller
was dcscfllied - * as a wanir<i thtsoo - hy ih<'
Saxon police in 1O49 as "of middle 11011*111,
has brown hair, wears glasses ; o|>cn forehead ;
eyeliTowr* brown; cyrs grey-bluc ; iime and
mouth svcihpruporiioned ; chin round. Par-
ticulars; in mew’ing and speaking he U hasiy,
Ctolhing — sunoul of dark*grern buckskin,
trousers of black cloth, velvet waistcoat, silk
ncckerehlcf. the usual felt hat and hoots.’* In
later life the features sharpened, ihc hair
turned grey Ihji remained rich and was hislrl*
onically cultivatetl, wliile In the mailer of
dress care was lakcn lo give ihc inipr<ssion
proper to the arlisi. 'I'hc riddle of personality
is made more diffKult of solution because
throughout his life Wagner ap|>earrd lo aei
a part created by himself, h may l>e said
that his dramatic ability supported that jiart
adequately.
^ Vagner did not appreciate silting fw his
portrait, but certain likenesses aptly ratch
aspecu of character. The early one by KIcti
(1843) >, w’hkh sers'cd as a Mnndard portrait
• aml*« Uv^ rr»w Siock^t.K^htf t.r Zurich and
S4T«-\>Utc«n*i«M) 'bo«h done m thuuld
**• eo>*peienee b«i not diiunciion.
WAGNER : Appearance and Cbaracter
116
for ten yean or so, admiu the character <£ the
visionary. Portraits by Herkomer (1877} and
Lenbach (1880) stress nobility and greatness.
A later portrait of more significance U that
painted at Palermo on 15 Jan. 1882 by Renoir
{(ut, 41). Renoir’s account of the haLf>hour
sitting is also illuminating. The door opened :
It xvas the mailrt in his velvet gown with
wide sleeN'es lined with black satin”. RentHf
ignored the appurtenances, concentrated on
"his admirable head” and was pleased with
ihe result.' So in a sense was Wagner : ” Ah !
ha! I look there like a Proiesiani pastor.
And it is true." There U benignity : the hair
U white, but the eyes still pierce. Attention
should be drawn to Leslie Ward's vivacious
caricature of 1877 which belonged to the
' Vanity Fair ’ series of contemporary nota-
bilities. This has what other portraits lack —
mobility. There were also numerous photo-
graphs.
Generally Wagner's associates were im-
pressed by hU eyes, which were either
” piercingly brilliant " or " tender " : his
forehead, which was immense ; hU manner of
speech, in which again dramatic cficcts were
generously employed. His gift for speech was
likened to Beethoven’s for improvisation;
word itself was only the vehicle of a
communication, the full import of whkh was
revealed hy the tone of the voice, the radiant
eye, the gesture of the speaker; there spoke
not only a genius, but an ttlisfU genius, and
the most successful representations of art were
someiimes eclipsed by the magic of his
speech
Wagner's public character was achieved
against recurrent ill-health, to which reference
has already been made, and stands, therefore,
as emblematic of the courage with which he
faced life and which must be emphasized as
the one facet of personality, apart from his love
of animals, that calls for continued sympathetic
appreciation.
Luxurious living, for which Wagner was
notorious, was also partly produced by self-
d ram aiizai Ion . Although he tried to exculpate
himself — as, lor instance, in respect of
Minna's comfort in Paris — there b no doubt
that he frit that the great artist should live
in the grand manner. Living thus he was
enabled to escape from a vrorld whkh he
frequently felt obliged 10 crlUdae, and ai the
same time to Impress the world ihe splen-
dour of his set ting. The bishop Lives in a palace
for the same reason. Wagner placed himself
above bishops : ". . . where religion becomes
strtificial it behoves art 10 rcKuc the quint-
essence of religion by apprehending the
• Rrproduevd in ’ Mo(t«n) F««iMh P«inUn' l»r
Ft, H. WilenUci, p. 4 S v* Wf* 4^, ^ 49 imI the
sane tuihpr’t * PorUails Comppaen ’. Twg yeoipa u
tre r«pf»duced in M. & L.. Vol. XVIfl. Juk. lor.
' Houaton CKacnbcrUUi, tii., p.
figurative value of the mystical symbols ^vh^ch
rdigion would have us Mieve in their literal
sense, and by revealing the hidden depths of
the truth of these symbols by means of an
ideal representation ^ Vagner's antipathy
to organized religion was in some measure
sincere — anti-clericalism was some pan of
the need of all revolutionaries and egocentric
mystics — but it t$ difficult to determine (he
degree of sincerity. His sincerity may not,
however, be doubted in his creed of ihe
mission of the artist.
Physical comfort, which may also be re-
garded as a reaction against the discomforts of
early life, was all-embracing. Therefore his
associations >viih wumen fall into bis natural
order of legitimate plesisure — and as prepara-
tion for such experience as is uniquely ex-
pressed in ' Tristan und Isolde ’. In many
ways \N’agner recalls Rousseau, not least in
respect of an approach to sexual adventure
more free than convention decreed. On the
whole, however, he tried to have the best of
both w’orlds, the moral and the amoral. His
final conclusions favoured morality — not
rtecessarily sexual morality — and through
mwaliiy a relief from universal and national
decadence. The last years >vere influenced by
the near-attainment of personal peace with
Cosima. The i0ih century, believing in the
cxbtence of sin, was scandalised at Wagner.
The aoth-century psychologist or pathologist
probably discovers in him an excessive supra-
renal acitvicy, for which not he but his in-
herited hormones were responsible. More
cynieally one U inclined to value ^Vagne^ at
less than his own estimation. The women
with whom he had a (Tain more ofien held the
initiative — he was helpless in their hands.
But Jessie Laussot, Maihilde Wesendonk,
Judith Mend^ — even at one time Minna —
would all have subscribed to an opini^
generally maintained that ^Vagner possessed
the quality o! excessive charm. Dannrculher,
who knew Wagner, commented on the
faKination of his speech and his manners, his
"simfrfe kindness” and sympathy, h**
attractiveness to children, "His habits m
private life ate best described as those of a
gentleman.” Of this side of his character the
• Siegfried Idyll ’ and the little ‘ Kinder-Kaie-
chismus’ — birthday greetings for Cosim*
In 1864 and 1873 respectively — maybe ac-
cepted as symbolic. More practically hu
reception, as a penniless refugee, at Ztirich
and by Ludwig ll testify to personal jrwisl*
Ibility. The generosity of singers and players
in performing fec-lcas at Bayreuth cannot
entirely be explained by a vitiuc, soi7i<iim«
overrated, defined as '* art for art’s sake •
Wagner’s gratitude to h» artists was expreaseo
in a gesture after the first performance <«
• * Il<lir>on und KunM.'
WAGNER : Philosopher, Writer and Musician
^^7
‘Par^al*. CaJled for a speech to the
audience he ostentatiously stood tvith bis back
to them and addressed the performers. ^Vhen
‘ Parsifal ' was performed on Auf. 1862,
Levi appeared to be on the p^nt c( collapse
dunnf the third act. Waginer slipped unseeo
into tite orchestra and directed operations.
At Venice the night after his death his cusiom*
ary gondolier, in grief, added a testimonial
to be set against many harsh strictures : “ He
was so a master! I shall nevTr find so
good a one again/’ Perhaps with children,
servants and animals Wagner Jived more truly
as an individual. His relations elscw'here
could never be free from the ennsciousness of
public observation nor from the necessity to
drive the world along one path — that of
Richard Wagner.*
'fhe extension of charm waa nobility — an
aspect uf character much respected in the
I9ih century, when the precepts of Rousseau
were followed ; the reverse of the medal was
aggressiveness. U’agner, as at Dresden, was
inclined to use the latter weapon ruthlessly
and to excess. His egoism denied eunssdera*
lion of other men’s feelings where these con*
picted with his own interesu. M)shcal
identilicatiun of sclf*interes( with pubiic
interest (/.r. that of the German people), as
in * Heldentum und Christentum brings
Wagner’s character into line with a pliilo-
sopUy which culminated dnasiroudy in the
first half of (he aolh century. Ii may furiher
be remarked that Wagner’s philosophy waa
bated on reatUng which was wide rather than
tlerp. His library was extensive, his aetiuaint-
ancr v,hh it formetl by quirk suevry. In no
way ii his inipuUivrnm more thoroughly
shown.
In all ways \ Vagner ro'ersed the dictum
that rver>' man is a s|»eeial kind of artist. He,
as man and artist, was exceptional, ’(he
romantic conception of the artist’s life is
eminently portrayed in his life. It may well
he that when or if an economic order, the
direction of which svas foreseen by > Vagner
In tllsapproval of Marxian phllosc^y, pre-
cludes pcrforinanee of the operas the char-
aeirr of lUr man w ill remain as a great creation
of art rather than of nature.
Wagner’s character was searchingly
analyswJ hy Nlelrschc in ' Richard > Vagner in
lla^rcmh ’ (tflyC). and the preparatory notes
for this eway show not only Wagner com-
plriely revealed but also the true InteUcclual
power of Nieirvhe himself. That Nictwchc
could regard hit Wagner as self*portrai«ufc
inUiralos the extent to which Schopenhauer’s
doctrine of the supremacy of the will influ-
enced both Wagner and Nictasche.
, Kunu uod Um Hev'gulMn ’ : “|| k the
biiMciPH nf arl to ifxlkatt to ilu» wciat impulse 'foe
\7'. ‘beniK j lu firUtleM usnUtcMKe: to dimt
Philosopher AHD Writer. — An adequate
discussion o^^^'ag^er as a writer would take
so much space that it earinol be attempted
here. Appreciation of the quality of the
librettos he wrote for himself throughout his
career is implicit in what is .said belo^^' about
his music, so far as it affects the works he
actually finished, which alone concerrt the
musician. The vast amount of his prose
wTiting, whkh will be found enumerated In ibe
list of tvorks at the end of this article, is no
longer c( sufficient interest in itself to w'arrant
detailed examination in a dictionary (h^vuted
to music. It is of import ance only as an
immensely laborious preparation for his work
as a composer, and while it contains a great
deal of valuable detail, \Vagner*s plnlciu>phy
b second-hand and Ills literary execution
forbidthngly verbose. Students who tvlsh to
make a detailed invest Igaiiun into the bearings
of his prose e<<iays on his work as a composer
will always have to read iliein; there is
no sltori cut 10 ilteir uftdersiaudlng, and
a critical exposition retlueed lo an abstract
sltori enough to l>e of service here would only
turn into an essay re waling iis author’s ideas
rather than encompassing VN'agnrr's ov\n.*
Tmi-: Mi'sici an. In measuring the dgnifU
cance of \S’agiier as comptwer it shouUl be
noted that his severest opponents base at all
timet been professional musicians and irliics,
chose who haw most appreeiaied him ’’modest
citizens who may suppose ihem<«'lvei to be
disqualified from enjoying ’ I1ie King ' by
their technical ignorance of music A large
and principally German bibliography suggests
that the analytical school liai made iti up|>or*
tunities; but the fact remains that the im*
metliaic reaction to Wagner is emotional
Ihe strength of Jus emotional appeal may not
be measured except by urging that in in-
stantaneous penetration his music is mure
effective than that of almost any other com*
poser, 1 'hus Wagner achieves the aim of his
general philosoplty, within ‘ Das Kunstwerk
der Zukwnft iJiat music is not to be compre-
hended by logical examination but to he
recognized as " a power of nature, which men
perceive but do not understand ", and he
consummates romanilcUm both in theory and
practice. At the same lime Wagner’s intense
iritellcctual capacity for the handling of tech-
nical detail and for architectonic creation
makes him classical, and durable, to a far
greater degree than more exclusive exponents
cS sensitivity.
Th? J^innlng of Wagner’s grcaiucss is in
nu wide acquaintance with music in general.
He was not, he said, a learned musician, nor
* “?»*•*'*'*'*' sniele, fsr fiom tv»&,ng luch
fv- ' . I "*"*'•? frtf incorrwatioh in
tiui sruck. but ii h«d in t2>« «ikI lo he omiuot for Uie
WAGNER : The Music
ii8
did he pursue aniiquerlaji researches. He
v>as able, however, to realize the characteristic
qualliics (which he recognized artd symbol-
ized in ** the art of the people ”) which made
composers of periods earlier than his own
signiheant to their contemporaries.
Hi< bnoMletipe oT die eaiir« Jitcraiure oC
every epoch wu slmoii iaeoAceiveble for ntek x yag^
iDsn. He wu jmt m r*mili«r mih the earltet lulufw,
faletiriiift, Per^olevi, etc., as tsith ihe alOer CenoaiH.
It vvai Trocn him that ( first sained an idea oTSeb^iaB
Bach; Cduck was, cncq then, his ceascant study;
Haydn's nature* paintins; Morart's jeeiui, ar4 the
unhai>pv efTecis cf hu position in Sahbu^ aod m
Vienna; she special enararterhua e( (he French
compoien, Lully, ftoseldien. Aubes. (he simple, if
popular, cKarmi of Kii beloved Wrb^; she fi^re of
beetheven tewerins Ui above them aiJ; Mendeb^n's
elesSMt Jrawinv*room music, every one ^ them he
dnenbed lo us with sueii animaiton and vigour, sinsins
many ot the tunes, (hat they still rcouin ir> ray meowry
exactly as he represented them.'
Irt Palestrina \Vagncr Idealized purity
(much as the pre*Kaphacli(cs venerated
Botticelli ) ; he followed his feeling of dedicated
sensuousness* into * Pantfal With Bach he
shared a power of single-minded concentra-
tion : "the theory of form associated with his
name is really an adapiation of the idea of
fugue but the fugue is " harmonic ’’ or
"symphonic”.* Mozart's Influence Is clearly
revealed In 'Die MeUtersinger \ an opera
which defies Wagner's own theories by re-
treating to more or less episodic structure and
by introducing ensemble. Mendelssohn's
skill In colour effect was generously appreci-
ated, and many radiant passages — the prelude
to ' Lohengrin ', the doting pages of * Rhein-
gold ' — reveal his spirit. In design, particu-
larly internal design, Wagner continued
musical development where Beethoven left
off.
Spcciflcally In the dramatic held the relation
between Wagner and Gluck u dear. But
much was owed, albeit unwillingly, to the
French school. Spontini, Auber, Rossini,
Meyerbeer, NUhul, Harold were early influ*
ences. Therefore ' Rienzl * was in the
succession of political and spectacular opera,
and French style permeates ' Der fliegende
HolUndcr particularly in Senta's ballad.
The tragic conclusion of ' Masanldlo’ cannot
be ignored, nor the element of the macabre
in 'Robert le Diable' and *Zampa’. Also
contributing lo a feeling for the macabre was
the music of Marschner, Weber gave rsew
orchestral vistas and an appreciation of the
medieval. Being opposed to formal limita-
tions, however, Wagner merged orie style into
another — as ' Tristan ' amply shows — anH
one may either admire the spaciousness of his
^ Priedrkh Pecht. wrtiinf of Wifaer, <. (A.M.Z.,
as Mar. iSfis).
* Cf. Cw. S<hr.. ]V. ayfi . . . (« seek x pure, thww
vircin levs , . .. spruAf umh the rad oI fullest raiuiraus.
ncM l^iWtfiUnO. but »hieh senmousMS a» vndenieed
in mMem racleiy could aot uddV “.
• Sm ' The New Music*. Dyrae, p. 13^
utt^raicd Style or complain with Berlioz
(‘Tristan*, as an inscribed score su^ested,
owed something (o ‘ Rom^ ec Juliette ’) of
vagueness. " I am obliged to confess that 1
have not even the slightest idea of what the
author has intended. ***
Throughout Wagner’s work, whether in
music or literature, it is evident he invented
little but adapted much. Even his theory of the
music^rama was aniicipated.s Jn one import-
ant respect, however, Wagner was original.
He was the first composer whose practical
acquaintance with music was restricted to
conducting. His career as a conductor is
important in that it developed his synoptic
sense. This faculty for general observation
— though attention to musical detail was
equally remarkaUe — is to be found elsewhere
than in music, but those musical reforms
which were the outcome proved to be the most
powerful factors in latter-day development.
The orchestra was tonally unified. Anti-
thesis between voice and orchestra was
replaced by synthesis. Dramatic and musical
thought intermingled. That so much was
accomplished in these respects was largely
due to Wagner's genius for conducting. He
was not always popular as a conductor, as
may be reall»^ from a letter to Ludwig II
of s6 Jan. 1676, in which he detailed recent
Viennese perforinanees, under his direction :
I Kht«vcU fnir*cl«t iKevr. but with « veubk whicli
J evuM KardSy br*nf iny»«ir to go ihrOMih ogKa t
tVMwIwd Mifm with hwte ulstki, who openly Mid J
woi ihexe lo nidi them, t^uoe I pointed out lo ihem
th« bod hobiU into which they lisd fsdea without
eiMlowM them with Uw tueneth to ihalte them on
tor ever! They odouued 1 ww right, but uked me
whoi uae ihb euddeo rvbopiiem would Ik 10 ih«m.
Moint «h«« they would be bound 10 revert to ibe old
belief ag ala.
Elsewhere Wagner continually complained
that adequate time was never available for
rehearsal- The eventual practical effect of his
views on conducting is best appreciated when
attention is paid to the names of those who
followed his ideals ; Bulow, Richter, Levi,
MottI, Welngariner, Seidl aod Wood.
It was complained o( ^Vagner — as of most
progressive eomposen — that he was deficient
In melody. It is necessary to consider Wag-
rter’s views on the subject of melody to
appreciate his departure from what had
constituted the melodie norm. The basis of
melody was language and this immediately
induced rhythmic emancipation. In general
Wagner reached back 10 fundamentals in sor^
and freed music from the ^anny of the
metrical arrangements of classical convention.
‘Lohengrin’ was the first work in which
the direction of Wagner’s intentions was dis-
fdayed, for in it was achieved a greater expanse
• • A cbjrapB •. ed, C»lm»on*Uw. p- %>o. .
• £/. by * wnrar • ' Ofpkru*' (tS*53, lo
N.t. p. (!».
WAGNER : Music— Dramas
11 $
of melodic coniinuity lhan hitherto. Wagrxer
tsToie to Liszt on 8 Scpi. 1830, with reference
to this work and to ihc habit customary else-
where of divorcing music and words to the
detriment of the laiier :
N^hrte in * Lohenertn ‘ hsv» 1 iK« wmc)
rtititutt •\*et A vocal pa*u(«. Tlw Mttcm art mi lo
knew that ihere are any retkiaiuei in «. On ilw
rohiraty« t have been at pairu m liriernune and
in«lkcflte the spoken arcecii ef the Monk Miib »wh
tl»arf)nm and certainty that the Mrsfee hat onlv to
linpi in the tempo pretexihed, (ivinr te rarh note ii»
prnper vxlur, to have the spcakjng eapeoweo teen*
pleuly in Ini ronirel.
* Lohengrin ’ departs from precedent in
prescriung unbroken musical continuity ; l>ui
fullilmcnt of his ideal was not yet po«ii>le. ftrr
ample expansion of melodic expression de-
pended on harmonic and orchestral devrlof^
ment also. Lveti where the melody was un-
accompanied, as in RrunnhiUlc's *’ War es so
sc hma li lich ’ ’ in the ihl rd ae i of * Die Walkure \
the contour is determined by harmonic
direction, while the sensuous intention antes
from and continues the particular mood
indicated by the woodwind surround. In
Wotan's narrative in Act II (Scene iii, the
dramatic perfrcuon of Uagner’s plastic
melodkc outline is realurd. Here it incorpur-
atetl the speech of the immortals. At the
beginning of the third act of * Tristan ' a more
personal se^^e of tragedy and atpiraiion
sounds through a similar negation of eon-
veriUonal method : in such passages, which
realize profound emotional disturbance, and
in wluch (he relation of harmony to melody is
fully dcmcnat rated, the geniua of Wagner for
expressing what is so close to the Mibeemcious
as to a|»pear inexpressible appears. Tlie in-
corporation of a melodic gesture within the
orchestral trxture, as in Brunnhilde's awaken*
ing in Act IH of • .Siegfried ’, give* the feeling
of great power to heroic motnenit of ecstaav.
It is, howevs.T, precisely in such passaget,
where the emphasis U on the heroic, that
the style appears to date. The versatility
of Uagner’s melodic invention b notalxle.
Purely lyric thought underlies Klisalseih's
prayer in ‘ Tannhxuscr ’, (he songs for
Mailiilde UVsrndonk, the llower-maklens'
music of • Parsifal •, In Isolde’s deaih-song
lyric thought meets the quasi 'recitaiive
manner half-way and generates a uniqsse and
intense movement, in which, however, (he
tendency of the words to get lost in slow
motion is alio apparent. On a large scale
what Wagner could aecomplish with melodic
variation is seen in the Prize Song of ‘ Die
kleisirrsmger where each stanza reaches a
diiferent conclusion so as to accommodate the
movement and comment of the chorus.
T aking into account the sailors' music of ‘ Dee
megende Hollander* and of ‘Tristan* the
forging-song of ‘ Siegfried *, the cobWer’s
music of Saclis to which Bcckmesser look
exception. \>’agi>er*s unselfronsclousncss, which
rose lo artistic greatness In * Die Melitcr*
singer allow*! more genuine primal insplrn*
tion lhan his theories often do.
It is, Itow-eirr, not with melodic scnirricH's
and paragraphs that Wagner is generally
associated, but with musical captions. The
clfectiveness of the captions may not be
denied. Their relesance and necessity may
be questioned by the musirian, and Dehusvy's
famous observ'alion that " ihc iMliitolii s\%t<’(n
suggests a world of harmhss lunaiics xilio
present their visiting-cards and shout their
names m song '* may appear nioiv* jiisi than
unkind, If, how'cver, the definitit’u possi-
bilities of melodic contour, rhythniu* stress and
harmonic and msirumeni.J <olour xrc ad*
mitied as a valid functlc>n of music in associa*
lion with the drama, (omurc on this point is
impossible. Since Wagner set out to be
delinitive and to cunerntrate the aueiition on
the drama of" the pe^iple" < Wagner’s philo-
sophy on their place In ihr s< h<*me should not
be oscrJrxdiiedi, his habliu.il oviTstaicmeni
must lie acknowledged as nrcessari . In ' Das
Klieingohr /WfiMriV eausci an eptsoclic U cling
lo detract from the cuntinuity to which he
aspired. .Ns the * King * dr s eloped ihv ImU
mMw was assimilated so that unity was
achicsed. NS’ith complete unification rccog*
nition of the individual theme liecnmei un-
necetstry*. ami in the ' Siegfried Idyll *, which
was intended as the forerunner of a scries
of quasi-symphunic w*orks, it ii immaterial
wheihcr semantic signihcancc attaches iu the
themes or not. Wagner attempted Ihcmei
which should be so brief as to be easily
accomirKxIaicd to the changes in dramatic
situation. The immense variety within his
thematic headings, ranging from the positive
motif uf the Masiersiiigers to the dissolvent
nature of (hat uf the Tarnhelm, indicates his
feriilMy of invention. But in the end Ihc
struggle between music and drama (for music
was not to be subservient to but co* equal with
the other partners in the art form! was
resolved in fas our of music, and it Is for his
music as an alisolutc quality in aesthetic
experience that Wagner is approved.
In melody > Vagner showed that melodious-
ness was not the main objective ; in liarmony
that (he possibilities of a familiar system were
not finite but infinite. The tonal scheme
which evolved from the principle of equal
temperament enabled composers to arrive at
hitherto inaccessible detiinaiioni. 'I'hc ter-
minal points were, however, acceptable as
such. ^Vagner appeared in his own day to
possess a unique faculty for going nowhere.
In this progress, adequately demonstrated in
the prelude 10 ‘ Tristan * or that to Act HI of
‘Parsifal*, he cither increased the necessary
romantic capacity for wonderment or else
WAGNBR : Music'Dr^nus
tao
hastened the dissipatipn of inusicaJ viritily.
The probabiUty is that he increased the
intuitive capacity of his audiences, but was
unfortunate in that his disciples compromised
in employing Wagnerian idiom together with
classical form. Harmony lost its psychological
force when chords sublimated by \V^ner —
sevenths and ninths and liquescent chromatic
transitions — found more casual employment
in Franck, Bruckrter and Elgar, llic pene-
trative power of (he chord chord is shown
in the prelude to ' Das Rhcingold \ where a
single chord of major occupies more space
than any other single triad in musical history.
It is in the purposeful use of chord-sequence ~
as in the Wanderer" motif — in the fascin-
ating manner in which Wagner moves the
sympaihy of his audience by varyir^ his
harmonic moods — as in the Prelude to
■ I'risian ' — that originality again appears.
Though it should he said that Mendcl^hn.
.Schumann and BerMoa shared the possibilities
of kaleidoscopic riTeci from poetic handling of
chordal sequence, it w’as \N'agner who sum-
marized, by harmonic integration, that side of
romantic thought which elsewhere has been
termed the " renascence of wonder
U'ngner's melodic and harmonic practice
has eventually prosed of less aigniftcance
than his revaluation and rceonsiruction of the
orchestral complex. Davison’s dispatch to
’ The Timet ' from Bayreuth, published on
30 Aug. 1B76, indicates (he impressions first
received on hearing Wagner's orchestration
and also records an attitude towards the
orchestra which was followed, whether they
applauded his general theories or not, by
Wagner's successors :
The nrrh«Mra Tor t<rtt b« <Mn« Mnwsluns —
likr a wimi t(iat Si alwav' blewinc. a Oui n
•Iwavi ()n»Sntf. iiee« ih«l aft »(w 4 v> bcndin* »n
u> ilie Kurryint* ihe breese bui «*lut
dial KimrilimB ihall l*r the r*wei akwe cso decide. . . .
U it harOlv tno much in say lhai. Apari from the d«»mo
lA wliicii •( 11 allied, ihe nrchnUal mwtic of the ' Rinc '
wAuht tivnify hule mere ai Ihe b«si ihan • hk<««ooo
of chords. «<alc* jiwi infrenuendy ebmmaiicl, fiewm
and snaiehn of lunes, diMribuied CApeiCiowdy aomne
(he iiKirnmenu, '* frrwWeades ’* (a/ M,S**to«). $irar^
an<l unlieartl^ combSiMiHMi*. perpetual rhaocet oTkt^.
eh — a cliAM Af sound m «h<Kt, n«»w more or lest aeree-
able, now mAr« nr In^ the opposite, and. «lepnve%t
the weird and smeular ratcmsimn lhal atieiwls it when
obvlAMily evpijmed by what n bemf said aiad done
upon die s(a«e. almoii unmeaninR.
Technically Wagner increased the size of
the orchestra, amplified Its tonal potential
(and then buried U in the sunken pit at
Bayreuth in order to achieve perfect blend on
the one hand and to avoid distraction on the
other) and made each department self-
sufficient. Thus the importance of (he
orchestral player teas enhanced and his tech-
nique, in time, generally improved. The
orchestra for the " Ring" included three of
each woodwind instrument and, additionally,
English horn and bass clarinet — two instru-
ments used with the greatest felicity; eight
horns, four tubas, three trumpets and four
trombones, together with contrabass tuba, bass
trumpet and contrabass trombone ; and six
harps. It is possible, on practical grounds, to
complain of extravagance ; on the other hand
it was «ily because of this panoply of orchestral
colour that VN'agneT was able to realize such
visitms as arise from Scene ii of ' Das Rhcin-
gold or the translucent conclusion of the
same opera, the dark* toned prelude to * Sieg-
fried * or the forest music of .Act II. In such
episodes the orchestral colour is an end in
itself. On such experiments in orchestration
— which again realized some of the objectives
of Mendelssohn, Meyerbeer, Berlioz and Eiszt
— the twentieth century has based a Urge
part of its intuitive appreciation of music and
a large part of iu style. The associative
instrumentation of Debussy, Stravinsky, Sibe-
lius, Kodily, Holst and Vaughan Williams
(composers of the order of Bruckner, Mahler,
Strauss, Elgar and, originally, Schoenberg are
more obviously Wagnerian in method) deals
often in concepts which ^^'agner would have
understood, though possibly he w*oulJ have
disapproved, and when each of these com-
posers defines by exploiting English horn, bass
clarinet, brass chorus, divided strings, lie is
acknowledging the debt which 30 th*ccntury
music ow*es to ^Vagner,
>Vhere he intended his influence to be
strongest it is most weak. The dramatic pur-
pose o( the music-dramas is ignored. In all the
operas, excepting ' Die Meisiersinger the
romantic declines to the necromantic and the
relation, as U'agncr chooses to express it, of
(he immortals to the mortals strains credulity
too far. In the end ^ Vagner fails, for the same
reason as the classical opera composers of the
iSth century failed, because neither imagin-
ative nor intellectual probability is established.
There are those, a minority, who cultivate
Wagner with the of his first apologists.
Among these should be numbered some
members oflhc National Socialist Government
of the Third Reich whose adoption of
A Vagner as a party politician, though parti)
(he result of his oivn philosophic heterodoxy,
has proved unfortunate for his pcsihumous
reputation. There are those whose opinion
coincides ivUIi that ni Stravinsky : " (t is high
lime to put an end, once for all, (o this un-
seemly and sacrilegious conception of art as
religion and the theatre as a temple There
is a third party which comprises the present-
day concert public, accepting Wagner as
exeellent entertainment but, opcratically, as
apt " to speak much to little purpose
• Cf. " tVaeiw** inftvnw* <Ht on Hitler, hw
nt^ batf, crwpwi abroad ". ’ Brtbu Diary Of
WiKam L. Shs*r {London. iat>). p. SS> .
• * nHowk el* my Life ’ (London. I 936 >, p> OA
WAGNER : Bibliography
J3
^^'hon prejudice, \vhich aHecu judgment of
Wagner more than that vf almost any ocher
composer, is set aside the unique quality ^the
composer lies in the fact thac he summarizes
the feriiUty of ihe thought and emotional
eyperience of an epoch. ^Vhc^ romanticism
is discussed the arc of \N’agner may be singled
out as the quintessence of that rnodc of thought
and expression. p. u.
CauTAs
V-
fttDLI(K;R.M'HV
F.KOtlMC
Assam AM. Ufa Ain. '\Vj|{ner*s Suinc QuAr«««: «n
Lm 4> in .MM<KAlb|»M«iU(ion’<Mu(. F.. Au«. 194S1.
DetMr. AViMt*. * Ilte Xibcloiw't Kin<’ ^LomIm,
^ '«aj.
Boa Met. Maiv, * Lru«n of Rkh«r<l \VA«fMr; (Ik
BM fiPlI Ik* e<S., Midi aotei, by* John .N. 8<wk
iJyMitlnn, iesi'«
’Km hard Wa^iiM - hii l.ife and tS’wki from iBt)
to iB^t ' I lyxi.lon. illl>}ll .
CiAM 1 1,. Ru MAto. • Kic K j rd Wjmer w ' fW llcriuar
ot Muy< V'wl. I ^Okfurit. ie«s k
Ckauublain, HOA»r'is ^lawAar, * RhIuaJ *.
ir^nt. by O. A. Hi«lki 'LorniiMi, ilb)?).
tun, W. Aiiims, >Ki<luril UAfiKr** Prme* (Pro*.
M«». A* . V«|. Xl\, i9r,i.. lire..
’ I hr l.ifr ui Knlurd W's^urt'. b ««h. J.aiMloa.
I9UU-4;.
FinrR. Hrwav T. ‘ VS’j«nrr mm) hit tV«Kki 3 vnK
ilAJiidon. i4<iii.
Hapov*. tv. * Kirhsril N>'»(nAr * < I/Mojon, I 9 S 4 >
ItioMT, r Ainuir. ’ Kh hArd Wacikt : a (.nural
IlMK'ardi* j VI Jv lUiMhM), »9iS'.
KAr^, h-i.ii t, * I he SYodKA in WAtnrr’t | ifc *. wmh-
Mv Itaniiah 'I^mhIimi. i«|}j|,
KarMHiii, H. t.. • Siu4Kt im ihr VVa«n«rian Ihoma*
iI«im|«im, 18911.
S.*tiHrkr, A(i,i>t, * Sty Krcolkdinr* nf RuiKnl
W«arKr’ UammIah, n.d. Kkr. nric. iMili.
.Sbwuan, U>»ai. • ASMidv8fW**n« ‘ i8m>.
WMTMrr ' iLMMMm.
• ''<»aofr\ 4 voh. rtMidan.
' W*t»>^r t% M.III uMii Sriiti’, snd rd, i.S’rw York
194)1.
’ StAirnrr XmhiA ’ (I^muImi. i 9 v>‘
ISii'MAifet, (.IV nr, 'Kiihyril (ram br
l.rMit S)a> ,Vr«r Y.Mk. I9S2|.
VAk lurM. h r MM.s AHM, ’ A^iir* «> | kiWM h«A * • LoimI***.
Rava.m, Koarai M, ’ W*wer and " Ih* Nfritur.
riiiifr ’* * (Oifurd. i')tMi.
Shaw, tkoann Kirn a an. ’ Iht Perfr«i Waaneriir: a
C— nmrinyf* on i|,c SibrhinK’* Hint’. td.
11 '•minn. i*yvvi.
Vj.ari.a Ntra. ’ .\trianr4itKt : rrom ihr Hmumh,
to Wamirr ’ 1 New York. 19411.
Waiucb, Vl KliAM. ’HMhjrd W*4(Kr ai he livM *
(lAitioon, i9/Y).
kaivcH
BAvmiAiar. ’ Hkhard Woenrr «i Tmm..
hAMKia pAn«* pArit. I as 1 1,
nrAi riLi. M.. * VVa«nprrikwA«n4mme * <Por>i inaSi
OAUTiia. Jui.rm. • Ayprti ik HjcIuaI WMw-
llrawroH, MAMri. ’ A« baiHiim 4 «(Ikor. LkaL
vvagnrt « Jrun ami*’ <PAtit, 19321
Kvr^i aAiii, MAiRKf, ’ U TViiro do Rkh.rt
Vs.taiKi (p^ru A BruawK. i8^j
I noMi Ait..Oi» Mr. • tV*nKt ' C?ar». loxai
‘till,"?"' ‘ •
fn «‘';“4r-
I{avi. * ftkhard Wagner in Zurich : 1 649-58
8 voL, 1900-:/.
Bo»rt- * Richard Wagner Sm Spirt«l tier
UKfwr Preoe ’ (tVuraUirr, 19)31.
CtiAuntaiAiv, HotnroK SrewAkr. 'Richard W'ainrt ’
^Sfuftkh. 1896'.
DorcPk, Ha-ov, • Richard Wagnen griviirc tntwickluni?'
<L«ip»(e. loAJ).
LcocoT, VVAtinra. * fartiCa) \*Ar 50 Jaliren ; r.n
BavTCUlher Zrilittid ’ iBavrruth, I4)3|.
Fotear, Rkiiaou. ’ Bayrrutli kur dreittig Jaliren ’
illrndm,
FrtlO, .Ma8 . ’KHhnrJ W'avnrn Scliwcierr Zch '
^Aarau & Leipaie. 14)4).
FoK»ttB.NctT»UHr. L4iSA»(fii, 'Wagnrr uiid Nkir.
mIk tor Zeit direr FrTuiMlrdiafi ’ < Munich, tnsi 1
CfcAWVAPr, C. F.. • Oat l.e»^ Rlkliard Wagncft ’.
o AMt. Leiprig. i89i*i4iij.
Hrotnio. FkismiKii. ‘ Minna Ptaiicr imd ihre Elie
mil RKhard W agner ’ rl^ripuB. >916 1 .
llao»kaA.vp>, Ktkr. MVaener uckI N'imtrlir: ihr
K^pf grcrii dai nruiitrlmie Mrliundeii ’
^Drrdau. 19241.
Kara. J«iK» • Orr inner Wtener: Dkhtuiisni,
.Sufutir. LoiMiirfr * 'Br/hii. I9i«>i,
'Knliard tVaenrr: erne Bnigraiihie ttftd rd.
•Herlin. l9i9J.
• Hachaid W 2giKr Hod dk rrauen Ddi «d. iBrrhti
10291.
Kikii. LkNvr, 'Hkliard Waunrii Unhiiriirctitiiii'J
• Orr Kine drt XiMuiierii ’ ' l.rijunr. mI.i,
KniM, Ma*. 'Ktchard Sta«hrr’. 3 vidt. ^Urrlhi
I907>irii,
ktmt’T. Ahru PM. • Kkhacd tSavnri : Nn^rtund Iniifnet
am wmeni ).abrn nrnJ Vliadcn * >Urrlin. mpiv),
lukary, Aiikrn. Mhii >nm>|K«Mpiii in Richard
tSaenrvt Muuk * • Munich, inj j '.
• 0« CchnmiM* d.r korm Iki Kiclianl Waviirr*
'Brrlt*. la |tn>rtr»ti.
Kka.tw.M. Kaver 4 Fi • irt. r.ui>Aki>. ' Richard Wagner
HI iSer Karikacuf Rrdin. iqci^j.
Lttewnp. Ac-ei ir. • Lrinnrrunern an Kiihard W aarier ’
'l.«paK, i»84>.
LiWM. WcHoeuAa, •Rirhard Uaenm Wrhannurie
undRuckkrhr; tAjn ill$2‘ iJJrekdrn, 1027). “
Lctoe. Pmx A.Ttivk. -Ituh-fd Wafhrn VillmclunB
«^^Tra*ik det druiMhen Kumaiiiik ' (Munich
*^*”ferrti'*iV.cr“^*^ Wagner all A«dieiihrr'
Mokwn. Mai^ ’SVaMian Kampf und Sie». dareeiirlli
**ehur.|er. »u W len \ a vtJi, (Vienna.
Npviiavm. a Si.r i o, • Uinnenioien an Ru ha rd W’aanr r •
3P*led. 'I^pri*. I9i»7i, » '* .
Rorui . hro^riAM. • lAotwig JJ ,,,^1 Ri.hard tVagner \
. J *?**' M"""*'. 'on k ipmi. •
KwharJ Waciier m Muiuheii ’ ' KatMmn. Joihl
.'iii w'tLH.i.Si'I'i",’,
(rd.N \NeiM WagnenFurKhunsen*
R-artKuhe, e9*5 fT.. in "
Skawn und I.ntwurfe lux Rm«-DKlifgng ‘ i Munich.
S.a«mvc«. ^,0. . Rja,ard Wagner in Munehei. :
iw«-7r» (MtinKh. 3933/.
•Ver.ucd ubrr
Wafner 'Berlin & Frank Kuei • M,. iqs»>
-Ermnerungen an Richard
'•***rr (LrilMiR. ti.d.j.
CokKESPOKDcvrr
{CngKUi learidaiioai arc given where Ihey eaki)
von Richard Warner. 1673-83 •
LTi. rvj. oy A., t, V>l4'
^nj Vk^gnet
. wk o. WK %$4 iMHiuonk n a
*^“,1 ^ • Leiwn of Rieha,
Bu/rcU (utHeeben * rLondoo, 1951)
the
122
WAGNER : fiibUography-^Works
' Dri«re an Ham v«n BhI«w * (JeiM, 191&).
' CortetponderKe of Warner and LUzi’, taaJU. fry
Franci* Huefftr, 9 voi», (LoitdM, iW91.
* Familienbnrfe von Richard Wafscr, 1839-74* {fieriin,
>»)), ed, bv' C. F. C)aa«napp, maa. by W. AAiea
EJIi* 4Lnnd«0, 1911).
* Kdniy Ludwig H und Richard Wagocr : Brkfwectad %
4 volt. (Carltruh«, 1937).
’ Letters of Richard Wagrtef co Anton PuaineUi *, irana.
aud cd. b)' Elben Lennow ;N«w York, 1939).
* Lettm of Richard \Vamtr (o Eiml Heckcl, with a
bn«r hittor> of the Bartcuih Fntivah*. trans. by
W. Ashton Ellii (London. 1899),
' Richard Wagner an Eiiea \SiUe * (fterlirt: now ed..
1908), ^V. Onlihee.
' Rjchard VN'amrr an Freunde und Zeirienofioa *. «d. bv
Erieh KI0M (Berlin; end ed , rang)
* Rtrhard Wagner an Ham Rkhter^ {1868-831. cd. by
Ludwit Karpaih (9«rlif> ai«d Vknau, Idas).
* RKhard Warner an Maihilde Maier*. cd. by Ham
Scholl (Leipeig. 1980).
* Richard Wagner an Minna W'ofner*. » vcdi. (Bertifi
and Leioiic. 1809), «d. by N. von WdsefcA. (ran*,
br \V, A. Ellk (Lertdon. 1909).
’ RirKard Warnrr an seine KumUer*. ed. by Ericb
KloM (Berlits. 1908).
* Richard ^Vagner an Theodor A|>cl ’ (Leiphg, 1910).
* Rkhaed Wagner: LettcR to Weaendonck er af,’,
(ia». by W. Ashton Ellis (London. 1899),
* Richard Watnei to Mathildc Weaeodoock '. vam. by
W. Ashtoe (Londors. 1903).
‘ Richard Wagivr und Albert Nieisaso «d. by W.
AJtmaftn (BeHio. 1914).
' Richard W^ner und taiae ersU " Elisabeth *’ Johansa
Jachiiiaiia.Wagrter : ein never Beitrag nir Wagner*
loncbuof .* ed. by JuUui Kapp and Ham Jaehmann
(Berlin. 1997). lozpans: (0 Richard Wmes's
rebiions with his brother Albert's ramiJy. by iCapp ;
(9) Johaaiut JachmaoB.Wagner. a biography oy
t achmann. Conuins mtny letters of Wagrver
itherto unpublished, several illusirtilons. and a
alofvcaj laMe of the Wagner family frora
uel Wagner. 1643-1703,
* Rkhasd Wagitet’i Letiers to August Roeckel'. tram.
by Eleattor C, Sellar (Bristol. n,d.>.
* Richard Wagner’s Letters to hit Dresden Friends,
Theodor Uhlig. Withelin FiKher and Ferdinand
Heine’, traats. by /> S. SKedloek (Lor^en. 1890).
*Tbc Nkusche-Wigner Correspondence* (London,
SOSO I. ad. by EJiaabeih Focnter*Nietasche, tram, by
a V- Kerr-
A chronologkal summary of Wagner’s leiiers may be
(ouAd in W. AJunaan’s ' Rkhard Wacnera Briefr nacb
^tfalgi und Inhall*.
CATALOGUE OF WORKS
OFERAS AND MUSI&DRAMAS
(Lsbeettos all by the Campos o r)
I
I
Tirk
Caa^V
’ Die Hoehaeit * (unSnjihed).
1834,
* Die Feer> *. on Ueni’s * La domt
*839*94.
serpents ’.
* D«s Liebetverboi. oder Dk Novice
»893-J^
von Palermo *, on Shakespeare's
' Measurr foe hfsMuve '.
' (Cola) Rlensl. der Irtstr de* Triburven
er> Biilwer Lvtton’s novel and Mary
Rimell Mkilord'i play.
*838-40.
* Dee flieget^e HdUnder *. oa an
184*.
eniio<le in Heine’s ' Memealen des Hevm
ton Schnabekwopski ’.
'TannhAusax ursd der SAngerkrkg auf
t843’44-
Warlburg.’
' Lohangrin,’
t846-48.
* Der Ring des Nibelungen *. on the
*•89-74-
Nibelung Saga:
Pas Rheingold.
Die Walkurt.
.833-3.
Siegfried.
Gbtierdammeruot.
' Trittari und Isolw*, on the Tristram
18^74.
t837-98-
and Y«euU legend.
' Pie Meiitersinger von Numberg.*
186S-67.
' Parsifal.'
i877-8e.
1
Rr»A*<M*in
Muokb. •9iuae t&S8.
Magdeburg, t9 Mar. >83$.
Dresdea, Court Opera, eo Oct. 1849.
Dreaders. Ces»n Opera, a Jan. 1843.
Dresden. Court Opera. >9 Oct. 1643.
Weimar. Court Opera, >8 Aug. 1830.
BavteuOi, Wagner Festival Theatre,
I). 14. 16 4 ry Aug. 1870.
Munich. Court Opesa. tt Sept. t88f.
hlunsrh. Court Opera, aBjunc tl70«
Assr.)
(gi* eaeor.i
Muftkh. Court Opera, to June 1683.
Munkh. Court Opera, et June i8£8.
Bayreuth, Wagiser Festival Theatre.
July 188a.
I HCl DENTAL MUSIC
* Die letite Heidenverschworung in Frcueseei, oder Der
deutsche Riiteroeden in Kdntfsbcrg *, ptay by J.
Springer (t837).
CHORAL WORKS
* Neujahn-Kaniaie * for chorus 4 eech, {iB94>.
* Nicolai *. national hymn for solo voke. eberus 4 erch.
(•877).
Chorus for the vaudeville *La Descente 3 la CouniOe*
(1840).
* Das LkbesmahJ der Apostel ’ £»e m«Q*s cticesu 4 oeefa.
(>843).
* Wemegtuss ’ (be the unveilma of the mentorial to King
Frederick Augustus I os Saiony. loi unaccomp.
men's chorut {1843).
* Cr\m seiner Treuen an Friedrkh AuguMdeoCdiebten*
for unaccomp. RS«n*s chorus (t8^).
* An Weben Qrabo* (be unaccomp. meo's chorus
{• 844 )-
ORCHESTRAL WORKS
Ovcnuec. C ma.
Overluec, Bb ma. (1B30I.
Ceeecrt Overture, 0 mi. (1831).
Caisceet Overture. C ma. (1831).
Sruspbony, C ma. (t83C|> . ^ . .
Or Lu ut e to Raupoch’s * Kdnig Entio ( 1 83c).
Or et i^ s * CbrtsMoh Columbus * (S833).
Overium * Rule. Bciiarsnia ' (1836).
Ouenuee ' Rolonia * (1838). ^ ^ , , *..1
* Eroe Fawl Ouveeiuie *. on Goethe s * Faust (18401.
‘ HuMsQfungtmafsch * < 1 884).
'Siegfried Idyll' ItByo).
* Kamemarsch' (tflyi).
Anwscao Ccntennsal hlaich {1876).
CHAMBER MUSIC
Stf wg QaaeieL D ma. (t899} (lost •)*
* A •* coosecttiral fecomtnrclioo ” of another
mainly on materia &«an the ’Rutg . *'•»
CesuM Abraham ia t943>
WAGNER: Work*
VIOLIN AND PIANOFORTE
' AlbimtbLatt E9 ida. (i 07 s).
PIANOFORTE SOLO
O mi.
Sm«u, B? ma. (tSjt).
Pinuiy, F2 mi.
' Em L>^ ohne Wofic *
Albu m Sonata. E9 nu. ( I Hi) . <m MaOuldc Wnernitink.
* AlbijmSUti \ A9 ma. Owc).
* AlbombUtc AnkuMA b*i den vbwanes S<kw^n ’
tin It, loe C:««4ieH Pisurtaln,
* AlbomUaU C nu. UWti. Tur Pmcns Meileni^h
PIANOFORTE IHT.T
PvlMuiie, D rna. (i 03 i>.
SONUS
} C*»rnpMi(iuM frwmCoeiheS * Fau'i * lids*)
i. t^eO Jer S<Mjaun.
i. BeucrA uniet tier Lin4«,
3. BraAUen Lied.
4. Lied ilea Me^iiiophelei. I,
i . Lied de% Mepliittophelei, M.
. Mcine Hull' nt hin.
7. MeloilrAAt.
* Drr TaimenlMiiiH' iScheuefleta) <•8301.
^ wua GrenailieA • <lleii>e. ft. u*n*.» <illi9*]«> ,
t>wr(. rnun eiifaia ’ (?) fi84oj
' Miffvmne * tV.tftr «k R*n«ari|j 1 1840}.
Aiifiiie' tV'iimr Hmvm; ti&ivj
* Lei Ailieua de Siueer rEeraii«er) l4v><,
J II ett du'onetei futilivee ' (Jeji* Kebouli . iSao).
rwnr Uedirlifi «en klaihikM '
I. iVr I.Atel
i. Xuhe Mill rik^i.
). IfH 'JVetlihaui' (iIjSl,
4. Sehmefjeh
a. I r«ume 1
* KNfl'J.mbheA , wnaieoeiuk Ewlirim mac far ike
, iKMel maAaaer Kraft at l^ijuia 118711.
FiMlirrtmd \ UMareoati., hhii fer ik« Neai^itaA dncer
PeppitM <? »Mg>. ^
ADDl rrON Af. VOC:.\L riF.CLS
Allrf ft*r an aria in M*rx liner • |)er Venimr ►
K«m4Mie ftir h4M fiir K. ftum i .M*,
••ml Muh«r MAnj,
Sntia for far Weial’. * .Sehwei ler fo milie * i . H,).
Ana far ^ -*ih men'* etwru., for feelhni’i • .VwfM '
ARkANCLMLNTs
fteetli'xrrn'i ninth Sympfomy, far pt tt8)oi
R nnnri * s.MrM muHeaki -Le> Mannim* for ijmI
AAh ItA^ftj.
j>miienri • U foeiwiia *, for p(. eie, (ifleo .
JoAiiejii 1 * f; el, Hr am«t* -.htof t liioi.
H •** ‘ '‘y*” '• Ff- **• <**l»‘*
n*W*Si L« Oaiurrero*, for pf, 0841).
REVISIONS
Clnrb** * 1p|iit4nSp en AuliHe * <1848}
HelcunnaS * StalMi Mater ’ f tSil).
Maun**' Den Uioeanni * 0830).
I.ITEKARY WORKS
(Conteau of the edWeted eilttinn, le v«fo..
end ed. 18S7-88)
Voi. I,
. *'*' ^>M»nmtSereu»**l* * fP.W.. |. iv , •
Emkitune ' fP.W., Vll, i) ’
l>4* Irr^aer^; ke^ht abet eine etue oLer»
^ amebfoa.aphv
; Kknr,. drr kiw tier TribgneQ,*
Em Jeanrhe, ,n?,n^. Noeelkn «n.| AnRair.
li»*>yAd |84«). I. Erne P.lrerkkn »u Beeiheven
9 . L,n Lmle m Paru. $. Ei. alwekikber Abend
Thi« ami similar tefereneea are to (he PmIm
Allen eTlII ' Week!,*. Vv
l«3
4. Ober devuebn Muitkweun. j. Der Virinoi and
drr KunMler. 6. Der Kunadcr uad dk Onenilich*
fceiA 9. Rosunt’j '* Sul>at Mater**.* (P.W,, Vlt,
i«|.
‘ Cber die^rveriore * (P.W., V!l, lir).
* Der Frehihuu in Parii * '1841). 1. * Der Freiscliuir:
An Uu Penver fublikum 3, * Le Freachutt*
Berieht *i4<h E>euuchfoiMJ >P,W’.. VIL 167)
'Berkhi aber cine neue Parit«r Owr (** (^ Rone de
Ohy'pee*' 1*00 Kakvvi ’ tP.W., Vlf, aoj. Sit
aneiber ankle in P.W„ VII], 17^1
* Oer fketaade HeUander.*
\«c. If.
' kmlekoaic * (P.W.. VII, aakt,
* Tani^iacr unH tkr Sanrerkrirg auf \N aitbai*?.'
' IfotHkl uber dk HeimbrineutiV der icrrL|Kl,rii
I berretie Krul Maria xnn Wpbera aui l.mdnM nacli
nrenlen: Rede an Wrben Inner Huheitjtte.
Oeuns n*(h der BeiUituAf,* (Lx traded from (lie
aatobie<ra|ihvl <PAV„ VTI, ar?).
’ Dcrrchi uber d*e AuffiihrunB der neunirn Symidicmie
SOM Benhmen, im fehre 1846, rinbt I'/earamm
daio,* tPraenauiobrnsraplivi (P.W., VII, ran).
(.ohenenA,*
'Uk\VibeluQ«en: WrltfeKhiihtcairt dec .Saar.* (Writ*
ten 1848. pvU. iM^) (P.W.. VII. as?).
* Ikr \»belu«ice n *.Mxtliu*aJi LniNsurTiu emem Drama *
• I».W., VH, io>| ,
*S*ecir>ed* rod* 'P.SV., VIM, l|.
I rink»peiHh «m ficdrnhxiase d« 7«Ki|.j|,rieeri Detirlirni
der k4mielMh«« nmukalitihen Ka|vMe n< Dreklen *
'P.U-, Ml, 717'.
LhiHurl rur Orearmation elnet <lrnti«heri .Vjiiimel.
(heeten for dax Konkictrli Narh»en ilH*yr' 4*.VV.,
>ll. i»8i.
•
' lUnkUunt >om druten uikI xirrirn DanJr * II* W
I. 4)J.
' l»ie Kanw and dK Hex^at*a>i * fp,W., L So),
• >M Kvntiwerk iler /ukunfl * (J*.W., I, Oo?.
’ V>Klan4 der Sthmkd, al« Drama etituwrkn * (P.W.,
’ Kynlt und Klitiu * (P.W.. I,
*Oprr xMMi Dranxa, enter leil: Dk Oper ,1.,
WeKA der Ma^k ' ( P.W*. . 1 1 . a j ), ^ " ’**
Vdi.. JV.
*C>per «ind DraAxa, tx*eiier ximl drltter Ted: Dai
Vhaiwl xnfo <l4i Wexen <lrf Jra matin hen
XlKhlkMtiM DnbtkufHi and Tniikunat iin Drama
•for ^akuMi ’ ip.W., II, J17J.
Lme Mitteilunt an ineine Freunde * (P.W,, 1. irC?).
VoL, V,
’ ft**n fanftea ynd icihnen Bamie ' (l',W.,
^'*11* W*f{|%‘!*^'^'"**' *"
* fan llwatee rn /nrkh ' 'P,W.. Ill tj)
den Hrta,„arhpf
Nn»en/e»ue fciift for M a»,k *’ *, ( J*. W , . | f | , .«)
Ifoi JudeBMm HI der Muuk ’ tp.w.. Ill ^ot
KrmM^iten an Sponiim * fp.W,, III, i,jj.
^'**IP W*"ll Chordirekter W. Pi»rher '
^^Tu* “ Iphiienia in Auli» *** (P.W.,
* j*dk ^Auflabrunf dn ** Tannhagier *' * (P.W*,,
*• TTJiix '■
• . Erlaulervnren. i. Ikeihoven **
« Ouvenure lu
*Mm ** Fhejenden
iMUnder. 4 . Oovenure tu ** Tannha Met ' *
, ,. '• “ Lolientrin ** * (P.W,. JJ], eio)
^ III »>mpj*urii4ehe Pichiunfen * (P.W,,
Voa. VI.
' B«hnAAfat»nkl. Enter Ta* :
Du WaUore. : s/e^fried, * ^
Ta«: Cfoncrda
rvaf.
Diitter
24
WAGNER: Works
' Epito(iMb«rBcricKiub<rdieU«r»UrMl«undSchieka«W.
Hclchc die Aiufuhruo^ de« Buhn«nCesup<e)«» **
Kinf de« N)b«lur\f«n'* ho iwr VcfoAmUkhuBc
det DichtuAf deuelbea bectdcMeo * (P.W.. 111.
*M).
VOL. VI 1 ,
* Tri$i«A und (wide *
* Em Brief «n Heeter Betiioi ' (P.W., 1(1. tBs>.
* ''ZukuiJumueik . ao «inen rremtesucbm Frcuod
(F. Villoil Alt Ververt su cieer Fro»A>Uben«(tuB4
meiner Op«rn*Dichtungcn * (P.W.. Ml. *93).
* Bcrichi ubee dte AulTuiimn* 4 v* “ Tannhauser ’* ui
P*ri»<briellkh) ' (H.W,. 1(1, 34}).
‘ Ole Mei*(eninf«r ven Nuinbcre.*
' Du Wiener Hcr>Opemiheatee * (P.W.. Id, 961).
Vot. \'I(I.
' 0«m kbnifliehen Frrunde: Cediehl * {P.W., IV, i).
* Ul>er bt 4 *i und Keli^iMi * (P.W., (V'. 9).
' Dewieebe Kunii urul «leu(»ehe Foiidk * (P.W.. (V. 39).
’ fiericht AA Seine MajeetAt den kenic L^rdwig 1 1 ren
Bavem ubec eine in blunchen eu errichiende
deuiKhe Mutibtehule ’ (P.W., IV, 191 }.
* Meine Crinnerencr^ an Ludwig ^tineer v«n Caeel^
feW (FAS',, IV, Mj).
* 2ur SS'idmung der sweitert AulUge ven ** Over «mm 1
Drama ' (l».W., d.jK
* Gen.ureii ; I, W. H, RieftI MF.W„IV. 159). ’#. FardU
nartd Killer * (P.W., (V, edi), ‘y Cme Eeinnerunc
an HoMini * (P.VV„ IV, 369). *4. EdiMed De.
vrient ' (F.W., IV, 373), '9. Aufklarunren uber
*' Daa Judentum in <ler Mudk " * (F.SS'., 1 ( 1 , 77),
' Uber dat Dirieiren * {ibbol (F.W,, IV. ti*).
* Drei Ueclkhie: 1. Rbeintekl. s. Bei der VolleMking
del '* Siegfried “. 3. Z*im 99. Augwti itTO ’<F.SV,,
IV, aM),
VoL. (X.
' An datdeuiMhe Heert'er Karw (Januae 1I7O ' (P.SV..
V, 0
' Eln^Kapi lulalien. Lxiiitpkt in an liber Maitoer * ( P.W*,.
* Erlnnerungen *11 Auber ' (P.W,. V, 99).
' fieeihe^en (publ. 9 Dee. iSj©) (P.W.. V, 97).
'Uber die Betiimmung dee OiWr * Ube aecouni af
SVilhrlmine Srhrueder*Dv«rtmi n (r»m the Aut»<
biegrapKv) (F.W., V, la?).
' Cb«r Sehautpieler urul Sanger * (P.W.. V, 197).
'/um Venrat der neunten SymiihcMe Beelhevem '
I P.W,. V, ♦«>.
* SendKhreiben und kieinere AufUtie : 1. Brief uber
det Srliautpielerwen^ an einen Selwuepieler.
a. F,in r.inbliek indatheutigedevueheC^rnweten.
9. Brief an einen naltenmhen Prewnd ub«r die
AulTuhrung dee " J,ehenarin '* in Moeno.
4. Schreiben an den Boreermciwer ven BeieiM.
( An Friedrich Nieiaache. nnl. Pref. dee kbw.
Kilelegie in Baeel. 6 . Uber die Bencnnwig
■' Nfuiikdrama 7. Einteitunc tu einer Vertesung
drr ** Guiierdamnteruetc “ vet cinent atMewabltea
Zulwrerkreite in Berlin' (P.W.. V. 999).
* Bayreijih ; 1. Schlucebenchi ubee die UintUitde ueid
Sehiektale. wekhe die Auafuhrvng del Bwhneei*
leiupieie* "Der Rint dei KibeJwngen " bet lue
Geundung ven Wagner-Vereinee begkiieten. a.
Dai DuhnenfetupielKaui ru tay r^ ib, nebtt
elnem fierichi uber die Crundtieinleitveiv de!ael<
ben ' (P.W., V, 9 n 7 ).
Vofc. X.
* Uber cine Opemauiruheung in Leipik : Brwfan den
Herjunehcr dei " Mwikalbchen Wnehenblaiiet '* ’
(P.W., Vt. O.
‘ Ba*reuih. Bavreulher Blaiier; i. An die gceheien
Vor«iand« der Rkhard Wagne«*Vefeuic. a. Eni*
wurf. verufTeniliehl mit den Scamien det Patranac*
^reiAet. 9 > Zur Emfuhrww (Barrewthet Blatter,
Erttet Stuck). 4. Eie Wart mr EinRtheung der
Arbeit Haiu vgn SVolaogfm. " UbM Vcerviiww
und Erreiiung der deuuchen Spraehe”. 9. £/•
klarunr an dk MiigUcdee dca Pairan a cve reirw v
S, Zur Einfuhning in Jaa Jahe iMn. 7. Zwr
Miiieilung an die geebrten rairane Puhexn
fetiipiele in ■ayvevih, g, 2 ue Eiitfahrting
Arbml dec Crakn Gnbinau ** Cki lietheil ubec die
ieiaige WedUge" (P.W., VI. ij).
* Wa* iat detitach? fiB65-70)’ (F.W., IV. 149).
‘ Modern ' (P.W., VI , 49).
' PuMikuai und PepulAnUt * (P.\V., VI, 9:).
' Eia RuckUKk Au/die Buhaen£suE4el< d« Jahrea tSTb '
(P.W,, VI. 94).
* WeSen wir hoffen? " (1679) ' (F.W., VI, iii).
* pberdAa Dicluea und Kompemrtn * (P.W., V(. :90.
' Uber du Opera Dichien und Komponiien im b«Mn«
derea' (P.W.. VI, 149).
' Ober die Anwendung dee Muaik auf dai Drama '
(P.W., VI. 179).
* OneneaSchretben an Herm Emit von Weber, Verfauer
der SchriR : "Die Folterkaounem der Wiuen*
KhAA"*(F.W..Vl, 193).
* Relirwo und Kunai (iBBo): *‘Wu nuui diew
wkennuiiu? " £in NAchirag tu ** Religion und
Kwmt.*' Autfubrungeo tu *' Religiea und Kunii "
(iBSiJ. r, ** Erkenne dkli telkni." a. Heldenium
und Chmientum ’ (P.W., VI , ai 1 ].
' Brief in H. v, Wdeoeen ’ (P.W., M. 3S9).
* OfTenet Schreiben an Herrn Friedrich Sohen (n Wermi '
(P.W,, VI, »9J).
* OaiBuhnenktiariiel in Bayreuth, idSa '(P.W., VI, 901!.
’ Berkht uber die Wied^auffiihrung einoi Jugend*
^rrkea. an den Merauageber det " Muiikaliiehen
WochenblAiiet’' ' (P.W,, V], 919].
* Brief an H. v. Stein * (P.W., VI. 939).
* ParulU.*
(’ (.ebenaerinnerungen,* ThU it the privately priaied
Autobtotraphy from whkh the ekiracu in Vole. I,
l( and IX nsemioried Abo\e are uken).'
An Cngliah irarHlauon by W. Aihioii Ellii of the
'Cetammcitc SchriRen *, exluding, uiih lome minor
ewepiioew, (he poerei. but including mme Additional
eatav*. uaa puUnhed in iSga^, The eight vojumec
appear under the general title 'Richard Wagner’i
iVoK Woeka ' and hai'e the Mlowing luUiilei ;
Vol. I. (iBpe). * The Art* Work m the Future \ etc.
V^. tl. iiMt). * Opera and Dvama.'
VoLKI. filtM). ' The Theatre.*
Vol. IV. (iBaO. ' Art and Poliiiri.*
S*«l. V. ( iBap). ‘ Aeion and Singen.*
Vol. VI, ( 1B97). * Rebrion aod Art.'
Vol, VII, (iBrti. ' In Parii and Dretden,'
Vol. VIII. (iB^). Pofihufoetp. etc.
ARTICLES, LIBRETTOS, are.. NOT CONTAINED
IN THE GERMAN COLtXClEO WRITINGS, OR
CANCCLLBD
* Die dewtMhe Oper’ tBjo. Laube’i * Eeiiung fur die
elegante Well ’ (P.W. , V ( 1 1 .95).
Paatkeio ven Canto Spiaoato. N^. iBS 4 . (Bay. Bl.,
I ** 4 . PP* SSl-O*) (PAV., V 1 1 1. »p).
* Die glwralKhc Baeenfaniilie * ; a libretto for a cermo
S ra, aRee a Mery in tbe * Arabian Nighir* (1B99)
S).
foeher Amuaententi (P.W.. VTII. TOl.
'Berliet*. 5 May iBji. rBay. Bl., 1BB4, pp, S$ 4 B)
(P.W.. Vin. 191).
' BelUi ' (Bay. M., 1 ^. 1SI9) (P.W., VIK, 67).
Panaet FataliUiea fur Druuche. rienod V. FreudenfMcr.
Appeared 1B41 in LewaU'c * Europe ' (P.W., VKI,
V- .
* fiianea und Ciincppe, oder Die Pfanioten vor Niata .
(jbreito for an opera aRer H. S, Kottie'i novel
* Die hohe Braut Sketch isade in iQ^d. tent to
Scribe in 1B9S. Put Inla vene for Uciuiier at
Dretden: uiherouenily tel to muHC bt J, F. KittI
and performed in Praeue. iB«B.
' Die Saeatenen *. plan for libretio of a 9Mict tranc
K . F«m skeicb of poem. 1B41 : detailed plan .
given in the * Naehgelauene SehnfKn
ti'.w,. VKI. a 9 »>.
'Friedrwh Rothbart *. ikeich for a g-act drama.
bis 1B4B. ^ . .
' Rede gehalten Jm Valetlat»d»*Veeein au Dr^en .
14 June rBa*. (Tappen, pp. 99 - 4 «i P.U,,IV, i 96 '>
• Jew Naaareth ', a poetic draft. Wntwn beiwem
Nov. iSjt and tbe early part of 1849, Fine pu>
Ikhed m 1BB7. Sn P.W,. VIIL 9B9,
‘ It i* founded 00, or •deniical with, the bcochoee
' Mein Lebes of « bieh ooly th ree eopin wore luppoied
M eahL Mn, Bwreell prove* that there w ere many more
(one in bet pwtiion), and that it it m, moMY de^
tmtruMworehy, ‘ Mein Uben ' «a* l>«bl<^ m 19M.
rtt kAa. Sn afm ‘ Lettm of Richard Wagner : the
BuereB CeUeotion ’ (London, 199 1 ).
WAGNER (Sjegfried)
' 7 'he*UrT«rorm. Dretdener Aa2#i««t Jan. 1A19.
(Taepm. pt*- * 4 - 4 ^ ; P-W.. \'1 11. 2M.)
Grtnn Cfmgnt. Ballei vm Kou.* An ankl« in ibc
* Oitcrrvwhuche Zniunc *isned f. C. {P«i«
Coni«li«ul. bvi 9«r(lv bV WaciMf.
‘CraMcbnfl lur Cart Tauui \ li?).
* Richard Wagiier, Eniwur^. Ccilankm, Fra«m«nic.
Au» (leo nachg«laM^ca Pap^rm gutamiiMn*
S<* 9h» Acccnfuaiion Int wordii Alfdiora <«oed^
irumi^i). Aubcf (onnion edj. firlU «’\N KUad ilet
^chinjed *. opera on >V.’( lib.). BiaiKa mmI 4iiu«epoe
J^V. > lib.), ho, IP, Biaaua < 1 , are. U Krt bprtl ,
Brrndcl ladvcKacy uf VV.r, Cliaboer imflur^te on.
^adrille on * TmUn CbroMalKiun 1 J «nu«. eaa.-.
CnM*«<y(iee <x.^ Cottier T., * lunc ' leajn
UKiMh rieiiiAC of Fi. lib. o| ' K>inc Dbuhnaon * &
rnn4.nl * laniihauKr’, Part*. iMi/. F«ure lOc of*
Cvnmra • Haiu S»«ht ' opera ar>i«cip. * McMtrr-
iincer ;. HerkrUlanna um m * rtiwan’). Huoiper-
iliitfck ^auitia/K« Hiih ’l*atiifal\. Kiid >’8un<a
und fiiowppr’. U'.’» bb. eomno«r<l<. Klind»o«ih
Kor« of *KiMo'?. KurpiAthi .tone u«m| m
Pulnn^ overiuev., LeUriMHiv 1 w (.Mar failrer*
irv.laMi .\i). Ijv funeral piece ht »i«. «iei 4 liatp',
Mjeteillaite liitr «/ in ronf.. MiKabAkh 'V^wlaiol
lib. I. Modalalmn «ea.<. Muhl lurck td ^
M JKliri Hlirine adapted F>r ’ Steitiemi>cer *>. NeriaMl^
(adKrrenc « rnriny). Opera.pp. ai ).|6. Oterivre 1 fv.4u>
imi iiilopteludci. Puller itymphony cuiMhaietJ by .
UiiMlIibet 'ei. in * Meitc«nii«rr ’ 1 . Rad ivn. 4 id,
num on (lienirti. RorSe 'Ft. tram of (annhauter
H**eckel <j, inendtbipi. Sr«|iMn<et Mreatmeni nf',
inarodv nf • I aonhaoier * 1 . Turotai* •»
'aniAmo ilMueh. trana. of
FIvInt Dyuhniao’ lib.j. WafenMil 'J, C., Myrre.
lK«>k fur * MeMirr^iiKct *
WAGNER. (HeUericb) Siegfried (*.
Tricbschm nr. Lucerne, G June idGn' ^
Biyrculh, 4 Aog;. iyy».
Cermoh conductor and composer, son of
the preceding. He was Richard ^ Vagner'*
and Ortinia von Dulow’s nnly son and (he
direct eiuse of Hans von Bulow's at la»( seek,
ins: a divcarce, although Cenima had finally
left him more than three years berore. The
decree was made alooluie early in 1870, and
\Nagmrr and Dnirna were married on 18
.July, when Siegfried was more than a year
old. Wagner wrote the ‘ Siegfried Idyll ' in
hu honour that year, and it was performed
on Co^mias hkihday. a*, Dec. 1870, in the
siaircajic of the house at TriclischeB.
•Siegfried was ftrti intended to become an
jrchlircl, hot he preferred to follow hU father's
foots leps, althr.ugli at a considerable distance.
After studying with Humperdtnek and Knicse
he acted as sulj-conducior at the BayTeuth
h estiva I Theatre in 1B94 and subsequent
years, tlirecung some of the performances
trom 1896 onwards. Although he was not a
great conductor, he did his work well enough
jor his mother to sireieh a point and to allow
him 10 take a |>laee which, outside the family,
was open only to the most distinguished con-
dueu^ of the day. The coniroJ of the theatre
and lu fesitvaU naturally passed into his
hands when Gemma Wagner rellnquRhrd her
I>er 5 ona rccponsl bilily, and as an administra.
■" "’“""i-"* '•i*
‘ Sehnsucht by Sieg.
tried Wagner was brought out in 189^ aiSl
\N‘AGNER TDBA
I as
jriayed with fair success wherctXT his father’s
music was most ardently admired, but it was
as an operatic composer that he ivorked
most assiduously, undeterred by the irxiiflercnt
successes <4 his w'orks, which would probably
nc\*er have reached the stage at all but for
the great name he b^e and the indulgence
granted him as an illu^irioui nun’s son. Like
his father, he was his own librettist. J'hc
ftdiou ing an* bicgfrinl \Vagncr'8 <>|M*ras :
* Jkf B«rct»li»y(cr \ MuiiKh. iflpo.
’ llr«<4i< >V«klfan< MynKli. i»ui.
* Iter KoboM *. Hambure, 191/4.
‘ beiHker LwImt (tamkiyrK. ipo^,
‘ MetneAfcboi ’. ildintMirs. ({Kia,
* Byna4miKh *. t;drktul«, 1910.
‘ \n aSlem lU liuu}>eii w liylJ *. SiyiigArt, 1917.
’ s<hMa(rKh%«ji>'nrrM>i Ctrhrulir. I91A,
' >uiMxnA«AinKH *, |)«inviailt. 1910.
’ l^r ^Kkm*e^J s«a SUrKiibur^ KoW«Hk, 1973,
* liei* f rie<ki«WACel *, (UiJ.rylir. iy<b.
* IVr ’. tkAninc. 193],
* Keitiulf uiid ,k«teU'ia * 1 iHii pr<Hluirdi,
* St *linopCrr ’ '*kh pr.aiy<e<n.
* 1>K lwil>tr LiimIc ’ «iHM pro4urr.l).
II. T., adds,
mm.KXilUt'HV
Datar. Oito. * Nieyfeksl Usenet und win U>rk '
*8aiwihhi i 9 esj.
•Sw«^ie4 Vsactwr ynd die Maicl^noptr ’ iLriprif.
fftAWSAtr, <t. t , * SievfiiMi tVarner imi 4 >ifw Kim»«
.... 1 w»M-» J.«iiwtff, >911. iniy. inifl',
PaiMwa, Pa,i. MHe KuMt SKufricsl W4gfirrs: ciii
Fuli(er«lu«h wiAc VNerke ' nirjj.
Uai.ma, S«lt.rRiiB, * l.tiAAcruiiCeii * 1 Sliiiiudtt. I 9 »s).
WAGNER TUBA. A spiHial kind of tulm
invented by Wagner far the • King uith the
olijest of bulging the gap between ihc horns
and tromlxmes {P/.ATJi 75, V.d. VlH, p.
3?8 j . Four of these Wagner tubas form a set,
and they are iniendcd to be playciJ by die
extra quartet (»f horn players, who alternate*
between (he instruments as the part dlreeis.
The quartet consists uf two tenor iid>as in U>
which are playrtJ by the lifth and sovemh Jmrn
playcfs, and two bass tubas in F. played by
the sixth and eighth horn players. I'hrse iwo
are the same as horns In Ilk ally and F.
llw main l>ody of the msirumeni is built
in the sJiape of an ellipse, like most German
tenor horns, with the Ml cincnting from the
iop Pi p slightly ubiique angle, while the
losver end almost resu un ilie play er’s lap
In the centre of this ellipse arc the four rotary
vrives which arc manipulaicd by the fingers
of the kft hand, the fuunh valve lowering tJic
pitch by a perfect fourth- The conical bare
increases steadily throughout the whole
iCTgth and icrminaies in a small Ml, thus
differing from the horn, whose bore Increases
sJowl^y up to the last fool of its lengih,
when 11 (lares out suddenly into a bell, the
diameter of which measures over 2 irw. more
than that of the tuba. The wider bore,
though not nearly as Urge as that of a true
tuba, results in a certain lack of incisivenes*
in the attack and makes the instrument much
freer to blow than the hom ; thus in perform-
ance intonation is the paramount difficulty.
t26
WAGNER TUBA
WAINWRICHT (Family)
The ordinary horn mouthpiece is uMd> ar»d its
comparative smallness rounds off the tone
while maintaining the correct relationship vvith
the horns. In general the tone may be said
to be more sombre and less biting than the
white tone of the horns, while Bayreuth iradi*
tton used to tell us that \Vagner*s own con-
ception of the tubas compared with the horns
was the difference between the solemn, digni-
fied and heroic as opposed to the lyrical and
romantic.
The compass (actual sounds) Is E>-r~ for
the tenor tuba (Bp) and B^.-a' tor the bass
tuba (F). Also, the rundamenial Is obtainaUe
on both instruments.
After * Rheingold * Wagner writes for the
tenor instruments In and the bass ones in
Bft basso (except In the prelude to * Cotter-
dammerung’, where he reverts to and F,
but an octave too high). In a letter to his
publishers he excuses this change of notation
as facilitating score-reading, but directs that
the parts should still be copied out In and F,
Tliere is some uncertainty about the iniilal
designer of these hybrid Instruments, but the
original set (which have been slightly modi-
fied) were preserved at Bayreuth, at any rate
until i9$9> The firm of Morluh (Berlin), at
their centenary celebration in 190B, claimed
to have made these ‘, but they were super-
seded by the Alexander (Mains) set in 1890.
In Great Briialn it is only since 1935. wl^
Sir Thomas Beecham obtained a k( of Wagner
tubas direct from Alexander, that the parb
have been correctly executed.
Anything in the nature of a tut€hU solo
would be quite inappropriate, the Wagner
tubas' most effective function being the per-
formance of slow simple harmonies. This Is
especially true where they are reinforced by
the contra-bass tuba, which fumisbo a much
stronger bass than the fourth Wagner tuba.
As an example of soft playing none could be
better than the initial statement of the Val-
halla motif, and among /«rU passages the
Hunding motif is grimly emphasized when
stamped out by the heavy tread of the Wagner
tubas.
Other composers w ho have scored for these
noble instruments are Bruckner in his later
symphonies, Stravinsky in ‘The Fire Bird’ and
' The Rite of Spring \ and Strauss in * £lek-
ira ' Die Frau ohne Schatten ’ and the
* Alpine Symphony In Strauss the parts
are altogether more advanced than hitherto,
and even mutes are demanded.
To conclude : the Wagner tubas have a
very definite function to fulfil in the orchestra
and have fully justified the expectations of
their inventor; but they are so essentially
German that it seems unlikely that they will
spread much farther afield than the country
' * ZeiMhrin tur IiUtninWfit^bsu XXVIII, 643 f.
of their or^n, to the music of which they are
so eminently suited. r. a. (11).
WAGNER.VERENIGINC. $h AxsreR-
DAM.
WalUy, L4o« de. Set BerUos (‘B«av«aiito Cellini *,
tib).
WAILLY, (Louis Auguate) Paul (War-
nier) d« (>. Amiens, ifi May 1854; d. Paris,
18 June 1933).
French composer and writer on music, lie
studied law and was self-taught in music. He
was recommended by Romaln Bussine (one
of the founders c( the Soci6i6 Nallonale de
Musique), at the age of twenty-seven, to
C^r Franck, who Iwame his only master in
composition. He remained faithful all his
life to the principles cf the latter's school.
Wailly’s principal works were first per-
formed at the Soci^t^ Nationale de Musique ;
his d^but there was * Hylas, idylle antique
insroi^oax (i06a),w‘ordsby Jean Lorrain. He
composed chamber muaic (sonatas, Quintet,
Octet, etc.), 3 symphonies, church music, a
few songs and a dramatic oratorio , ' L*Ap6ire
4 acts, performed in Paris at the Th^itre des
Champs-Elys^ in Dee. 1934. His Wingt-six
Pi^es pour harmonium * appeared after his
death. He wrote ' La Vie el rime de Gisar
Franck’ (1923), contributed to the 'Bulletin
de la Socidt^ d’Fmuliiion d 'Abbeville ' and
to the ' Revue de Musicologie*, tgaS, No. 8? :
* Boucher de Perthes et Paganini *. m. l. r.
BiM..— UvaaKT. A.. * Paul d« WaiUy : Vuikit, r«uvf«*
UvuMT.^'.^d d« Waillr : k cemaMikur, ya/ihts '
(£u.
WAIKWRiGHT. English family of mu-
sicians.
<s) Joha WaiawHghi (i. Stockport, Che-
shire, ? ; 4. Stockport, Jan. 1768}, organist
and ctMnposer. He settled at Manchester
about the middle of the tSih century and on
13 May 1767 was appointed organist and
singii^-man of the Collegiate Church, now
the Cathedral. He composed anthems, chants
and paalm tunes, a collection of which he
published in 1766.
(a) Robert Wainwrright (i. Stockport,
1748; / Stockport, 1 5 July I78«)» organist
and composer, son of the preceding. He
accumulated the degrees of B.Mus. and D.Mus.
at Oxford on 29 Apr. 1774. On 1 Mar 1775
he was appointed organist of St. Peter s
Church, Liverpod, and in 1 768 he succeeded
his father as organist of the Collegiate Church
at Manchester. He compos^ services and
anthems as well as an oratorio, ‘ The Fall of
Egypt *, performed at Li\-erpool in 1 780 and
t8oi.
(3) Richard Wainwrigbt (&. Stockport,
1758; UverpocJ. 20 Aug. 1825), organist
and composer, brother of the preceding. He
was organist of St. Ann’s Church, Manehttler.
la Sept. 1782 he was chosen W succeed hu
VVAIN>VRICHT (Harriet)
WAITS
127
brother Robert as organist oT $t. Peter's,
Uv'crpool. which he afterwards left for the
organist's post of St. James’s, I'oxtelh Park,
Liverpool; but in 1813 he resumed his place
at St. Peter's. He published a collection of
hymn tunes of his composition. His gke
* Life's a bumper ' was ver>* popular. His
execution was remarkable — more remarkable
perhaps ilian his taste.
(4) William Waiaright «>. StuckiKirt, ?;
d. Manch«tef, 3 July 1797J, singer, doubh-
bass player and music ^rlUr, brother uf the
preceding. Hu was a singing*inan ai the
(lollegiaie Church of Mamiirster and also a
perfurmer on the double bats, besides carr>ing
on husincsi as a niu>.ic seller at Manchester,
in partnership with .Sul low'. w. it. u,
WAINWRIOHT, Harriet {b. ? ; d.
I'.nglish idtIwiijchKentury composer and
author, She was probably one id else Cheshire
\Nainwriglm (sf^ ab^iei. Her drainaise poem
' Com a la ba«c<l on O^sian, was performed in
l^ndun, at the Hanover .S<|tiare Rooms, on 36
Jan. 1702.' It was publidied in full score in
1O03, and the preface is dated frmn Calcutta
in Aug. uf that year, ffir, some time between
iscrfortnanre and publication, she had married
and gone to Inilia. Later she returned 10
I'.ngland and lived in Ixsndon, where she
published in 1834 the librrUo of a comie opera,
' Don Quuoie. or The Knight de U Mancha',
l>a«cd uii Cervantes, which wai apparently
m\cr set to music or performed. She also
published ‘ Critical Remarks on tlie .Art of
Simpng ' (lB3bi, some fiction, choruses, a
songs, duets, etc. a. l.
WalBwrtibi. Hewarg. ftriMv.
WAISENHAUS,DAS(Operi\. -VreWaioi..
WAISSEL (Waiaaellua), Maetbiua (4
llafh miem, .* ; d. ?f. '
Cicrmait lutenist and composer. He was at
one lime pastor at Urlcheim (?;. In 1573
hr calls himself Mchleraior of the school of
Scluppetil*cll (now Schippenbeil, district of
Komgsherg). He wrote:
Ubiiljtur;< c.flliftent . . . 4 , stl6 wwn
apiaus ut %un% PhMl
u*w, KrtmsnMsr.
TsUjUi,,,, sikrfcv fcymdKher
man, hull. lewiHhcr uiuj potnacliM
haulf.jlMKh, vfHl
drr I.iwxp,, cruMdlHhcr un.| ««Uer
fkotKWn oad
MniKhM, renuen: livtij-
lefnekrirt DctuluclKs T«ntw far
W^TS.» Kach year as Christmas ai>.
proaches the strains of street musicians ar^
* l.ilreito in ih« B,M.
heard in Great Britain. 'I'he origin of the
custom is to be traced through eight centuries,
and it throw's many sidelights on manners and
customs of (he past.
tiYSWLOCv.— hor the origin of the word a
Kore of variants can >>0 cited. Originally a
noun from the Anglo*baxon utuian — to
watch or guard — the word U'Canic altered by
the Normans to gaiit tFr. guel), although ii is
not ceruin that il>e noun form may not be an
ado|Mion from ihe 'leuioiiic lO.H.G., Wchta,
German, iJw word “ wjju ” gave
rise to two curious rtnrf> — uuc, that the tvofd
did not iMCiir in the singular, and I he othn,
that ilsc ijrrfiirnwrs i*K»k their nainr fmru llunr
inttrumems. Both errors are luond in Bush) ’s
* Uictionary ut Music' tinJ cd. ilkib, j.:,
' W asghirv or VSails
Hit survival ot o(cu|>auii}Ml names such as
Gait, \\ aii*r,, Wakrman seexr', to indicate ihe
Use of such word'furim in iJie singular. The
Ims offreeinen of Vurk iSurtees .Vh iel) , tU^G-
i9i»o) record I hi ween 1272 and 1759 no fewer
than 101 rn I rics referring to txTMjns of iJjc
name of Way >»<•;, Wakeiian, SVaiie or Wale,
one of ilwie Kogerus Wat ic, adnmied in 1363,
lieing ihscnbed as pi|jcr '. ,\ni<*ng 91
muskians and " inynsi rills" adnimod freemen
during 1I1C same live temuriet wu note: In
1^^ "Johannes Bawderstonr, waile ' ; in
Ib/y, " Thomas Girdlvi, waiic"; in 11171),
" Nathan Harrison, muntion ", who. in I7’il
(on il>e atimission of hit tw o suns> is described
as ** waiic ".
^KLv HisroRY.— It is clear that originally
waits were night watchmen m palaces, ea>ilc«,
(am|« and walled towns, who " pi pexJ watch ”
upon a musical instrument at stated hours,
whether for changing the guard or in case of
alarm or nieecly to awaken certain [xrsons at
api>oinled hours by soft music at their chamber
doon.
One of the earliest references to waits occurs
m a treatise ' De Naturis Kcrum ' by Alex-
aiKJer Neckhani, Abbot of Cirencester, who
died in the early part of the 13111 century:
" Asdnt eiiam excubiae vigiles (veyicsj cor*
nibus luis strepilum vt clangorcm facicnies
r enure of I and by wait •sen-ice was common,
actual service being commuted into a money
payment known as waii-fcc. Sandys in liis
Christmas Tide' records (Ump. Henry III,
Simon le Wayte who held a virgate
erf land at Rockingham, Northanis., on the
tenure of being castle- wayte or \vaich. Blount
•ft his ‘ Ancient Tenures of Land ’ records a
simiUr imianee of wayicfee in connection
with the manor of Karborough, Norfolk, in
I $58; and abo with the manor of Hu x ton
(ftcar Aylsham), where a quarterly payment of
15*- was lc>-ied for wayic-fee at tl»c castle of
NorvfKh. In Ct^wall those holding land on
tenure of keeping watch at the castle gate of
isd
WAITS
Launceston were under (be jurisdiction of a
special court called Curia VigiJiae, Curia de
Gayte or \N’aylerti-ree Court, of which many
records are preserved in the Public Record
Office.
The early romances serve to show that the
word referred to the performer, thus, in ' Kyng
.Alysaunder ' (14th cent.) : ^^'hen iheo xibic
was V'drawe, Theo Wayie garx a pipe blawe".
This Ta/flntuiik in course of performance is
portrayed on the I5lh*centur> Braunche brass
in Si, Margarers Church, IGng’s L>nrt, and
serves to link the musical watchmen with the
musicians attached to the houses of the
nobility. The romance of Sir Eglamour
(1440) States Crete Jordys were at the
Assent ; ^Vaylys blewe, to mete they wentc
In the ' Prompiorium Parvulorum * of 1440
wayte is glossed as tfploretsr/tfis,
without any musical connotation, but a
Nominale of the s^th century glosses co/pmnia
{i.t. calamus * aulos, hence calamaula) as
" wa>'ie pype ", showing clearly that the
performer gav*e his name to the instrument
and not vUt vttja. In i$io we find “tibken"
defined os a wayie”; in 1530 Palsgrave
gives "Wayte, an instrumcni, hauboy's", and
i n 1 35C W i i hal , wit h less acc uracy , gives in hU
Dictionary " The trumpet or waytes : luba
Butler in his 'Principles of Music’ (1636)
clearly regards Waits as being " Hobois", and
such a definition is confirmed by Minsheu
(1617) and by K. Sherwood's Enghsh'Freneh
Dictionary appended to Cotgrave (1630).
Koval Waits. — Stow lelh us that Henry
111 in 1333 esiablished watchmen (waytes) In
l^ondon. Edward IK (i 3 a 7 > 77 ) had three
" Wayghtes " in the royal band of 19 " myn-
strells Henry VI (i4a3>6i) in 1443 had
" xii menisirealx, one le Caiie". As regards
Edward [V (i46t-63) a full account ^ his
household establishment in the * Liber Niger
Domus Regis specities " Minstrelles ihir-
teene . . . whereof some be trompeu, some
with the shalmes and smallc^pypes . .
and " A wayte, that nightely from Mychelmaa
to Shreve Thorsdaye pipeihe watebe within
this courtc fowere tymes; in the somere
nigh ICS iij lymcs, and make the Bon Gayte at
every chambere doare, and oflyce, as well for
feare of pyckercs and plllers (t.e. ihievesi
" Andrexv New man, the Waite *’ was one of 42
musicians of Henry VHI in 1536. Charles 1
(1635*^9) had iweniy'five waits in his band of
(Ifty'Cight performen.
Municipal Waits.— The custom of muni*
cipaUties appointing official waits may be said
to date from the 15th century, and the records
of English boroughs and, to a lesser extent,
Scottish burghs provide a rich store of in>
formation concerning their Waits.
MiNSTRiLS AND WAITS. —It Js ftot always
easy to distinguish waits from minstrels, since
their duties were often the same, but there was
for centtiries hostility beiw^een the waits —
trained musicians who ser%’ed an apprentice-
ship, were accorded official status, badges of
office, livery and emolumenis — and the
common minstrels — itinerant players of very
varied capabilities and some little better than
rogues and vagabonds. Of the latter Alex-
ander Barclay in his ' Ship of Fools ’ (1308) ‘
writes ;
'flue by no mesiu esn (hey tbide or dwell
SViibiQ ibeir houMS. but out they need muii k
aioro wildlv w'sndeniif than eiilter buck or doe.
Some with thetr harpt, snoihcr wiOi hii luie
Another with hit baf pipe o( a fooliih fluie.
Andrew Fletcher of Sal toun states ihai in 169B
there were 100,000 wandering mendicants
in Scotland and many of these were doubt-
less minstrels of a sort. If England's vagrant
musicians were numerous in proportion, it was
but natural ihai competent musicians in the
pay of royalty, of the nobility, or of municipal-
ities should resent any derogation of their
calling. > V . Chappell i n hi s val ua ble ' Popular
Music of the Olden Time ' remarks :
Af(«r ihc A<( of ih« jftih ie«r of klisabrih which
rend«r«d mintucU wsudrruiK sbrusd li«blc w
pimnlinwnt s* ** retuo, va||abo«itJ» «rvd tiurJy brgssn .
sll itiiwrAnc muNCWBA were obtised to west cloeb eod
baOflet with the sewn of some noblem«ii, fiondemsa, or
comofAtc body, to dsnole in whose service they were
eofeicd. bcM| dwreby escepud from the epersuen el
the Aei.
F.dward IV granted his minstrels a charter
in 1469, and James 1 in 1604 granted a charter
of incorporation to the Socleiy of Minstrels in
London, and ihus Instituted the Worshipful
Company of Musicians.
IXjTias-— A wide variety of duties devolved
upon the waiu, Tlicy were asked to assist at
medieval plays, as in 1311, when a minstrel
and three waits of Cambridge assisted at a
presentation of ‘TJie Holy Martyr St. George
at Bassingbourn, Cambs. Or again, as at
Newcastle in 1567, when the incorporated
companies performed a miracle play on
Corpus Christ! day, the corporation paid ss
" to the waites, for playcinge befor the
players [f.e. acton] .
The waits look up a suiion on the route and
played on the occasion of royal visits. Hohn-
shed records ilie visit of Queen Elizabeth to
Nortvich in 1 576 :
Thw* hif Jrew ihc of die cii«
c.lM Stif.% SwphAfi'i e»i« . . . •! !
(he «il« wert pUerd with lowj mutKke, ‘••'V
(ulbc and mrtod»o»al*e welcomed lur miiwtie iftt®
eiUc. , , f
The wails met and serenaded vuitt^ 01
note on arrival, c.g. ai Cambridge, as Pepya
relates in 1667. he was m« by the totvn m^ic.
" But Lord ! what sad music they made , >s
hb comment. At Bath, on the other hand, IM
next year, he records: " By and by coin«
music to pUy to me. extraordinary good as
• A p*«-«*BdAtlon »(Kl P*#l-teiiudoo of Seb*»ii*®
Beam's * Sarrenichifr'.
WAITS
189
fvtf I beard at London, almost cpran>’wbore'’.
John Wood, a century later, in hu ‘ Descrip-
tion of Bath ' ( 1 769) Mates :
Tl>e ?usiomi (h«i pAntcuUsly Mlau tv the SUMteert
Mala wrlcuimnf theot lo Uie <i(v. fin* by a Prat
lh« Abbes Belts : ami. in lh« i«tc i^Me. b%* the \We
M wKk of tlie City Waiu . , . ihe WaiU seldom niba
in<ir Ke of a Crown, HaU>a«Uwinea, or a Gu«iea.
Mcotdinf lo the Rank oT tlie People they uJute.
This account is almost verbatim that given in
Coldsmlih’s 'Life of Richard Nash ' \t768j,
The wails of Scarborough in the iSth century
went thejf rounds from Ntariinmas Eve to
Christmas when the inhabiianis were asked
for donations which were booked in musical
characters : a seinibrrvc stood for 5s., a minim
for 8s. 6d. , a crotchet for 1 s . and a <| uaver for 6d .
In constant demand fur weddings and social
functions, the waits were frequently mentioned
in I7ih*ccntur> drama, t.g. Beauimmt and
Fletcher or Shirley. NJor<‘ rarely they assisted
the choristers in the service t>f ilse church, as at
St, James's, Bristol, in fySs, when the waytes
were paid as. 6<i. on Candlemas dav anti
night ; at Chester in 131^1, t6dUarid lOod; at
York Miasier in 1C83; at Christ Church.
Dublin, c, iOjo.
Five Norwich waits in 1389 achieved
unique duilnciion when iliey aecompanied
Sir Francis Drake to Cadis. " Three new
[lowboycs and one treble recorder " and a
*' saquebut " were supplied for their uae.
Krmp. the morris dancer, in his * Nine Dale*
Wonder ' (i6oo) describes the Norwich waits
thus: '• Fewe ciliies in our Realme have the
like, none belter ”.
(>B<;ANntA'iitiN. —There was no rule as to
the number of the wails, but from four to si*
was usual, with nine in London. In Scotland
frequrnily only a bagpiper and a drummer
were employed, but from ibti? Edinburgh had
hvc wails.
Dkbss. — nic wails' livery was distinctive
anti highly coloured, as the following insiances
show :
Ahmick; c«wu o< Mue LrnaU<lo«l. ImhI >HI«<
<Wh a»Ki IrimmnI «,iih Im#. ih« Ummh
o„ ihem ihp «ww 4 vtm. Anacl^d M ib
MkIijfI hillini ihe fSe «nt «,u v«|lo>
Odmnfd )|be llw «Mi. «er« .
ydlovr aikI tlw hit ImJ a «wha«l« and ulv*
lace u. «jb9J.
lJulilm ; l.ivfry tloaks, lb* cl«ih lo Iw Uuc or •aKbe
itjflur vriih the «ay (ivaai,
OrFvM^KM «*»b. lb* CM*i ha«iiK s-stl
bottom and um
ini^ ol M«k feraHl; lon« waauval, «ba*i kn*.
••Ih ««rka 4 «s on «h
L*kt«i«r; (bans* w uwnev and laerr scarlet ton
^a*d *1,1111 til**r lar*. Uot t< 4 *l lace (ijaa).
«•***'’ r*< <« ■** whU
lalhifr as roffn«tly " (1637),
BADcw.^ln imitation of the badges won
Dy drpondants of great noblemen some wait
an embroidered badge on cite sleeves c
their gowns or cloaks. Usually, however, .
' OL. IX
silver collar, badge escutcheon " or “ cog-
nizance ") and chain were provided by the
municipality on adequate sureties Ix’ing fur-
nished by each wait >, and happily quilc a
number of these badges survive, Tlio«* of
Bristol { 1 683 • , Beverley (1330), W a kelicld
(i68d), Siai^ord M^i) and Norwich (r.
1330) arc illustrated in J. C. bridge's lecture
(see Dibl.). Other badges wlmb survive are
those of Leicescer 11695;. King's Lynn
and a very Inferior badge of St. (Jrorge's, St.
Pancras and Si. Oilrs Wails, I^>ndun (iboi).
'fltrsT of four Iwautiful silver waits chains,
believed lu date from 147G, arc comprised in
Kxcirr City regalia.
IxsravMk.sis. -Originally liu: Walls play.nJ
wind trisirumenis as U’jnf best suited lor u>c
in the open air. Ox horns and similar non*
musical insirumeriu were replaced by the
fav out he mstrunieni, the shawm or early oImh*,
lefined " way te. pipe “ «r simply "waytr".
Banners were liung fnmi irumiiet;^ and
shawms. aisJ constant reference is matle to
these. .\i \(»rwich l>anmTi '* matle oCwliyie
and fed darnaske " were used (<»r the wails'
shawms. The use ol Cornells and sackbuts
(trumiKMtesi is recorded in London in 1 539-09.
Aiiwg pa>meni» to or on behalf of the
w’aiu at Catnliridgc in 136^ the chamberiam
records: *' Faydc for an Instrument called
a bumbarde . . . xli." Referent es to the
bombard (Ger. Fimmtr)^ the ba'v shawm, arc
very rare.
Ilkomas Morley, however, in dedicating his
' Consort Ia^>n& ' to the Lord Mayor and
aldermen in ijyi, praises the Ixmdon waits
and writes his * Ixuons ' mainly for strings ;
treWe lute, pandora, it item, bass viol, (luic
and treble (lule. John Hooker ( 1335^1(101 ^
the town-clerk hisuirian of Exeter, lefi a valu-
able manuscript ' Description of the Citie of
Exeter ', in which he glv'cs the eoinposition of
Use wails' band in 1573 as '‘A Doble Curtail,
a Lyserden, Two I'enor Hoyboyes, a Treble
Hoybo>TS, a Cornel, a sett or case of Ifowcr
Recorders * The double c on al | was 1 he earl y
bassoon and replaced the bombard. The
L-serdm is tlMughi to have been the tenor of
tlie comet i family. Tltc spelli ng *' hoy boyes ' '
reveab the inHuence of the French origin of
ilsc ^rd — W'lheh occurs first in
English in the mid*l 6 (h century, Robert
La ncham tel Is us I hat ' ' hautboi 4 ' ' were among
the instruments employed for the entertain-
ment of Queen Elizabeth at Krnilworih In
• 575 * The four recorders were very probably
a set of four different sizes in a case.
The records of the Court of Aldermen of
CofMJon state :
I
130
WAITS
1569. The NVoiu to be petd lor « m Reeordcrr and
six Corneu.
i) 97 > The Chamberlain shell proeoily buy and provide
the se%*etal instruments called a double sefchuili
a sinele safrgbuii and a eurul Ibr the imsicUBs
at the eharye of d>e elty.
in the Exeter Waiu agreed to buy a $«t
of '' vyalls " (viols) and at Chester in 1590
** howboies, recorders, comets and violecis "
were in use. Liverpool employed a bagpiper
as wait in 1571.
During the 18th century horns, clarinets and
bassoons were adopted. Often the waits
appear to have been competent musicians,
capable of doubling on more than one wind
instrument or on a stringed instrument as well,
Soua Not ABLE Waits. — The English waits
had their counterpart in the Stadtpffijfffun of
Germany, and, as the German guilds furnished
many excellent musicians— J. $, Bach was
the son of a Sudip/tifa u> among English
wails of repute we note :
John Ravenscrofl (tf. t. i745)> a wait of
Tower Hamlets, London, who sstoic many
hornpipe tunes; John Banister i6$o), son
and pupil of orte of the waiu of St. Giles,
London ; Thomas Parmer, Klus.Bac. (Can>
tab.) in 1684, one of the waits of London;
Ferdinando Gibbons, a Lincoln wait, and hU
famous brother, Orlando, were sons <d William
Gibbons ( 154 ^ 95 ) m 1567 was admitted
one of the waits of Cambridge with the annual
fee of 40s.
Pay and PRivtLaoas. — The waits in most
towns were allowed a nominal wage and
entitled to accept gratuities from private
individuals for playing at weddings and other
funclioxu. At Canterbury in 1499 the wails
received £i each per annum. At Exeter in
1609 the four waits each received yearly
wages and their accustomed livery. A curious
privilege allowed one of the waits, with con*
sent of his fellows, to keep at his sole cost two
boys trained up in music to jmn with the waiu.
The normal procedure was for each wait to be
entitled to have an apprentice. As at Leicester
in 15B1 , the waits were usually obliged to play
every night and morning, both winter and
summer, and not to go ouUide the town to
play except at fairs and weddings, and then
only by licence of the mayor. It was further
frequently resolved by the council that no
strangers — waits, minstrels or other musi*
cians whatsoever — be allowed to play within
the town.
Waits received wages of such trifling amount
that they must have had other employment.
In Edinburgh in 1679 the wage was £5 per
annum, and in (696 Malcolm McGibbons,
the "double curtle" (bassoon) player of "the
good town's waits" was authorized by the town
council *' to keep a schooll within the town
to teach that sort of musick and he allowed
to play to gentlemen at seasonable i>'mes
Waits Music. — InTormaiion about the
music played by the waits U extremely scanty.
Dunbar complained that the Edinburgh wails
could play only two tunes, * Into June ’ and
‘ The Day Daw’s ’, now called * Scots wha
hac An old Northumbrian saying con*
cemed the piper of Hexham, who had only
three tunes: " The flrsi was lang un kenned,
the second naebody kenned, and the third he
didna ken hissel ^
Ned VN'ard in his * London Spy’ derides the
Londrni waits, calling them " tooters of the
tou*n; and have gowru, silver chains, and
salaries for playing Lilia BuUera 10 my Lord
Mayor's hoiw through the City
As has been shown, however, the waits as a
class were very far from incompetent. Morley
in 1 599 termed the London waits excellent and
expert musicians. Certain groups of town
waits had their own particular tune, which
were named after them. About a dozen of
them lurv’ive (sr« list krfew).
DisuosAt or THa Waits. — The Municipal
Reform Act of 183^ led to the disbanding of
the waits in nearly every case, but, as at
Exeter and elsewhere, financiil stringency
arising from the Napoleonic wars had led to
the wails’ dismissal as early as 1813. The
custom ctf paying in the streets during Advent
and Christmasiide, ho\vever, survived the
abolition of the waits. At York, for example,
Daniel Hardman, one of two pensioned waits,
continued his profession in a band he had
founded in 1833.
UNorriaAL U'ajts. — The statute of i744
banning organs in churches led to the enlist*
ment of the services of small groups of amateur
musicians, and thus was kept alive the praclice
of music in rural England throughout two
centuries, until the introduction of the
harmonium. Thomas Hardy dealt \vilh I he
i9ih'Ceniury period of such church music in
' Under the Greenwood Tree and F. W.
Galpin recorded in ‘The Antiquary’
his researches in the \Vinierborne Vall^ in
Dorset, where the church band of \Mnler*
borne Abbas was not superseded until
1896. The small bands consisted of viohn,
flute or oboe, clarinet, bassoon and cello or
double bass, sometimes with a serpent, but
there was no fixed number of instruments ana
the players read the voice patU. The " band
sat in the west gallery Of at the west end of the
nave and was under the dircetion of the parish
clerk. From their custom of pUying during
Advent and at Christmas these little groups
became known as wails, and so even to-day ue
havT music — much ^ it sadly debased
from musicians in the sireeu. t- <5-
Wait Tvhbs
Omtfr W»ii» ; J» W«l»h’i • Compleil Cour>ir> DinvH
• ApoH6’» Dxnquet 1669.
WAKE
WALDSTFJN
3 '
BhsMlWaiu: Iq 'A pollo’s B*nqw«(\ 1 66^
Loodon ^V»i(s : Cul«d * *!>« Kaiu by Jnoaioh
in ’ The Dencln; Muier *. 166$. ft * Apefto's
Bonqvct *•
OeJerd W«si» ; A Ooveite (quo<c 4 by 0 nd(«).
Siomfetd Weiu . In • B.M. nlS «. 16^.
Wofksep Woiu . In MustcoJ M$^ No. dio, B.M.,
(. t€oo (quoted by Bridcc).
Yntk U'oia: A Kornnipo, printed in « bcoodHdr.
Wminitwn Wtia; In J. Wabh’s * Dmknmc Maoer*.
1 7 i 4 (quoled by ilrtJce),
Tower Hamleu : A Heroptpe, by John RavenKtoA,
wne of the Waiu (quoi^ by fitieco.
Baioor. J. C.» *Tuhm Wiit» ami the« Tunet'
(Proc. Mus. Am,. 1.1 V.
Hki .a. V., * 1'he Waiu * (’ Ha^booh of Ihc WorslitpfuJ
(^fni>an> of
WAKE, William (*. ?; d. ?).
Kngliah i7UKontury organist, t^as
organist of Excl«r Cathedral about 1640-50,
when Locke wis a chotr-boy there. Uake was
sworn in SIS a Genih’man of ihc Chajvl Roy al
Oh ^ Aug. 1G63. Jc was he who erKuuraged
Locke low'ritc his 'Little Consort* in three parts
for viols or violins (published by llay-Tord in
1 656), as (he latter tells us tn the preface, w here
he speab of Wake as "an intimate friend an<l
great Master in Musick s . v. d. s.
WAKEFIELD, <Aufuata> Mary {^. Sedg*
wick Jir. Kendal, i<> Aug, tSjj; d. Cringe-
over*Hands, Lancs., 16 Sept. tgiu).
Kngl ish singer , com poser and musical organ-
iter, She studied singing under Randrggrr.
Kerucheland Blumenihal in London, and with
Alari in Rome, where she also had pianoforte
IcMons from Sgambati. She made a remark-
able Success as an amateur contralto unger arsd
composer of songs, and after appearing at
many charity cunreris in l.eAdon and else-
where, was engaged at the Clouce^er Festival
of 1 660 and sang at various important cortcerii.
Her voice was of rich cjuality and her ariHiic
temperament carried cvnvktion to all her
hearers.
In *885 she established the first of the
compel! live festivals with which her name is
inseparably connected. The occasion was a
modest competition at her home at Sedgwick,
but in the following year the es'cni was trans-
ferred to Kendal, where it has flourished ever
since, This Westmorland festival became the
model for a far-reaching revival of the com*
peniion-fesiival idea. It grew so rapidly that
m later years Mary U'akefield's energies
became well-nigh exclusively des’oled to it
Mean lime, in 1800, she had definitely adopted
the profession of lecturer on musk, illustrating
her own lectures with great success. She
edited an anthology called ‘ Ruskin on Musk *.
and contributed to various persodicab.
J. A. r.-M,, adds.
b*ai - SftWMA.cM, How. 'M«ry Wa4<lWU ; *
Mcnv»rr * iKendal. ig,»),
ati» Pm»\«k
^ WALCKER, Eberhard FriedHch (*. ?;
. TY® <;«man iBih-igih-ccniyry onan
builders, father and son, of the same name.
The father worked at Cannsiadt near Stuttgart
in the middle of die i8lh century, and by the
time the son was ready to join him the firm
had become one of the best in Germany. In
1830 the son removed to Ludwigsburg. His
European reputation i% due to the fine organ
he built in 1833 for .St. Paul'.'^ Church at
Frankfort o’.M.. and to those at St, Michaers,
Hamburg, and Riga Cathedral. In 185b he
completed a large organ for Ulm Caihdrral of
too slops on four manuals and two pe<Ul-
boards, with a new movement for drawing out
all the stops in succession to produce a
ffeKmdf. This could be reversed for a d/mi-
attfndf. In 16C3 he carried his fame to America
by building a large organ for the Music Hall,
Boston, U.S,.\. V. dr p., .idds.
IkaL \V*i<K>k. * l.rinMrrMnqrn rinei Orael-
tMu»«s ’ '(.AMcl. lOsBr.
WALD FLUTE. . 1 ^ Oroav .Srors.
WaldvM. l.»ed H«WAed de. trr Hf»i»»|i Smipiv.
WALDERSEE, Paul von, Count (b.
Potsdam, 3 Sept. lOji ; d. KonigsberR. 14
June i9o6j.
(irtman musical etliior. In 1848-71 he uas
an tdlker in the Prussian arms , but after the
latter dale he destHeJ hims<*lf wholly to inu'lt ,
taking an active part in the prcparaiion of
Breitkopf & lUrnTs great editions gf Mozart
and Beeth<nen. He also csJiied the etilurgrd
reprint of K«Khcl*» Mo/ari catalogue.' An
imixircani puMkation for which he was mainly
responsiMe was the ’Saminluiig miisikalbeher
Vorifjge*, wlikh apjuared in 1879-84 and
included liMinographs by various distinguished
German wriien on the great masters, partly
biographical and partly analvUcal. Hr con-
trilHited to the most important musical
periodicals tif (Germany, j. a. f.-M,
WALDHORN (Ger. fiiresi Inirn). Ihc
OsTman name lor the Urge circular hunting-
linen or cw dr (Aajir, without valves (iff Hobn),
D. J. u.
.vr Wm S|..p».
WALOMANN, Maria I'i, Vienna, 1844;
d. Ferrara, b .Vov. i9«o).
.Austrian mezzo-soprano singer. She be-
came famous as the Amnrrls in the first
performance in Italy of Verdi’s * Aida * in
1873, and the mezzo-soprano part in the name
master’s Resjuiem was afterwards written for
her. She married the Duke Galeaazo Massari
of Ferrara and retired from her musical career.
WALDMEIS’TER, OER (Opcreltah °'sef
Sthavo (J.),
WALD STEIN, Pardinaod (Ensac
Gabriel), Count (L Duehov, Bohemia, 34
Mar. 176a ; d. Vienna. 39 Aug. 1833).
German-Bohemian musical amateur. He
was one of Beethoven’s earliest friends, im-
• taper»«<kd W thr 3rd ed. teviud bv Alfred
'• WALDSTEIN ” SONATA
ALES, MUSICAL HISTORY OF
132
morialis^d by rhc dedicaiion of the Sonata in
C majori Op. 53, now usually known as the
'* \Valdstein " Sonata. Ferdinand was the
>‘Ounge$t of the four sons of Emanuel Philipp,
Graf Waldsiein und NVartemberg von Dux.
He was born just eight years before Beethoven,
and his father died in 1775, leaving the pro
periy to the eldest son, Joseph Carl Emanuel.
Ferdinand when of age (tweniy*tbur according
to the German law) entered the '* German
order" (Deuischer Orden) as a career; in
1812, however, he obtalr^ a dispensation
from his vows and married ; but, like all hts
brothers, he died without male issue, and thus
with his generation the house of >Valdstein von
Dux became extinct. Count Ferdinand spent
the year of his novitiate (1767-8S') at the
electoral court at Bonn, and it was then that he
became acquainted with Beethoven. In 1791
or 1 793 Beethoven composed tweh'e varia lions
for pianoforte duet on an air of ^Valdstein's,
and i n 1 804 or 1 S05 he wrote t he Sonata whic h
has made the name so familiar (published
May 1803). The welUknown 'Andante
favori ’ in F major was originally the slow
movement ; but Beethoven took it out, as too
long, and substituted the present Adagio for it.
The Adagio is in 1 different coloured ink from
the rest of the autograph. c.
Diit..— Hr>a. Josi*. ' tier (irsl* xm U’sldtwin und vin
xerhellokt su B««iAoven * iLoptie. !«))).
Sft 4lM Ikcihovcn ipimm ■, van. «n ihtme by VV. hr
pi. duel),
** WALDSTEIN SONATA (Beethoven).
Sft
WALDTEUFEL, Emilo (i. Strasbourg, 9
Dec. 1837; d. Parix, rS Feb. 1915).
Alsatian composer. He was a pupil at the
Paris Conservatoire under Marmoniel and
Laurent, afterwards employed in a pianoforte
factory and appointed pianist to the Empress
Eugenie. His Arsi wait res, *Joie$ et peines'
and * Manoia \ were published at his own
expense, and were such a success that he
devoted himself exclusively to the production
of similar ihingx, which eventually reached
many hundreds. 1. a. a.*M.
Waldleufel is an exponent of the French
waltz in some way much as Johann Strauss is
of the Viennese ; but he was less gifted, less
versatile and above all less inv'entive ; abo, his
waltzes arc simply dancc-musk and are never
listened to for their own sake, as Strauss's have
been for generations. Nevertheless, in its own
sphere a good example of Waldtcufel b little
inferior to one of Strauss below his very best,
though Strauss can be poetIcaJ, whkh Wald>
leufel never b. An attractive walls of hb,
' Espana is based on the themes of Chabrier's
orchestral work of (hat name. a. a,
IjtM., — TBotLK-Sr«cuii*vr, H., ' PS jski «IWr U'a|^
leufel '<’ Muaik«sri<l«n StmUiekn, Dev. lasd).
• Ihsm. i. L «*$••<>; KrehbMTt ed..
1. m.
WALENN, Gerald ((. London, 19 Nov.
1871 i d. Sydne>', N.S.W., a? Jan. 1942).
English violinist. He studied with Emile
Sauret at the R.A.M. in London and became
a Fellow of that institution. He founded the
Walenn String Quartet, of which he was the
leader and his brother Herbert the celUsl, but
in 1916 he went to live in Australia, having
been appointed violin professor at the Ade-
laide Conser>'aiory. Later he was given a
similar appointment at the Conservatory of
Sydney, where he remained until his death.
He published a number of violin pieces.
WALENN, Herbert (ft. London, 25 June
1870; d. London, 10 Feb. 1953).
Englbh cellist , brother of the preceding. He
studM first at the R.C.M. and then at the
R.A.M. in London, and finished his studies
wiih Hugo Becker at Frankfort o/M. Like his
brother he was made a Fellow of the R.A.M.
where he became professor of hU instrument, a
post he retained for many years. He joined
his brother's quartet as cellbt and was also a
member of the Kruse Quartet, with which he
toured on the Continent. He appeared at the
" Monday Pops ” at St. James's Hall in
London, where he made his dibut with Lady
Halk. He founded the London Violoncello
School, of which he was principal, and insti-
luted an interesting series of concerts for
massed cdlos, which were continued in
London for 17 yean and at which numerous
performances of arrangements and occasion-
ally vrorks specially written for that curious
medium were performed.
WALES. MUSICAL HISTORY OF.
>Velsh tradition ascribes the origin of music to
the gods and to semi-divine beings. Bel! (sun-
god), Bran (underworld god) and Hu Oadarn
(a form of Bran) preside over music and
minstrelsy; and among Irgendary kings
Blegabred and the medieval Arthur are
important patrons.
Myth aho Cult. — Mu.dcal myths early
reached Wales wiib the successive migrations
to Britain, of (he Iberians from North Africa
by way of Spain during the New Stone Age
and of (he Cells from the Continent during the
Late Bronze Age (c. 1000-500 a.c.).
forward they took a local form and wlour
Less musical myth sui^ives in N Vales than in
Ireland, but in some instances iu essential
•dentity with Indo-European and Iberian
myth may siUI be traced. There U much 10
su^i (hat the " turtle of the Harp of
Teirtu " * vvhich " will play of itself ^ ij but
the Welsh form of the magical cruil of che
^.h MSS T p. EMI*
' it er v ^ Rulbwxh *imI Olwen. ^ »
S Uu5. Th« M»bli>o«ien •, OtM. I9»9-
294 amt u. UO-
WALES, MUSIC\L HISTORY OF
33
Irbh god Dagda, of ihc kaniele of the Finnbh
h«ro \Namamdinen» of th« lyre of ihe Greek
Mercury (Hermes) and of what is doubilns
connected with It, the kAshiad of ALFaribi.
The priests of the early culls connected with
such myths certainly employed music in their
ritual. The huiorlan Dii^orus (isi cent, a.c.),
possibly referring to Britain, describes ** an
Island in the ocean ov’er against Caul ” aaki
to possess a city consecrated to .\pollo v.hose
citizens are most of them harpers, who, playing
on the harp, chant sacred hymns to Apullo in
the temple, setting forth his glorious acts
The Druids, early guardians of civiliaacion
and learning, are known to hav-c been priests
of that Celtic Apollo and patron of the arts,
Bell [all. Ucl, ^lin. Irish BilC, Old Celtic
Belenos, Latinised as Belinus;. In Britain
they arc believed to have Hourbhed from about
three centuries before Christ unul the Rimun
conquest. Little Is known of the if organ! za>
lion there, though Caesar’s w|iih*n$ ihai they
originated in Britain, taken with other evL
Jenee, suggests similarity with the continental
organUaiion described by various ilavdeal
HTlien. Of the three classes the Druids were
priests, the Vaies studied nature, the Bards
W'crc poet •musicians who composed and sang
odes on famous men.*
\’estiges of ])rc>Chrbiian musical custom
survived m the old Welsh May Day and other
fntivaU >, some of them celebrated wnhin
living memory. In the carols performed at
these, music, chanting and dancing actually sur*
vived as partners, evidently from a time when
the ihriT combined to serve a ritual [nirpose,
though traces of mudeal myth and cult
still live on in the folk and fairy iradiiitms, most
of the sunning material hiu come down
through the middle ages in the tradiiion nf
the WeUh hards, chief repositories of tradi*
tional lore and in some measure descendant of
the Druidic bards of pagan limes. U'idely
famed among them is the tale of the birds of
Rhiannon who by their singing can " awake
the dead and put the living to sleep”*, and
'^hose strains the spell Uiund warrioo of ilm
Island of the Mighty remained listening
throughout seven years.* The idea of magical
music has existed in NValcs from ihc remotest
times, h has inspired poets and minstrels
uirough the ages. It hvea yci, dwelling deep
»ri the core of the Celtic nature as a kind of
eternal ideal by which the stature of all other
niusic must needs l>e measured.
Celtic Christianity and rite Early
rOfcTS.— Early during the Roman occupation
«l«at>. in, BoolhH uanilsnwi. p. r, »•«.■»*-
lull refFreiKrt m Bsxu,
ptmm. ^ Son*
; |ii» snd UurJ. •Th* MaUn«tioti t,
Se, th« story of BfShx^en, mTi. 67. 6^^
of W'ales (f. 75-c. 40OJ pagan religion became
rapidly disorganized and Christianity first
reached Britain direct from the Easi, I'hc
Celtic church achieved some organization in
Wales before the third century, and for some
lime its rites and mmic cxUied side by side
with pagan custom. I'he Welsh church
resisted Roman authority until 76U anil
rciaiiied much that was Celtic in character
into later centuries.
'i*he services of the Celtic church were
thoral, and Gildas ^Cih cent.), who dcstrilKu
the toices of the young sweetly singing the
praises of God *, is the jir»i writer lu mention
their musk. We do noi kiuiw w hat iliiv music
was like, except that it was not the Roman
chant, which was not fully e»lablUhed even In
Knglaitd until the yih and dth centuries. The
Celik church had itx own liturgy, and Its
musical uses* must haw Ihxii inllurnced by
the aiHieni British tongue then in use. Welsh
monasteries rose rapidly from th<* h cen*
tury, lircuminf the vliiel ernin’i of muoc
and liierature in W’ales. J'he inuiUNieries
and priurkt paironizi'd ihr iiinerani bards
and suinelimrs supported bords of ihvir
own.
Music also found an honoured place In ilie
lialls of princes and nublvmeii. Jlw oldwi
surviving poriry of Wales and Siraihclyde «,
whose core modern scholarship dates to the
6th and yih centuries *, reveals the bards as
historians and minstrels who, enhancing their
t>ocms with instrument and voice, praised,
entertained, incited to valour and cclebrat<d
victory In battle.
The high esteem in which the bards were
held and iIk protecthm afforded iliem by law
are rcveale<| in a code known as the * Laws
of Howell the Good ’. The izth- and i3ih.
century manuscripts •• coriiaming 11 represent
in essence a loth-ccmury eodilicaiion of an
order of things far more ancient. The Laws
distinguish bclwrcen the W^/rx/ir (household
bard), who was one of the twenty-four
permanent oflkrn of the king's court, and the
pemfiM (“chief of song ”) or chief musician
over the bards in a particular district. Hie
occasions for pedbrmanee and their several
requirements were laid down. “ \N'hcn the
king shall will to hear songs”, runs the
Dimeiian version of the code, “ let the chief
• KihU.. p. 44,
‘The Rtunauic Uhraritt
W*k» i^i*) »fKl F. i:. NvAr/pn *111*
** tAvr<(i' {OdoAJ,
I * *’•* Four AiKMni Bonki of Wtin’ irtli/i.
(DuwS. •
an 4 Romance ' C'i roiif
**^”^**^1^ o* Cvmmeodofjon,
rs I. ThB «*luaWe arwl* or.iinol
•34
\^'ALES. MUSICAL HISTORY OF
musician sing two songs to him, at the entrance
of the hall ; one of God, and another of
kings " ^ and so forth, according to who shall
make the request, and who discharge it. So
did netvi travel from place to place, and
ancient tales were revived in the mentory.
The Laws continued in force during the period
now to be considered, and probably largely in
the form In which they arc prescTNcd.
The Native Princes (1061 -mid- 14th cent.).
—By the tith century Wales had completely
adopted the customs of the Roman church,
and Roman authority was to remain supreme
until the Reformation (16th century). Gre-
gorian chant was In general use throughout
the period. Holy Eucharist was celebrated
chorally, and in 1264 wt 6nd Archbishop
Peckham charging the clergy to celebrate mass
as formerly, with fitting reverence — am
Welsh singing was known on the
Cominem, and among the pilgrims who
gathered at Santiago da Compostela in 1140
were those who sang to the British and
Welsh harp and crwth’\> Singing developed
under the intluence of the song Khools«,
especially active during the centuries immedi-
ately following the period now under con-
sideration. Such schools were attached to
Bangor and St. Asaph Cathedrals, and to
numerous collegiate churches.
The organ is referred to at kast as early as
the 13th century*, but U is not until the I4lh
century that we encounter a reference to an
organ actually in use in Wale*, A poem,
addressed to Hywel, Dean (t359-7o) of
Bangor, praises St. Deiniol's Caih^ral, whose
famous new " organ and harmonious choir are
unrivalled in performance Names of
organists at St. David's are preserved from
1490 ; (hose at St. Asaph artd LlandafT only
from later times,*
Not far from the chanting in church the folk
sang their own musk. Towards the end of the
loth century Giraldus Cambrensis (Grraf/i-
Gcrald of Wales) describes ’ a festival held in
the churchyard of Si. Almedha’s, near Breck-
nock, where he was archdeacon. The celebra-
tion consisted of mime, dance and “ the usual
rude song ", and ended inside the church at
the altar. The spirit of the old pagan fair still
lived.
* Ane»rin Ow«n. * Ajtrimi La«*v snd InHiium of
W*l«' (Uo4o«, •a4'J. 1^ 3 * 9 * ......
» ‘CkihoTieism la at<d,«s»l Woks
^ ^ «f Pope C.ali«ius 11(11 40). Set C. HsKwcIl
Jon««, 'Celtic Bciuin ukI iK« Pilrrim Mevenwtu'
(LorKlen. >9i»). p. sEp. ^ , . .
* A. E. Leach. * Enclieh Seheota a( th« ReknwtMo .
* Pof ofiiinal Welsh see Jmms. Owen and WiUiaae
‘ Barddoniacih DaffiM ap Owilytit * (Lkrrpeel. 1873),
p. 390 (poem COXXVIII, Manea iv. lutes 3-4!.
* J. E- W«i. * Cathedral OeeannU Past and Present
(Lortdoo, I Sop), pp. a-S.
' C<raldu* Cambeensa. 'The limeran theoneb
Wales', Dk. I, chap, it, (raiu. Sir Rkhanl Colt Hoare,
Everysan pp. «p-3P.
Giiuldus, in that now universally famous
passage, also describes Welsh choral singing :
In (hear musical coDcetU they do not tiB| in unbon
like (be tfihabtunu of other couitirie, but in many
dilferent parts i so that in a company of linaen. which
ooe very fretiiienily meeis wuh in Wales, you hear as
many Jdrereot pans and voices as there are performers.*
He (hen notices the two-part singing In the
northern district of Britain, ascribing it to long
habit, and not to art. M'hether referring to
primitive polyphony, round-singing, hetero-
phony or real harmony, as authorities have
severally thought, (his passage certainly points
to some harmonic sense among the Welsh in
the 13 th century'.
The political changes at the beginning of
this period had effects on bardic music no less
imp^tanl than those on the music of the
church. The battle fought at Mynydd Cam
in 1061 had decisively restored the lawful
princes of (he House of Cunedda to the thrones
of Gwynedd and Deheubarth (North and
South Wales). Tradition asserts that on his
accession GrufTydd ap Cynan, prince of
Gwynedd (1061 -1 133), who had been brought
up in Irish exile, instituted reforms in music
and poetry after Irish models, about the year
1100. The metres and classes of poetry in
Wales and Ireland throughout the period show
obvious connections *, and some of the names
of musical measures and tunes found in Welsh
manuKripts as late as the j6th century are
clearly cS Irish origin •• and must have origin-
ated in (his early period,
Princes and noblemen are believed to have
instituted gatherings and contests for the bards
from remotest antiquity. The first such
assembly of which (here is unquestionable
record is the Christmas feast held by the Lord
Rhys at Aberieifi in 1176,^' This feast *>€«»
all the features of an (lit. "session ),
though it did not actually bear that name.
It was announced twels'e months in advance
throughout the islands ; contesu were held for
both poeu and musicians, whose arts were
now at least partially independent, and
*' chairs ’’ were awarded to the victors.
Musical Ikstrumekts.— Considerable in-
formation fa forthcoming about the musical
instruments from this period. GiraldusJ* and
other writers reveal the erwth, harp and bag-
pipes as the chief instruments of
former two being the instruments of the Bardic
(trtU doMl (" siring song ").
• Crstdu. Ckinbrrtnfa.
1B8I, Bb. I, »"•. van** Sir R. C. H«»re, t
Dev-do|Nn«i of Welsh P«in' '
>xl«rd, 1931^1. R- 39. 5 * 0 -^ 9 . an J
or W.10. •.
i. I, ehap. »«, Bvwn»** «>., p. iS««
WALES, MUSICAL HISTORY OF
*35
The erwth (croH-d), a reUuve of ihe
round lyre, was a six*s(Kn^ed insinjinent and
was played with a bow in iu hnal form. A
coniinenial bishop ^ ihc 6ih century informs
us that “ the Bndsh sinf (praise Thee) with
the erwth (erafia) ” >, and as early as (he ist
century a.c. Diodorus Siculus recorded iliat
the Gaulish bards used to sing, ** accompany-
ing themselves on instruments s-ery like tl^
lyre The ancestor of the erwth we know is
thus likely to have been (he eddese Bridvlt
stringed insirument. Going rapidly out <4 use
after Keforntation times, artd being gradually
replaced by the vioiin, it became finally
obsolete al^ut the cluse of the i8ih cen-
tury.*
’riie harp (r<^), evidently known in N\aJes
before the pcri<^ ol the princes, may hr»l have
come there from llngland, for this inssrumeiii
most probably lirn reached its western form,
with fore-pillar, among the .Savons. Under-
going remark able developments through the
crniuries, and reaching a chromatic form in
Wales with lltrce rows of strings - the
" triple harp " — possibly as early as the i5ih
century, the harp outlived the crslh, and is
regarded as the national instrument in \>alet
io*da>,«
How the l>agpj|>es (prftea) reached Wales,
or how long they were in use there, is Mill
undecided, 'I'hey were probably used cliiefly
on mililary occasions, pipers lieing memiofMrd
along with the trumpeters *, Wi ilwy evidcmly
never enjg>cd the p<»pularlty i 4 the liarp and
erwth.*
rhe Ollier wind inslrurnents found in U'ales,
apart from the trumpet (Arrgara — *' long
horn "h were the hum smart's born trf buflalo
{eerniitiftiH}, the rural hornpipe ifikgdut). sur-
viving virtually only in Aiiglocy by the 181I1
century * and its relative the tmmoU from
&outh NVales.
Ihu list of instruments in seeular use in
Wales is completed by the small drum or
tabret {lahwrM}. wliosc players, like those of
a three -stringed form of the erwth, were
classed among the inferior minstrels.
Bekiou Of TM», Cvwroo tmid-i4th-mid-
luth cents.).— Aficr the death of Llywelyn ap
Gruflydti, (he last reigning native prince, in
1382, alicndaiK upon llie conquest of Wales by
King Edward I of England, the r«jsM d*///r of
the old hards ss*s gone. Dy the middle of the
i4lh century the bards began to sound a more
rni.
• Sft HiMIP.
• ' Tht Iiinerary of U,l« •.
Uk. I. (hap. 11 , LsetsTiun rd,. D. «), *
• W
»vrM.«ion. * Sense A«*w»m i»f
Jr* Msed W^- f A«hae^
popular note; they still ssroic elegies and
eulogies as befure, but now' not onl) on princes
and heroes and saints, but also on lesser men
and political figures. lx>se and nature and
the more pauural subjects became W'id<’<pr'’ad,
and tlie poems are in some w'ays nut unrein In is-
cent of the troubadour poetry (iiith and 13th
centuries) in France. Dafydd ap Owilym (e.
1340-Bo) headed the new movvinciit and
decUively esiahlished the tyujdt/, a poetical
form with no English ec^ui valent which gave
its character to ilie whole period.*
*I hr rise of this hIiooI piofuundly intluenceJ
the musical aspen ol ihe hardic art. Ehe
earluM body tif Welsh musical remains’* —
both music and treaties on music • reler.c to
this period, though ihe chief manuscripis con-
taining ihem sursne from iIm' end ol It. The
most im^oiunt U the famous Koix ri ap How
Manuscript.'* Dating Irom almut Ibi3, ilii\
culleriion of harp mum was in part at least
CU|>iedfrom a maiiuMript of William IVnIlyn,
a harpisi wlm llourisheil alwiui i;>(>h. It Is
written in a ttHh-ceniury type* of 1 a hi a lure,
and (he iitanuscrifH tojuams material derived
from a prrwKl ol alxnii four centuries - the
laih to il*e lOlh. The music cunlaiiied in it
includei piires winch are instrumental aecom*
panitncnis, cither 10 |sorins now* losi, or (o the
imprcwisaticHis of ports whu like DafyxJd ap
Gwilym — wc know it un Im own auihurliy
— w’rote aisd sang Isoth |h>cris and music;
and music for Isarp alone which, wliaicw’cr Its
date within this iscrsod. is undouhtcdly the
caritest sursiving harp music in Europe. At
the Carmarthen LiitrJdfod of 1451, where
some uf the material found in these manu-
scripts may Isave tome uad<*r resiew, separate
prizes were offered for jHieify, singing and
harp playiisg.** All the pieces, mostly In the
form of theme and variations, arc fully har-
monic in concept iem: the structure is one of
v'crticaJIyconceiv'rd chordal progressions w hich
accompany expressive melodies. Thrummed
chordal accompammenls suggest themselves as
lltc obs’ious accom|>animeii( ig jxKtic declama-
t ion , The grow ih of a vrrt ical harmoni c .system
in Wales between the ^ih and iGiheemurles
IS a striking fact. 'Ehe loginning of vertical
harmony was for long ascribed to the Italian
musical renaissance winch occurred around
*€^. a*»d the average text. book still repeals
this sw. More recent scholanhlp has show n
a vertical conception of harmony in earlier
• ^ H, I. Bell. ^ or.. <hji>». iv An«l v,
IxHl* "“At tiled, Ahd IVier
C(«MW.Ks4a«ii4, S«s«Ur Mediev«| Mu»ii. m
4i.4nlin. 1949 I.
" / l>*ft>ad AP <J- ilvm *. B. I A*. For a
'A.ywyddAu U*fydd *p U-,|vm A’.
*Xr*.V*." /c-ATdiir. o> 3 s>, pp. iis«i.iK«s,i:.
*• CAerfynWift' t’Y IJeiior ', Vol. V
s. WmkAB, 1496, «sp. p. 101}.
>VALES, MUSICAL HISTORY OF
1 36
continental music, but no continental ex-
amples preserved show a systematic ch^dai
ait such as that which existed in Wales in the
middle ages.
The harp mu^c of the ap Huw Manuscript
U a strange meeting-point of di^Ferent tradi-
tions, and we find in it various strata of origin
higher than the (4lh or even than the lath
century. The strong pentatonic inAuence
ound in some pieces, but otherwise unknown
in Welsh music, tends to confirm the early
point of contact with Irish music which
tradition asserts.
More revealing still is the use of the drone
bass. The drone, the basis of all modal
systems, properly so called, originated in
Oriental musk and remains fundamental in
the Bast to-day. In Welsh music It represents
an element of non-Furopean origin. %nd it U
curious to find it In a system showing so strong
a development of vertical harmony. The
W'elsh bagpipe had a drone, aiKl two adjacent
strings of the crwtii are know’n to hase acted
as drones. Both these instruments were ulti-
mately of Oriental origin, and the influence
may have come into Wales in this way.
Though a curious meeting-place cpf diflerent
elements, this music is highly regulated by
principle, mostly has a maturity which ears
only come from a xvell-esiabUshed tradition
and stands in the greatest contrast with the
simple music of the folk tradition. Its many
elcmemi and formulas arc fused into a poetic
and magically suggestive art whose inner
nature eludes description. It is imbued with
that quality of hir« 4 th whkh echoes and re-
echoes in ^^Vhh poetry and music through the
ages — at once a revolt against the cruel
" despotism of fact " and a longing for that
which, it seems, life can never gise.
Within a brief spell, bctw'ecn the late I4ih
and early tdlh renturics, this music, appar-
ently largely isolated from the musical life of
England and continental Europe, grew,
reached maturity and for reasons prcKntly to
be diKOvered was brought to destruction and
decay.
The Tut>oas and the RpronuAtiON. —
When the bardic musical and poetk arc
seemed to be reaching its highest peak the
Tudors ( 1 485- 1 603} ascended the F.nghsh
throne. Of Welsh descent, the House of
Tudor was at first naturally hailed enthusi*
asUcally in Wales. In effect, it had the gradual
but unexpected result of destroying the greater
part of Webh culture.
Many of the leading Webh families went to
live in England, taking their bards aT>d harpists
with them. The Lord Chamberlain's Record
reveals Welsh minstrels and military mu^eians
at the English court, even from >485, when
coronation Hvcrles are recorded for them, and
Welsh names appear also under the years
1503-4. *509 154^47 * The harpist
PenJlyn was probably a musician to Queen
Elisabeth and ap Huw himself (yf. 16(3) was a
musician to James l.< Entries in the diaries of
Evelyn (1649) and Pepys {1666) suggest that
the best harpists continued to go to London
during the lyih century. In thU way Webh
tunes made their way to England, and thus 11
may be that the song ' Of Noble Race was
Shenkin ' appears in Durfey’s comedy * The
Rkhmond Heiress ’ In (893.
The best chance of employment for the
harpists and musicians who remained in Wales
was with the imporiant WVIsh families. But
these, following iJte lead of the court, spoke
English and lived as ihe English, and in this
way many tunes lost their Welsh words, and
their rhythms consequently became changed.
The age-old partnership of poetry and song
was dissolved, and the old bardic art suAered
a mortal blow.
The bards and clergy, and a few noblemen
who early realised w’hai was happening,
attempted to rescue svhat they could of the
fast vanishing Welsh culture. Eisieddfodau
were held at Caerw^t (Flintshire) in >5*3^
and 1568* to re\'ise the bardic statutes
and examine the qualifications of the bards.
The “ intolkrabic multitude " of " penens
naming theim selfes mynstrclles Riihmers
and Barthes which the Commission of 136S*
sought to put down were probably irt no small
measure created by the increasing state of
pos’crty in general, for many harpists preferred
and dtMbiless had to gain what pittance they
could in the ^Velsh•spcaking peasants’ kitchens.
It is from the period between and around these
two eisteddfodau that the manuscript material
relating to the laic medieval period ehiefly
belongs.*
Already neglected from the beginning of the
Tudors, the music of the church in \^'aJcs v,as
almost extinguished by the dissolution of the
monasteries (15*3-39) and chantries (1547)*
The ”popbh” manuscripts w-erc destro)cd or
sent abroad in ship-loads, and not a
fragment of musical manuscript of this period
remairu in the cathedral libraries of
The choir-schools ceased c 0 exist , Tlic si nging
in places of worship became deplorable and m
many churches the music was Jtardly kept up
at all.* Despite the encouragement of music
and organ playing by the bt* Articles Act
(1539). w*c find, as late as 1691, after a 01^
period of decline in both fabric and cstabhsh-
FuU refcweei ii» Hrnfy Cm« de Lafon«i"<. ’ The
M*. Musk ' (LoAdon. 1909}. , a aj.i vie
^ * T. Gwywn Jones. b«lh
?Fof a <o*npb» tr*nteiipuon w
taiisctipu Commtssiaa** • Kep«.»« » XtanUJcnpu m
’Is* llV*knich«. ‘ Grammar SchooH
WALES, MCSIC.AL HISTORY OF
37
ment, (hat the Cathedral of UandafT had itt
choir Suppressed and its organ destroyed.*
While (he Reformation gave a ne%^* siimulus
to music in England, \Vaics. culturally
crippled by the evcnis of the i6th century,
was slow in responding to (he new spirit. At
length, in 1620, some eighty years after mciri*
cal psalms were introduced in England, and
after various uiuatUfaciory attempts by others
to produce a metrical version in Urlsh^,
Archdeacon Frvs, Precentor of St. Asaph,
published his translation of the Book of
Common Prayrr, with j'2 p«alm-tunes. But
It was another 150 yean Itefore any more
religious music was published in Wales.
Wales was thus left uninlluenced by the
great tradition of English Tudor church music.
A number of the \Vehhmen who went to
England, however, did in some degree eon*
tribute to the Englbh choral movement, in
both saerrd and secular fields. Sion fjolmj
(iwynedd > (jf. mid-i6ih tent.) » km»wn to
havT writ ten church music, but of all his works
only the bass part ol 'My love mourneth* has
come to light.* Rolieri Jonei (/, 1597-1617;
it generally believed to have been a Welshman,
and Thomas Tomkins f 1573- 1656) was Ijorn
at Si. David's of Cornish parentage. El way
Bevin (15^5' 1^0). Cemleman of the Chapel
Royal in i Go;,, and Hugh Davies (/. 1 6*3-44).
organist at Hereford and church composer,
may, along with many other leucr names of
whom we have but scant details*, be presumed
(0 have been Welshmen, and testify to Welsh
influence in England.
In Vy'alcs itself, however, native music
underwent one characteristic development
during this period. This was the rise of the
ballad, wlu< h hecatne popular »n .Nt*nh ^Valo
during the ibth and 17th centuries, but whose
vogue did nut spread to the South until
ihc lyih century.* Semi-professional singers
apixared in the streets and at llie markets and
fairs, singing to long declamatory tunes all the
latest news which ^^ales, lacking a vernacular
ncwspai)cr until the Jgih century, could get
only in this way. A numlier of (he ballads
were probably translated from the English,
hut riiany of the " free metres used bear the
stamp of adaptations from and imitations of
Wfsl, III., p. 31 .
IV, ^72* melrual pulim kiir>hwtwl lo Dafn
I*lv « Hiraddu* r I4ih «Mr»i«e. b«i n is nea hM*
>1 (hry orir eser vwd m (|,e <lhgr<b.
* lM*i Will, ami, ‘Y T.i Thelyiw'
».d.l pp. I a. 1 9 On NVfKIo.
nif Kr?'" isa» (iw* pacu
• J. l.uml<Fy |>»vw*. ^ ITie «ru>khm,
Jo Mu»K i TronsMOfHn |},c HwwvraUc S«ck«v
^vawioilori^ JO. pp. Jb
siiglF W (rraird wi»li owlion.
r' I wfsof Uit
the prrdesional bards, with some '' folk
influence. Smisc of the ballad singers were
doubtless bards who had fallrn on h<ird times.
.Already from ihc 17th century also,
Christian carols began to appear, l ive
f^kCsts wrre attempting to rradicate all iratev
pS paganism, including ilw rural pastimes
w’here (here was ringing and dancing and, in
later times, a good deal of " <|ueMiiiiMble
behaviour'*. iXsiructioji increased with the
revival whkh was 10 come in ihc following
century, ai>d though some folk fiwiivah have
besm celebraii'd within living memory, many
of tlx: dancc'suiigv or old carols vs<'re thus lost.
The priests sometimes atumpicd to Chris-
tianize pagan cuvtiimv, hui for the mos( part
stamped them out and rr|>lA(id them with a
new, serious ami initrulisiic lypeol carol which
the people cnuld sing m church and from
house to Iwiuse.
.\()S • C< »vi oK sij i V A sn Is ni’vi g y . — he
convseiioii ot il»c religious revivalisis that all
enjoy fiM’iit in life wav sin inevitably led to ihe
drstriMtion of muric vvhith had grown up lo
serv e a ciuiie tip|xmte ideal. I he minsirels of
the more ]>uf )ti la r i v |m* w e rr act 1 v ely persec u 1 ed
by Ihe more fanatical revivalbis. Eduard
Jonet says that up and d«wvn Wales he had
perwtnally met sever.il harpists and soitgsttts
who had actually Uen prevailed upon by
those " ilhierate plelnian preachers" to re-
linquish (heir profession from the idea ihni it
wav sinful.*
lltc bardic musical tradition, now only a
vhad<m' of iis fsH-mrr self, lingered on into the
lOlh century. Most <jf the great hinoes and
ilte village inns still had their harpists or faintly
of harpisis,* But Ahram Jeremiah of Elan-
over. prohaWy ilw last harp maker in WaU s,
died in the iBBos.
(hiring this jicriod of destruction the first
col leciKHis of secular music puhhshc^l in Wales
“ - (hose of harp and hardii. tunes Ijcgin to
appear. .Made liy important bards and harp-
ists of (he lime, the prmci|>al collections come
from North Wales, the last stronghold of the
liardic tradition. ITiey includr (hose of John
Parry and Evan Williams (1742) and of
Edward Jones {1^4)- These collections re-
veal that (he Isarpisls no longer understood the
harmwik basis of their own tunes, still lr%s ihc
technical terms of theh own ancient musical
science. The influx of English tunes into
Wales during the previous period is shown by
the English tunes which occur in these same
Collections under Welsh (ides.
The songs of the people were of little
interest lo the bards, whose ideas of poetic art
were so complex and subtle. Folk music iltus
a a-BP
s>itf>cuin
sa^»i|i4UMa
cau)i, p. rKK
Mend»h-
• • letter rrwn Llan«eHen, *y Auc. 1839.
13S
\>'ALES, MUSICAL HISTORY OF
scarcely appears la W elsh puWicaiioiu uniil
the i9lh century, when appeared the import*
ant collections ^ Maria Jane Williams (1844)
and John Thomas (1844. 1843).
In (he established Church singing was poor
at the opening of the 18th ceniury. It re*
mained so for a long time despite elTorts to
improve it and to encourage instrumental
playing by getting itinerant teachers 10 visit
the parishes. Et*en in iBoo, at the consecra*
tion of the new Bishop of Llandaff, the musical
resources of the service were limited to a dozen
choristers and a bass viol.
Wales, however, rapidly became Non-
Conformist, and by 1680 Non* Conformity
claimed four-hCths of the population. Despite
the ruthless destruction of the j6th century,
the Revival none the less virtually laid the
foundations of modern musical life in Wales.
A turning-point came, about t 740 > ^'^ith
congregational singing ; fiCKlIng its chief focus
in the hymn*tune, it became widespread
through the influence of \N'esley and W'hiifield
on the Welsh Revivalist leaders. \ Valet found
a great hymn-writer in William Williams
(Fantycelyn) who in 1787 produced hit
' Selection of Psalm- and Hymn-Tunes from
the Best Authors \ mostly of English origin.
Instrumental accompaniment was on the
whole diKOuraged, though the attitude varied
with the locality.
Progress was slow at first ; few could read
music, many poor tunes were in use, and per-
formance was restricted to the unison. But
hymn-singing fired the imagination, and it
became customary at the end of a service to
repeat a hymn an indefinite number of times.
Many folksongs and carols became trans-
formed into hymn-tunes in the fers’our of the
time. TJie peasants singing in the different
districts ornamented the same tunes in their
different ways. Some of those hymns w'ere
modal and even non-diatonic, and many had
a charm far greater than the four-square
harmonized tunes of to-day.
Preaching, no less than singing, became a
great source of inspiration. The preacher,
both in sermon and extempore pray-er, used
the emotional serni-chantmg known as MgK* »
plainsong-Iikc intonation of modal character
not unlike that of some of the folksongs.
Standards of singing improved rapklly
during the t^th century, and the harmonium
was widely introduced as a support to the
voice. Harmonized versions of hymn-tunes
were published In »/•/« notation, which was
now l^ing taught in the chapel schoob. The
important collection of leuan Gwylll (John
Roberts), ‘ Llyfr Tonau ’ (1859), had an
especially great influence on congregational
singing.'
* F«r A Ibf oT 40 or morr important coOrrliocw
futiliihed beiwecii i8i^ and 1887 ter ' Apficndicn W
R(d>er(s and others started the eymanfa genu
^maitfooedd cviu) or hymn^inging festival.
Not Mtly hymns, chants and anthems were
sung, but occasional oratorio choruses, and
the musical horlxon ofthe ordinary man began
10 widen. Music was now finding its chief
centres in the chapeb, which were ^ing built
with the rise of the coal-mlnlng industry.
The same impulses which prompted the
gatherings oi old were breaking through anew.
From 1789 the eisteddfod * was frequently to
be held again; in 1S23 it embraced choral
singing, and from 1880 it has been held
annually almost without a break, becoming
towards the end of the century the great
national competitive festival of the arts which
it is to-day. Smaller annual cisieddfodau
were being held locally, and at this period the
first non-competitive music festival was
founded at Harlech {1867-1934).
Oratorios were performed by the large
industrial communities, and \Vales was now
beginning to respond to the musical stream of
England and the Continent. As early as the
16^ oratorios by \Velsh composers received
performances. Founded on Handel and
Mendelssohn, these tvorks showed a radical
change from the old bardic song with harp
accompaniment ; they represent the beginning
of modem composition in ^Vales. The eom-
poem of the period included Joseph Parry
(1841-1903), Emiyn Evans (1643-1913} and
Da>^ Jenkins (td49-t9t3).
THt Latest Phase.— The rapid develop-
ment of industry and the growth of the
English language in Wales, especially in
Khools from the middle of the 19th century,
aimed a new blow at the surviving folk music
which, as a natural practice, has during the
present century become almost extinct. The
Webh Folk Song Society, however, was
founded in 1906, and has done valuable work
In ccdleciing and publishing material.
The place in popular favour forrnerfy held
by folk music has come to be occupied by the
hymn-tune, which has in fact become the
ebaraeterblic native means of musical self-
expression. Hy-mn-singing U heard not only
in the church and chapel service and at the
tymaii/tf fW, but equally in the mining valleys,
on the seashore, arid at political meetings anti
football matches. .
Wales has had some fine choirs since belorc
the turn of the century. Choice of music ana
choral performance was widened by the non-
competitive festivals: the Monifomeryshirc
Festival at Newtown (since 19*®)
Three Valleys Festival (since 193 ®)-
S£i^Jr’.»w ihfmirs
• Th* "•!«* • tCAtdiff, iMh
\VALES, MUSravL HISTORY OF
'39
ampng is important in tbe num^ous local
cbtcddfodau held in towns and viU^es all o>’er
Wales, and also in the National Eisteddfod.
The International Eisteddfod (once 1947) has
given Welsh choirs the opportunity of assessing
their own standards by hearing chmrs from
many parts of the world, and has brought new*
music into Wales.
Brass bajids have grown up alongside the
choral activity, achieving a high standard in
some pans of the Principality.
Welshmen have largely to go to England or
elsewhere for their musical training ~ ilwre
are few music schools in the Principality —
and can better earn (heir living there than in
Wales. Few of them can thus afford to return,
and hence it is that, as of old, many U'elshnien
are contributing to Ktiglhh mu«iral life, l>oth
in orchestral and on ihe operatic viagr, rather
than to tlieir (»wn. The few schemes aisd
attempts made to found a national orchestra
in Wales have been shori-Us'ed.
The inllumce. htmesvr, has not all iMreii one
way. The b.K.C., founded in with its
own Welsh Orchesira since 1036, has done
much to encourage* mustc in the exerutani,
creative and educational sfiherrs. Leading
English orchestras are vUiling \N ales, though
the lack of suitaMc cocicert.halls rs a formid*
able obstacle, 'I he L'nivcniiy of Wales has 1
music faculty, with departments at Cardiff,
Aberystwyth and Bangor, though not at
Swansea.
Ihe last thirty years have seen great
advances In musctiil education in the broadest
sense, with Sir ^Val^ord Davies as a leading
pioneer. Education authorities are rapidly
appoinling music ex|>rris, and music is Ving
etirouraged in schools as never Isrfore, Fnllf
songs are sung in schools, and staff m>taiH>n is
Inking taught alongside conk solfa. Numerous
organ i<rat ions foe recreation, education and
social service which have appeared during the
last few years are he lping musical life. The
younger gcnt raiion is no longer aaikficd with
the sialic oulloctk of the earlier part of (he
century.
Until recently ^\’aln has been almost totally
devoid of the opportunities necessary for the
creating of music in the modem sense. l'b«
early compowrs showed little mastery outskle
choral music, and k Is only with the coming
hro^ca«ilng and the musical life of the
Univenuy that composers have had anything
approaching the opportunities they need,
Vaughan 'Ihomas (1875-1934) aiKl David dc
Lloyd ( i0il3':9(U), in absorbing tradition and
acquirirtg the technique of a new age, were
•mponani among pioneers of a native an.
Ihe problem for the native composer is how
tf gain his technique and, if he leaves \>*ale»
m order to do to — since opportunities in
''ales arc very much restricted — how to
remain in touch with his owd language and
literature, and later how' to bring his works
belbre a V>'clsh public.
Age-old tradition survives with retnarkablc
persistence, llie old triple harp may still
sometimes l>e seen and luard in the living-
rooms of houses and in the farmhouse kitchens.
Penillion singing is a unlverNally popular art,
lire old style of singing hvmm in some of the
country' districts, true to the ancimi IniervaU,
survivTS to make the modern hartnoinum and
pipe-organ sound out of tune. I'he emuiionai
kiry! still pours from ilu* hearts of snmr of ihc
older preai,lu*r». The r^mntjat of more reci'iit
origin, shows again the unqueurhable desire
to gailHT for song. .\iid the Corsedd, iho
ruling IkmI) of the Nailnnal Eisirddfod, issuev
degrees wIhhc names were knuvvn in W ales of
old : I Ovate), < 13 or<li and
(Clhief Musis iiinl, though in a much altered
society the signilKanre of th<*sc offi< es them-
srlvm is greatly ihangril,
J here liave been many change^, p(>rh4|is
in<«e in the last century than ever Iwforc.
^ Vales lias awnniUitxl much l.ur<>|>enn music,
though many would uty not yet enough. Vet,
for Ihe future directiun of miisir in \N nles, no
arlNtrary canons tan be laid down.
Racially, the Welsh v»tm their own art.
Lcoriomiially. they can scarcely aflorJ j|.
Tlieir invularily is Unh a strength and an
oUiacle, This, in Aluiri, is their central
proUem. llierc is, too, the added difficulty of
their language. Yrt Wales, with her inriute
laknt, her unfallmg enthusiasm arvd the gift of
circumstance may yrt acquire personality in
3otli«cciitur>' musical life. r. c.*ir.
DIBJ.J(X,KAI*HY
CMMurv.|««>ci*sn. Htia. ’ Mu«ic in Wain ’ ^l.tmdon,
'sartvitt (MKoliHtwkr.
* Snwiar Mw»k in Wain m ilie Middle
AfA ' < M. A I... Ai<r. tastf I,
* Karly W^kli Mmik ’ {.N'AlMial (Jtuiud of Mu*ic%
* Nnn L^ttn \ Jan. 194^,
UA^HU. Ai*<o». *s.n*e Konatk^ (Mi Crfujn Wal
tr^tOMis Ml W«ln * •' '1 ransariions 'rftlir Honour.
«Ue Wmy ot (;tininruJur*o«> \ 2lr,kwjii iQ<>o>iu,
LsiatUuA. 1^1 1 >,
David. K,. * ^tieln iMsirtfiqun >ur U et U loutkiue
lUns la (UniUw * rMrr.
Dmaciuii. Akmmu. * IW Ovnuri ' June 1934).
* Ajw>nic WafthMuuc ' »* I'ransac iKniss^Tiiir Horiuur*
aW« SaKieiv C^yRmiOMlntion *, Sn^wm 1933-94-
laS). (.WHitMI. < 97 ^. M),
TaamtaooAi fron ihe rntllyn ManuMripi ul Am \eut
tlarp Minx ’. V«l, I rfjAncrhn. 19371.
trkAUAU. * A tii.uafr of UclsS Muiic ‘ (t.nndon.
Ckirnni. yaenrax. ' NoiaUe WeKh Muv<iani\ and
nL (LoAdon. 189$!.
A‘' ''"•^*** ’ I>-ne)#« • vll.tnarvon,
CMmtM. Wvy, ‘The Vuke of WaJn '
•946).
OWVXK J.ian*. T,. ‘(Utdl.ni and Roirante’ f Trant.
irf Ihe ItiHx^Kable S»-»pk of Cymmro.
>4. Pf. wv^in).
<.en« Daiit* I'iSulleun uf Q,e Board of Celtic
Sufdm . May t9»a. I. i«.
OwTv, 3V. S.. • WeM. National Mnik acxi
t •»l»Ci (LoadoA. 193*?.
J0A»*. UwABO. • Muskal and roeiual Relkbs ,Ur
Webh Bac<h * (LoodoA. 17B4I,
140
^\'ALEY
WALKER (Edyih)
‘ The Bardic Museum ‘ (Lixsdon, iSo 9 )>
Lewis, Hskry, 'MusiCE* (B.M. Add. MS 1490$)
(CardilT. IM&I.
Lewis. loan, 'C^doriaeih Nfh)mni* (Lavetpool.
n.d<).
Lloyd Williams. J., * Welsh Melodies eimI
Falk 5 un« ’ (* Transactions of the Cynunrodonon
Societv S Session
* Y Tri 'rhelyeor ' (London. daI.).
LvMi.PV Da vies. J.. * The Conuibusion of Welshmen w
Music * I’ iransac lions of the Honourable Society
of CymmrodociuA ’• SesEion ( 9 « 9 -$o. m. ^ns).
* Myvvnan Archaiolofv of Wales 9 iw ra. (Denbiith,
1870), pp. I07I-I947,
Natiohal Eitrpporop Cot'Kcib, 'The Eisteddfod of
Wales ' (194)).
PAkttY, Thomas. * .Suiud ('.rufTydd ap Cynaa * (‘ Bulletiei
of ihe Board of Celtic Studies’. V, i. tvss
(i^D*
Riivs, J. D.. ' Cambcobrylannkae Cynwaccaeve
l.inruae Insliiutionet et Rudimenu ' (London,
Roaian, Canon E., ' Welsh Musk le OieTsidor Period ’
(' 'I'raniaciiens of the HonoiwabW Soeieiy of
Cymmrodorion *, Sessi^ 1999-9$. London, 1997.
I>p. >•94).
WauAHi, G. J.. * Eisteddfod Caeefyrddin ’ (' Y Lknoc ',
V, ». Wrr^m, 199$).
WsLiiAus, )pem & Ruacan. Thomas, * Cyserddau
Dafydd ap Gnilym a*i Gyfaeswyp ’ U'^rdiff.
frr efie Bibliosraphy after Ihe trikir Folk Ml tec:
SVelsh. Many of ihe eolleriiont mentioned there
remain insperuini articlea on the hieioey of Welsh
music.
WaJey. Avibar. Sh Aplvor (tone). C^p 4 od leoni).
Ore W., Kuifti. Saain ($ soAts). TrancheD {9
(')kincv iKxmi with chamber m.l.
WALEY, Simoa (^. London, 33 Au((.
1837 ; d, London, 30 Doc. 1875).
EnglLK pisniat and compoaer. Hr was a
pupil aucccsaivrly of Moachein, Bennett and
G. A' 09 ^>ornc for thr pianoforic, and of W.
Homlcy and Molique for theory and com-
position. He began composing very early and
wruic several elaborate piecea for hia inatru-
menf before he was twelve. Hia ftnt published
work. ' L' arpeggio a study, appeared in
1848. It waE speedily followed by a number
of songs and pianoforte pieces, as well as a
Concerto with orehesira and two pianoCorie
Trios, Op. 15 in its major and Op. 90 in G
minor.
Simon VS’aley was an accomplished pianist
and frequently performed at the concerts of the
Amateur Musical Society, conducted by
Henry Leslie. His compositions abound in the
plaintive melody characteristic of Mendels*
sohn ; they exhibit great finish and richness of
deiaii and harmony. He was a prominent
member of the London Slock Exchange and
for many years took an active part on the
committee. He belonged to the Jewish faith
and was a leading member of that community
during the critical period of its emancipation
from civil disabilities. One of his finest works
is a choral selling of Psalms CXVIl and
CXVni for the synagogue service.
His published works, besides those already
mentioned, contain a large number of pieces
for pianoforte solo and duet, (wo duets for
vioHn and pianoforte, songs and duets, etc. etc.
The choruses for the synagogue mentioned
above were published in Vol. I of the * Musical
Services of the West London Synagogue
Besides the printed works some orchestral
pieces remained in manuscript. c.
WALKELEY* Aniliony (6. WelU, 1672;
d. Salisbury, 1$ Jan. 1718}.
English organist and composer. He was a
chorister and afterwards a vicar<horal of
Wetb Cathedral. In 1696 he was appointed
organist of Salisbury Cathedral as successor 10
Daniel Roseingrave. His Morning Service in
Er b preserved in the Tudway Collection
(Harl. MS 7343), and anthems by him are m
manuscript at Ely Cathedral and in the
R.C.M. in London. w. h. h.
WALKER & SONS, Joaeph W. English
organ builders, formerly of Francis Street,
Tottenham Court Road, London, now of
RuUlip, Middlesex. The business was origin-
ated ^ Gco^c England in J740, who was
succeeded by his son and his son-in*law, H.
Nkholh, to whom J. W. \Va!ker was appren*
eked. Walker took over the bu»iness after
Nkholk's death in 1820, established it in
Museum Street in 1828, removed It to j 68
High Holbom in 1830 and to Francis Street,
W.C.. in 183d. He died in 1870, and the
factory was carried on by hit son, James John
(L 31 Aug. 1^: d. (9 Sept. 1923). The
latter, a practkal Kieniist, who had worked
his way through every stage of the business,
was responsible for a very large number of
famous organs and for the high position which
the firm still occupies. Instruments built by
him included those in St. Margaret's, West-
minster, and Holy Trinity, Sloanc Square, in
London, Bristol Cathedral, St. Matthew's,
Northampton, and Harrow School Chapel.
V. de p., adds.
•iM.— M ha T,. No*. I9va.
WALKER, Edyth (L Hopewell nr. Rome.
N.Y., 97 Mar. 1867 5 d. New York. 19
American mesto-soprano singer. She
studied with Aglaia Orgeni at Dresden,
made her first appearance at a Cewandhaus
concert at Leipzig and her operatic dfbui at
the Berlin Opera on 1 1 Nov. 1894. After
some years at the Vienna Opera she made her
first appearance at the Metropolitan in New
York, as Amneris, on 30 Nov. 1903. Remain-
ing there for three seasons she added soprano
parts to her repertory artd was then engaged
for st^rano and mezzo parts by the Hamburg
Opera, where she remained until she went to
Munich in 191a. In 1908 she sang Orirud
and Kundry at Bayreuth, and Isolde >0
London, where she also appeared as Elektra
at Coveni Carden on 19 Dec. i 9 io« i^curtn^
from the st^e, she raught at the American
Conservatory at Fontainebleau m i938”3"
and afterwards privately in New York,
S. B.
WALKER (EmcM)
WALXERt Ernefit (i. Bombay, 15 July
1870; d. Oxford, 21 F«b. 1949).
English teacher, pianist, organ i«. writer on
muiic and composer. He was educated at
Balliol College, Oxford, where he graduated
B.A, irt Lit. Hum. in 1^1. afterwards M.A.,
and took the D.Nf us. in 1 898. He remained at
Oxford all his life, devoting himself to com-
position and to the music of his College and
University. He was director of music ai
Dalliolfrom 1901 to 1925 and presided ov er the
Sunday enneerts of chamber music svhich
owed much to his authoritative skill at the
pianoforte. He was responsible for the in-
troduction to England of some of Brahms's
later works and was one of Hugo N Volf’s and
later Debussy's fir^t champions. In 1926 he
was elected to an honorary fellow'ship of
Balliol. He wa* Choragus of the L’nisrrdiy
from 191B to 1 9 12 and servetl for many years
as an examinrr and member of the Board
of Studies for music. Ax a teacher he com-
municated to many his catholic enihusi*
a»m«, tempered by an insistence on clarity
nf thought, sincerity an<l mastery of technique
which he had acquired from a deep and
consiant communion with the clavics.
From 1B99 to 1902 Walker edited the
quarterly ’ Muskal Caaclte ’ ; in 1905 he
wrote ’ lUethoven ’ (’ Music <»f the Masters '
vries) , a succinct and penetrating monograph.
Kis 'History of Music in England’ (1907. 2nd
ruv. cd, 1925) U his most important literary
work; written before the publication of much
material on I'udor and Caroline music, its
u holardiip is such that it remains a standard
work of referciirr,» ’Free ’I bought and the
Musician ’ (Oxford, 1946^ is a collection of
essays written over a period of thirty years.
He sifted the facts he rolleclrd and expressed
his often pungent ju<lgmrnts in good English.
Hjs style of composition sprang from the
(ierinan classics, and he regarded with sus-
picion the cult of folk music and modality
^ibraco<i by many of his contemporaries.
Yet only a superfuial judgment could dismiss
his music a.s Urahmslan. In earlier works he
was content to rely on a fastidious craftsman-
ship and subtle melodic sense, which in vocal
works was allied to a remarkable feeling
for the declamation of English purtry; his
(lair for chromatic harmonv was revealed
to telling cxcur»ions from a diatonic norm.
Among the U-sl of these works are the ‘ Five
bongs from '* Englanil’s Helicon " the ' Ode
Jo the N’lghilngalc *, the two fine amhems
'Ip. lo, 'Say, dainty dames' from Op. 17
an<i the ‘ Fantasia ' in D major (or stKna
quartet. *
' 9'4 is a marked change of
style. Chromatic harmony is used with far
J' A. W«in,p sivesred
greater bt^ness as one of the chief <’m<>iionaI
means, sometimes leading, as in the ‘ Three
Fugheit^ ', Op. 49. to a striking attenuation
of tonality. *liiU more intense and passionate
style is at its finest in the ecllo Sonata, Op. i.
Other notable works are the ' Joachim"
Variatiom, Op. 40. the ’ FamaslaA arta-
lions Op. 4j, and the moving partsongs
‘ One generation passcih away ' an<i ' Dirge
in U’oods’. The ten Preludes on the Ity/tin*
tunes he wrote for Jjdy Margaret Hall
chapel are among the few significant coniri.
hutions to English organ mu«ir of this centurv.
It will be seen from the following list of
works that many of the items are short and
occasional, even private. Hut an exploration
will reseal much refined beauty. It is perhaps
signifirant that Walker ])uhlish(’d no large-
vale orehesiral W'ork. j. k. (ii),
BcM. — Dssrst. .SlADi.AiirT, TineU VVAlbrr * (Krnnl.
•as*’.
J . , S .. • Manky Koliri ( aimI l > nf>i
ttalkrr *M. & L„ aX\. * 940 . I>< euj.
Op-
C.VI.\L<X;UE OF WOKK.S*
I.VC IIH.NVAI. Mt SIC
SV ' Rbew» * T.MOpHle*'. Pk oipm'i mjmm, uniwn & a-
PAfi im (txreb . |«rrf. tlxfnrd. L’liurrviu Ihaind*
iM IV),
V.
CIHiRAL WORKS
i pAfiwHit* fcr S.S, Of S.A, 6 pf. t
ikon
?.
l o IUIIfi 4 M« tHfffMki.
9. To iHfifKbr.
$. I >Nlf* ih^ arrmwtmil tree ^SliAbetoeaff 1.
4. un«*» the*# uiuh •SKakf<ee«re>.
5. ia>, Wre the teiitir Urk <SUakf«peare»,
Mfr* "kew wrft v.Mrrt<| 4 « ishrlJoi.
I V pt* Am<l>» for v 4 <» cs. e liorui & < >r< h. 1 1 (10;, )
.M^r«s*l «n s p*rw. • hrewn 1, mv Vnf ' 1 iftoqi,
a (w s v S.A. fc pf, u„mTHjkc’,
Stmt* «( Jnfwtfnte ii(M 9 >
I. Il^f Sltepliftd.
I, Ihe etlMMfHT cieen.
$. (>AiBe Swat.
4. NHr*<i.
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. LMrAint .SoAf.
ft
to J;uripKlr»S • H.criiaf \
UartL Ixillwi MyrtA,^ Toffhory* ft vrth, lifivbj
oar («• S,thiuit*k • rkeaui fc>r b«riione. <hur«t
ft Afth. woli <|«r. tiMfl),
'*'•
*• J •j/i**'* »>*« (•(» tvr S.S.A.K
*' xV* '*1*® for
3 ,A I.B.j.
17. 9 tseiiontf fm S.S.A. ft pf.
*• •" I.liialKiliAii
,, *?***?®"*l tlfoi).
K»rk. l4fk. (h« i,rk rsiiAknpearr). ui,-
Rmn. thru dUrn ipinn iFIfOlirr) Ooost
WterFr«HenHi.«iShelioj ripj.
dAiiw iPom WrrJk«*«
6 . Lnftm and blm (RjvenKrofij (loofij
M.
16.
n*r
Tor
142
^VALK£R (Ernest) ; Works
06 .
90, Parison« * Librtly * <Sh«lk>*) foe T.T.B.D. ((909).
— Chof*^ LvTic * N*piuAc*i Cotperi* * (Campuii) for
<horu» & orth. {i9i0).
30. 3 paruoom for S.S.A. (Henkfc)
I. To tiJsAK (ifs*).
9. Cpiuph upon 4 Virtin (i9U)>
i. Upon 4 Child that dkd (1914).
3 1 . Poruonc * I n Fndr of May ’ for S.& A. & pT. ( 19 14).
33, Farisonj * Orpheuf with hit Iui4 * (Shatetprare «r
Fincher) for S.A.T.B. (193$).
34' Paruoni * Pull Fathom n^e' <Sli4fcr9pea/«) for 6
lopranoe {1993).
36. 3 Paruonpt vridt pf. ( t994)
I, Sweet Obtruniy (Roberi Creenr) ~ uiuaen
voice*.
9. Hymn lo Diana (Ben fonwn) — three vofoee.
3, A Hawh*t up. for a Huei't up (RavemcroA)
— two voxel.
4, Sleep (Beaumont and Fleteher) — two
voicei.
9. To an autumn rose {Mary SeeiO— two
voxel.
49. Paritonf 'Soft Muik’ (Hrrrkl:) for S,5A.T.B.B.
3t. * The Lailv Marram Hetl Hymn>Tunr«* 1 193a)
I. Bu«kau— for Herberi'e ' Di«riplir>e * (“Tnrew
away Thv red ”|,
а. Sorham — for Hrrbrn** * Praxe * C Kiiut of
Clory. Kint of Fraee
3. NV’ater Meadow^ for C. Reeaeitr'i * A Beicrr
ReHirrectien ’ (*' I have bo wit. no wor^
no trart *').
4, Cambridae Gate — for Blake’e * To hfrtc>’.
Fiiv. Peare and Love
3. Warwick Haven — for Fraiwit Quarin’i
* Thou art my lifo \
б, Ovrntrand — for Fletehrr't * Drop, dr«p«
dew Iran'.
3. Windy Prak — for Vauffhan't * S’Mivity *
(** Awakr, alad head '*).
6. Leimatiw — for Vauihan'e ' Proce ’ ("My
toul. tHerr it a eeuniry
9. Gtinliehl — for Vauthu'e * Chmfolneia '
(“ l.ord. with what courarr and dehtht "I.
10. Denmark Hill — for .Sidnry'eM) Loid. in mr
•here lieih noutht *,
39. Mniei 'The Faith ii the Lord'i * for $3.A.» aUo
arc. for T.T.B. (t933l'
53. Clheral Sen« ' Sumet and rvenlna lUr * {Tennyton)
for S.A.T.B, {comp. I43a> (>934^
36. h(olet * One tcneraium paaKth away ' <E<cfo>
•iastei) for S.A.I.B. I >934!.
jB. Motet ' Hearken to m«* llMiah) for S.SA. wiih pC
or orpan ad /<>. ti934K
$2. ' MapniAcai ' and 'Nunc <limiitii', D ma., for
womcn'i voieei 4 orran <I93>I'
$3. pariionf ' Dirge in Woedt ' {Meredith} for S.A.T.B.
(•939).
ORCHESTRAL WORKS
— ' Lyexe ' for tin. (1S99).
— Concert Overture, F mi. (1097}.
99. Sntermerta for tigi. (with t dart, ad M.) It pf.
{'9od).
^ CrowrtJ for tir«. fi9i0.
43. Fania«a«VariaUont on a Norfolk folksonf (' Lovely
Joan 'I (t930) {rrr Pbr Pianofone CMt).
CHAMBER MUSIC
— ' From the Upland to the Sea ' ( Wdiam Morrn} for
boritonc. itg. 4let It pf. { i994).
• Tno. C mi., for vn.. cello li pC (1090).
— Quartet. I) ma.. fot vn.. viola, cello & pf. (thgpj.
— ^intet. By mi., for horn ft (ipoo)*
90. Mieuci ft Trio for 9 vnc. ft pL (t9i»3}.
— Quiniei, A ma., for a vns„ viola. ceDe ft pt {•903).
39. ' Faniaiia ’ for tta. 4tai (eomp. 1903I (•9»3).
— Quartet. C mi., for vn.. viola, ceUo ft pL { rpto).
— Vanaiiont on an Orirmtd Theme for eiar.. vn-.
viola, eelfo ft jd. left hand ( 19331.
ONE INSTRUMENT AND PIANOFORTE
6 . ‘Ballade' for vn. (1696).
I. Sonau, A mi., for vn. feomp. 1I95) (iBpI}.
Q. R^^ance, Br ma.. for vfota or <Ur. (iBpS),
II. No. I, ' Ballade ' for cefto (ipeo).
No. t. Adagio, Eff ma., for ceOo or hen (1900).
Op.
— ' Rocnaaoe and Caprice ' for va. (>904).
— VariaticR* on art Onfinal Theme lor viola (>907),
99. Sonata. C ma., for viua (comp. 1S97) {19 ta).
40. VartattocB on a Tbeme by Joachim for vo. (comp.
C91S} 1*997).
41. Soitala, F mi., for cello (comp. 19x4} (ipsB).
44. Son4U. E> ma.. for vn. (comp. 1910) (1930).
' LottdooderTT Air ', arr. for vn. (1933).
PIANOFORTE SOLO
— Rhaps^y. G mi. (1892).
4. Variaiioiu on a Norwegian Air (1894).
3, Romaiwe and Capriccio (1S93).
— ' Album Luf ' (tW3>.
— hlarurha (10^7).
— ' InteroMxao in Tenthi ' (1898).
— 'Album Leaf' (iM).
— Suite ‘ The Dayl of the Week '(1904) (No. 1 publ. u
£> ma, (1993) (used for Variation* is
Ob. 44. «rr One Inatrumrnt and Pianoforte).
' 'flircc Dedicauotw ’ (1929).
' Easier Piece ' (1929).
' Four Miniatures ' (193O
t. Urewnd.
9. SchcfMtto (for 4 imaU dog).
3 . Canoe.
4. OWIMlO.
Study for the left hand (comp, tpoi) (>930.
' Three Pvcheitaa ' (19331.
' ChriMfnai Pwee ' (t933)<
Prdude for the left hand (i995)>
' Wmt African Fantatktia * (1933).
37
4«
U
47
49
R
83
PIANOFORTE DUET
' Six Ouettinos' (with raay upper part) {>97dJ>
. Fantasia 'Variatioru or* a Norfwk folluont (' Lovely
6 art 'I (<930) (m* afr* Orchestral Works).
ett Afrvean Paotaiia * (1933).
Rhapsody and Fufur <1934).
TWO NANOFORTES
60. ' A Waite Suite ' (ifSl).
ORGAN MUStC
as. prelude and Fugue. D ma. (i990). .. .. u _
30. ' Ten Prehidri on the Lady Margarei Hall Hymn*
Tunes ' ( 1 93a) (for titles m Choral IV'orki. Op. 39)'
SONGS
** ^ foSv^ five (Shakespeare).
t. It was a lover and his Im (Shakrtprare).
*. When ickks hang by the wall (Shakespeare).
4. F«uMinKi^4ubc (Uhland).
J FruMInnruhe (UKIand).
Fruhliftfsleter iUhland).
* t^^pibra ^with his lute (Shakespeare or
Etcher).
p. PhUlw the fair (Burnsl. , _
S. What does littJe birdie aay f (Tennyson).
4. Die bUven Fruhlingsaugen <l^tne>.
S. Es Isett drt heitse Sommer (Heme).
B. GHieimnis (Karl Candidut).
* ?^Keim^Land (Chfistina Ros^li).
9. WeAB eiosimals mir da* Alter naht (Olga
5. TTvTtSeSSur'folb on castle wall* tT^rnmn).
4. SomeeUed me where the rubx* grew (Hernck).
V Night Piree (Herrsck). . ,
£ ASreootic Ode (Fill hoy. a* deep a
draught) (Thomas Moore), ,
15. AMcnoBik Ode ' I care
iTh^M Moore) for bantono { • 09n>.
— t SO^ (C094) m ^ i. «
I. A Menage {G. H, F. Cooksoo).
a. How they brought her wamor dead.
«. Our enesues have fallen.
WALKER (Frank)
WALKER (Gcoi^— 1 )
H 3
Of.
19 -
31 .
t?.
JS.
3 SO^ {1903)
t, Si*r> of ib« itunnv* nhitii {|j«n^eUQ«i,
«. TtK Thro« Fiih^n sKinfiln*;-
* Comilli ffttr * (from vi LUcsbeihait (oo«>beoki
* BIlkmIU from ih« rle«nnf ' 'Heolev) 1*904).
$ Sonn (1909)
I . H«v nonnr no 'anoe.),
t. tn the Spi,t>n fwilirhl (Svtlorv 1>obell>.
i . »nowilfo 9 ft ibobell'.
oAJiheA’ (L«velM«r (C909V
* Come into ihr lanfeit. MaimI ’ iTewtnon) 1911 .
3 Sonir* (Pebellr also with *maU oreh. 1 1936)
I. Summer Hain.
t. Meets .Sfins,
Sonr from ' Wilhelm Tell * (VkiBeri ri 9 i 7 ),
VOCAL DUE-nS I W ITH PIANOFORl £«
« Duett iof Mpeano 4 bartione 11907*
• M V tied rest lose, linee i)>ou m ih so 1 KerrH k >
i. You Ihai wuiit 10 mv p«pe’« lotiad 160m at.
iliidbeihan ioii«>U«ok),
Uueit lor r^rfsifdho 4 lenor Mr.fte/
C4, Caiior. for z equal tukei * Kmm imm. «il
<*recii»rtonj (• 0 J 7 K
.|U bril.
VOCAL QCARfl.l fWITH PlANOMJRTE/
iu. ^ Suiiirs frtim * LnvUmrs HelMoei ’ < fee
h.A.'I.H, ( iQuo)
I. ll.e t]ie|>hertit* ronuirt intti of h]«Mlet\
madtivalti.
a. ()amelv»’« t<Mi< lohn lharhenia iH.C.».
3. l.ove the otUy priee of lose ranon.
<• *“*• •" .Smatean*
S' A »<teel pattural ‘S. RrrtH»>.
ARRAX<,L.Vti:SJ-S
"ll.e Brooklet', ma* bt )djs.ae<l U 4 er. ar». (of
Pf it 97 ?J.
- Allettro 4 wi' from MeAdel»ofet*t t mi. H«,
Quetlri. arr. 6 .t |>r, (1947^.
CADES /Ah
lor f) m», pf. (kHMerco, K 4«6 ((904.,
I ;»»r Iketl.i.ten « t, ni.. pf. OuHertu. tM, 37 liar 4>.
► or .M'.teri « (.tHKeriot i.i 49 ma., K. tvk. C toa
K, 4&7, am] A ma., K. 4H <* 933 h
'Wafj* Quart el raptu.e.vn on INfitn 4 SloiarO.
WALKER, FraaJt 'h. Cttsporf, I lamp*
alMn*. rojunc ryo?;.
Lngliah muatcal mrarrhachotar and aucitor.
((<• was cduraicd at I'l.rismouih Grammar
XchonI and I a Iff, while engagetl in other p«r-
suits, Jrvoteti Jtimself assiduously tv muskal.
especially biographical research, for which a
rare comhinaiion nf pallence, imagination,
tenacity and artistic insight qualified him in
a supreme degree. 11 is attentiim was at Tint
(• 93 ^^ turned towards liugv >Volf. many un-
known documents vf whose life were collected
hy him, in collaboration with Waller Legge at
hrst, but later alone. Ihe result was the most
complete and reliable life of Wolf, published
m the autumn of 1551 and far outstripping
Any (ierman work on the composer that has
so far a]>peare<l. Apart from its extraordinary
•nieresi as a biography, it is an admirable piece
of literature and shows an uncommon gift of
marshalling a complexity of fsM:ts and pre-
sen ling them clearly and readably.
i Hiring the second world war Walker was
Attached, in a civilian capacity, to the Royal
L<jtm of Signals in Italy, and during such
spare lime as he evuW find there he made a
close study of Neapolitan sources and of
maciers connected wiilt the life of Verdi.
Again the material for an im]H)riant U<M>k
was the result. It im ludi'S a series ofsiudiet,
four of tvhkh appeared in periodicals :
' Conhe’i ** I irKr S'crlusi " tet ia Musk t.v '
iX1, Rc«., Feb. lO^H. :
' Gemiu. amS Jut Buvt ol S Vrd i ' 1 M. & L. , Jan .
I 949 > :
* (kunoclli, Verdi aiHt Stnv Appian. ’ .b'4., Jati. iQjiK
* Verdi and S'rcniu ' «Mu(. .Sepi (Xl. iv))> ;
and orse of which formed a lecture lor the
Ku>’sil Musical 'Vauciation : ' Verdi's Ideas
on the iVoduciiun of Ins Shakespeare Op<*ras *
IIW. Roy'. Mus. .\ss.. Session LXXV Ij. At
Naples hr inade a c l<»sc scrutiny, among oilier
sourc«H, of the records ol Hlurimo, many of
whose errors an<l eart k'ssnessc* he was sub-
scqucnily able 10 correct, often with the aid
of complieatc'd further research, in a series of
ankles and in the present Dictionary, the
lifth vdiiKsn of which has had the Ih iiHIi of
innumerable emendations made by him,
'J*1h* folUming arc Walker's Neapoliian
studies, published in sarious iKriodicals ;
•S*K^ioc R«si xn.l Mm.h ' .VLM.H., Oct. .<)«, Jan.
a l«U.
'C<». «ihI I.o
'VL Kcs., Vur,
; rrex.nro. m» cW Mm, |><r. )f>iq .*
(H0 *4 IW»ku hHKrr.c» AIkI M.mUijLu-
unnt' <M. * L . Ort. lo^n
u»d rer«vlr». ' »M M,H.. Oct. lavsi.
.5^ «'''•>• Aug. iflM).
Xk.^ f^wepoM; « t.fh.i l.ile AM.] Work*'
^ thc Huiuo of# l»*M.tci<. •(M.tJ..J.|lv I9S»1.
A*i..ri* 4fM| A .Vf*|H.|.tAH l.khrenm ’
IM.M R., Mas I'isi '.
; JVf#^Lctc„a»' M M.R,.July.AuB.fc Sept. l9Va).
Verdt' . 3 f 4 1... CXi.
WALKER, George ( 1 ) ?),
English ettih'iyth-century music publisher
arsd nosHist. He establidied hiinwlf in Lon-
don almui 1793. at 1 06 Great Portland Street,
'^re he remainetl until i8ji, and from
that tunc to alioul 1848 he was ai 17 Soho
Square. He had atlJilional jirt niiscs at y Urook
Street alwui 1803-3, At 103 Great J'ortland
Sireet alraut *8ia-ao and 64 llurlington Ar-
<^e about 1820.3.1. About iday the business
became George Walker & Son, the son having
pwvioudy owned or managed the Bedford
Mu^al Repository. 1 publishing business at
45 ^ulhampton Row about 1823-27 and at
17 aoho bquare ai>out 1827-2^
It H probable that fJeorge Walker was the
wgiiwtor of the absurd practice of tnark-
mg sheet music at double what it teas sold
for; thn IS gathered from the statement in the
Lon^ Uirecioey that V is a “ publisher of
music at half-price ' ". He was the author
f ,"^>'^ 5 . •Cinihelja*. ‘The Three
Spaniards , Don Raphael etc., and a book
* Row u*s noi s comnw.
^ ‘ilnbMied .0 PfrK.'k.vT^I ,0
'44
WALKER (George— ii)
WALLACE (Ian)
of * Poems on V arious Occasions IS'itUam
Walker of (t6 Portland Sireei, probably a
relative, published sheet musk about 1807-^.
r. X-, rev. w. c. s.
WALKER, Geo^ (ii) ( 6 . >; i. ?).
Scottish i8th-i9th-ceniury music engraver.
He was established in Edinburgh from about
t790. He was not related to the London mtisk
publisher of the same name. His address from
about 1795 to 1796 was Head of Gallotvay's
Close, from 1796 to Head of Skinner's
Close and in about 1805-1 ' Fountain Well.
He then entered into partnership with William
Hutton as VN’alker & Hutton, musk engravers,
Foulis Close, which continued until about
1815, when Hutton left him and John Ander*
son joined the ftrm, which became NValker
A Anderson, music engravers, printers and
publishers, at 43 High Street. i6is>a6. It
was known as VS alker & Co. from 1836. the
address being 9 North Bridge from 1S39 to
1 646. For a few years before 1848 the business
was carried on by \Va1ker*s widow.
William Hutton, on leaving Walker, set up
fur himself as a music engraver at loj High
Street, Edinburgh, tvhere he was in partner*
ship with William Balbirnie. as Hutton &
Ualhirnie in about 1819-91.
John Anderson, who served his apprenikc-
ship with James Johnson of Edinburgh, was
in business on his own account as a musk
engraver at North Gray's Close. Edinburgh,
about 1809-tt, after which he was in partner*
ship with Johnson's widow as Johnson &
Anderson, music engravers and printers, at
475 High Street, i8it-t9, and at North
Gray's Close. 1819-15.
Walker engraved much Scottish musk for
other publishers, one of his earliest works
being VVilliam Shepherd's ' A Collection of
Strathspey Reels' (r. 1790), but in (he latter
days of the firm they printed and puMbhed,
as well as engraved music.
u. c. s.
WALKER, Laonard (4. London, 94 May
1BB7).
English conductor and composer. He was
educated at the T.C.M. in Lo^on and afier*
wards studied conducting with Nifcbch and
Richter. His chief activities has’c been in
the U.S.A., whither he went in 1993. He svw
conductor of the Long Beach Symphony
Orchestra, California, from 1923 to 1931,
when he was appointed director of the Los
Angeles Metropolitan Symphony Orchestra.
He has also conducted opera in that city. In
t937 and the following year he visited London
to conduct the London Symphony and B.&.C.
orchestras. Walker made a special study of
the problems of recording mu^c for the films
and has acted in an advisory capacity and as
conductor in a number of productions at
Hollyw'Ood. He has composed numerous
songs and made transcriptions of Bach organ
music for Orchestra. D. H. (ii).
WALKER. Norman (5. Shaw, Lanca*
shire. 9d Nov. 1907).
English bass singer. He won the Sarah
Andrew scholarship to the Royal Man*
Chester College < 3 S Music, where he studied
from 1929 to 1939, when he went to the
G.S.M. in London as a Sam Heilbuih (Major)
scholar for three years. During that time he
studied with \ Valter Hyde and won the
highest awards in the School. His first im-
portant engagement was in 1933, when he
sang in Bach's B minor Mast for the Halk
Concerts Society in Manchester, and in 1935
Beecham engag^ him for Verdi's Requiem.
From 1935 to 1939 he appeared in The
London international opera season at Covent
Garden. After nearly five years’ war ser\'icc
in the R.A.F. he returned lo Oovent Garden
and in 1948 sang Kmg Mark in the first
performance of ' Tristan ’ gi'cn there since
1939. His singing was warmly commended,
and he steadily added (o his reputation, singing
in many operas, including ' Lohengrin '.
He also sang a( Glyndebournc in 1937 and
1946. but hb wide repertory is not confined to
opera. He sang at (he FestiNals at Leeds and
Norwkh in 1947 and at the Three Choirs
Festival in 1947-48 and t950. ^Vith the
exception of 1944 he has sung regularly every
year at (he London Promenade Concerts
from 1936 onwards, and he has sung for all
the principal choral societies in Great Britain.
His voke has a magnificent ringing quality
and he is considered one of the beat living
singers of Handel. In 1941 he was made an
F.R.M.C.M. and in 1945 an F. G.S.M.
M. K. w.
W«U>«*, Sft ballad Optra (^Qyakrr's
WALKGRE, die (Wagner). Stt Ring
sas NiacLUNOEN, Dca.
WALLACE, bn (Bryee) (4. Undon, 10
My «9'9)« , ,
English base singer. He was educated at
Charterhouse from 1933 to 1938 and at
Frinity Hall, Cambridge, in *938-40, where
le took the B.A. with honours in law. His
nusicaJ studies were private. He has sung
ind acted with the New London Opera Com*
jany from 1946 to 1949 and appeared wiih
he Clyndeboume Opera Company at the
list Edinburgh Festival, and again in 194^
t950- In 1950 he sang at the Tcatro Reg^o
rf Parma and during the next three yca« he
ulfilled engagementt with the English Opera
Sroup, the Undon Opera Society and the
) B.C. Opera. He has also appeared « a
•haracier actor in films and on the stage, besiow
>rt)adcas»ing. In 1953 he
bther in Rossini's ‘ Cenermiola at Glynde*
loume and in 1934 as Bartolo. m. *«•
WALLACE {Lady)
WALLACE (Vinc^ni)
'45
WALLACE <Gnic«), Udy (A ?; 4. ?, li
Mar. 1878)-
Scotlish translator. She was the daughter
of John Steia of Edinburgh, >\as marrird for
the first time in 1834 and in 1836 to Sir James
Nf ax well U’allacc, who died 1667.
She translated the ^ollo^ving musical w’orfcs,
all published in London :
Two voli, of Mm 4 rlur»hr>’« Lrnm; 'From ItsJi
Sfwl SwiuerUtKl ' ii8aa> , * rr<»n la^sio ttsr * iiM}, ;
of Motati *. 9 nit. 1 116$' : * Knniniimw#? «l
Mri^cltwihn *, hv £Jiw I*i 4 k«> llttsi ; 'l^nm of
IWlJio^ch *, 9 wli. m866i ; of tKifi(WiM«ar 4
Stuiici«M» from t cwllrrfM.<i h> LudwiC NoU iiMti ;
Nohl'i ' l,»fr of M'>2sri’ q
WolUce, Lowti. Xft Krikv t’firn l(u/\ scoe^
fit,'. V>u>« I' CturHX K»«« ofdi. hmw*.
WALLACE, Lucille Clucatu, -tt Feb.
ifUjH).
l.nglisli (by marriag* » pianist and harp*
sichorcliNt of American Inrih. She was edu*
raiotl at the Ihith Const rsaturVi Chiogo, and
after taking the Ntus.llac. d«gr«*r prnret'dttl
lo VasNjr College, hnjglik«i psiv, where sl»e
giiintsl in kj]^ the S’avNar Fellowthip for the
iludy <>f history and niu>ie. This award
entitU'<i her to go to the l. nhcrsitv of \ knna,
where die studied under (iuidu Adler and
Alfom l^p»ch. In die coniinwd
her stu<li« % at the S<irl>onAe. Fans, and with
UontJa l.an<low»ka and Nadia Boulanger.
She aho lotik k^'tf>lw in [>ian<jforic with Ariur
Silinalx’t in ]h*rlin. *J'he trctwl of Iut educi*
don aiiimliKd an interest in the rnuMc of the
17 ill and tdih eenturtes, and site began tu
specialise in the hteraturc uf the harpsiehord.
SIk' ditl nol entirely al>amlon the pianoforte
and ha« included m her |>rograinmrs works
by I he earlier com|HW'rs for that histTumeni,
c'spc'ciall)' the ^otlalas of Mn/nrt, as well as
romivnitloni for sirgmah ami elavkhocd
pla>ucl ii|Min these jnstruntenls. 'I his gives to
her recitals an historical interest as an exposi*
lion of the development of keyboard technique
and the changes in style consequent upon
the in ircKl union of the piicK^«irte. Hul her
roffiijiantl of the tethnique of tJte hanniclsord
relieves he r pc rfewmances of any suggesiion
of dry pc*<lanir) , and they arr enjoyable for
llicir c^wn sake. In (lariicular she has revivvxl
an inien-sl in the levs familiar and greater
SKie c,f the genius of Francois (hjuperin ami
Domenico btarlaul, who have Wn loo long
reprew nt^ In recital programmes hy a few
^ iheir slighter pieces transferred to ihc piano*
forie. Lucille Wallace plays upon a modern
mstrumeni hy l*le>el. In ICJ31 she married
Uillord Cur/ton, the pianist, with whems she
has givrn joint rcHitah, o ll (iii
WALLACE, (WiUUm) Vincent (F-Uat’er-
lord, 1 1 Mar. tHi*^ : 4 Chateau dc Ifagct nr.
Vieuac^, lUuu ^.lhren^f^ ,2 1665).
VOL, IX
Irish composer. Hjs father was band*
sergeant of the ggth or Wore csirrs hire
Regiment, few which, in his childhood, the son
composed many marches and fantasias. In
1B37 the family migrated to Dublin, Fhey
condsied nf the fathcT. who was hout^hl out of
the Army in *835. his svife, \Vilh4m junior,
his eldest stm, who took the addiilunal
Christian name of S ittrc iu uti beiritf received
into the Roman Catholic ihurch just bclore
his lirsi marriage, Wellington, abu a inusiciati,
bom in 1813. and Di^.t. Itorii in ill 14, who
marru'd the .Australian singer .|<*hn BusIm lie
and flied at Sydney In 1870. Slic in.'idv a
ronsiderahic reput.'uion. as a supranu, in
oratorio and ronieris.
At tlw age of sixt ren \\ allai c* ()('pmi3c>d
on occasion for .fames B.irion, leader of the
Dublin I'hcMirc Royal orchestra and oj»e of
Balfs’s early leathers. In 1830 VNjill.icr w.os
appointed organist o| 'lhnrle» iKoinan
CailMtIis r Ca I lad ral ami hulessor of Musk ai
llte Lrsulinr Cuttvrnt in iH.it town. One nl
hU pMnrdi>rtv pupils ihcrc was Lain Il.t Kcdy,
a Wrdcr from IrcsCHii, Ul.uknnk hear
Dublin ln\|Hrcd hy hn (d.uing at a lunp
IcsscNi given lu r by a mni, Ik compuscHl a tune
which wav to lKi<>ine fitnoiis after jis incur*
|><»ration, sctcninn years later, Mari*
tana* as " 1 he H.irp m the .\ir ". halJing
in love wiih Isabc'lla. cjcspiic the op|>ONiti</ii i>|
her eldest sister, Swier Ximcni. whu.e iiuiik
he tocA on hjs reception inio the church. Ik
persuaded Iter failicr to give Im conw ni to ilie
marriage on cemdilkin that he i hanged hjs
faith, for, as he nn<e wroic, Wallace was
l^rn and bred-up a I'loiesunt Having
migned Irom his two posts at Ihuilvi-, he
returned to J>ubliii. where in :8 ti he married
Isabella and cejoku d the J heafre* Royal
orche»ira, this titne as vub-leadc r. la Sept,
of chat year Ragan ini was api^eariiig at the
Du Win Musical Fcstiv.d. and Wallace was so
shinulaccd by hb example ihai he sat up
burning the midnight nil to i>rauise the \ ioUn
to su<h purpose that later he was rc<<*gnl/cd
M a virtuoso on three continents. He also
began to compose in earm-st. In all, )ik com-
pvsitioits and arrangemeuis lake up cner u
hundred page^ of the JhM. tatalogurs.
'85s. the verge of a nervous hreak*
demn through overwc.rk, he dropjted every-
thing and migraird to Australia with his
wife and sun, William \*«kh'Iii, some* say to
take up dseep.farming, oil.rrs to ixMiinc his
musical carser, but In more leisure ly fashion
From Tasmanian government archives ccnn«%
this entry: “ William Vincent Wallace
musiLiau, composer and writer, arrived at
Hobart from Liverpool with his wife and child
on Oct. 31st 1835 on the ship * Rachel ' " At
Ilobart he gave a concert at winch he played
pianoforle hjiH violin solus, for sviaeli lie was
K
146
WALLACE (VLoccdl)
thanked by (he colonbis. On d Jan. 1836 he
left Hobart wUh his wife and child in (he
I^ayton ”, reaching Sydney icn days later.
On 1 1 Feb. he gave his hrst concert (hereunder
the patronage of Sir Richard Bourke, (he
governor, who U said to have given him a
iiundrcd sheep for his fee, no doubt to stork
the station in the Darling Dbirict, where he
was supposed to be learning agriculture and
sheep*raising.
In .\usiralia he gave lucrative concerts with
his sister F.liia. At Sydney he opened a music
school and also, at one time, owned and ran a
music shop. Uui evidently he lost money in
these enterprises for, according 10 the 'Sydney
Oazeiie ’ of 17 Feb. 1U38, ** Mr. Wallace, the
.•\u8tralian Paganini, left (he Colony in a
clandestine manner and has sailed for \*aU
paraiso, after having contracted debts in
Sydney ainouiuing to nearly ^^3,000 But
other authorities state thai he sailed to Van
Diemen's I.and and then New Zealand, where
he went in for whale*luhing. This would
seem to fit in w’ith Berlioz's fantastic story of
Wallace's adventures among the cannibals in
South Island, set down in ' Lcs Soirto de
Tore best re ', from the Irishman's narration in
London over the purtch-bowl, the author
observ ing, *' he is far too indolenc in >pi(c of
his vagabond huuiour, to take the trouble of
lying
In Chile, where he was highly regarded as
an in^uumenialut, he was a piominent figure
at the lerivUa or sniin of SeAora Isidora Zegers
de Hunecus, a talented singer and composer,
His many amazing adventures in North and
booth America arc set out in Pougin’s bio-
grapiiy as w'ell as in newspapers and music
inagasincs publiihcd soon after the composer's
death. A marvellous story appeared tn ' The
Theatre ’ of i Dec. 1U84 of his encounier with
a tiger, which he wounded, bring at short
range, and which he rinally dispatched with
his hunting-knife. This is suppmed to have
happened at Simla in 1838, (he year of his
arrival at Valparaiso. Like many other
episodes, this one is highly circuimtaniial.
In 1844 Wallace toured Germany and
Holland, making his London dibut at Signor
Marrai’s concert at Hanover Square Rooms
on 8 May 1845. playing some of his own com-
positions, which were well received, in the
same year Ite w’as recognized in a private box
at the Princess’s Theatre. London, by hU old
friend Heyward St. Lvger. He was wearing a
large white hat with a very broad brim, and a
complete suit of planter's nankeen and carried
a shillelagh. Ten years earlier St. Legcr had
known him wlicn he was with the Theatre
Royal orchestra in Dublin. After this they
saw one another almost daily, and one night
St. Legcr took the composer round and intro-
duced him to Fltzball. The dramatist and his
wife listened attentively to some of his com-
positioru. Recognizing their merits, Fitzbali
then and (here handed him the brsi act of
‘ Maritana which he had only just com-
pleted. Wallace got to work quickly, and the
opera was soon finished and in rehearsal. It
was produced at Drury Lane on 13 Nov. 1843,
and enjoyed a run of fifty consecutive perform-
ances, and it has had many revivals. It is still
performed by amateur operatic societies,
though in recent years it has been dropped
by professional companies. On 8 Jan. (848
it was first staged in Vienna, the composer
coming in for an o>’ation. After ' Maritana '
came ' Matilda of Hungary ' (Drury Lane,
2 Feb. (847), which was almost still-born.
Alfred Bunn had provided him with one of the
worst possiUe librecios.
In 1848 \Va 11 ace was commissioned to write
an opera for the Paris Op^ra, and set to work
with a will. Threatened with blindness, lie
was obliged to abandon the task. On a
specialist’s advice he embarked at one of the
Mane he ports in a vessel bound for Rio de
Janeiro, staying in Brazil for eight months, his
voyage having practically cured him of his
affliction. While in South America he in-
curred losses in (he City of London over an
unsuccessful speculat ion in pi a nofortrs. At ( he
beginning of 1839 he still ow^d £$7f> on this
transaction.
In 1850, after barely escaping death from an
explosion on a steamboat, on arrival in New
York he immediately filed bis declaration
of intrniion to become an American citizen.
In Del. of that y-ear he married Hdline*
btoepel, an American pianist, although Isa-
bella was still alive and there had been no
di^'orce. But he had taken counsel's opinion
and was advised that his first marriage vfts
el iHtM illegal, as at that time he was
twenty and was ” bred up a Protestant nt
spent some years in Germany on the score of
• Lurlinc ’ (Covent Carden, 23 Feb, i860) for a
feeble book by Fitrball. Uuisa Pyne and
William Harrison, who managed the English
Opera Company at Covenl Garden, macle
out of this opera alone. In the B M,
there is a facsimile ^ the composer's a»ign-
ment to them of the British Empire perform-
ing-rights for ten shillings, which Wallace
gallantly presented to the widow of a stage-
carpenter. Although he was a prolific com-
poser, his earnings from 1832 10 1859 *”*
than /zoo a year. .
•The Amber Witch', with a libretto by
H. F. Chorley, the criik, was produced at
Her Majesty’s Theatre, Haymarkct, on ao
Feb- t86i. Amor^ the principals were hints
Reeves, SantJey and Helen Lemmeni-Sher-
ringioru Musically it was an advance on
Wallace’s previous achievementt, and Ma^
conducted it with great skill; but Saniley
^VALL.ACB (William)
‘47
states that it was a poor production, E. T,
Smith, who su$ed U, belr^ very amateurish.
It had a \*eiv short run. Many years later it
waa revived by the Moody Mannera Opera
Company. ‘ Love's Triumph ' (Covent Car-
den, 3 Nov. 1662} with text b>* Planch^, was
given in a mutilated venion during tlie
pantomime season at that house, to its great
detriment. Wallace’s last opera to be pro-
duced (Covem Garden, 12 Oci. 1863) was
* The Desert Flower described as ** a wrak
perversion of the narrativ'e of Captain Smith
and (he faithful Pocohontas It lasted only
a furtnight. besides the six operas produced
and published during the composer’s lifetiine
there were others which \>’alla<c never
completed, ‘The Maki of Zurkh ’The
King's Page ’ Gulnarc ' and * Olga *.
Wellutgton Gtiernac’y, his frlcisd, called these
hut two " Italian operas ” artd »ays the com-
poser had only sketched out tiseir music,
some of which he subsequently heard at
SViesbadcii, where NVallare recels'r^ treat ntent
fur rheumatism. A stxth was ’ Lsvellita ’, or
' Estrella ’, Jus uiirini>hed setting of H. H.
Farnie's text, based on a Spanish rheme. He
began it early in 1864, but had to abandon it
through ill-health.
^^’allace had been sulTcring from heart
attacks since 185.1. In 1864 he made the sea
voyage to Boulogne from London. He was
immediately stricken with Hineses which at
Christmas culminated in an attack of dropsy
at hli home at ]*assy. Here he was visited by
Kossini and Ihalbcrg, G. A. Osborne, H. B.
Farnie atid others. 'I'hcnce he was moved to
the Chateau de Haget, in the Commune of
Vieuxos, Canton d'.Vrles, J iautes-Pyr^rt^es,
where his American wife nursed him to the
end, whic h came on 12 Oct. 1865. He was
buried in London, Kcnsal Orren Cemetery,
on 23 Oct., his funeral bring attended by some
of the most famous musicians and men of
letters of his day. r. c. (iij.
DtBUCM.RAhHY
Flouu, W. 11 . GitATrAM, ’ .M(in«.r oC tV. V. *
^VNaitrfvrU,
FoMtTn, Oeic. * Musk aoe Nsii«n4l,«n * il_ondii>.
ISM|, eontainini cri(,t,»tn «rVS'»U*c«’i epWM.
Noa^HcotT, RicjiAhO. ’Optt^ Ch«mr’ (L«ndM,
Pt-AMCHft, J. R., 'RKolkcltefw a^sl RHkeliettt ’
(LoiiOun, list).
PouoiN, A., ’ W'lUiint \ iiK*n( W«ilacc * tMOj.
WALLACE, William (t. Greenock, 3 JuJy
iSOo; rf. Malmesbury, Wilts, j$ Dec. 1940).
Scottisli composer and writer on music
He was the son of James Wallace, M.D., an
emi nen t Scottish surgeon. He was ed ucai^ at
Pettes College, Edinburgh, where he gained a
Trustees’ iudlibition to Edinburgh University,
This he resigned and entered Glasgow Uni-
where he graduated M.B. and C.M. in
*065, and went to Vienna to study ophthalmic
surgery*. He graduated with honours hi
Glasgow in 1888 and was on the siaH* c»| eye
hospitals both in Glasgow and London, fic
abandoned this professmn fur music, ho\vctcr,
onl> resuming it temporarily during ibc w.ir of
191 4-18, in which he served with the British
Red Cross and tn the R.AM.C. {(Captain) a'<
impeetor of ophthalmic centres.*
In 1889 he entered the in Ix>ndon
as a student, but did not long renunn there.
Nevertheless his connect ion with the in.uitmlnn
Was maintainc’d ; he s%as sut rc’ssivciy eiccicti
.*\.R..^.M, and F.R..\.M. anti later Joined the
pri^fesMifial staff. He v\a» alsn <|o>e|y associ-
ated with the Ro)al Philharmonic Society lo
w hose allairs he de\ oted m uch t i me a n<l e no rgy
IkmIi as honorary secretary an<l later <is
trustee.
SVallatr’'. public career as a coinpi»«<*r wjs
Isegun when his scena lor l>aiitone ami or*
cJsr^cra. ‘ L/>rd of Darkness was given at a
K..VM. siu<lenis' conceri, and an <»rr!u*>tral
suite, * The Lady from the hea ’ difu r Ibsen ,
was given hy iIk ht<Kk l.sthangc Orchrsira in
In that )ear, too. Ins ’ I he P.vdng ol
Beatrice’ was heard at the (ir^sul Palate.
It was said 10 be the lir«>i Brliish work de-
scribed by n<s composer as a *’ symphomt
poem". ,N series </ Orel lotral works appeared
on aev**ral occasions, and in the pr<Klui*
tion of certain ol Im works hy BariKKk ai .New
Brighton, including the ’ PreelxHJter ^oiigs ’,
made him famous. Of his st t eral syrnpbonit*
poems ' Villon ’ (*9091 U generally considered
to be Che most representative, and has been ihc
most widely played Isoth In llnglaiHl and
America.
A man of many parts, W allace tievoied his
scholastic aiuinntents and litccary (xmers to
aeveral aspctis of music in * I'hc I hrcshold of
Musk* (1908), 'The Musical Faculiy* un‘4)»
•A Study of WagtKr’ ((925) and ' Lisst,
Wagiser and the Princess’ (1927), The
foBow’ing is a list of his principal compositions :
INsTIttMLXI At.
Simphonv ' liw Creation ‘ (New BnuJiiun, tenn,.
9 > 1 ttplNBK roenH
I, The FnMMtf nf Beaitke, Jimie. * I*ataJi»(»
«ai»ig (Cffkul l*alMr. lAnjj.
*. Aav .1 w Hammer, Cvctlie. • KvpdKhrt l.k«| *
(Crvual ralatr. iSfOj,
3 . Shier Hrlen. Kcvwui K:r>tu) Pakre. iBoo)
4. T« the .\ew (kriiurv (bon 4 jon t^ilharmuiii,
5. Watlaer. a.o. >505 <Quee„’s Mall rtomeii.
wVs. 12^).
> Vy|©n. iNyw Svmnhony<)«h., Undnn, 10.-1.J
Sym^rt PrHwlf m lAr * hummkln * of
tCmul Palace. CS93J. *
fNeriwr ’ In Prahe oTSeaihsh Pooir’
« Suites in OI 4 en Style, small ordi.
A S«ou Fanutv ’ far onh.
Trio m ^ dm. for v.. telfo ft pf. (1899).
' tVal^'a ophthalmotofkal researthes are rttorJeil
m ««nu,buuoin so several somjific JoufMah and •„ 100
water c^r ^Uhtt by him preseiiied lo the Army
MesL&aJ War Museum. '
148
WALLASCHEK
WALLENSTEIN
VOCAL
Scen« * Lord of Dirkn^is haritoiM ft orch. (LMdofk,
• 890).
' oMnith Son(s \ vocal quarMi (i 893 }>
* My soul i< an encluuKed boai * (Shcltcy). voice, vn. ft
pf. (i8g6).
Scena * The Khaptody of Mary Mafdalenc * (woccfa
from ihe compoacr’s mystery play. 'The Dtvio«
Surrender ') {Loadon, 1896).
Song Oyclei
(. Freebooter SoiS|s. originally with ofch. (New
Brifhteo. 1899;.
«. Jacobite Sents (1900).
i . Lords of the Ma (BoumctiKMih. 1903).
e Mauacre of the Maepbenert burleM)tM ballad,
male ehenu ft oeeh. (Leeds M<jskal Utuoe).
Scene * The Outlaw irvalc voieei ft oreh,
' Braaiolis lyric tragedy ut oite act.
CKoral Symphony ' Kot^leih *.
Many son^s and shcri chwal pieces.' K C C.
WALLASCHEK, Rlcbftrd (fr. IWno, r6
Nov. 1860; d. Vienna, 24 Apr. 1917).
Austrian writer on musk. He studied law
and philosophy in Vienna, Heidelberg and
Tubingen, took the doctor's degree in bodi
faculties and taught in the University of Frei*
burg i/B. in tS66, in which year appeared his
* Asihctik der Tonkunst '. In 1690^5 he
lived in London, stutlying the music in the
B.M. He went to Vienna in and was
for some time teacher of the aesthetics of
music in the Conservatory of the Geiellschaft
dcr Musikfreunde. His most important works
on music tverc published in London : * On
the Origin of Musk* (1891), 'Natural
Selection and Musk* (1S92), 'On the
DiHcrcncc of Time and Rhythm in Music '
0893) and ' Primitive Musk * (189$). Many
artielrs of value appeared in the ' \’ier(eljahrs*
Hchrift the * Contemporary Review etc.
In 1903 his treatise on ' iVimiiive Music '
appeared in an enlarged German edition as
* Anfangc dor I'onkunst '. His subsequent
German works include * Ceschichtc der
Wiener Hofoper ' ( 1 907 > 8) and several
volumes on aesthetics and psychology as
applied to music. j. a.
Lack, R., *Zur CrioACrwit an R. WaltsKhvL'
{Vienna, 1919).
WALLEK^WALEWSKI, BolesUw (i.
Lw6w, 1885; d. Cracow, 1944).
Polish composer and conductor. He
studied under Niewiadomski and Solly's at
the Lw6nv Conservatory, then under Bara*
base, Szopski and 2 elcdski at Cracow, and
finally under Riemann at Leipzig. He
founded a choral sociery, Echo krakowzkie
(Cracow Echo), of which he became the
artistic director and conductor. He also
conducted symphony concerts and operas.
He wrote two operas : * Dola ’ (* Earthly
Lot') and ‘ Pomsta Jontkowa' f'Jontek's
Revenge’), the latter conceived as a sequel
to Moniuszko's ‘HaJka’; an oratorio,
* Apocalypse ’ ; masses, motets, a Requiem,
Psalms and carols. He also wrote a symphonic
scherzo, ‘ Pawel i Gawd
' B.M S. Aftb., 1990.
Although ' Dola ' was preduced at Cracow
in 1919 and voted a great success, Wallek*
Walewski’s real fame rests upon his choral
works, written chkfiy for men's voices, in
which realistic effects of musical onomatopoeia
are an outstanding feature. Choral pieces
such as * Rokitna * Rapsod burzowy '
(' Tempest ’), ' Zielone Swigtki na Bielanach '
{'Whitsuntide at Bklany’), ' Giewontowa
Bash’ ('The Talc from Giewonc’), 'Kerdelc*
(* The Herd ’), ' Na gtssliczkach ' (‘ The
Fiddle') and above all * Pogrzcb Kr6la
Kaaimierza WielkJego ’ (' The Funeral of the
King Casimir the Great ’) placed him in the
front rank of Polish choral writers. From
these works speaks an astonishingly original
composer and the individuality of a true
artist. c. R. K.
WALLENSTEIN, Alfred (h. Chicago, 7
Oct. tS^).
American conductor. He was the son of an
Austrian father and a German mother. Like
his friend and mentor, Toscanini, Wallenstein
started hU musical career as a cellist. From the
age of twelve be made traiuconiinental tours
through North and South America. After
studying at Leipzig with Julius KIcngel, lie
became in 1922 first cellist of the Chicago
Symphony Orchestra, exchanging this position
seven years later for a similar one with the
New York Philharmonic Orchestra and
resigning it in J936 simultaneously with
c^sduclor, Toscanini. At that time Wallen*
stein had already started on a highly succcMful
career as a radio conductor. For ten years he
was Musk Director of the W.O.K. station and
during this period his * Symphonictia ' became
widely known for the outstanding quality of
its p^ormances and the unusual scope of itt
repertory, which included such series as the
complete Bach cantatas given each Sunday
for over a year, all the symphonies by Haydn,
all the pianoforte concertos by Mozart, etc.
In recognitiM) of these achievements he
received in I94t the first Peabody A'vard
bestowed by the University of Gco^la for
conspicuous service In radio broadcasting. In
1943 be was given an honorary Doctor of
Music degree by \t'oosier College, and in J947
Columbia University presented him with the
Alice M. Ditson Award for distinguished
services to American music. AAer numerous
guest appearances with (he N.B.C. Symphojy
and the orchestra* of Philadelphia, Cleveland,
Chicago and Mexico City, Wallenstein was m
1943 appointed musk director of the Lo*
Angeles Mjil harmonic Orchestra, the orchotrs
in which he had played ceUo during lU hrst
season in J919. He has greatly extended
scope of the orchestra which now jndudo
eighteen cities in southern California, in
of which series of concerts are given throughout
(be season. *•
WALLER
W.ALMISLEY (Thom«-i)
W«U«r, F<ln>— d. St* EHow (’S«ir-b«ris»h’il', tone .
Or 4 buO M 4 ri 4 ’« ItdfeJy' (a(Up(.J»iiM;id.ia.j. CKuUm
<*png).
WALLERSTE^t Aaton (^. Dresden i
28 Sepi. ]6 j3 ; d. Ocn«>va, 26 Mar. iUfyz).
German violinist and composer. He U’gan
his career as a violinist and in 1627 was much
noticed during a visit to Berlin. In 1829 he
entered the court orchestra at Dresden ai^ in
1832 (hat at Hano\er» but various ssandrrlngs
to Hamburg, C!(>p<*nhagrn and other places
led to the rttlgnation othis post in i8|i.
He l^gan to rgmpose in 1830 and Irom that
time till 1877 |)oured forth a constant Hood of
dance mmir, chiHly published by Schott &
Co. of MainA. )(is 273th opus is entitled
'.Souvenir du |>ensiunnat: cincj jMiites
pieces fa<ili-s on Tonne d<* danse pour jHano
With this his name dhappsars from the
()uhlislMng*lisi, His dan<<'> had a pnxhgious
voguo <luring their day in (imiMns, ^*ranre
and l.ngland, in all classes of sixh’tv. Among
the I lest kiuixsn are ' La Cmiueite \ * Kedma
paridenne ’» ‘ 8(udenleng.doi>|> *, ' l>slr und
Iczlc l.k'lx’ etc. His songs alvissrro |xi|>ular,
es|>cciallY ’ Das I'raiu rhaus ' and 'behnsuclit
in dir I'Vfnr ,,,
WALUS, John (L Ashlurd, Kent, 23 Nov.
• (itb; Oxford. 28 (>ci. 1703).
UdglisU ni.sthemuiieian. He went up 10
I.innianuel College, Catrdiridge. In 1632, and
alter ward* Ixramc a Kellos* of Queen's CJol*
h’KC. Hr was apjMiinled bavilian Professor
«r Oeonw'try in the Lnlversliy of Oxford m
th4«), ten years Ixfore Ib nry I’ursell was Wn
and held this ihair till he died, eight years
ah IT lU'iirv Purr ell's death. He was oiw of
the origirul Pillows uf tlx* KoyaJ Society
of J.ondim, whit 1 1 received the hall •mark of
kingly fdviHir sshen it was incr>r|M)rated by
Koyal Cfi.irier of King CHiarlrs H in ibbr.
Ihe * Philosophiial I raitsaetions ' of the
S-icM cy in its early years, svJikh record the
tMinmuiiiiatirms of its J'ellows and others,
make Iasi iiiMtlng reading toxlay. W'c litKl
in<>h <'hgag(<i in exploring sshal was 10 them
anew world; experltiit nting. measuring, ob*
serving and recording; wc witness the hirth
of the wit mi lie meilKxl •; we w ‘•natural
lihilmophera as they called iliemselves.
t suhluhing a vast liody of data on whkh the
stlifire of modern science wa* to be IwNt.
^VHllls coniinoiilcaeed to the Phil. Tram., in
•b?7, the lirsi papsT ilierem on musical
Jicousiics under the tide ' On the rn-nibling of
(Ujasonant Strings, a new Muskal Discos-ery*.
I his is discussed utieler another heading \
where its sigaiiirance emerges, fwo otlirr
pafwrs were communicated hy in
<h«j|j : ' On the Division of the Monoehord or
he. lion of the Mu»ieal Canon’, a mat he*
matical discussion of the imervaU nl the
musical scale, and ‘ On the Imperfections in
•S^Tmsom.
H 9
an Organ which examines tlte ein avoidable
need for temperament in tuning a keyboard
instrument. Both arc of interest to the
sckniificaJIv minded musician, especially il
read svith the .\nnoiations to Moricy’s ‘ Plaine
atid ICasie Introduction to Pra.iicall Mu^ickc*
(* 597 ) the one hand, and with Kolntt
Smith's ' Harmonics ’ 1 1 748, 2nd cd. 1 jjtjj on
the other.
During his hliy-l"ur years' n mire of ihr
Oxford Cliair W, all is nude mimv noiahic
coni riliut ions (o mathenutic<. 1 1 . s. l.
WALLISER, Christoph Thomas 16.
Strasbourg, 17 .Xpr. d. .StrasUiurg,
27 .Apr. 1(148^
(icrm.in c<»m|Kmr. He w.av 4 |m]iil nf
NMchior Vul|uus and Tobias Kind hr. Itoio
lyrt lie was a leather in the Atadeiny aiul
three i<ir of music in two churches at .Sirns*
bourg. It was no doubt his atadeinic post
which suggest. d the rom|x>siiion of choruMs
from ’ Ihe (lltHnU' of .Srisiojiliaiies. ;md lor
sarious other |ilav» on the lUssh.U modr],
wkIi as * .WiroMicda ' l.lias * and * < Ib.n h hi
His ‘ letiistlie Pulim n ' ta 31 were published
in iImu; his 'Hexasihhon' nb; in ibio;
his * .Music.ae figuralis praetepia lir. iu for
2-C soites, apjHuretl in Hi| 1 ; .11 id lib ' S.it r.ie
imxiulatioike» ’ for Christnus in Hxj. Jlis
chief work is
lx< lesN^lxe. tl«i J« KiKixMvrsjigt. liie
telxesKblKhMcn ISalinan k> iikIiI allvm v^va
v«r. MmdecM «u«a au mmsiMik hoi ln.irunifiiier»
tkengKli reIXAuilien. mu 4. s. 6 buiun.tlt (ucio
poMil. niraftbvum. 1614.]
Il consists of hfiy (ierman psalms set in ilie
old eontraimntal style on the melodies to
winch ilwy were sung in the Prf*U'>lanl
sen ires at Slraslx.urg. Two of lliem are
repuhlish.si in SdioUrlein and Kiege)’..
' Schal2 dr» liturgisclirn ChMrge<arig« ' and
«me (' Min’ fesie Burg l.uHier'x ve rsion of
Psalm XJA H in K.iJe's imisit 'upplenienis
to Amliros's ‘Oi'schkhle der Musik In
ib4j VValliwT puMislied
b«<ksH«^ Wae. dAium dx C^leshuinuMtrHrkS.
N<^im vnd •ciulwlie l^CKlef tamt ilrtr, *!>
IJfym, whI ik* il 4. •„ 0, ? .Siimnieo
■etelti.
Similar puWieaiions apjMured in 1617, 1627
and i6|i, anti many works in inaiiaM.npt
are extant. p
WALLISHADSCR, Johann Cvaagellgt.
V'Ai.fcsi,
WALLY» la (Opera). Set Cajalani.
WALMTSLEY, Thomaa (i) (Forbes)
London ISVcMminster), 22 May 1783; d
I^^ndon, 23 July j866>.
English organist, leaclier and composer.
He was the son of \Mllia.n U'almislry, rk
of the Papers to the House of Lortls, wiis a
chorister in Westminster Abliey and was sent
to U'cstminsier School. At the age of fourteen
he began bis musical education and studied
W.\LMISLEY (llK>ii»s--ii)
150
ihe organ, pianoforte and counterpoint under
Attx^ood. \VaImi5lev achieved succe&s as
a musical teacher and glee -writer- ‘ The
Spectator’ for 28 Aug. 1830 thus charac*
icriaes a volume of glees published by Walmis-
ley at that time :
Thne composiiions. ihou^h dis^iyinf ib« MiaiCrfnrae
of a skilful musician, are aet the dull rfluaiow of a
pedSBi. Thoufh formed upoo ihe beii modeb, (her ate
no servile copies, bui ilie efTusiou of food umc asoiueed
and nurtured b>' study.
in 1 8 1 o- 1 4 \ Val misley was assistant organist
to the Female Orphan Asylum, and in the
latter year he became organist at St. Martin-
in*thc-Fields, an appointment he held until
Mar. 1834, >vhcn he retired on a pension.
HU name appears on the list of musicians
assembled at Weber’s funeral in 1826. He
lived to edit his more famous son’s * Cathedral
Music ’ in the year after the latter’s death.
The following printed works appear in the
D.M. Catalogue, with dates of publication :
CL&CS. ROUNDS AND CANONS
0 Glees, S«i t (i8t4).
' From flower lo fl^er', cle« (tfll4>.
‘Soy. Mvr* riee
* A Colieeiieo ef Ckes. Teioe, RouimU sad Csockh *
{•!««).
* brithi wbile ein\t« the sporklmf wiac *. fke (i8s»).
6 Cleca, Set 11 (1610).
SOtea, Set lit (1840).
' O'er ihf slid woien round ls8u).
* I with to tune (lee (183$).
* T^ow eheertul Ikc ', flee 1183)).
S Csneivs (lUen).
'To*morraw ‘, iiee (1844).
* The Troreller'i Rteum ' (Southey), (lee ((838).
SONCS
Unriemcoth this stone reuAtl (8«n Jomoa) <1819).
Toste hfe'i tlod momenu' (r8is).
Swoet hope" (s6i7>.
IHe SeWiers *. c«ii«erart (i8ie).
TK« Wild HyMinih' (i8asl.
t turn frotn pleasure’s witchini ten«‘ (i8»3).
Home. deAtait home ' ( 183B).
Uy those eye of dark beauty ' (t89().
I 0 Zuleika ’ tiSsy).
Sacred Sonft ’ (b. 8. Impey) (1I41).
DUETS AND TRIOS
' 1 he Fairy of the Dale *. trie I l8s$>.
’ A Collection of Glees. Tciw, Roufsde nod Canem’
(1846).
* Tell me, gentle hour of night *, duel ( 1840).
A. o. C.
WALMISLEY, Tbomaa <U) (Aitwood)
(S. London, at Jan. 1614; d. Haslings, 17
Jan. 1856).
English organist and composer, son of the
preceding. He showed at an unusually early
age such a rare aptitude for music that hb
father secured for him the advantage of
studying composition under his godfather,
Thomas Altwood. The lad rapidly attained
proficiency as a pianist. In 1830 he became
organist of Croydon Church, where be
attracted the notice of Thomas Msller, who
encouraged his literary tastes and persuaded
him to combine mathematical with musical
studies. At this time an attempt was made
by Monck Mason to secure him for English
opera, but ^Val misley decided to try his for-
tune at Cambridge. In 1833 he was elected
onanist of Trinity and St. John’s Gollego,
and composed an exercise, * Let Cod arise
with full orchestra, for the degree of Mus B.
He then entered Corpus Chrisii College,
where he distinguished himself in the mathe-
matical examinations. He subsequently
migrated (o Jeaus College and, though un-
successful as a competitor for the University
Prize Poem, fully justihed ihe wisdom of
Miller’s advice that his love of literature
should not be entirely sacriheed to professional
duties. The system ^ those days concentrated
the duties of several persons in one, and the
young organist submitted to a slavery which
it U now difftcuU to realise.
In 1834 ^Valmisley wrote the anthem ’ O
give thanks for the Commemoration at
Trinity, and his Service in Bk major. In
1835 he composed the Ode, written by the
Bishop of Lincoln, for the installation of Lord
Camden as Chancellor— * a serious interruption
to his mathematical studies. It was com-
posed by >Va 1 mis]ey In consequence of the
illness of Clarke- Whiifeld whom he succeeded
in (he professorship. Mr. H. £. Walmisley,
who b the present owner of the manuscript of
this, points out that the quartet ’'Fair is the
warrior's mural crown " originally belonged
to it.
Walmisley's election to the professorial
chair of music, vacated by the death of Dr.
Clarke -Whitfcld, took place in 1836; in
1838 he took his B.A. degree and in 1841 his
M.A. On two other occasions it fell to his
lot to compose music for Odes written for the
installation of Chancellors of the University.
In t842, the words, in honour of the Duke of
Northumberland, were written by the Rev.
T. Whytehead; in 1847, for the installation
of the Prince Consort, they were by Words-
worth, (hen Laureate.
In td4& Walmuley took the degree of
Mus.D., and he continued working at Cam-
bridge until within a short period of his death.
A brass tablet to his memory was affixed in
Trinity College Chapel in 16M.
Hb intimacy with Mendelssohn was a
source of great pride to him, though a rebuff
adminbtered by Mendelssohn weighed un-
duly hb mind and deterred him iVom
orehesiral writing- Wal misley asked Mendel^
sohn to look at a symphony written for the
Philharmonic Society. Before he would con-
sent, Mendelssohn asked how many he MO
written already. On hearing that it was a tini
attempt : “ No. I ! ” exclaimed Mendelssohn,
let us first sec what No. la ' will be ! ”
« SytajAoov Jo C wJA«t,
h« bl» »i ihe Philhsrmeri«
kMwn N«. I ”, u hii 13th, snd u lo xasenbfd
0 % the Auiofrapb.
WALMISLEY {Thomas— ii)
\VALaND
Walmisley was one of the first English
organists of his day, and his best anthems and
services are Utile, if at all, inferior to those
of Wesley and Goss. His position at Cam-
bridge no doubt acted prejudieially. A larger
professional area, a closer neighbourhood
with possible rivals, would has’e ensured a
deeper cultivation of powers which bore
fruit but promised a still richer harvest. In
general cultivation and know ledge of musical
history he was far in advance of most English
musicians. He was one of the first to in-
augurate the useful system of musical lectures
illustrated by practical exampirs. He spoke
of Bach's Mass in B minor as the greate»t
composition in the world *' and ]>rophesied
that the publication of the cantatas {then in
manmcripi] would show* that hts assertion of
Bach's supremacy was no exaggeration.
'I he volume of anthems and sees ires pub-
lished by his fatlicr after the son's <leath are
a firsi'Clasa certificate of sound musicianship.
Among his unpublished manuseri|Ms are
sorne charming ducts for pianoforte ami obor,
wriiien for Alfri'd I’ollocli. a (:aml>ridgr iin<ler*
grad Mate whose remarkable oboe playing
Walmiilry much admired.
His published works In the B.M. Catalogue
arc ns follows :
CHUKCM
CJuM* in uw •( Kimi. Ttimtv *ml
Si, julin I (.oKcec*. riluo.
<.nOirdr*| wl. ty T, f. WabniJeV
OlOKAl. WORK^
• <W« aulie lniulI«iHm oCiU lXike«f.N*/il.yii»U*l*i»d
. i»f C’jmtifHlffc t mvcnily * { iB« 9 t
(><(« #1 Hie Ir^tulUiiMi *»f tViiKC Atheri MChiMeller '
..
Kymii tut 4 *oim * erien
Ma<lriirBl * Sv^ie floHem * ((Kva}
'CemW' (iSoj.
VfKJAJ. T*J<K
> Fet trebles Oft vs)
I Tlie Anpmerh gf .Vt»jr.
S' the XletmiHl,
SONGS
my «iU Sarp I Uing • (? i«3y>.
I. U*y relive rarmcnli.
S' Nine m iiw (hcA,
3' KsrewelJ. iMrri flnMtn.
4~ I he iweci iptiMf H«y,
lActc IS B yoke '
ARRAXtir,Mf;.Sr .‘4
3 Anthemt err. Irnm llumm«t*s (i&mi
♦ S«tvkWt Anlfce*
Ihc manuscripts of certain organ worl
hy Walmisley are in the peosesucA of M
>redcrie Fcrtel, and one of these, a ' I-a^hcllr
•fi F minor, has been edited l>y him an
published (Novcllo), Other of ^VtlmBlcy
manuscripw arc in the library of St. Niedj
C-ollcge, Canterbury. a. d. c., adds.
St4 «tM AtlwMd (|g«ir«iaer).
ICil
WALMSLEY (Wnmaley, Warmaioy),
Peter ?; d. London, ?).
Ei^Ush i8(h-centurY violin maker, musie
seller and publisher. He worked in London
from about 1720 and became one of the Iwni
E nglish violin makers of his lime. Hr was
parikuUrly renowntri for his e.yceflenc ciUos
and violas, which In* jnadc upon the .Stainer
nH>de|. In 1727 his workdinp was in I'icca-
dilly, at **Vc Golden Harp”, a sign that was
subsequently cliangcxl to " The Harp Hr
used a >elh>wish-br«wn varnivli and oftrn
drew lines round fits instruinenu, nftor the
maniWT of Jacobs of .\nwu rdam, io*uad of
inlaying [surlling. \\'alnwlev songhc to age
his imcrunienis ariilicially by making ttiu
platrv too thin, and the wuo«l he employed lus
not always lasted well. n..^.
In 17^1 Jm business in I’iceadilly was
carricvl «in in Jus name by Mrs. Walitisley,
wlmh |H Kilts to his lu ing either dead or in.
ca|>acitdi«l. Ui> name as " I', Wdrunley ai
\c Harp in Piccadilly " is on the im])i int of
* I he Songs in llurlothrumho ' (lyry). In
J7|i Uillem tie F<>srh'« ' Idtjln Concerto^ '
were acIvrrtiMxJ as sold hv him, and in j7.11
Toftorid's ‘ Ibii ts ’ hy “ Mr. W'alinsley in
PKCadilly Hr apiM’xrs to have hern in
bgsinev. rrla lions with John Barrett, who
" llw Harp and Crown x)v> in
Pireadilly, as a violin maker and music seller
at a contemporary dale ; also with W llliain
bmith the music engraver, for liie three iiariK s
arc fre<iuently conjoined on imprints of works
issued about 1720-30.
It b Mated that WalrnNley was lurci^ech'd
by* Ihomas SniiiU, a pupil, some of whose
lalirU bi ar tltr da|i< 1756.
• y ^ niusif ians .
(i) WilUam Walond (l> (^. ?, rf.
Uxlord, 1770b organist and comi>osrf, He
was s^miiied to the privileges of the Unlver-
SI I) of Oxford on a 5 J unci 737, (>r j 1 descri bed
as organorum pulsator " (whence we may
supp<M him to have been organist or avdsiant
^annt of rmc of the churches or colleges at
Oxford), and on 5 July following he took his
Church. In 173B he
puUt^d his setting of Po|x's ‘Ode on St
i^iha s Day ', believed to lx llic first seeling
of that poem m iu original form.' Thr<«c sets
of volunianei for organ or harpsichord were
ako puhhshe<l.
(*) William Waload (£|) (k > • ^
Chichester, g Feb. 1836). organist and c<>m^
poser, . son of the preceding. He iMcamc
^uiy c^aniM in 1775 and organist in J7<u
of Chteh^ter Cathedral, which |K>st he
rc^ed After his resignation he
liv^ at Chwhesler m extreme poverty ami
scelusioB /subsisting upon an annuity raised
‘ Ckiua <$*.) and liBtuKe
WALPOLE
i5«
WALSH (John— i)
by the sale of some houses, and belr^ rarely
seen abroad) unlil his deaih- Some frag*
menu of church compositions by him remain
in manuscript In the choir-boob of Chicbcsier
Cathedral.
<3) Richard Walond {k. ?, 1754; / ?),
singer, ? brother of the preceding, son of (1).
He matriculated from Clirist Church, Oxford,
on 1 4 J uly 1 770, He was a clerk of Magdalen
College there from 24 Nfar. 1775 until 1776.
On 14 Mar. 1776 he cook the degree of B-A.
as of New College, and he was subsequently
a vicar-choral of Hereford Cathedral.
(4) Ceo»^e Walond (i, ?; / >), singer,
brother of the preceding- He was a chorister
of Magdalen College, Oxford, from 14 Apr.
1768 until 1778, w. H. H.
Walpale, Horae*. &4 Opera.
t>C»era. Oickti-in <fef. <«). Oasm (*, rr#, lo).
WALPURCISNACHT.DIE £RSTE.
Goethe’s ballad set for chorus and orchestra
by McndcUsohn, Op. 60; produced Berlin,
Jan. 1833: re-scored, with English words by
barthnlomcw, performed London, Philhar-
monic Socirtv, H July 1644.
walrand \
WALRANS 1 >VAtLitAKD.
WA LEANT }
WALSH» Joha <1) (J. »; / London, 13
Mar, 1736).
English or Irish music seller, publisher and
instrument maker. He was established in
London, at the " GoUlcn Harp and Hoboy’*,
afterwards the " Harp and Hob^* " in
Catherine Street, Strand, where he published
engra^'ed music. He was in all probabilily of
Irish extraction and appears to ha\>e had court
favour, for in 1639 he was appointed **musica1l
insirument maker In ordinary to His Majesty
[William in] In place of John Shaw '•.« The
royal appointment extended 10 himself and
his son through all succeeding reigns, irtcludtng
the first few years of George Ill’s. On one
early imprint (he name Is spelt ** Welch but
it may be safely assumed that this h merely a
misprint. On the early imprints dosvn to the
latter part of 1706 the sign stands as " The
Golden Harp and Hoboy John Playford
was dead, and iiis son merely dragging on the
remains of the once large busirtess. so that
^Valsh had no serious ri>*al in the trade, which
he pushed forward with unprecedented vigour.
In addition to his publication of English
music he reprinted from Dutch sources
popular continental music (t.g. Corelli), in
due course using pewter instead of the more
costly copper plates. Hawkins stales thai he
began stamping pewter plaies in (710, instead
of engraving them, as Thomas Cross was then
doing. The date U not confirmed, but it is
quite a probable one. Walsh’s shop was some
distance from St. Paul’s Churchyard and
* L»ib<>iainc. ‘THe Miukk *.
Temple Bar, where the usual music trade
congregated, and no doubt this isolation en-
abled him 10 build up a business that may
be apdy compared with the largest modem
music-puWhhing firms. Hawkins In his
' History ’ has no good word for Walsh. He
intimates that he was mean and illiterate, and
with him he includes John Hare, who ^vas
more or less associated with \Val$h. Whether
Hawkins’s prejudices enter into this con-
demnation or not it is difficult to tell.
Walsh's earliest productions arc frequently
adorned with elaborately wigraved titles and
frontispieces ; many very artistic, others in the
Dutch style then so popular, ^me of these
lille*pag« were used over again for different
publications, the altered titles printed from
^IJer inserted plates. Most of \\'alah’s early
imprints also bear the name ofjohn Hare and,
later, Johrt and Joseph Hare. Afterwards
these were erased from the plaies. John Hare
Jit*ed in Freeman's Yard, Cornhill, and also
had a shop in St. Paul’s Churchyard, " The
CoWen Viol (Violin) ”. From Apr. 1708 he
wu at the ’’Golden Viol and Flute" (or "Viol
and Flute") in Cornhill, where in 1799 he
was joined by his son Joseph, who, after the
death of his father in Sept. 1795, continued
the business in his own name, probably on
behalf of hit mother, Elizabeth Hare, until
June 1728, when he set up for himself at the
'* Viol and Hauiboy " in Cornhill. Walsh
was thus a^ to get both the City and the
West End trade. Whether the Hares were
partners with him is uncertain.
In 1 706 \Valsh associated himself with Peter
Randall, who was established at "The Violin
and Lute at Piurs Grave, Hand [or Head]
Court, without Temple Bar There arc
indkations that Randall married (he elder
Walsh's sister; William Randall, who ultim-
ately succeeded to the Walsh business, being
either Peter Randall's son or grandson. Peter
Randall gavT up his shop near Temple Bar iit
1709 and remained with Walsh until a^yout the
ei^ of 1710.
By that year Walsh was in full trade, pub-
lishing single songs and the Italian operas,
instrumental works and the whole range of
current music. Handel, then first visiting
England, naturally turned to him as the prin-
cipal publisher, and in 17c 1 appeared ‘Ri-
oaldo’, by which it is said Walsh made
£ 1 500, an improbable su m. He was in ii maicly
Connected with Handel from this time to the
date of his death.
\^’aUh was buried in the \’aulis of St. Mary
Le Strand- * The Gentleman's -Magazine '
announced that he left ,^30,000.
r. adds. w. c. s.
Biai.^-SufTK. W. C,. • A BlWiorrairfiv of Ihe
Work* Pwl^tWwd hy Joha tVabh during the Yeart
iOm-i?** ’ (Oxlbrd, t944].
WALSH (John— ii)
WALTER (Bruno)
D 3
'John W&hb lad hts Succeson (‘The Library's
Bibl. S«,> Mar. iit40l.
' John Walih, Musk Ihibliihcr ! ihe FsM 'Twcnty^re
y«an * (afttrf., June IO46).
WALSH, John (H) {». London, ?; 4 .
London, j^Jan. i?66).
English music seller, publisher and insiru*
ment maker, son of (he preceding. He sue*
cecded to the business by his father and
also to the royal appointments as music seller
and instrument maker. Although John John*
son and other great rivals sprang up, there
was no falling off of the business. The
younger Walsh continued it on the same lines
as hU father. I’he engraving atsd the paper
were of the best, and es’en after two centuries
it u pleasant to turn over the clearly printed
sheets uf exerllrnc paper that liears hU im*
prinh. Walsh junior continued the HandrI
publications. The * Public Adseni»er * stated
that on his death his fortune amounted to
,^40,000, The business was taken over by
Williarn Randall and John Abell, Randall
Iseing cousin or second eousin to the last Walsh.
A>>f II died in July 1 768 and Randall carried on
al<mi\ at the same or adjacent prrmUes. lie
republished from (he obi plates all the WaKb
publications that were of markcialde value
anti made some additions to the stock. On
his death, c. Jan. (77b, his widow. Elizalseth
Handall, succerrled, and hetbre 1764 Wright
& Wilkinson wrn* at th«’ addreu, reprinting
from ihr old plates, mainly lUndd's wtrts.
J bTinond Wright remained there until about
ilk>i. 1'l\e Uirr Imprinia show the numlter
to have lircri i;j, whirh was on the right*han<l
side going up from (he Strand. AH iraevs of
the site of Walsh’s shoj) arc bwi. Walsh and
his son had a(i|>r<'n tires as engravers and many
of thews including \N'ilbain Smith and Caul*
field, set up for ihsunselves. Koixrt Ibrchall
was assistant to Randall and Saniud Chapptll
to hirrhall. j*. a., adds. w. c. 1.
V/a|«b«, Cbrititna. .fir
WALSlNGHAM, Thomaa do i. N'urfifik.
>; 4 ?).
Lngiidi isth'century theorist. Hr entered
iIk' Ik'nc'dlctinc Jiiunasicry of St. Albans
alKJUi 14.J0 arnl became precentor of the
Abbey Church. He is apparenil> identical*
will) the niilhcr of the treatise ' Kegulc
Magistri riiomc \Vahlnghnm ‘ in the Wal*
tliiiin Holy Cro«s, now l^nsdowne MS 763,
from about i.jOo, in which he says that the
newiy in(ro 4 Htf 4 crotchet would lie no use
if musicians would rcnieml>er that no suN
(liybion of notes should !»<• made >ieyoo<l the
ininiin. j, r.*sc.
Walter, Albert (K Coblent, ? ; 4 ~ ?).
(itrinan I Uth-i^ih-century* clarinettist and
«ompos<T. fb* occu|>icd various posts In
Paris from 1795, 1 >rcomjng bandmaster of
the fhmtvfi of the ImjH rial Guanis in 1805.
' ilawkuu. iluiMT, I, 3iS.
He composed symphonies, a Conccriante for
2 clannets, quartets, trios for 2 v’iolin< and
bass, ducts, variations, etc. e. \ . d. s.
WALTER* Bruno (B. W. Schlesinger)
(i. Berlm, 15 Sept. 1876).
German conductor. He received his musi*
cal education at the Stern Conservatory in
Berlin. After a wide experience galiit'd
through appointments at several (ierinnn
opera-houses, including the Royal Opera in
Berlin, W’alter became director of the V ienna
Court (Jpera tc9c>(-*i2). In ipti he aho
conducted llte Singakadeinie then*. 11 c fol*
lotted Mo(il as general music director at
Munich (r 91 3-22), and there his powers at
an organiser of operatic enterprise over and
abos'c his purely musical abjUiie« were dls*
played In many festival performances.
SValier first appeared in England at a cott*
cert of the Ruval Phi I bar monk Society on 3
Mar. lotxi, when lie gained so instant a ^ucrexs
that the society setured him bk further cun*
certs in the aiiluinn. In this lirsi |•r«)gramlne
was I lie merture to Ihhrl .SniMh'» * Ihe
\Vr<*ekrrs aiwl Walter cnntbiricd when that
opera was given at Cbivent (laiden in I he
spring of i<ii<i. In that season, given bv .Sir
I'hum.ts HsTiIiain, he also contiiuicd ' 'I'rls*
lait Hr w'as m>t again iteard in '>|s<Ta in
England, howevrr, until 1924 when he took
(barge of the German opera season at Govern
Garden ^il>r first since J<|i4i VMth such brilliant
musical mulls chat the newly formed Lumion
Opera Syndicaie wisely secured his sersien
fvr (heir first Kason in 1923 and again in 192G.
In the yxars follciwlng he appear*^ frequen lly
t(i concert work with the J.(»ndan :i>njphr):iy
Orclscsiia.
In 1925 VNalter accepied the apjwljitmem
as cunducior to the Charloitenbarg Opera
in Berlin. To this was added (iq3u-33; the
direction of tl>e Grwandh.iuc concerts at
(.riprig, where Ik* ga\c 1 serli's <4 outstanding
performaiKes. ’I'lsesc activities came to an
abrupt termination with the |>ohtical changes
in Germany which lx*gan In 1933, and thence*
forward W’al let’s career as centred in Austria,
wJicre he took a leading part in building the
brilliant uadiikm of ibc Salcinirg I'cstival. In
Vienna he did imporiant work l>oih as concert
and operatic conductor and he became artistic
adviser to the V'icnna Sta ic ( ) pe ra in 1 936 , Tl le
so*ca]kd AfucMms of 193B. I»us\cver, brought
a seewKl frustration of his activities. He
left Central Kuro|)e, received French nation*
ahly arwJ made his headcpiariers in Paris. Me
iiiKTCstcd lumscif in the fcslhal at Lucernu
designed to form a centre for music indcpetid*
cm of the crippling nationalism which had
dnccTsded on Salzburg. 11, c. c.
<939 V Valter made his home in the
U.S.A. .Since the second world war he has
again traversed Europe as a guest conductor ;
•54
WVMTtR (Gusuv)
WALTERSHAUSEN
he has given noiable pcrforroances, for in-
stance, at the Edinburgh Festival.
\\ alter excels in sensuous music. He brings
out the laicnr, languid sensuousness of Mown,
though never to excess; it is thus perhaps in
the slovi' movements chat hi$ flair for phrasing
and sensitive colour is best seen. At the other
extreme, he has long been the champion of
his friend and mentor Kfahler, and in these
interpretations the whole authentic voice
speaks. But W'ahcr's repertory is almost
universal; he accepts German, Latin and
Slav music u*th equal critical eagerness. His
ripe knowledge of the stage assists him in his
manifold operatic work, though his perform-
ances rarely reach the structural intensity and
epic hre of Toscanini’s. A man of wide literary
culiurr, Walter has a contcmplaih'c and lyrical
genius: in his treat mem of the orchestra he
obtains good results not only by his outstand-
ing gifts, but also by regarding the pla>efs as
friendly collaborators. His autobiognphy,
’Theme and Variations’, exhibiu a mellow
philosophy and personal charm, combined
with a certain rulhlc^sneis in the cause of art,
as tvcll as recording a great and almost vanished
epoch of music. t. w. c.
biSL — StB»*N. fM i , ^ BruAA tvslier* (Vienn*, tn6).
VVAitrN, DRvyo, ’ J'Kemc »nil Vari*i>*n*: an Auu»-
’. ItM. b) )vnn .\. C.*hton jlamian.
'947.J
WALTER, Cuatav (k. Bllin, Bohemia,
j t K’b. 183.^ ; J. Vieiino, 30 Jan. 1910).
Austrian tenor singer. He learned singing
at the Prague Clunservaiory from Franz \ ogl
and made hit first appearance in opera as
hdgar at a private performance of Donizetti's
’ Luria '. He plavcd at Brno for a short time
an<i in July 1836 appeared in Vienna in
Krcul/.vr’s ’ Naclulager*. He remained there
throughout his career and attained great
popularity as a lyric tenor both on the stage
and In the concert-room. He visited lx>ndon
in 187a an<l made his first appearance on
13 May at a Philharmonic concert, where he
was favourably received in songs Mozart,
Riedel and Rubinstein. )]e also sang at the
Crystal Palace, etc. \N'aUcr retired in 1867,
but contlnue<i to sing at roncerls and took
part in H performance of Bach's St. Matiliew
Passion in Vienna by the Gcscllschah der
Musikfreunde under Richter in 1890.
His daughter Minna, a pupil ot Mathiklc
Marches!, had a sucec^ul career in various
cities (Vienna. Frankfort o/M., etc.).
A. C.
WALTER, Ignaa (k. Radovlcc, Bohemia,
1759; d. Ratisbon, Apr. i 6 aa).
Austro • Bohemian tenor singer and com-
poser. He was a pupil of Starzer in Vienna.
He sang in Prague (i 76 s)> Mainz (1789) and
in Grossmann’s company at Hanover (1793).
After the death of Grossmann he took over
the company which appeared at Frankfort
o/M. attd at Ratisbon.
\ Valter wote about a dozen Singsfi/eU for
his cornpany, the first ‘ Faust ’ opera based on
Goethe's drama, a memorial music for Schiller,
a coronation canuu for the Emperor Leopold
(1791), masses, chamber music, etc.
His wife, Juliane, bom Roberu, of Bruns-
wick, was also a noted singer, who held her
own even by the side of the famous Margarete
Schick at Mainz . \Vh 1 Ic \ Valter was managing
the theatre at Bremen hU wife became blind,
and both went to Ratisbon, where W'allcr
was engaged with his company In 1804, and
lived there in retirement until his death in
A. c.
WALTER, John {b. ? ; rf. >).
English 1 7 ih - j 6 th -century organist and
composer. He was organist of Eton College
at the end of the j 7th century and composed
an anthem at Ely (IcA in manuKhpi) and a
psalm, ' O five thanks *, in the Fitzwilliam
Museum, Cambridge. He was the first music
master of John Weldon. w. k. it.
WALTER, Juliane. See W'altea (Ionai).
WALTER, Minna. See \N'AUTBa (CwtavJ.
WALTERSHAUSEN, Hermann (Sai^
toriua, Freiherr) von (4. Gottingen, J 2 Oct.
188a).
German compo^r and writer on music.
He comes of an aristocratic family of scholars.
One of his ancestors was the historian Georg
Sartorius, a friend of Goethe's. His father,
August Sartorius von Waltershauscn, was a
noted political economist. W’alicrshausen
himself received his first musical instruction
at Strasbourg from J. M. Erb. An accident
while pla)'ing at Red Indians led to the
amputation of the right arm and foot when
he was a boy of ten. Subsequently he
developed a psanisiic technique for the left
hand and eventually to hr mastered his
ph)‘sical shortcomings as to conduct his cw’n
works. In I90t he moved to Munich, where
he studied the pianoforte witli A. Schmid-
Llndncr and musical theory with Thuille.
He also attended Sandberger’s lectures in
musical history at the University. In >917 he
founded a private school under the tide of
Prakeischrs Seminar furfortgeschriitcne Musik-
siudierende, the success of which led in 1 920
to hb appointment as professor in the Munich
Slate Academy for Music. Two years Jaicr
he became director of the latter institute
and, together with its president, Skgmurd
>*00 Hausegger, reorganized it completely.
^Vallershausc^ introduced three a training-
school for drama, an advanced class for
composition, and himself lectured on aesthetics
and the drama. In addition, he acted as
mudeal adviser to the Bav*arian Radio,
founded the first German film school and took
part in the organization of the Miinchner
WALTHER BOER
WALTHER (Johann)
05
Tonlsunsderverein. In (933 he retired from
all official posts and as a composer and
private teacher continued to litx at Munich.
As an author VVaJtershausen is interested
mainly in opera. His studies include * Musi La*
lischc Sdilehre in Kiinzeldaistellungen' (t^zo-
19^3); 'Richard Strauss' 119^1. in a series
' Zcitgenowische Komponistrn * edited b>*
himself; , • Mu:»ik, Dramaturgie, Errirhung *
(i<>a6 ) ; ' Lrftndung und OesiaUung der dra>
maiischen Musik* m Mueller*Ulaiiau,
* iiohe Schulc der Musik 'i.
In his contpoiitions W’alit'rshaux’n belongs
to the Munich school originating with 'I'huiUr,
and in his operas he reveals a peculiar gift
for drama. They are all writirn to his
Own librettos and emphavizr the ]>rinciph*
of musical form, which h<> prefers to purely
drama lie irouiK’ni. ilu iniAt sutecssful
opera, ' Obersl ChaWri •, the libretto U
which is based on DaUac s »tory * Lr (k»lon<’l
Chalicrt is one of the nunl {xmerful »|H'ti.
snrni of (lerman o|Hra written utuUr iIk
inliuence of the Italian u/ime of Mascagni
and Leoncavallo. It was prtxiuced at Frank-
fort <>;M. on i8,]an. Mjia and given in riiaiiy
important opera-houvrs outside fiermany, in-
cluding Covent Garch n in lx>n<lMi /n Anr.
\Valier»liauien*« wurki furtlur inrludi* the
lollow tug :
OKKRAS
• j.l**; KUpfic'irlirn ' iMnJa*. im|.
lJi« ItAWPimoiirr lli.Wii * 1919).
tmOdJ.MRAI. UOKKS
vif. '
T 4 . \Ufi> UM<i
<1. ' Kri|)r«iiM»iMik ' r<'r lurp>i. bo«i] 4
^4. t>KlieM«rtv.irtiu ol>et Jrri KitihrttlieUrt.’
vl>, I.M«ii|u<'l<ni>rriMre.’
37 . • mimI A«&r\lFh«ii^>Aiusik.*
AIh> pr. »orks, Mitii, 4i.
WALTHER BOER, Coenraad Lodewijk
(Louia) (F- The Hague, a Sept. iByt;.
Huuh cellist and mmUoIugivi. He was
educated at Amsterdam (iymnasium and in
music at the Aiihterdam (^•nservatory under
saac Mossel (cello), Daniel de Unee,
Kuhtgen, C. J. dc I'auw aiuJ Karel de J»ng.
On leaving the Conservatory in 191a lie was
awarded the hix rf' Ua tellu (laying.
Hii tirvl appointment as solo cellist was at
Nne, and this was followed by a similar aiw
P^milmern at Riga. In 1914 he returned to
iMxnvn country to perform his military dulirs,
mid at the dose of the war was appointed
teacher of the cello and later of ciuemUe
leaving at the Royal C‘.ons<r>atory at The
1 1 ague. In 1913 he accepted the poM «f cou-
tiuctor of the orchestral association at Haarlem
and in igio was appointed conductor of the
Kpyal Military Band of the Dutch Grenadiers
with the rank of Captain, later being promoted
Major. It was In this last post dial he made
his wide reputation as a musician of talent
and energy', and besides giving very frequent
concerts in his own count tv* lie took ihe band
(w 4 tich was also a synipisony orchestra and
supplied many Dutch com|x>sc*rs with <>|>por*
tunilies of Isearing their own com ptisi lions) to
other places all over Europe. This p(>«t he
Iseld until *945^ with an intcrregnuiii lietwven
194^ and 1045. when he was a pri'cnier of war
with the Geririans, In the prhon camps he
organized concerts, miuic kssotis and nuisico.
logical lectures for Ins frllow’-prisoiuK, and
conducted the mude tH* both Froirstaiit and
Catholic church >ervi4es. IhTore t|ii<, in I93U,
he (rfit^ined the dettree cT Docinr <>l Musical
Science at L'lrrcht I’lmcisiiy, U ing the lir»t
tuobiain it. His tutor wa' Dr, A. .V Smijers.
After his return front imprison me nt he re*
signed liis military ap[M>intniciii and w’as
appointed liupcctor of Mudcal Fducaiion in
liollarwi.
His ilwsh, ' (IhansoiiK^rnii'ii op hrt elndc
der XV' cesjwc: een stiMlie naar aunUdding
van hcl Odheiaum van IVtruni’, w;*s pub*
lished the same year in .Xmvterdain. He li.i*
also puUisltcd a study of 'Met .\ni«miu'inotct
van Aniontus lUisiiois * .Vimieid.nn, iqpij.
Hr it tlie ladder of many orders and Jisiine-
tiotis n«l only in his own hiid but also jn
France, Sweden, Belgium and Norw.iy.
H. A.
"^^THER, Johano F. I huringia, i iyOj
rf, Torgau. ^4 .\pr, 1570).
German comptiwT. He svas Luther'.s
frirml and on** of tin* earliest </f tin* cnnifioser*
in the Lutheran Ghurclt. Alter • pr*Kiuces
evidenie to show that he was the real founder
trf Its musical liturgy. In 1 3^4 he was bass
singer in the <h*Mr at 'I organ, and in the
following vvar h’tftrtlmnUf/. or .SaNg^^.nfhl.^r,
to tile I let toe <if Satony. In 1 3 jO Ju- was n nl
to Ih-rsden to organ ice and had a «|i*dr of
singers for Moritz of Saxony, and he r< niainc d
«*ll *5M' Ik' recnrncsl with a jiension to
1 ofgau, wlierr he liv<>d till Ids death.
In 13^4 Walihrr was <alUti to WiiieidKTg
by Luther c*> assist him in framing the German
Mass. TIk result of this was his ' Gey sihrh
Osangk Burhieyn' for four \uici-s 115.^4), I be
rarhest Protesiam hvmn-Wk. His otlwr
wwkaarc'Caftlio septrinv'ocum . . -'fi344)'
• Km gar seboner geistihlur und clirjs|||< h,.r
Bergkrcyen’ <1352); 'Magnificat ocio to-
noeum fi5s;t; • Jiin nrwes <hrisilKh<-s
'Das chrisilkh Kinderlkd
l)r, Martin l.udicrs, Krhalt uns Ihre l«i
l^iu m Won . . . initeiUchen lai< iius< ben uiul
dcstlschen .Sangen gemchret ’ fi-,fiO). Other
ptrcfs are inelutled in the collections of Ubaw
and Forster, ' Mon lan-Neu hers Psahnrnwerk'
156
WALTHER (J. C.)
(1538) and * Mot^ueruarnmlungf ' (1540).
Poems appeared in 153d and rs^.
c.. adds.
Bt.i --EwifAjH, ^ViLiieu*, ‘JiAaiui >Vali«f. dw «nu
K*i*w der p«ii«unu«h«n Kirthe • i* Muiik uod
Kiuht \ Vi. M. laa 4
Ro»*»T. W.IUnr* C3»or*ip*»ioa
M«iiha«u Jm. t9n. ap. sas?)-
5m CjiotaJa, Luther («mUo<e). Pastoo Music
{earliest Lutheran Pu«t«n).
WALTHER, Johaan Chrisloph. Set
\\'alt»icr. Johakn GoTTraiEO.
WALTHER, Johaan Coicfried {i. ErfufJ,
tS Sept. c584; Weimar, 23 Mar. 1748).
Gcrenan composer and muaical Icxico-
grapher. He is described as a pupil of Jacob
Adlung* and J. Bernhard Bach in 170a- In
that year Uc became organist of the St.
Thomas Church at Erfurt and on 39 July 1707
toun organist of Weimar (In succession 10
Hclntze) and teachrr of tJte ion and daughter
of the grand duke; and In 1730 Ho/muains,
Hr became a highly skilled contrapuntist.'
Walthcr was a relative of J. S. Bach, and
during Bach’s residence at Weimar (1 708-14)
they became very intimate, and Bach was
godfather to )ui eldest son. The meagre
notiee of Bach in Walther’s * Lexicon ' seems
to show that the intimacy did not last.
Matiheson’s judgment of Walther, in his
' Khrenpfnrlc is a very high one; he re-
gards him as a second Pachelbel, if not in
art the first ", In the arrangement and varia-
tion of ciioralcs on the organ he certainly
stands next to Bach himself. An anecdote
preserved hy one of Bach’s sons shows that
he was once able to puzalc esTn that great
player*
He printed the following pieces: clavier
Concerto without accompaniment (1741),
Prelude and Fugue (1741), four chorales with
variations, and a mass of compositi<M)s remains
In manuscript in the Berlin State Library and
elsewhere,
But Walthcr's most lasting work is his
dictionary — ' Musicalischcs Lexkorx oder mu-
skallsche Bibliothcc ’ (Leipzig. 1732), the
first to combine biography and muskal sub-
jccu, a work of great accuracy and merit,
and the ground-work to many a subsequent
one. This work was the pr^uctlon of his
leisure hours only. He puldished a first
sketch, of 6a pages, In 1 728. under the title of
*AUe und nouc musikalische Bibliothek oder
musikallsches Lexikon *. U’alther had pre-
pared elaborate corrections and additions for
a second edition of his great work, and after
his death they were used by Gerber in the
preparation of his lexicon. They ultimately
came into the possession of the CesdbehaA
der Musikfreundc in Vienna.
* Bui tjatet male tbi* SenprobsUe.
* Su the insiaAces (iv«a br Spitui. ^Bseh* fEiM.
trsni.), II, 384.
* Spitu, iM. 11, 38a,
WALTHEW
WaJther’sson, Johann Chrisloph (i. Weimar,
8 July 1715; d. Weimar, 25 Aug. 1771), was
music director and organist at the Cathedral
ofUlmin 1751-70 and published three sonatas
lor clavier in J 766.
^•L.^Baoooe, Ono. • }. C. Wtliher • fC*ss«1
Otto, 'Johann Walilier. d«r Mu^r>
ID Luihen C«/#liKh*fl ' fLeioile &
WALTHER, Johann Jakob ( 5 . Wilterda
nr. Erfurt, 1650; rf. ?).
German violinist and composer. He styles
himself on the title of one of his works ''Hali 4 n
Secretary to the Elector of Mainz We
find him first as a member of the orchestra of
the Elector of Saxony at Dresden and laier
on aiijched to the court of the Elector of
Nfainz. The place and date of his death are
unknown, Two sets of violin compositions
of his hate been preserved :
' mI«, ron il Basm Goaiinuo (xr
1 * CimbaJo, aceemuaina bile aft<he cen una
Vwta o UuW. di Liovanni Giacomo Valther. Ptimo
yiMAKia di r.ain«ra di lua Alirssa L eiiorale di
SasMfiia MOCLXXVJ.
s. Hemdut Chjlkw, uoi Violino, duabua, ulbui ei
euaiuar tubjnde chofJif timul Mnaniibuj har*
•••»<« m^lanii. Siudioia varl«iaie contkus a
Jenaase Jacoto WaJiKcro. I’.miAenita. ^hittKl.
Llecior. hlafUAtin. 5c<reiaria tialico. Maruniiar.
wn^bu* Lud. Beurteil. Academi. Bibliepel.
The musical inicresi of these com|>o»itlons
is but small : they consist chiefiy of short
preludes, pieces in dance-forms (gavottes,
sarabandet, etc.) and seu of varialioiw. In
some respects they remind us of the works of
Farina, w’ho was his predecessor at Dresden.
Like Farina he appears fond of realistic tone-
piclures — he imitates the cuckoo, the night-
ingale, the crowing o( the cock and other
sounds of nature. In a set of variations we
meet with Imitations of the guitar by
of pipes by passages going up to the sixth
position Oft the first string, of the trumpet by
fanfares on the fourth string; farther on he
introduces echo effects, the l)re, the harp,
and winds up with a ’‘coro in full chords.
Besides these ehlklish efforts, it Is true, w^
find some more serious pieces which, as far
as invention, harmonic and metrical treat-
ment go, arc decidedly an advance on
Farina's style. Walther's importance for (he
history of the dev'clopment of violin playing
consists cxclusiv'cly in the advanced claims his
w’ricinfs make on execution. He ascends to
the sixth position, frequently employs difficult
double-stoppings and uses a variety of bowing.
r. p.
Sn eltf Beekmsnft (Sdxrb (br vn. e0.)>
WALTHER UEDERBUCH. An impori-
ant c^lectioft of German songs of the I3(h
century, with some instrumental dances and
canofts. Sonc, p. 919.
WALTHEW, RIebard (Heory) (L Loo-
don, 4 Nov. 1872; d. East Preston, Surrey,
6 Dec. 1951).
WALTHEW
English pianist, conductor and composer.
He waa lor some time a student at the G.S.M.
in London and in 1890 gained an open scholar*
ship at the R.C«M., where be studied for the
following four years under Parry. A setting
of Browning’s ‘ Pied Piper for solo chorus
and orchestra, was performed by the Highbur>*
Philharmonic Society In 1893 with great
success; it was afterwards repeated at ilie
Crystal Palace and elsewhere. In 1894 he
introduced a pianoforte Concerto of his own
at a concert given by the Strolling Players at
Quern's Hall: varirnis orchestral works were
performed by the Stock Ijichangc Orchestral
Society, He was musical director of the Pass*
more Kdwards $unlemci»t for five years 1 1900-
{904). In 1907 he was appointed music
professor at Queen’s College, later he liecamc
conductor of the University College Musical
Society and in 1905 conductor of the operatic
class at the G.S.M. , where he raised il»c level
of i^rformances to a remarkable degree of
efficiency. In 1909 lie liecame eonductor of
the South Place Orchestra; and the South
Place CoACvris, at which his chaniWr music,
the most itnporuni class of his eoinprHiiivn*,
has been consiamly played, owe much 10 Im
interest and spjldance, lu Ids vvdl.wr inert
programme notes and his iserformances as a
ptiiniii, }K>ih in chamber mu^ic and at accom*
pan ist . M of h it tn ajor eomi>osli M.n\ are in
manuscript. j. a, p.-m.. adds.
usr OF PKi\c:iP.\L works'
OH.KLJ JAS
• Jhe M«im( ' <|,b. tr, R. H. I . Bl.— pim\
M, t.rf^ae'i I Ml. B Mj> id.-., ^
Jhe (.Arderuri {h»,, by hpnoA Mu Vwl
trfo*l. O.S.M., 17 tVl,. lifiA.
CASIWWW
' (hk lo a NiBhljns^k * (K«ao/.
I hf p||Kr * iBrn%»nmer.
, I tie 1 Air .MaiJs of February ,*
JnliM o Urram*.*
CmCMt.SIRAI. WORKS
VAriscM,r»(, II9 ni«.
therture * ir.ttul tuit ‘ f«ft«r Efykiiuiu*.CJutruH
O*rroirr am] emr aues Wi * Akd-lm *. '*^'-**"“*'*‘
S NiBiil Sifutt'.
SCH.O INSI Rt'.MENTS ASV ORCHF.STR.N
YL (iuoe^lo, Ky ma.
Uprise. loipfomiHv tor vn.
(aiAMUt.H ML'MO
^ K mi., for *«Br. 4 pf.
for * 11 ., v«Ja, rrJio. iImiWt ba« 4 U
fnr<kr. « nn.
yLurui li mi., fo,„„, 4 ^
1 SuinB Qu-rt/w. t m#.. B? ii«. 4 tj nu.
Sjk I ,> ru J ' fpr iig, ^
i no. t, mi., for *?»., eLir, 4 t>i
J'Niudr «inJ , ,1 ,^ 4
ViOLtN AND PIANOFORTE
Ayma.
5rr«4d«.So*uU,
WALTON J57
VIOLONCELLO AND PIANOFORJL
Soeauu
Ab» ourwerous toogt, \<ocal dueu and quArteu. narc*
seA)n.4c. ’ '
life abr $AU«b PU<e Conrrris.
WaliM, I r aa l r, Ser Burden iref. lo>. lUu>Uiuriir
( wrri , pf, duel r,
''DALTON, (Sir) William (Turner) (i.
Oldham, 29 Mar. 1902^
UnglisJi composer. His earliest instruction
in inusse came from his fat her and, at tlic age
of ten, he entered Christ Church Cat heel raJ
Choir .School at Ok ford. The organist at the
cathedral, Ur. H. G. Ley. recogniecd his out*
standing talents and tniroduted him to Sir
Hugh Allen, who was equally perceptive, In
addition, Basil AJlchiri, then assistant organist
at OxAsrd Cathedral, ga\*e him sotiiu in-
ttrcKtton on the piatioforie. iVspiie this early
acquainianee with eimnerii teachers, it may
be said that Waliun was virtually »ell>(auglu,
for, showing exceptional promise a> he did, his
leathers were wdhiig to lot him gu Ids own
way I giving him guidance only when really
necessary. .Virr a lintr the a Kent ion of tljc
Dean U Christ Churrh, Ur. Thomas Hanks
Strong, was drawn (o Walton’s unusual gifts,
and Ik* exerted his inlluerice in enabling him lo
become an undergraduate ai an ext op 1 ion oily
early age in 1918. From this time onwards
Walton was entirely seif.i aught, except for
reeejving octasional atlvice from Ansermet
and busocit.
During these early years Walton wrote a
great deal of music, mostly choral works ; but
almost all these comfsosi lions have been
destroyed, ‘rise few* to have sorv*ived are * A
Litany ' (words by Phincas Kleithcrj, a short
w^ for unaccompaiiipd rawed vt»ici*5 which
displays certain melodic and contrapunial
trails tlsai were later to become cliaraaerisilc
^ Ins style, * The U ittds ' (.“sw inhume) and
Iriions' (William Drummond;, two .tongs
dated 1918 and 1920 respectively whkh, as
w;cll as showing angulariiHs in the vocal line,
^ve comparatively little indication of ihe great
d^ el^ment ^Valion was shortly to make, and
the pianoforte Quartet compos<‘d in 1918- jg.
It II the last-named work that chlelly claims
attention. Completetl when the composer was
seventeen years of age, it has a surprisingly wcH
fished style, and although it has not often
been played, it remains at the first large-scale
expression of Walton's romamirtsm which in
matunty produced the concertos for viola and
lor violin. Influenecs (mainly of Faur^ and
Brahms; have been traced in this Quartet
but although it is not obviously ihc forerunner
of the distinctive Walton style, it does contain
certain elements of the style of the later works.
It IS certainly not an undistinguished com-
position, and It cannot be regarded as an
jmitation of other composers’ manner. It was
not, however, Walton's first large work to
WALTON
•sB
cpme before the public (that was the string
Quartet of 1922), for the manuscript was lost
in the post for about two years, after which it
still waited some time for recognition. When
some slight revisions had been made the
Quartet was submitted to the Carnegie Trust,
tvho gave it an award (describing it as ** a
work of real achievement") and published it
in 1924. It is dedicated to Dr. T. B, Strong,
who was of such practical help (o Walton at
Oxford.
In 1920 and I92t Walton wrote two works
which, although important in hU de\‘elopinent
and grasp of technique, have since been
destroyed by the composer. They were ‘The
Passionate Shepherd', a setting for tenor and
small orchestra of Ntarlowe's poem, artd an
orchestral " prdag^ic " oN'eriure, ’ Dr. Syn-
tax *, which, deriving its inspiration from
Combe’s verse novels and, more particular!) ,
from Kou’landson's illustrations to them, was
probably a precursor of the ’ Portsmouth
Point ■ Overture of 19*5.
While lie was at Oxford VN’alton met and
became the friend of Sacheverell Sitwell, the
youngest of the trio of sister and two brothers
cndo^\^d with literary gifts not usually found
simultaneous!)’ in one family. After leaving
Oxford Walton lived tviih them for some time
^ during part of the period oflkially de-
scribed as their " skittish youth " — and it
was then that he wrote, in 1922, the two works
wiilch first brought his name before the public.
The fir^t was the string Quartet already noted.
It w’as vvriticn primarily as a technical exercise
aiifl was very long and complex (including an
elaborate fugal Imale). but was nev'crthelrss
chosen as one of the three works representing
Britain at the first Festival of the I.S.C.hL
(Sakburg, 1923}. At that time Walton’s
name was unknown to everyone ouuide the
circles in which he had moved, and the choice
of the work by the judges of the Festival
occasioned much surprise. Unfortunately the
Quartet, long and rather immature as it was,
was pla>'ed (on 4 Aug. 1923) as the last item
in a lengthy programme of works which
included some liy composers of such well-
established reputation as Prokofiev, Rave] and
Falla, and was consequently not wtII received.
Two performances followed in I.ond^, and
although many recognized the composer's
skill and his great ability in expressing himself
in an advanced idiom, the general impression
was not favourable. Walton, always severely
self-critical, agreed svith the unfavourable
views, and the W’ork was subsequently with-
drawn.
The other work to be composed in 1922 was
the first version of ‘ Facade an entertainment
for spcabir^-voice and six instrumental players,
with poems by Edith Sitwell. The poents and
the music were written with the closest colJa-
bwaiion between poetess and composer, and
4$ both posse&sed acutely original minds, the
result of their combined efforts was startling
to the audiences of the times. The poems are
concen^ more w'itb the sound of the words
than with their sense, and if one is detennined
to find a literary tradition behind them, it
must surely consist of a combination of
Skelton, nonsense vene and late ]9th'Ceaiury
French poetry. Although there is an absence
of those influential poetical ideas which often
do much to ensure a poem's survival, time
has proved that in the case of Edith Silwcll'i
* Facade ’ poems, sound eon make sense, for
afler their publication they w'cre read and
appreciated by many who never knew their
original function. Walton’s music was
designed as an accompaniment to these poems,
which were declaimed rhythmically by a
reciter while the music was played by the
economical combination of six musicians
(fluie-pkcolo, clarinet-bass clarinet, saxo-
phone, trumpet, percussion and cello). Tbe
musk, like the poems, was by turns skittish,
catchy and beautiful, but as, unlike the poems,
only a small proportion of the ’Parade'
pieces have been performed and published
without the other part (t.r. the words), and as
that proportion contains only one piece that
is not predominantly witty and parodisiic, it
is sometimes forgotten by those who know
' Facade ' only from the orchestral suites that
some of the music (r.g. ' By the Lake
’ Daphne 'A Man from a Far Ccuniree ’) is
quite serious in intention and effect. But the
outstanding feature of this music is the tech-
nical skill of a composer aged iivenly. Each
accompanying pipcc is perfectly timed to
follow the M’ords, and yet \N'allon was able
10 expound popular tunes (r.g. ' See me dance
the polka ' in the ' Polka '). to perform almost
miraculous conirapunlaJ feats (as in the
' Swiss Yodelling Song 10 be amusing with
and yet criikal of popular musical forms ~
and all with an economy of means highly
unusual in a young composer even of those
days. It was this skill which earned for the
work the praise ^ Ernest Newman. ’Facade
was first performed privately as an entertain-
ment in 1922: further private performances
followed in 1925, and a public I.ondoA per-
formance was given in the Aeolian Hall on
J2 JusK 1923- Over the platform on which
the rceilcf and musicians were placed was
draMTi a curtain on which was painted a
mask by Gino SevcKni. Fitted to the mouth
of this mask w*as an elaborate megaph^e
(the sengerphone) through which the reciter
tpokc. This original version consisted of an
overture, sixteen poems and an interlude.
When the work was revived at the New Chenii
Galleries on 27 Apr. 1926 a fanfare was added
and the number of poems was twenty-six (and
\VALTO.N
some of xhc orifiruls had two r^pUccd). In
ihi$ form ‘ Facade’ v.as CMce played at the
I.S.C.M. Festival at Siena (19^8). A further
revival took place In 1942. when it consisted
of iwenty-onc poems: this u the dcfinlu>e
venion. In ihU vereiojj it has sulsequendy
been performed several limes on ibc B.B.C 's
Third Programme, Seleei«*d movements of
Walton’s invistc have been used in djlfercni
arrangements for various pur|>uses. The
orchestral suites will bcdc alt with lairr ; apart
from these llic principal arrangements are the
song versions ui the unpublishiil ' Bucolic
Comedies’ (!9^4J and the puhlldtrd Three
Songs ’ (*932/. 4nd the ballet Versions. ’I’hr
first * Facade ’ l^allei was produced hy Ouii'
ler Ht-ss at Ilageu (WesiphaJiaj in 1929; the
second, which breatnv an established pan of
the hauler’s Wdh repertory, was hr>i pro-
duced, with choreography hy P'rederick
Ashton, on «l) Aj)r. 1931, at die Camtiridge
I heatre In lx>ndon.
Walton’s neat coinfxwujon jfur ’ Parade ’
w'ai an unpublished Tocc.ua for \irdm and
pianoforte jyaj saw the curnpo».l(».m
of the Overture ’ Portunouili Point’. Walton
sirodi* straifilii from the chacnlier orchiura to
the fiill.siic modern symphony orchesira and
showed that he could liarxilc both equally well
The Overture Is a jolly, fr«h-air work dcimi-
»ig »« music the print of ihr same name by
fhomas Kowlandwm. Like iliat prim, whkh
shows the Kccnr at the docks of the famous port
j lilt after the end of the jBih lentury, the
music IS full of I lie, and iis gay themes {with
many displatcd accents and changes of tin it •
sig natures) cr« ate the atmosplierc adinlraWy.
I he niidJIc section has as a cliinan a remark-
able c*ant|ile of \N'a|ton’s omrapunial in.
ginuily in a pa*, age that docs ik>i vem to
have been lU lilntaivIy contrived. 'Hie over,
birc received lis lirst performance at the
.h.C..M. festival at /.undi on 22 June loeG.
n the following week It was played as an inter.
hKic m Ulaghllev’s liallet in losndon, and It
W.IS Inter ineUi<icd in the year’s si-son of
IVonicnade Conreris.
In 1926 Waltim comi>osed a dreamy,
sinitish BoTiiaiurc calkd ‘ .Siesta scored for
*maH .^rcheura. 11, is was first perdirmed at
the ,Wian Hall in the autumn of that year
loiidocicd by Guy Warrack. It was aho In
that \N'ahon sco««| a sejrciion of pieces
from • f„r full orchestra. Ihese were
lolka (37 bars of mordani wit, inclisd-
mg a cud pr,Klaniaiion of - See me danrr
•br polka -/, the • Valse’ (amusingly srored
a*W openly parod).ng many res|)ceted kinds
of walls), ihe • Swiss Y.^delJing Song ’ (a
ddieious piece of mockeo' based chiefly L
• Rossini’,
pI 1;?.^''“ overture), ‘ Tangev
lawKlohle (which quotes the pofiular song
• 1 do like to be beside ihe sca-side' - as did
the poem; and the clever ’ TaiaiitcDa scvll-
lana ’ iwhich hinis at a tune In Mozart’s
‘ Don Giovanni J he suite was first played
as an interlude in the 1927 Dlaghilcv London
seattA, and was iocitided In the Leeds Festival
the (bllovvuig year.
J'wo of V\allou’* works had been (ilavcxi in
IWaghikv', ballri sea«ms, and he now decided
lo compose a ballet lor Diaghilcv, After a
lime, iKJwewr, M'alton abandomd th<‘ idea
and used the material he had prepared in the
• .Smfcjtiia converiaiiic ' fur orchestra with
piaiKilorte (19271. It wav Wallims lirsi
• sympisoiiit " venture, and taking this ini„
avcoum, as well as ihc ori^liiaf iiiienilons fur
tlie material, It is hardlv surprning that the
structure oJ the woik was jwi ft, mid to be
entirely satisfying, I'lJw xxond move mum,
howesrr, w nh Us si.m mi ric atel y w o v en coi 1 1 id-
pufttal gnmili, must be cxcuptvd from this
stai emvm I Iw if, nv 1 nt>vcinui its 1 d ud ic ate<l
to OsUri, lUJnh and Saihcverejl .'ll! well
ropccilvely/ afe linked by subtle sirnilurliics
m their iheinaiK matiur, and in place of more
ttfual methods ol n rajmulatlon the inaturlal
of ewh nioveineiii it suninu d up In an epilogue
at the end of the last nioveiiieni, *Jhc key.
board vvriimg did not show ease and Ihc
whrMraiion wav inoru etjuilimniial than
U^tmt’s had hitherto Iwn. ihc work was
perform^ f„c the first tliiw* in Lmidon ut u
K^al Plnlharinonk concert on 5 Jan. 192U
with Anvermet conducting aisd York Ikmvii
as soloist. Perhaps iKcawse ol its awkwaich
ww. It wa, iKH i(iim(>dialcly us popular as
Ualtoii, i«vioMs wmks, bui ihe compiler
revised it in 1943, altering icc hnical deiaiU, as
in tiieofcliesiraiion. and sincv tlivn It lias Ue.i
received into the regular reason my.
Ualioo, next excursion into symphunlc
wriciijj was a triuinphanl .clJccc^,. ]| was the
viola CoMKerio, ihu cuinpoviiion of which was
spread over liie two years 1928-29. As with
the .Sinfoma commantc the form adopted
11 not iic^mal. J here are the usual three
moscinenis, bin ilw slow movement, the most
\Va^* r "i«'’rnicni showed
.1^ ^ ^o'»anlic nature to
dwugh the movemcin of the ' SInfotiia ’
^ 'ndiracion of what to expect
the new w.,rk. Uap, of sevenths and
"nr^heS.'*'* ‘"uch to Ihc open.
tackles for the first lime really si-riouslv the
question of tonalny. Con^rcoTs wJii c,‘
round " rather than - m - a /
■wn. B 4 m<«
WALTON
160
gaiety to be found in * Portsmouth Point *. It
is full of melodic and rhythmic interest (traces
of the "Jau influence'’ can be found) and
goes through its w^hole course with unabated
vitality. The last movement b^ins with a
theme that, with its slighdy humorous touch,
is not too great a contrast to the scherao whkh
precedes it. ‘Fhe mood becomes more serious,
however, and very lyricaJ {t.g. the soloist's
theme in sixths). The climax of the move*
ment, wliich b well prepared for and placed,
b t Jugate section for orchestra alone whkh,
after reaching a loud emotional peak, leads to
the tinal section. I'he work ends with a re>
statement of the theme whkh began the flnt
movement, Walton achieved in thb Concerto
the balance which had been needed in the
previous work : even ilte orchestration b very
carefully balanced by dividing the strings in a
eo/Ktrianu manner. It was first perform^ at a
London Promenade Concert on 3 Oct. 1^9,
with Paul flindemith as soloist. Lionel Tenb
played it at the l.b.C.M. Festival at Li^
(4 Supt. 1930). Sad. lyrical, deeply felt and
well executed, it b regarded by many as
Walton’s finest work.
Having mastered the concerto form, Walton
now turned his attention 10 the oratorio.
Originally intended for broadcasting, ’ Bel*
sbas^ar’s Feast ’ was commissioned for the
Leeds Festival of tggt. The text waa chosen
by (Sir) Osbcrl Sitwell and was drawn from
Psalms LXXXI and CXXXVJI and the fifth
chapter of the Uook of Daniel. The work is
scored for double mixed chorus, baritone solo,
very large orchestra and two (optional) brass
bands. There are three sections, with very
short pauses bet^veen them. The first, after a
bleak statement of a prophecy by Isaiah,
expresses the feelings of the Jews in captivity.
Justly famed b the unaccompanied eighl*part
chorus ” By the waters cf l^bylon ", one of
the most beautiful pieces of modem choral
writing. I'he second pan is a vivid picture of
the great city, Babylon, and includes the
brilliantly sco^ "Praise ye the gods" —
ivhich b an example of the way many of
^t'allon’s themes, 1^ slight alteration to the
intervals or rhythms, arc made 10 serve several
purposes. The last section tells the story of
"the writing on the wall" ard concludes with
a lament and thanksgiving chorus for the fall
of the king and his city. I'he final " Alleluia”
chorus, in which the word b flung ecsiaikally
from one c hoif to ( he other, b a glory c( sound.
I'he work was an immediate success at its first
performance at Leeds on 8 Oct. 1931. It was
repeated shortly afterwards at a B.B.C.
concert, but an attempt to include it in the
Three Choirs' Festival at Worcester in 1939
failed because it was considered that the vivid
treatment of the text was unsuitable for
performance in a cathedral. It was, however.
included in the l.S.C.M. Festival at Amstes^
dam in 1933.
In 1931, as well as ‘ Bclshazeax’s Fiast',
Walton composed a ‘‘period-piece” setting
for unaccompanied voices of an old carol,
* Make we joy now in this fast ’ . In Oct. 1 993
Dora Stevens gave the first performance of the
three songs which were settings of ’ Facade
poMi». They were ‘ Daphne written in the
Lnglbh manner, ' Through gilded trellises ',
in the Spanbh, and * Old Sir Paulk in the
American. The last two are vocal arrange-
ments of ' Facade ’ pieces, but the first bears
00 resemblance to the original setting of the
poem.
For the next two years Walton was engaged
in composing hb Symphony. After the
success the two preceding large works there
was anxiety 10 hear it, and Sir Hamilton
Harty was promised the first performance, the
date of which was announced. When the
lime came Walton found that, although three
movemenu had been completed, he could not
find a satisfactory solution to the problem of
writing the concluding movement. The
performance was postponed, but finally
\N’alton allowed the Symphony to be per-
formed in London in iu unfmlshed state on
5 Dec. 1934. Almost a year elapsed before the
last movement was completed. The first move*
ment of the Symphony is, as in the viola
Concerto, deeply serious. Its tragic nature,
and (he shape o( the first theme (pla>‘ed by an
oboe), pointed to the influence of Sibelius.
The movement b rest less, uneasy and very
powerful, and its development b logical and
satisfying. I'he question of tonality b again
posed: a pedal-point (Bs) is prominent and
finally asserted, but this is hardly sufficient to
justify the "D flat minor” by whkh the
Symphony has been kno^vn. The scherzo
stan^ second. It hardly Jessens the tension of
the firu mov*emenl, for it b not light, humorous
or even witty : it b malicious — probably the
only piece of music to be marked Presic, eon
mriiiir. 'Hie prkkly (hemes arc like barbs,
and the rhythmical invention has an electrilV'
ing effect. The Adagio eon malintonia which
follows b a well-constructed slow movement
rising (o great intensity. Tlie finale has
proved (o be a matter for endless discussion :
some can never come lo an agreement
whether jt is a aatbfactory conclusion or not.
The atmosphere of it b ccnalnly not as ten«
as that of the other mov*cmcnu; indeed, if n
were, it would be impossible to hear the vvork
through. TUzfugoio sections are a relief, and
the triumphal e^oguc (which, It b undc^
stood, was cmnposcd before any of the rest «
the work) b a fitting conclusion to a work of
this character. It w'as firei performed in ns
entirety in Lond^ on 6 Nov. I 935 ‘ ®
minor alteration made while it was being
WALTON
recorded, the Symphony siand$ now as it was
then pJaycd,
That \Valion was an expert in the An of
dramatic music had been shwm by his
»aiorjo. In 1934 he developed his talents in
this held by studying the probjems of Him
music at the film studios ; and the result was
I he eompositlon of the score for * flscape me
Never 1 wo years later he w rote the score
for a film version of Shakespeare's * As You
Like It *. In the same year an evening was
devoted to his music at the Promenade
Concerts (the first half of the concert on
ii Aug).
• 937 coronation year, and the U.B.a
commissjoiuxl W.ilion, as well as other British
cornposers, to write a work for the occasion,
lliis was the 'Crown ImpcriaT coronation
march, a gl I tiering pl<xe of pageantry in which
the composer paid homage to Elgar, whose
jvork he admires greatly. It was first iser-
lonncd on y May 1937 and repeaud in West.
mm'ixrr Abbey lieforc the actual ceremony cm
coronauon day, 12 May. Thr score of tlic
march is headed with a quotation from a
poem by SVdham DunUr, and Walton’s next
coiiifxmtion was a setting of the wh<.le of ihe
poem. • In honour of the city of London ’
WM sfi for chorus and orchestra in the form
of a well-knit SCI of variwmns. It is a vigorow
#nd vivid work, but ii has tuA lieen performed
very ofien, Many reasons have been pro-
powi fur , he dr»r<l, of p. rruri,.ar.r„, i,Klud,ng
llv foe. Iha. III. pro,o,of I^Klon ncc rK« .ung
wiih Kfc». ci..hu«o.i„ c.b.,.hrr., bui i> « ,k..
a work of iHipuLr nature, and the dim<uli
choral writing prcclodw any IhjI a nwHi
cxrxrt choir from singing ji. The first
iwrformance took place at the I.eedi Festival
<A\ b ()ct. MJ37, arul a second followed in
-ondon, at Qjieen's Hall, on i />cc. In
\N Dfion r<;ceivcd the lionorary degree of D.Mi;
Irorn Durham Lnivrnity.
, In 193B he gathered together (he other
i-^ipde piwps that be had orchestrated and
made a srci m<| orehcsi rul su itc of 1 hem, I hev
jjrre the 'Janfare', the amusing ‘Scotch
Khapsody , ihe delightful ‘Country Dance '
Ai>chc cspanola the wcH-known • Popular
Song and ihc foxtrot ' Old Sir Faulk 'Th^
suite was played for the first time in New York
omdocred ^ (SI,) John Barbirolli; the first’
hnghsh performance took place at the l^on
J romrnadc C-nicerts on 10 S^i. |«b
film • S^li 'he
Jdm Stolen Ufe and completed the vinuoso
\'Zeh'u ^ promised to
J«cha Icfeia. Thb Concerto proved to be a
pC^rfited bj
■rt ' ‘ phenomenal difficulty
-hc'cTrhl'r'’ • '1 "r"'
the earlier viula Concerto: a deeply felt fir^i
movement, a scherzo and a long finlk. The
VOL. IX
first movement opens with a rhythmic accom-
PMymg phrase reminUccni ctf the opening of
the Symphony, over which the soloist plav-s 4
lyrical theme, accompanied liy an important
cwntcrmelody «i the bassoon. The initial
theme contains an inuTvsiing quota linn from
tl>e early song ‘Daphne'. This op<njMg
movement, which is more deliniccly in a
specifw; key (B minor/ than most nf Walioii’s
ater rrigsic, lias an umisuallv curcfully
balance form. The suc<i«cdii»g iimvenirm h
in the form of scherao and trin an<| is marked
F/rsw ce^KCirie elU m/WcMm. U is in tiiis
.wvetncni that Walion allows the snloisi to
show im virtuosity — even nmi« than in the
unaccompanied cadenza. Almmt every trick
ol vioJm i>la\mg IS emjih.yrd, and liio iikwc-
mcni K jJayed at den ion if spin I. N Vail on
uses Ills habit of re-stating ihcmrs in diiU reni
sJMpes in ord.r to vrnphadar ihc joist's
»rtistr> llw pjrt <4 ihe liile is
juMih^ b>- the a|>piaranfc of a pa>sjg<* of
Mediterranean ‘ musii in languoniiu waits
rhyihm. Ihe concluding moverikni is, like
the first, of elaborate formal si rue lure. The
tjsx. rnam icnjrces of man ri.il arc the rliythnilc
iheiiM-s wfne h belong mainly to ifie oriliesira
and the rxirerndy rmnaniic il.nnvs which
appear mainly m iIh; u 4 o |«ri. It is jmerot-
mg to »*oic that the clipped timing of the
chixds wliKh form il>c basis trf the final bar.
« like that adopted m the final bars of the
S>mj^ony Ihc Omterio w« first per.
formed at aoclaixJ, Ohio, wjih HeifiiJ as
7 1^- *939, Hnfets haviriL* reserved the
^rt^ming r^his for (wo srai^, liie work was
not heard in England until 1 \ov. lyu wluvi
I-nd.in,-^thc c<l"
poser runduclmg.
In 194U WnliOT fwnjKw'd anoihcr comedy
Sci,m,o-. •I'l.i,,
y^l'n '".pif-lion, •11, c p.o,ur=
l^yjMqurt Cilloi i,. ,hc ' Ilalli
Character of ilu; ccmmrdta Ml' ctu wliom
Mdi^c had introduced into one gf |,j, pby*.
f«>.n .940 is
L
WALTON
]6i2
were first performed or) t6 Feb. 1941. Also
dating from 1940 is ihc orchestral version of
some pieces by Bach chosen for a ballet, * Tbe
Wise Virgins by Constant Lambert. One
of (he pieces had already been transcribed for
pianofucte solo by Walton. These orchestral
transcriptions showed perhaps even better
than his own compositions how expert an
orchestrator he had become.
During the second world war Walton was
restricted, in some cases officially, to compos*
ing incidental music for the stage 1 radio and
films, a task which was begun in I94t with the
writing of the score for a him adaptation of
Bernard Shaw's ' Major Barbara *. The list
of works brlosv shows the rest of ihe scores he
wrote in this way. .Mtitough this activity
showed his technical skill in continually
producing music of set length for gisxn situa*
(ions, and his ingenuity in overcoming the
inevitable tendency to be cons*entional, very
little of the music has been considered worthy
of concert performance by the composer. The
• Spitfire Prelude and Fugue ' (from * I'he
First of the Few \ 19.}/} is an exception, and
the ' Henry V ’ musk will be discussed
presently. I'he inctdental musk for John
Gielgud's stage produetson of ' Macbeth
hotvever, deserves special mention, for in it
Walton captures the horror of the play In a
dramatic aruJ uncompromising manner.
In 1942 the University of O.tford conferred
on him the honorary D.M us. degree. In 1943
a Spenserian ballet, ' The Quest ' (eliorco*
graphy by Frederick Ashton), was produced
by the Sadler's Wells company. The music,
which showed the Influence of film teehnique
on the composer, was In the form of variations.
It has never been given a concert performance.
In the following year \Vallon composed his
finest film Kore. This was for the production
by (Sir) Laurence Olivier of Mttkespeare's
'Henry V This elaborate film ga>c an
excellent opportunity to the composer to be
mere resourceful than in an ordinary him, and
Walton wrote some sixty-five minutes of music
which wa< mostly more than mere backgiound,
in fact as important a pari of the film as the
scenery. A suite from this music was gis’en
its first concert performance at the London
Promenade Concerts on 14 Sept. 1945.
In 1944 Sir Henry Wood died. He had
early recognised the value of ^Valion's musk
and included it in his Promenade Concerts.
Wahon composed two works In memory of
him: a purely occasional 'Memorial Fan-
fare ’ for orchestra, played at a Memorial
Concert and on the opening night of (he 51st
season of Promenade Concerts (1945). and a
selling for unaccompanied voices of memorial
verses by John Masefield. This work, ‘ Where
docs the uttered music go? was written foe
the unveiling of the memorial window to Sir
Henry is St. Sepulchre's Church, Holbom,
and it was first performed on that occasion
(afi Apr. 194$). It is the most elaborate of
Walton's short choral works.
For some time Walton had been building
up a reputation as a conductor of his own
works, and in the last months of 1945 he
received an invitation from six Scandinavian
c^hestras to tour Scandinavia conducting hb
own musk. The invitation was accepted and
the lour look place under the auspices of the
British Council, for which Walton has done
other work of a similar nature.
The next work to appear was his first
chamber >\‘ork for over twenty years — (he
string Quartet in A minor. This was long in
preparation and again, as with the Symphony,
the announced date of first performance was
postponed. It finally took place on 4 May
1947, when the Blech Quartet played it on the
B.B.C.'s Third Programme. A second per-
formance took place publicly in London the
following day. The event was regarded as of
great import acice, for the Quartet was Walton's
first large work since the violin Concerto. The
frank romanticism of that work (where even
the fiery scherzo had a languid trio) was not
repeated in the new Quartet. Walton had
progressed from the harsh music of the 1930s
(when he was known as the " English Hinde-
mith ’*), through the glory of the three works
of 1928-33 (he was then called " the white
hope of English ntuslc ") to the unashamed
romantkism of the J939 Concerto (when he
was already accepted as a very important
composer). In the new Qpartci was heard the
mellowest musk he had yet composed. The
first and the third movements arc long and as
sincere as the >'iola Concerto ; the second and
fourtli are very short and lighi* hearted. It
was in these short movements that Waltons
dcvelopmeni was most noticeably marked.
The first of them immediately called for com-
parison w’iih the scherzo of the Symphony, and
it was found to express a more musical mo^
than that of malice. The movement Is virile
and alert, but not harsh ; and so it was found
with the other movements: the harshness
whkh, even in the scherzo of 1 939, had been an
accepted feature of his style l»ad almost dis-
appeared (it does appear for a lime in the first
mos’ement of the Quartet).
This smoother manner in his music w«
continued in Ihe incidental music for Sir
Laurence Olivier's film production of ‘Ham-
let A comparison of this music with that
Sot 'Macbeth' leads to similar conclusic^*«
a comparison of the string Quartet and the
tbe Symphony i and the difference ts surety
not entirely due to the more philosophical
nature of the second play- .
On 10 Nov. 1947 Walton was pres»ieO
with the Gold Medal of the Royal Philhar-
WALTON : Work*
163
tnonic Society, being the fiAy-fim musician
to be » honoured. The prescncaiion was
made by Vaughan Wiliiams and the concert
played on the occasion included the viola
Concerto.
In J 948 ^ Vahon completed , w iih Ch rbtopher
Hassall, the poet, the libretto of an opera
which the B.D.C. had commissioned. TIte
story is based on that of Troilus and Cretsida
as told by Chaucer, not by Shakespeare. He
visited Argentina that year and on 13 Dec.
married Suriorita Susana Gil in Buenos .\ires.
He was knighted in 1931 .
^Vallon hat established himself in the front
rank of Ivnglish composers outstanding in his
gcneraium ; and his music, wl»jch has never
followed any school of musical thought and
has been more concernetJ with the evolution of
accepted forms than finding new modes of
expression, ihuws an unusual and consistently
high standard of work maintained by his
severe sclf-crhicism and sWiw output.
Bl Dt.](x;)cvntY
w*|Mf> MM it..
XX\ ttl. lois, p. c>,
ron Hw»»ir J.. • Vrtfh*m • ia • The Book of
MoUf'M Cofnpourt ’ i \f« York i%ai>
***"•;• F'A"*, • r»M Mu«K «# vvrftMiu w*w
( Mhim«I htcoin* irnn). v v«h. rCKPMd. iaji
B i»4S>.
Ft*;**, Coowm Vjrfia M.t
OKhoift I II, ip. I p, Ml
Mv«jou„ Hr«Maf, ' W«IW« VM* * iM. 4
I... XXXt. <9ju. p. iotK
CAT.NLOCUt OF WORKS
OPgKA
' IVoiIms «ikI * '.ktur Chawerr* 19^1
B.\LLLr
* Thr Qum* (after Speiucr) <194}}.
INCr DENTAL MUSIC
' Macbesh ’ 'Shake^priA) (r04t|.
FILM MUSIC
* Escape mr .\e«vr * '1934^
* As Ym Like It* (Shakrtprare; (I 9 s 6 j.
* Siol«» Life * (19391.
* Ma>or Barbara * <Maw) (1941'.
•N<«* arKui' Ii 94 t), ' ’ ^ '
* file Foreman wnu to tVaiKe* (> 9 ( 7 ).
* The Fmi of (he Fe» * (19421.
‘ Wem (be <lay neU? * <*942).
' Kenrv V ’ <skakn(iearei (1944).
* Hamlet * <^aknfK>are> (1947),
R-kDiO MUSIC
* Clirtfaopher Columbiu’ (L^aix MecNeire) (1944).
CHURCH ML .SIC
* Te Heum * for the UitoiiaiHm ol Queen iJiralwtli II
C»N*CI;RT JTE.MS from ST.VUt ML'S 10
(a) Onoit II lA
Ballr( 1 * Ewape nw .Never *) iiej 4 '.
* JvjMtftre • J'rrtmle aii4 Ku(w« I he FirM <»f the Fe« 'J
^ ••9Mf.
Ceneert Smiw t . ..
|»o Firce>lorSuinc«r ' ) >I 944 >«
I. Fawar a«liA f»r the Deatli nf Fahulf.
s. 1 owb l*er mA Lpt anJ |»ari.
4 ) Soxo
'Coder (lie creenwnoj tree* tShakisnearcl »’ Ar Vim
Like li 'I 119*6.'.
Vr OnrNr»T«AL ’I’XASMHirTIO^^
BaRet S«i*e. • TLe Wiw Vk»m* ' 'lojoj
foe arrheura of die Inlleisjni pl«r» by
I. tVlsat C«U hadi lUme. i» riikdy Joiie.
s. Lard, hear my foniine.
y See what Hi> hue ran «le.
4 - Aht Law ephemeral,
a. Sheep inav urHv irare.
9. Prake be laCiml.
(UIORAL WORKS
<#} URAerowhAfiiaa
TiiU
UWi
Vf/itatiMi
'Af.iiany.* '
' Make wa foy naw in dih fosi.* I
Set m« a* a leal upoo thine heart.' 1
1
* Wlirre dvn the uttered muic ta^ ' |
' BrUhairar i Feail with baritane lafo, •
OKh. «c 9 {optional beau bands. |
Phineaa Fletcher.
Anan. <alil aaralj.
S(m« of Safomon.
1
Jahn Mweftrki.
1
(i) AccourAMco
1 Seleeled fram ifae Half '
HiWe br (S4| Ocbari 1
•917-
*93<.
' 'fSB.
1
«94«.
^9»9*5«.
1
H<m. Ivor CueAi & Lady
Mabel Fo* Slranxwayi
(for iheir marriajtej.
' ^XVaa?^ ^ Henry J.
Lard Bemen.
* In hmieur of the «hy of foimfon *. weth '
wti h.
S«<w«||.
WilluHk Dunbar.
1
'9J>.
l^ed* Feslival Clioir.
ORCHLSriLkL WORKS
TiHe 1
Ciut/n*d
J Drdten'M
■■'ilsiiax'." *>»«• w." ■.
^^ra -7 P«‘«n^d> PtHnf. nq RowUndMa** \
' Sieita.
Suite No. ,, Tj.fcde-
1 . hilka. r
a. ValM.
3 . Swtn YadeUias $ 009 . |
199 ( (deaerayed).
>9a«.
1926 . ^
SiegCried Saimn,
Siepben Teonani.
1
164
WALTON: Works
TUh
Cm^ua
DeJitciMV j
4 . Tang^Pesodeble.
3 . Tarantella MvillaiuL.
1
1
Svm phony.
Corenatioe hlarch * Grown Imperial *.
t03*-«-
1037.
Sarooem Irma Doenbr/t. |
Suite No. 4 . * Facade *
i. FanCaire. 1
4. Sootch Rhapsody. 1
3. Country Dance.
4 . Noche etoaAola. ;
(. Popular ^ 0 .
•ni
1
1
D. Foxtrot. Old Sir Faulk,
Comedy Overture * Scapit^
<»40-
Frederick Stock A the Cltie«|e
* h(uaic for Children * (m Pianoforte Duet).
1040.
Symphony Orch.
* Memorial Fanfare.*
' Orb and Sceptre Coroniiion March.
(044.
I0S3.
Memory of Sir Heary Wood. f
SOLO INSTRUMENT WITH ORCHESTRA
I ' Sinfonla con<rri«nic *. for «c«h. »i(K 1949 .
V Conrerio.
Va. Cooc«ria. I9S9>
Oib«t(, Edid) »ih 1 Saehevmll Sitwell.
Chruubcl.”
Jasch* Heifeit.
VOICE AND ORCHESTRA
TirA
i l»VA I 7
Drdue/tM
* The Piuionate Shepherd *. I
with imall orch. 1
1 Chrbtopber Marlowe.
CHAMBER MU(
t 04 O (deotroyad),
lie
Tt*
Ck^wrd
Dt4k4tm '
a u*rui.
uArtei.
4 aeejti.
* P«(AiJ«’. sn «n(pruiam«rt( (Ediitt
Kiiwell)
I. Hornpipe: En rAmille;
Monner Mon.
9. Triafara (AU& • iKMnbene i
Threweh eilded (rellieet:
I «]o like (• be be«ide the
leo'Mde.
% Scotch Rhepeody ; LuUebv
for lumho : Om Sir Peulb.
4 , By (he Lehe; A men from
A £m coMPtree ; CMntry
Daacc.
A. Swim YoHelline Sene i BUek
Mr*. BekwnMh: fopOw
Son|.
C. Polk* : Vabe ; TaraaielU.
7. FoMr in the memint : Sett
thine lin berond the tceae;
Sir Beelaebub.
Quartet. A mi.
Vb., vMa, ceNo A pT.
4 vna.. Viola A cello.
Vp. A pr.
Reciter : flute • pkeolo,
cUr.*baAi<l«r. . Kuephaae,
trumpet, cello A pcrc.
I 4 vm.. vkla A cello.
tStS^ip.
1034 (withdrawn).
( 040 .
t^t '46 (revuad
• 94»>-
T. B. Strong.
Emcft Irt^ug.
VIOUN AND PIANOFORTE
j !
Owpmrd
' DrArcn'M
1 Sonata i
1 1040
Hre. Yehudi hlenuhin A Mn. Uuii Kencnet.
PIANOFORTE DUET
I • Dueu lot Children.* * I (040- I “ EltMhrlli A MiebaoL”
• Thii h the orifioil order oF the pieeea. i-io. The owhartreJ Car CbUdron • baa them in the iellawmf
order : (• t, 9 . 4 . 7. 9. 6. $, 3 . to.
WALTZ
SOtiQS
Tii/<
H $y
1
OtJumlum
' The Wind*/ I
' Tritofu/
* IKtcolie <A>medies.'
* T^ree Senes *
I . Dafihne.
y. 1 l»reu«h elided Udli*«s.
J. Old .Sir tjulk.
1 N. C. 2»w.Mbvnr.
Wdlum Drummoeid.
IaJiOx Sa«elL
Ldiih >Hi«ell.
, '9*«.
•aav.
•9>i-
IXora & Hulari Fou.
S<t feu 'd«d. ^ (-Wfrtv*, HtoJflviiih
' III p?n. oi Mvila C'MUr^lu).
WALTZ (I'f, ta//<; Gcr. Jra/^rr; liaJ.
'J'he urigiii of 0 i»- wah^ U wrapped
in c\cij more obsrgricy ihun is usualK tite ca*e
with ihe Usi-kntiwn dames. IV immense
populariiy it acimved in the khH eeniury -
a pupuUriiy whkh had the elFcic of alnxm
banisiiinu ev< ry other dance — Itas given rise
to a dispute as to its historkal genrste, into
which naiional aniipaihies base to a certain
ixicijt cnUTcd. It would hav'e been thought
that French writers could not ignore the
evidcijcr of a German origin giv’ett b>' the
natne wain, dcrited from uaintn (Latin*
laiifrt). denoting in its widest schm* a rotating
mntioft such as rolling, turning and spinning
round. Th<‘ word had been in use in tJie
Cicrrnan language for some ceniuriei before it
k<unie assuflHied with a spec Use lorm of
frirman dames. In the face of the etymoJugv
of (he word an ingenious theory has been
smented by which it is sooght to prove that
(lie dance and the name were origissallv
iKwrowed by ficrrnatiy from France, and then
rniKroduu d, as a foreign insemiem, from the
fornicr to (he latter country.
1 ^ jV' apparently was first propounded
by Castit.blaar, and was adopted by fcHis
lutirf and I^roussc. The French account of
the origin of tlir walu is that the dance l»
• desce ndant of the volta - known to the
Ivhaaix ihans as Lavvlu — a dame deveribed
by I hoinot Arbeau in his ‘ Orchfvjgraphie
atid said to hate Iseen a native of Frovence
whence it was introduced into Paris under
lanjis Vn. It remained in fashion up to the
(0th century, at which period it was (accord*
mg to Laroussc) introduced into Germany, the
name lo/ia Ining changed into iFa/i^rr. The
obs ious Jialiaii origin of the word “ volu '*
bat 1 «cn overlcKikcd by the French writers.
Kie t.crman autiiorltics, on the other Iiand.
trace (be wahr, back to the Dreht^t, oc round*
uance, a mod ifica lion of the old form <rf
dances which (like the English country dances)
were danced by couples placed face to face
or holding ojse another by one hand only, as
duunci from those dances in which tseo rows
of partners faced one another.
Great confusion cxisi, in the German
accounts of the*e early dances, The v<.lra, the
Langaus and the allemande arc all nteniionctl
as being the ancestors of the walix. bur only the
I^iig.ius is lonnected with the modrrn ilame.
That tise volt a and the .Springtnn/ bad ceriain
elements in common serms pretty << rl.tiii : in
both the indecency of the peff<*rmnnf.« seems
to h»vc been a cbaracteri.iic lea lure, m a cum*
parison oflhrdexrjpiioM% in .Srl>eau’» 'On he*
sograpliir * l••one of the bsiiximis anil way.
ward <Janrv»" in which •'th. damsels arc made
lo jump in such a maimer tlui ihry often show
thrir l«re kftes s if they do nut keep nn<* hand
on ilieif dresses to pret enl it " i and johi von
.Munster s ’ iVaktai sum ungoitu jigcn i iilic’
(i VJ4l ckarly sisows. w. n. rc\ . m. c.
I lie German >[«ing dame seems to have
originated in tbr alpinr districts ol thrmany
aiMl Austria rtitr Havarhin Highlands, ihe
l yrol, Styria, Caririihia, Lpiser Austria and
the Bohemian Fore»ij, and was at first a
fwasant dance, wild Iwpping, stamping and
throwing up of iIm lemalr partner Udng its
outstanding fcaiure. The tunr* were eirhrr
lung -as IS stii) the custom with the Austrian
pJay'ed on instruments such as
the iHJdJe and alpine instruments (nlpborn,
ibrphe^ I p,|* and shawm). J he tuttes teefe
originally ms rnccd to accompany some stereo*
typed manual work on the field, luch as sow*
mg, reaping, gathering of the cropi and so
on. lake the l.nglidt sea shanties, they were
work-songs of a markedly rhyihink character.
re^Jarjimg and thus faclliuiing the mechan*
Ka actwn. (One form of such work-songs is
*tjU aln c in the southern Orman S</iiMJahup/i.
bwally the hopping of the reaper, width is
both sung and danced.) Jt was only a step
Irons such rhythmic songs to independent
danc«, tiK figures of which fret|uenily imiiaird
m a stylized fashion the act ion originally
aacKtaied with a particular kind of manual
wk (r.g. the «M>alled German guild dances
« the i5ch and i 6 ih centuries which Wagner
imiuted tn • Die Mcistersinger ’). Others
again were of an erotk nature represeminL' a
love-play in which tlic partners
closely embraced and kissed. TJiSu such
da^ frequently degenerated into coarse
la«iviousrtcss and obscene gesture may be
judged from tV fact that the church and ihe
WALTZ
1 66
cjvil authorities not only denounced them as
” the in\‘eniion of the devil ” and “ an iocitc-
meni to sinful passions ", but made them the
subject of local edicts and decrees, notably at
Nurcmber?, Amberg and Nfeissen.
In their progress from country to town these
dances seem to have lost some of their mote
objectionable features, and it became custom*
ary to combine them with a slow, stately dance,
the allemande, thus forming a contrasting
pair(rtfne and The allemande,
which was in common time, came lint and
was danced by the partners facing each other
in two rows, while the spring dartce, often
referred to ai Tripla {on account of its com-
pound tii^) retained, In the main, its original
form of single couples turning and hopping in
close embrace, In cnnirast to the great variety
of folk dances of other countries this pair, up
to the end of the 17th century, was the chief
form of national dancing in Germany, as a
character in Chapman's * Alphonsus Em*
perour of Germany ' is made to say :
U> Ge(n)4Mi hAve cm ia ow ilancek.
An AlMxiii ttKl All Mpapriftf ilu( a *0.
VMth the advent of the 18th century the
allemande as a dance became obsolete, its
musk, however, surviving in the styliaed dance
movements of Couperin, Handel and Bach.
It should not be confuwd with the later iBih«
century allemacidr, a stllT round-dance in
triple time, which wat one of the many
varieties of the German dances (ut Mw).
(The still existing confusion ai to which dances
were covered by the term " Deutsche ” or
German Dances arises from the fact that the
name refers both to the last -mentioned alle*
mandc and the l^ndler. and was also collect*
ivvly used to denote the South German folk
dances in general,) With the gradual dis-
appearance of the ancient allemande, the
spring dance became independent again,
having in the meantime altered its character
and assumed difTcrent names. Some of these
names referred either 10 the characteristic
rotating motion, as in Dnfur, Wtl/tr,
Schltiftr, or to the particular district in which
th^t dance enjoyed special popularity, ij. (he
Suirtr (from btyria) and Ijtndeifr and
IjindltT (from the country, or more
specifically, ** Land ob der £nns ", which b
the older name for Upper Austria). These
alpine dances must be regarded as the true
ancestors of the waltz. To connect it with the
minuet, as has been su^csied. is mwe than
unsafe. It is true that, like the waltz, the
minuet is in triple time and derived from
peasant dances (round Poitou in France).
Yet, fully developed, the minuet became the
highly rehned choreographic symbol of the
rigid ceremonial that governed high society
and court in the tbih century. It (bus had
nothing in common with the waltz, which in
iu early form was the simple, robust and often
vulgar dance of the common people. Minuet
and waltz stood for completely differeat social
strata — a fact superbly illustrated by the
ballroom scene in Mozart’s ‘ Don Giovanni
Two facts may have led to the assumption that
the waltz grew out of the minuet. One is
that at the end of the t8th century the former
gradually ousted the latter and became its
direct successor as the foremost dance of J9lh'
century Europe. Its immense popularity was
in part due to a healthy reaction against the
rigid artificiality the minuet, a reaction
that resulted from the new outlook prevailing
since the French Revolution. One may go
even farther back, to Rousseau, whose call
" Back to .Vature " Initiated a movement in
favour of things simple, natural and unsophisti-
cated, from which, by their very nature and
origin, the German dance and the waltz
eviden ily benefi ted , The other fact most prob*
ably responsible for linking minuet and waltz
is a musical one, namely the fusion of elements
from the minuet and the German dance in the
symphonies of the South German and Aiuirian
composers in the second half of the J8ih
century (Mannlseim School, Haydn, Monn,
Mozart, etc.) ; yet as a pure dance the minuet
was as far removed from the waltz as is Don
Juan's world from Masetio's.
It is generally admitted that the waltz made
Its first appearance between 1770 and 1780.
What greatly helped Its spread was its demo*
craik nature, as may be seen from an account
given by a traveller from Bavaria :
Th« hete are exccuively ftak of p]«uure
el doMing : Uwv A««d only brar iH« musk of * w«lu
to becin *0 caper, ae matier where they are. The
public daace i ae rt arc waited by aU elaiMe : Utse are
ibe placa where aaceaton and rank leem to be fbr*
■Mien and ariweetaik pride laid a«id«. Here we lae
aniaam. ariiMa, merchanu, (etinctlkr*, bareni, ceuou
and cacellcTKin daneinc lefeiher with waiirnaet, uotnen
el tb« middle elaea and Tadin. Rvery itranfer who stayi
be** for a while it mfeeted w,ih ih4 dance malady.
This levelling of the socizi distinctions the
waltz had in common w*ith the English country
dances whkh, imported to France at the end
of the lyih century, thence, as fcn/rf-daiua,
made their way into Germany as a supposedly
French product. This common democratic
feature gradually led to a series of ballroom
dances which chiefly consisted of “centre-
danses " and " Deutsche ", the latter often
being referred to by French names suclt as
TyrdMse, Sirasbourgeoise, AUaclerme, Sty*
rienne, etc. The popularity of these twin
dances was so great that even operatic music
was turned into them. Mozart, during his
Prague visit in 1787, mentions a rustic ball at
whkh he saw " with whole-hearted pleasure
how people jumped around with sincere
enjoyment to the musk of my ‘ Figaro ' which
had been turned into all kinds of Contres and
Teutsche ",
W.\LTZ
I $7
About this dree (he waltz also began (o
penetrate opera, (he fine ki>own insiance
being Mardn y Soler’s'Una cosa rara’ (1786).
At its Ant performance in Vienna (he waltz in
the hnale of the second act created a great
sensation, not so much on account of its
musical quality — it is a simple folk tunc in
the character of a stilT allcreande ;
* as for the noY<*lly of seeing the much'
Jcricicil Jant r in an opera. Not only Vienna,
U'hrrt’ the avails erraU’d a vericabte craze*,
hut odM’r hurupean capitals were soim
Inrecterl by this dance mania. The wahz
reached l*nri« during ilie Napoleonic war%,
and it vp'a^ cnid that after the Peace of Lun^
vHlr {lOoi) the (iermaru had. in addition to
tnuch territory, ceded even their national
dance to the Krrrich; and about the Vienna
Cotigroc u( iUi;> Trince de Ligiw rmrsed ihe
Kinhiguout h«n rmi " Lc Congro ne marrhe
|MS — \\ danse”. Shortly before this the vvallr
had crosied the Channel, and England bad
refejvcd it with opt'n arm.i, despite the many
warnitn^i against "this hertd of (Serman birth,
destitute of grace, delicacy and pn»priecy, a
dLigiming practice . . Burrtey "eould
not help reflecting how uneasy an Lnglhb
mother would be to see her daughter so
familiarly treated, and still more witrteu the
obliging manner In which (He freedom U
returned by the female and B>rt>n rails in
(he most sarcastic and caustic manner against
" this <*ertnan ankle of imporiatinn to whom
l>ow Irish Jig and arKkm Rtgadoon. .Scotch
reels and country dance .Some r.nglidi
datK Ing'inasters of the period, anxious to
i>em.*(ii by il»e current dance Fashion,
attempted to whitewash the waltz against dw
(Imrgcs <ir innnoralily and louse manners.
* t/( MicliMt KeUy’t * UraiiMucfKes *
' * Tl>e Wklu I 40 ApMiropUc Kwm iSis.
One Thorrtas Wilson, writing * .\ Description
of (he Correct Hfethod of Waltzing’ fi8iG),
b at great pains to assure the public that the
waltz "is generally admitted to be a promottr
(^vigorous Iteahh and productive of an hilarity
of sprits ", and that at danced In KnglHiid
it b " totally destitute of ih<* complained-of
attitudes and mosemeiiu used in warmer and
lighter climates ", and hentc " not an enemy
of (rue morals and endangering virtue ", and
he eimcludes w’ith the hyporriiical as'crtlon
that " the waltz b chaste in comparison uith
Cownir>' l>an<iftg. Cotillons and other spec i<s
of Dancing ",
fn its early form the wnliz could ofien
hardly W dkiinguidied fr<Mn its rustic Aii'
cestoc the I^mdler. 'I'he Utter ss'as rather
slow { *. c. (26/ and was rr<'C(ue:iilN' dari<<*d ni
sc para iv figures, as may <11! I h>' seen in the
al|Hne pant of Austria and lUs.iria. Stamp'
ing and Itopinng wiih occasional gllditig >irps
were its main motions. The partners held
e.nh oclier In c low embrace, by iheir hands c>r
waists; from time to time llu*v patted nneier
utie anoifi<r's anus and somniinvt esecut<*d
Ollier difliiult ligurc's *uc h as the ihrcrwing of
tile WYsmanoxer the shoulder, us In ih<* ancltnt
v'ulia, StMh figures na in rally demanded a
slow pace. Moreover, it was the custom to
dance the handler c>nido<rr<, oFicti on rnuuh
SCround. usually in front nl an Inn or on the
village common, die (lane ers wearing heasy
footwear such as hobnailed sIkk’s niid Ihmjis - •
all of w’hich accounts for the slow, lubusi and
heavy nature of the dance. The thief dilfei*
ence lietween it and the early walu scc-ms to
have been the f>re]>on(HraiKe in ihc latter of
gliding steps vvTr hopping and leaping. With
the iransplaniati«in this rustic type* of waltz
to ilic (owns Its characier began to change,
The smooth, ptdislied floors of urban dance*
halls and ballr«>oim, and the lighter fomwear
and drcsNcs of tlic tcosnspeople, resulted in a
quickening uf tl>c jiatc. Hopping and skipping
prov'ed a hindrance to rapid rotalh»n, hence
their replacement by gliding steps. 'I he move-
ment of (Ik dances b^anK (bus more supple
ai«d flexible, the staccato of the Lmdkr
changed into (Ik porlameoto of the walta.
>V« thus gradually arrive at the style in wliich
(he waltz was danced in the :f)ih cemury. i.e.
the left foot starts In a half^iride, the ri^ht foot
glides backward in a curve and (he left foot
completes the half circle, while at the same
(ime the dancers mos'e in a wide circle round
the room. I'hc quickening of the pace and
Ihe dbappearance of the heavy stamping on
each beat of the bar led to the typical waltz
accentuation : os>'two*lhrre, particularly
marked in (he accompaniment, where the
bass of the harmony Is sounded on (lie fir*l
beat 4^ the bar and followed by the rest of the
chord on the subsequent two (kzu ;
(68
WALTZ
(ThU accompaniment is often referred to as
*' ^itar bass ", that instrument allo\^*ii^ an
ca<y execution of such hgures.)
It is, incidentally, a V'icnnese custom
slightly to anticipate the second beat, thus
imparting to the accompaniment an addU
tional swing and a feeling of urgency (j/r
example above).
The early i9ih century produced 1^*0 main
types of the walti, the German or Viennese,
and the French. The French variety was
more complicated, consisting of a set of three
dilTcrent dances which were performed in
close succession ;
t. Slow waltz or m/w in 3*8 or 3*4, eedealr.
After the tune was play*^ several times the
tempo was increased to aUtintt», This led
to
a. SauUuh waltz in <)*8t tfffrgrrtte, which pace
was often increased to afUntt. The steps
included leaping and springing, hence the
name {squUt r. to spe ing) . Ajsd 5 na Uy came
3. JtU or Quick Sovtmt \N'aliz in 6<8, tlUgto,
with gradual acreleration 10 ptnu. Here
again there was much leaping and spring*
ing, The last two darKCS were ^len referred
to as td/ir a dent on account of (he
two main accents in a bar (#“ »7S) ■
The K'^ht included pirouettes and all the
other figures of the 8v‘e basic positions of
classical ballroom dancing, and was moeily
executed on the point of the toe.
In contrast, the Viennese waltz was dartced
on the flat foot, and had only one chief motion,
a constant rotating glide which the dancers
tried to enliven by throwing head and body
from one side to another. The early Landkr*
like type moved In slow whik the true
Viennese ^N’aliz {Ceiehwietd WnUer) was faster,
with three steps to a bar, as above. ar>d rcceiv*
ing an additional swing by the up-bcai (a) or
with two steps to a bar (ft) :
J J
l r 1
This tw^step waltz for a time became (he
craze of early iQth-century Vienna where it
was called Langaus. In a frenzied galop the
dancers would tear in a straight line along (he
whole length of (he ballroom — hence (he
name — * and not once, but many times, until
they became completely exhausted. One of
the dance^balls closely associated with this
wild waluing was the Mondscheinhaus in dcr
Wieden, where Schubert lived for a time.
As for the music cd' (he early waltz, its form
and harmony were at first rather primitive.
It consisted mosdy qS two sections of eight bars
each, with (he tonic and dominant as the main
harmonization. The second section was more
often than not a mere repetition of the first —
either in the tonic or the dominant key. This
was so stereotyped a practice that it gave rise
to ironical comments. Lenau wrote a poem,
' Styrian Dance in which he asks whether
our earthly life will be repeated in heaven
"Just higher by one^fifth " in the same way as
... our miMKiani
rep««i ilwir tVsIu Part One
in iliehily difFmni krv
on fiMics and on liiher
and rail ihu Walls Part Two.
Gomposen such as Mozart and Schubert,
however, wrote much more elaborate dances.
With them the second part is either a
melodic and rhythmic variation of (he first
or altogether a new tune. The harmcniesi
moreover, are richer and of greater varietyi
particularly in Schubert's dances. Yet such
artistic examples were the exception rather
than the rule. The musical hacks of the time
were content to turn out dances of (he most
primitis'c kind. In fact (he writing of waltzes
in (he late rSth century was considered almost
child's play, as may be seen from a book
fraudulently published under Mozart's name
and purporting (o be " A method of how to
compose with two dice as many Waltzes and
SMtifir as one wishes, without being musical
or knowing anything of compouiion
These early waltzes being short and re*
pcated ov'cr and over again, ihe more sophisii*
cated urban population tired of them very
soon, and thus composers began to string
sctxral together in a set usually consisting of
from sax to twchT dances. Moreover, a trio
or s/feeaa/up was added to each main dance
— on the model of minuet and trio — after
which the main dance was repealed ; // : A : // ’
B (trio): //A/, the whole set being rounded
off by a coda — the (urn-out for (he dancers.
This coda referred to the last dance and (hen
proceeded to introduce new melodic material.
Thus the form of the early dances was gradu-
ally extended, yet without achieving unity.
Beyond the fact that dances of a similar char-
acter followed one another, there was no
melodic connectim between them and the
sequence of keys was rather loose. Yet the
formal Jimittclons imposed by the practical
purpose of the music were compensated for by
the rich variety of melodics which for obvious
reasons had to be simple, tuneful and rhyth-
mical. Many of (hem clearly show the dcriva-
doA from and influence of alpine music such as
yodelling turns, *• natural " intervab (octaves,
WALTZ
fifths and fourths), imitation of alpine melodies
{KiJtrfigtn or rofiz ds voefus) and fibres peculiar
to primitive wind instnioients. Thb alpine
Havour permeates Austrian dance music irom
Johann Schmeizer (1630-1701) in the 17th
century, if not earUer, to Johann Strauss and
the present time.
The most artistic examples of popular
orchestral danees of the late 16th century are
those by Mozart, who often stressed the
popular element by introducing actual folk
tunes or modelling hU own melodies on them,
and by imiiaujig. usually in the trio, ihr mock*
sentimentality of Viennese «ireet songs and
ditties. There arc, in addition, hints at
Spanish, Eiungariart and Croatian dance
music. Hr aho u'^ well*kn(»wn operatic
tunes of ihe lime, both fnim hrs own and other
composers' operas ^ h practice that l^nncr
and the two Johaim Sirau^srs lairr conrinurd
with great succes'^. 'Ihc'C Mi^rari sets contain
a variety of ditnc^'i such as minuets, tmln-
ifinsti, S<hit\fiT, LaiuJIft and sicnv rustic
wait ACS. Haydn wrrxc several sets of or*
thrsiral diinccs, and Ins ** MouveiiM ni lU*
Waitre ” in a sonatina of about 1766 is sup*
posed 10 haw been the first kiKiwn imiance of
a piaiK/fiifie waltz. There are also a number
of dances by Uitiersdorf and Beethoven, >ut h
as I hr h tier's ' Landlerischc Tanac * {1603}
and the drlighlful 'Wirner oder Mudlingtr
Tanze ' (1U19), written for a village band of
(M'ven players and consisting of minuets,
Undltr and walue* in varying orchestral ion.
Ocher <oinpo»ers of that period whs» helped to
establish ihe early waltz were Johann Nepo*
inuk Unimnel, Daniel Steibelt (pianoforte
waltAcs with an ac< ompaninienl of tarnUKirinr
and triangle), U. A. Forster, Anion Aberl,
Nicolaus vtm KrulTi, Joseph Mybler, ). A.
Amnn, Ignaz Moscheles, ,\nton Dialirlli (who
provided the waltz for lh>eihoven‘s famous 33
Variations, Op. izri), l^js Abeilh. Josejdi
\Nolil (who anticipated Schulicrt with waltzes
in a minor key), K, K. Harlknorh (a pupil of
Huinmel's whose concert waltz with a
fuRhetla may be mentioned as a musical
curiosity) and many others,
Ihc p<»ini to lie stressed about these early
dances, whether for orchestra or pianoforte,
li that up to the beginning of the igih century
they were written as pure dance music and not
mteniloj to he performed at concerts. It was
apparently Hummel who first hit upon the
idea of writing sets of pure euncerl dances for
the pinnoforte, (The incentive came partly
from the linprovemenLs made in the making
of concerl inuruntents.) The first of these
sets was hU 'Tanze fur die Apollo Sale', Op.
31, compTH^ for the opening, in 1808, of one
I * largest and most fashionable darsce-
halls. Vet the style of these and other Hummel
dances u si.U that of the old TnOscAr and the
169
LdndUi waltz — slow, heavy and with each
beat of the bar accentuated, particularly iti
the baas. Most of these sets hav^e an extended
coda with teiUlant pianist ic cHecu, some of
them indulging in descriptive nuolc of a rather
naive character, such as the 'Six V^'alt^cv with
a great Battle Coda Op. qi. Others haw
four to five trios to the main dance, includ-
ing some v’oeal quartets. llummcTs wali/cs,
though of little artistic value, arc hUiorkally
important, for they started the line that was
to lead to the concert lvall/e^ of Weber.
Cisupin. Drahim, Liszt and other mrn.'inlic
composers.
The most beautiful examples of surh early
pianof(»rte darwet arc those by Srhulicrt.
Unlike Humnu’l, he wrote them in ihe fir»i
place to be darned to, thus com inning the
older pfacilce. He incut probably improvised
the riiajoriiy of these dances, >.ubse<iuefttly
jKitiing on pvprr those he liked Iw and
stringing them together in various sets. .Some
of these sets con lain owr thiriy iiundierN —
Ur t«io long fi>r aeiual daiu ing. and it mny be
asAuiried that in ihj» Liter form the composer
iriienJed lliein to Ih* pla>rd as pure jiiimolimle
(nusK . *1 he < limit' of ilir piantjforie instead
of an orcU^lra was deirrmined in the liisi
place b>’ tile hit I male r of the ore.v
sioiis for which they were comp wed, vuch as
the '* Schulieriiads and uKo by the leth*
ftieal improveitiem i>f dm ins I rumen I to wIim h
refifctKr has already Im*cii made. {Tliere are,
however, some early SthulM'rl dames writh n
for siring quartet string t>reh<^ira.)
Scliulicrt's dances best ilUisiralr the style
of tlie early |t|th*(rmuri Viennese' waltr.
Many still iM'eathe a rusin; air, I heir (kvcc* is
<*n the wlude slow aiul steady, eac h lieal of
the bar h stressed, the meIrKly mosi]y moves
in even croulkeis and quavers, and there are
no«>c of ilie symopaiions and (r<As<tliyihms
of the later Wnnese waltr. Hybrids Ixiween
and true waltz, they rcllect the \i’ieiier
(ffwmtiukMr. the Itomely aimusplierc of the
Biediimew, Some of these waltzes arc *liU in
the primitive ftirm of two eight-bar hc lions
(‘ Walzer Op. 9, ‘ Deul^ehc utid
klcosaaiscA ', Op. 33), others run into iG and
24 liars, oc are in ternary form (‘ Damen-
Lndlcr', Op. 67) and nthcr.v again hav« a
proper trio (' Uuie Wal« r’, Op. 127), thus
foreshadowing ihe extended walizes c»f Lamu r
and the elder Strauss.
The chief credit for establishing the waltz
as a eonccrl pieec goes to W eber, With hb
‘ Inviution lo the Dance' (t$ir)) he raised the
wait* from the lower sphere of dance-hall and
ballroom lo the brilliance and glamour of
the concert platfiK-m. Weber had previously
written a number of German dances and
waiters, both foe oeelie^ira and pianoforte, yet
11 » with ihc ' Invitation ' that he ircalod the
170
WALTZ
protutype of the romtneic concert waltz, lu
novelty was twofold. For one thing, it wu
frankly programmatic, illustrating a dancO'
scene between two lovers, thus becoming the
first example of a tone-poem in Ihe form of a
waltz. The second new feature b its form.
While previously the waltz had, if at all, two
or four perfunctory bars setting the rhythm
for the dancers (Schubert) , U’eb^ was appar-
ently the first to preface it with a proper intro-
duction of a truly poetical character, creaiir^
the model for the long introductions of the
later dancing and concert waltzes. Moreover,
the coda of the ' Invitation ’ refers back to the
introduction, by which means Weber achics*ed
a cert a I n formal u nil y. Th is un ity U made st i II
closer by the manner in which the waltzes
them«<lvet are chained together. Instead of
the loose and rather casual string of waltzes of
Hummel and Ik Hubert. Weber's dartce shows
a clear formal plan (rondo) with a m'cH-
balanced contrast of mood, melody and keys.
Moreover, the return, at the end of the set, of
the opening waltz stresses the feeling of formal
unity and logic. The indindual waltzes ha\c
grown in length — (he first, for instance, runs
into sixty bars ->■ and hence necetstiate a re-
duction of their number to only five: and
while Schubert's waltzes oAcn suffer from a
quasi-orchcsiral texture, Weber’s ‘Invitation’
is intrinsically keyboard music of the bravura
type brilliant, elegant and of a fast tempo,
which latter fact led to his lengthening of (he
individual waltzes.
Thus Weber gained for i\te waltz its rightful
place among the typically romanisc concert
pieces such as the nocturne, Intermezzo,
capricrio and scherzo. Freed from the irksome
limitations which pure dance music imposes,
composers now b^an to widen its musical
scope by the intr^uction of characteristic
features from the romantic instrumental style :
richer and more varied harmonies, subtle
modifications of the basic rhythm, piciurcsc|ue
orchestration and symphonic devices. The
outstanding examples of such romantic concert
waltzes for pianoforte are to be fourtd in
Chopin. Liszt and Brahms. \Vhile the first
two more or less followed (he ^Veberian type,
developing the waltz into a brilliant viriuo»o
piece, Brahms, in both the content and form
of his waltzes, looked back to Schubert, yet
adding a lyrical charm of hU own and greatly
enriching the texture (r.g. the “ contra puma! “
waltz No. i6 of Op. 39) : and the two sets
of ‘ Licbcslicderwaizer ’ for piano duet and
vocal quartet may be said to represent an
altogether individual treatment. Of the host
of other composers who, to a varying extent,
contributed to the body of romantic piano-
forte waltzes, at the same lime introducing
a certain national flavour, mention may be
made of Tchaikovsky, Liadov, Rubinstein,
Glazunov, Smetana, Dvofik, Grieg and
Sibelius.
A still wider field was opened to the concert
waltz in the orchestral medium, where it grew
in dimensions frequently assuming a sym-
jrisonk and tone-poetic character (Berlioz,
* Fantastic Symphony ’ ; Liszt, * Mephisto
Waltz No. 3 ’ } Saint-Sa^ns, * Danse ma-
cabre ' i SitwUus, ' Valse triste ' ; Richard
Strauss, * llius spake Zarathustra ’ ; Ravel,
* Vakes nobles et sentlmentalcs ' ; not to
mention the use of the waltz in innumerable
ballets and operas of both romantic and
modern times — Delibes. ' Sylvia ‘ Cop-
pfiia * ; Tchaikovsky, ' The Sleeping Beauty
* The Nutcracker * ; Ravel, ' La Valse ' ;
Oflenbach, ‘ Tales ^ Hoffmann ’ ; Gounod,
* Faust ' ; Wagner, ‘ The Masierslngcrs
‘ Parsifal * ; Richard Strauss, ‘ Salome
' Eiektra ' Roscnkavaltcr * Intermezzo *,
' Arabella ' ; Puccini. ' La Bohdme * La
rondine ‘ II ubarro ' ; Berg, ‘ Wozzeck ' ;
Shostakovich, * Lady Macbeth of Muensk’;
Britten, ' Peter Grimes *, etc.). The reaction,
in the period between (he two world wars,
against romanticUm made the waltz a welcome
target for caricature and penifiage, i4.
Stravinsky, * Petrushka * The Soldier's Tale *
(partly), the abos’c-meniioncd works by Ravel
arvd Shostakovich, and \Villiam U'aJ ton’s
* Facade *.
Parallel with the growth of the concert
waltz went (he development of the dance waltz,
and here S'icnna, with Lanner and ihe Strauss
family, Ukes pride of place. The Viennese
waltz is of low parentage. Its cradle stood in
(he inns and beer-gardens of Vienna's rural
suburbs, and the dUtricU stretching along the
Danube. In these esinblishmenis, which were
frequented chic Ay by the lower classes, small
baMs consisting at most of two violins, a
guitar and a double bass entertained the
guests with lAndUr, Dtfhtty waltzes, folksongs
and popular ditties. There were also some
more prominent danre orchestras performing
in the coffee houses and open-air restaurants
of the city, such as the bands of Labilzky,
Fahrbach and Michael Pamer (t78a-t827)»
a noted waltz o^poser of the time, in whose
orcliestra Lanner and the elder Strauss began
their career as string players. The foundation
of the Viennese waltz as we know it was laid
by these two composers, w'Jjo developed the
essential features which were later merged
into a more organic whole by the younger
Strauss. Following Weber’s precedent in the
* Invitation to the Dance Lanner and the
elder Strauss established (he imroductlon of
the waliz, at times using material from
the orchetral and operatic music of the tune.
While Strauss's inuoductions are mostly in
the nature </a TuxhJ.e. a preliminary flourish
just long enough for the dancers to make ready.
^VALTZ
» 7 '
lanscr aimed at more elaborate pieces —
some of diem being inspired mood-pictures,
such as the poetic Introduction lo ' Die
Romandker Op. which partly served
the younger Strauss as modei for his quasi-
symphonic wait; prelude. Lanner and the
elder Strauss reduced the formerly almost un>
litnited number d waltzes in each set to an
av'erage of five, concluding the set w’iih an
extended coda in which the principal wallt
tunes were re-staled, much In the manner
of a pot-pourri. The form of the indmdual
waltzes diflered little from Schubert's: two
sixieen-bar phrases usually forming Part I and
M and often rounded ofT by a repetition of
Pan I {// : A ; // : b : //A//). Stress was laid
oa strong melodic contrast between the two
parts — the first being sustained and l)*rical,
the second more energetic and markedly
rhythmic, or tier ttnu. Such contrasts were
often exploited in the servUe of itaiv'c pro-
grammatic ideas, as in the ehler biraussS * Uic
vier Temperameine Op. yf.
Uoih Lanjier and Strauss vsere excellent
fitldlcrs. and accortling iu the praetke of ilteir
tiinCi which still obtains in some Viennese
dance bands, combined the function of leader
aud conductor. 'Miis prartical experience on
the instruineht explains the eharatterkiic
string writing of their waltzes, many of which
urjgitinU’d in simple violin iuiftros isaiions that
were 8nhsr(|uently elaborated and scored for
fiiU orchestra. Mrnce ihe aburuJanre of
'|><'cific violinistle effects such as the exj>loita*
lion of the open strings by the choice of f), 1).
A and lv as the favourite doul>lc*st»|M.
euphonious sixtJu. "sobbing” thirds and
porliifwiili, imparting a luscious and sen ti-
me nto I note in ibe mude. wide lra|n from the
first lo the fourth strings tunes on tl>e O string,
close alternation of dilfcrent bowings, crisp,
dkori up'btiws on repealed notes and id
playing which under the njnic of
" schnoffcln " (snorting k was a particularly
favourite device of the Lin4 dance bands.
Thu custom of giving speeul names lo a set
of waltzes secins to Jiave orighiatrd with the
elder Strauss. PreviiKisly referred to simply
as Dtulithf and Walzff (Haydn, Ntuzarc,
heetliovenj, they were lalcr issued by some
Vienna publishers in albums which in order
to Attract (he public bore such names as
'brnsi und Tundriey’ (iBsa) and 'KarnevaJ*
containing cheek by jowl dances by
oeelhoven, Schubert, Humrrsel, Clzerny, Gyro-
weiz and others. It was the elder Strauss
who called hb very first opus ’ Tauberin
from the Gasthof " /.u den zwei
fauWn ' in the Undstrasie. where it was
urst played in 1826. In addition to the fact
that the public was more likely to remember.
Schonbrunner ' (Lanner) than
vvaJtz m F major. Op. aoo, tides were given
to commemorate the locale or the occasion
for which the particular waltz was written, nr
to indicate some programme (' Hietzingcr
Reunifm \>*al*er’. ‘ TagUoni W'aUer * Re-
medy against Sleep*, 'The Neapolitans’, etc.).
^^'ith Strauss's sons, Johann and Josef, the
Viennese waltz reached its classical period. In
the main the two younger Strausses adhered
to the form of their predeers<>ors, enlarging it,
however, by extending both introduction and
coda. In some of ^fohann's master sets
(‘ ^Vein, Wrib und Ce»ang ' (hschichten
aus dem U'lenerwald ' Katserwaber ') the
introduction represents a true ikcshe^inil
prelude, foreshadowing the (^incspal waltz
tunes and drtked out with the cxlcrnnl
trappings of symphonic writing siaii as
deYrh»pntenl-lil(e passages, more idalior.tio
texture, interesting harmonic sleiaiU and rich
orchestral clfccts partly borrnurd from J.i«rt
and Wagner. In the actual wjiurs Johann
Sirauvs romlMiHt ihr rhythmic venc of his
father with l.aniier's lyikai sharm and tunc-
fulncu, adding a graceful clrganir, a new
pk|uancv nf rhythm and kirt hrstr.vion whuh
rHlectrd the splendour and jaif eft lurf
characterkiic <kf im]>eria] Vieikii.'t during (hr
second half of the Mph teniury and e.inied
him the epiilwt " 1 he Walts King”. Kar
superior to lanner and his father in lr< I kin cal
skill and Jets $hs>rt*winded in hb melodic
invention, in hb lirst walt/es he allows the
melodv to grow from within riklhrr ihun
plaster i ng it toget Iwr from short tnui if» . Hr ncc
tike svide ssscep and natural flow of hU master
waltzes. Much the same may be said of hh
younger brsMher Josef wl«). while las king
Johann's sptintaiieity and hght-heartsd rio-
gaiHc, wu\ in M*mc ways a murs- prikfound
knusttal talent with a marked leaning towards
harkikonic subilrttcs.
'Fhc general pace of the Strjiuvs waliz is
ji^leraie {». -c. Oj*?;), whi<h alh.u'S suffk-
cknt latitude to achieve Ih'xlbility and
rhythmic case. Somv rlfecls not $|H\ifically
marked in the scores must be observvtl if the
traditional style of the music Is to be prrs#TVk*(l.
Reference has already been made lo the slight
anticipation in the acromfianimcnt of the
KTond bcal, to wlikh may lie added the so-
eallcd " eiAsshleifcn *' or stow gllding-in at
the o(>cninf of some wali7««9 Ijefore the true
tempo b taken up, riicdandi^ and short
earturae before the attack of a new phrase.
While Strauss dominated the scene of
Viennese light msisic, there were a number
of minor contemporaries deverxitkg mention.
Some carried on the tradiiit^n of writing
irKlependcnt waltzes, such as J. V. \y*agncr,
Komzdk and iCiehrer, who were all conductors
of miliury bands. Otlurs concentrated on
the opcreiu in which, since Johann Strauss,
tl>e waltz forms the mainstay, such as Suppi,
WALTZ (Gustavus)
WAMBACH
the founder of the VienncM operetta, Mil-
locker, Gen^ and Zeller. Composers canying
the tradition into the twentieth century and
almost up to our lime include Ey&ler, Fall,
Oskar Straus, Lehir, Kalman, Benataki and
Stoltz. But with the collapse of the Austrian
empire Vienna lost much of its glamour and
gaiety, and this was reflected in its light music.
Its gradual decay, noticeable already in the
flrst decade of our century, showed itself in (he
use of worn*out cliche, of a pretentious har-
monic and orchestral language and, abov'e
all, in lush and cloying sentimentality. The
Viennese operetta became a hybrid, an in-
congruous mixture of elements from tragic
grand opera d U Puccini and popular musk of
an international provenance with a strong ad-
mixture of Viennese, Hungarian and Slavonic
flavour (Leh&r, Kilman). That also affected
the Viennese waits, which thus loei the
sparkle, elegance and buoyant freshrtess of its
former days.
Of the innumerable waltz composers of
other countries, the most important was the
AUatian Bmlle ^Valdleu^e], whose waltz sets
run into several hundreds. In contrast to the
Viennese waltz, the French is slower and
deliberately cultivates a languid, efleminaic
and sentimental note. Very much similar U
the " Dostun" or English waltz, as it is referred
to on the Continent, one of its characterzsik
features being the suppression of the true waltz
rhythm by a sarabandc*like emphasis on the
Kcond beat and a frequent omission on the
second and third beats of accompanying
chords, while the inner parts are often marked
by a quasi-contrapunial, continuous quaver
movement. w. c.
BIHLIUCKAPHY
Dtg, Oikaz, * Dcr Tans * 1906).
BoMMt, r. M.. * (JcKhkhie do Tsnso ia DntKbUnd *
iZaar
C«aAta. Mmco, * Tlw Hklery of the Walls* (London.
194^).
‘ Onhmalc' dcr Tankunti »n Owccmkli* (Vob.
XXXIII. XXXIV. XXXVI. XXXIX), «d. hy
Ou3(av Adler <Beri in, r»)0).
Drwsv. Crnst. * |uhaim duauw * (Berlin, lost).
' Handbwch dcr MuatkyruaenKhaA ’, Art. *TaA< wd
Taiamwik * and ' Wiener Tancnniaik «r>d Opa-
r«ue ’ (ad. by Ciuauv Adlav, Parfjr>, ippel.
Lamop. Fniia, ^icaef Lannrr und J«mm Strawa*
(Winnie,
Me><oaLsioHM, Iohaz, * Zus Eniwkkhmc dea Walaars*
(S.M.W., Vol. Xllll.
$Aci(i, Cuar, * A WockI F1»wr> of Uta Dasaa * (New
York. i 9 S 6 ).
WaiQs, BzuMO, * Ccachkhia das Waltan ’ ( f. ipM).
Wiuoa, THnuA*, ' A ISaKnpiMa of die Cerraet Ma iled
<^Walt>ins' (Lendee, tZid).
* A Carrec 1 Nlaihad Carman and FrmcK Waltzinc *
(Landdii, 1617).
WALTZ, Gustavus (L ?; / > London.
< i7$3).
German bass singer. He is said, on un-
certain evidence, to have acted as HaodH’s
cook. He appeared as Osmyn in X^mpe’s
' Amelia’ on 13 Mar. 1733, as Polypheme in
Handel’s ‘ Acis and Galatea *, when it was
performed as an “ English Pastoral Opera "
under Ante at the ” new English Theatre in
the Haymarket ” on » 7 May of the same year,
and thereafter in many other musical pieces,
his last appearance at Covent Garden being
in 1751. He also sang in several of Handel's
oratorios, including * Deborah ’ {Abinoam},
‘ Atbaliah * (Abner) and ‘ Saul ' ; his name,
with that of Reinhold, was pencilled by Handel
over the duct " The Lord is a man of war ”
in * Israel in Egypt '. His portrait was painted
by Hauck and engraved by Muller. He Is
seated unth a cello ; a pipe and a pot of beer
are on the table beside him. It belonged to
J. W. Taphouse of Oxford and was exliibiicd
in London at the Loan Collection of the
Inventions Exhibition in 1883.
Handel, on one occasion, speaking to Mrs.
Cibber, said of Gluck : " He knows no more
of conirapunta than my cook Waltz”. This
very impolite speech is often misquoted (as,
for instance, by Berlioz in his Autobiography,
chap, xx) and given as if Handel had said "no
more mtaic ; but iu force as uttered is very
much altered when we recollect that Gluck
was no great contrapuntist and that Waltz
must have been a considerable musician to
lake such parts as he did at Handel's own
choice. Burney describes him as " a coarse
flgure and still coarser voice ” ; his voice
must have been a bass. He was also a
singing-teacher, for Isabella Young was de-
scribed as "a scholar of Mr. Waltz ” at her
flrsi appearance on 16 Mar. 1731.
o., rev. M. s. (h).
Besu— S httm. W, C., *0usuvui W*Ui: Wa* lie
Haodd's C«ok ( * la ' Cenceminz Hendel
(UodM. iM>>
QmmU)^ S<t gelt lt\).
WALZERTRAUM, EIN (Opereiia). Stt
Straus.
WAMBACH, Emiel (b. Arlon, 26 Nov.
1854; d- Aniwerp, 6 May 1924).
Belgian composer. He was at first a pupil of
his father, Paul Wambach, who laughl the
bassoon al (he Antwerp Conservatory, then
s(udied at the Brussels Conservatoire and
finally at Aniwerp under Benoit, Mertens and
Callaerts. At (he age of fourteen he had an
' A VC Marla ' performed at St. Augustine's
Church at Antwerp, In 187* a ' Plechtigc
Marsch ' (' Sderrm March *), and from 1873
onwards several of his works were heard at
Antwerp Cathedral, of which he later beca^
chapel master. In 1900 he was appoints
profosor at the Aniwerp Conservatory and to
1903 inspector of (he Belgian music schoo^.
He succeeded Jan Blockx as director of the
Antwerp Conservatory in 1913.
Wanbach’s works Include the operas
• Quinlen Malsys ’ (Antwerp, 1 900), ‘ M^lu-
tint', ‘Joan of Arc ' and ‘Yolande : the
oratorio ‘ Mozes op dc NiJI'; a childrens
WAMSLEY
WAXN'ENMACHER
’73
cantata ; a Tc Dcum ; pJanoforie ;
Mng^, &c. E. 8.
WAMSIXY, P«ter. Su ^VAiJ4SLLV.
WANDA (Opera). Sft DvoftAK.
‘‘WANDERER** FANTASY. An ex-
(enaive pianoforte work by Schubert, Op. 15.
in C major, composed in No\’. i8?3. It is
m four sections corresponding roughly to the
four movements of a sonata, but flayed with'
out a break. The name derives from the fact
that the slow movement U a set of variations
on a theme derived from the song ‘ Der
Wand ter ' composed in *8t6.
WANHAL(L), JohAAo. S*f S'aniial, Jam.
WANLESS, Joha (6. > , rf. ?>.
Knglish ibth > lyih'ccntury organist and
cornpinrr. lie was organist of l.inroln
(!ailicflral in and was '•till there m some
capacity in 16a 3, when the Gate House
Ghaml>ers in Vicar's Cuurt were assigned to
him at a rent of in». per annum. An anthem
by him, * l*|ra<l thou my cause is in T<‘nb-
Odl. 43;j, and he was possibly also the «>m'
poHi r the funeral anthem ‘ I am the
Resurrection *, j, fiii.
WANLCSS, Thomaa 6. ? ; V. ?,
English organist and com$>oser, ? son of
the preceding. If, as K^ems likely, he is the
same a** the *‘'l*h<*mas Wanlessc '* ssho was
summoned to appear before the Corporation
for Regulating the Art and Science wf Music
itt i(}<i'4, he must have tliH an old man and
was probably Ixirn some lime about or must
probably Ixfore 1640. tndee the date of
3 Feb. then* ii the follnsving reference
to him in the ininutei of the (>)rnoraik»n
(HnrI. MS
/hdrreU bv ihe MArsliill. Vs’dtcbM aiuj Amiumiu
;4«he Art and S<irnrr orMiuiri.^ iK«i JmephtJalUviiv.
Mn Ilr»~«r4. mhI IIuhiwu ( ? , be
•lul are Nearby fitml fftr iheu iwei 8j»near«ace upon
Mfnoii* lhf«T pound* eaili penAn.
KrxHV CiK>ar, Dep{Mi>| Mar^ksU,
lie was appointed organist of York Mii
sier on :$ Ape. tSgi. and is described 1
the Chapter Inwks Uiere as "in musiejs n
perium". He held this post only until i60'
when he was succcedesi by J, Heath Ii
graduated in 1608, and a 3.part verse amhei
with instrumental accompanimem, ‘Awali
up, my Rlory*, in the Tudway colleciio
« dcKribed as - con
hiT n Organist of York, k
0. u Another anthem, ‘
and^t r ^*^5 ly.eao'io?!
and » referred to simply as by “ WaiUee *
Dm Melee PuUn.iune* In 4 psru. CompoiM hr iKr
iM of (he P8/ith CIhurc h of Si . AIk liaelN of b< tftev \ 1 n
Vork. . . . J. KepdnsuJI, t»r Thwma* Baxlei : Lvhil<Mk.
1703.
Wanless was also the composer of the 4*
pan ‘ York Litany no two vtTsions of whjrli
agree. Jebb primed three in his * Oliural
Respimses and l.iianles ’ (18461. and there
is another in R.C.M. 813 104. j. m. fnj.
WANNE, Kerttu ',h. Turku [.Vho], qh
July 1905}.
Finnish violinist. Hating sludiod dir
violin at the Hiisingfort Ounsert'atorv. in
Berlin and I'aris, she frequrnily inurtsl all
over Kurope and many times visited the
L'Ji.A. -She has published Ixviks ufapluirisnis,
pocir>*, etc., and arranged nmtic fur 1)10 vi<*liii,
composed violin and ptiiiolbrir plrcrs, an<l
songs- Her permancni accompanist is .Vttrid
Jouiseno. a. h.
WANNENMACHER , Johannaa f>.
.Veu4'nburg o Rhine. rf. Inlerl.vki n. 1331 .
Girman ((utifKwrr of Swiss dixenl. In
I'jiu J>c was living in B»Tne, wlure lie Wrt«
eliTtrd (antor l»)' the tanont of ihc cullrglan*
^un<laii<>n of Si. V’iment. His dudes \stit t<»
rundiKi the <holr. to inainiain and InstriKl
the (hotrdxns and to piovide new fnrnpnsi.
tlruis fiw the church, lie was ihen in orders
and vsav re quired to say Mass there ihn*e <ir
four tiiiMs a w<*rk. .\ trivial disputr Indiircd
him to leave Berne, and in 1514 hr was c.-snon
and cantor of ?>i. Nicolas at Treiburg j 8.
There h< jninetl a circle ,»f | ImTi.iiiiM si hohirs
ami mjwlr the acquainianie of (;ian ai>. who
highly esieemed him as a musk inn. In ijiq,
fi*r some reason unknr>wn, hr serreily JcH
Freiburg to return to .Switzerland and oUer
hj> servers <0 Cardinal Skliimicr, Ubhop of
Sion (Valais I, but was jMrsuaded to re I urn
In FrcilHjfg. ARerwards, coming under the
Inllurnce of tlw Zurich reformer Zwingli,
with whom he entered info correspondence,
hi* imbllicd the reforming opinions and in
• 53 ” Ptthlkly renounced (Jathnlkisin. which
htJ to his l»elng inj|)ris«»nnl and subjected to
the torture of the rack. He was idlimalciv
IsanIsheU front the place an<l l<x»k rpfugc in
Heme, which had emhraceij Protestantism,
but no longer finding ilsere any prospect of a
musical appointment, was fain to accept in
153* the post of town clerk at Iniertaken,
w’hicli was olTered him, where he remained till
his death.
annenmarher was a composer of .some
consequence, though he left few works behind
him. Glarean in Jus ‘ l>oclecacliordon '
inserted as a good example of polvphonic
composition in the Hypomixolydian mode a
cTOideraMe motel for 4 vok« in two f^rls by
\\ annenmachrr, ‘ .Viicndile, populus meus
which he $a>^ was publicly perforuud in
1516 at Freiburg and greatly pleased the
‘ ThcMraanc ab« appean LaiiaitH into V'simius.
'74
\VANNINC
WAR SONG
cuhured ptopic of the place; meaning, no
doubi, the Humanist schoian then living
there and their sympathisers. He xetns also
to Jnnl at the motet's having had a political
significance, the swords selected from various
Psalms being intended as a dissua5i>'c to the
Swiss from entering into any alliance with
Francis 1 of France. A still more important
work by \Vannenmacher is his setting of
\\’oirgang Dachstcin’s metrical version of
Psalm CXXXVIl, * An Wasserducsen Baby^
Ion in five divisions for 3*6 voices, which
appeared in Ott's ' Liederbuch ’ of S 344 >
This piece alone enables us to form a very
favourable judgment of Wannensnacher's
merits as a polyphonic composer. After his
death there was published a small collection
of German two*part songs, sacred and secular,
under the title * Bicinia sive duo Germanka
ad aequales . . .' (Berne, 155$). j. st- u.
DtSL, — CeeuNa. AaNoio, 'Ok in drr
Schw«ks tur ^ii dee RrforfnsUoB ; LeWit usd
Werk« von Boriholomsui Frtiik. Jottonnn Wsiuma*
mscher. Co»ine( AUci ' (Asrau, 1933).
WANNING, Jobauiea (or Johnuefl
Wanisingus) (^. Kempen nr. Zwolle, c. 1^1 ;
d. ? Dansig, <. 1604}.
Dutch contrapuntist and composer. From
1 580 to 1 590 he was Kepfilumiur at St. Mar>**s
Church, Danzig, and he reccKed a pension
for his work in 160a. Otherwise little is
known with regard to his circumstances. His
most famous work is two volumes, containing
3s * Scnientiae insignlorcs ex Evangelts
Duminicalibus excerptae * for 5, € and 7
voices (published 1584 and 1390). Two
examples from thb work were sung at a
concert of the Vereniging voor Nederlandse
Muxirkgcschicdcnii on 3 May 1879, whkh
had been with two others (the numbers in the
original publication were 19, ao, 96 and 43),
published in 1878 in the proceedings of the
Vereniging. These were edited, with an
introduction, by Robert Eitner. Other works,
which were popular in western Europe during
the compotcr's lifetime, include * Sacrae
cantiones ' for 5 and 6 voices (still in MS), a
5-paTt Mass, a 7‘par( ‘Jubilate* assd motets in
organ tablalure. H. A.
WAl^SKI. Polish famUy of muUcians.
(i) Jan WaAski {h. western Poland, 176a ;
d, Poznan, P), violinist and composer. He
w'rotc numerous compositions whkh remained
in manuscript, and many of which are lost.
Those discovered include a Symphony in D
major for 2 flutes, 2 horns and strings,
' Litaniae Lauretanae ’ for S.A.T.B. with 2
violins, 2 horns and organ, and ‘ Missa
pastoralis * for S.A.T.B. with a vwdins, cello,
flute, 2 horns and organ. Wanski, who died
some time after jSoo, also wrote some operas
and very many religious songs, polonaises,
military marches and mazurkas.
(«) Roeb Wanski (ft. ?; ?, 1810),
violoncellist, son of the preceding. Interested
mostly in chamber music, he founded a string
quartet in which hU nephew Karol Kurpidski,
later the composer of many operas, took part.
Uctlil his death Roch ^Vahski gave guidance
and musical training to his nephew.
(3) Jan Nepomuoen (Jeaa Nfpomu*
c^Bo) WaAski {b. KaUss, c. tSoo; d. Aix*en-
ProvesKe, ?), violinist and composer, brother
of the preceding. He ivas educated at Kalbz
and Warsaw. In 1631 he went to Paris and
continued his studies under Baillot. After
completing them he toured in Spain, Portugal,
France, Italy and Germany. He extended his
travels as far as Malta. He relumed to Paris,
where he became a member of the Academy
of St. Cecilia. In 1639 he settled at Alx^eo'
Provence, where he married a Frenchwoman
and gave himself up to leaching and compost*
tioft. He died there some time afler 1840*
His published compositions include a * Con*
certino ' for viokn and orchestra, ‘ Fantaisie
sur Norma ' for sdolin with pianoforte, string
quartet or orchestra, and works for violin
including * Air national anglais ‘ Morceau
de concert sur Lucie * Caprices de concert \
* Air pdonais vark * Variations sur la
Romtnesca ‘ CarnavaJ de Varsovie *, * 12
Eludes brillantcs * (technical sludiesh ‘ 12
Variations on an Original Theme ', ‘ Six Etudes
facilea ’,*12 Melodies en forme de caprices
etc.
Waiiski also wrote two methods for the
violin and one for viola, as wyII as a iexi*book
on harmony. Besides he published ‘Gy*
mnastique dcs doigis et de Tarchet ', as well as
numerous pieces for violin alone and with
pianoforte accompaniment (romances, fugues,
fantasies, ete.). c. m. h.
WAR SONG. Used nowadays by armed
forces as a means of lightening the t^ium of
marching, the war song was in its origin an
aid to discipline and an incitement to conflict*
Among primitive peoples it often accompanies
the war dance and U part of a cult ritual. In
ancient Greece it had a more secular counter*
ance, and this has continued into modern
times. The songs of Tyrtaeus, sung ^
Spartan warrion at the camp fires, kept the
hearts in good cheer, while the anapaestic
marching ditties not only enhanced the
Dteasure io the advance, but hardened the
spirits of ihcae entering bat tie. Nor was Ron^
wanting in this respect, for Uvy tells us w
bellicose dance-songs {tdma camina). It wm
much the same in the East, where the Pariht*
ans, aecordir^ to Plutarch, chanted ®'
vkteey at the onset. The continent Cel u
entered the c^fllci to war songs, as Tacitus
informs us, while those of Britain, says
Meyrick, chanted their defiant Arj'fws ynp
Tacitus also points to the Cermanic
WAR SONG
•75
iribcs using war songs» and old English, i.e.
Angl^Saxon, proves in such words aa fjrdleoJ
and gudlfod ho^v importAot was ihU mu^c to
the martial throng. Ai the battle of Hastings
{ioC6) the Norman nhsMut Talilefer rode in
the van chaniiog the ancient 'Song cd Roland
and Charlemagne *, and three hundred years
later the French were repeating (he same
refram at Poitiers (1356).
In those days the war 5ong played a con-
siderable part in military afTairs, and snatches
from many a thatiscn 44 gntf enlivened both the
bivouac and the march. Indeed, what could
have been more heartening to ilte coming tight
liun those songK, which told of the glorious
deeds of ihrir hu'etaihcrs? In the ntiddle
ages only the king and his lieutenants had
music, and because of that the common
soldier found such songs a desideraiuni, both
as a recreation and as an inreniivc. Uy (he
close of the tjtli century, hoH-esTr, many
changes eanic into the economy uf war. L'niis
hegnn to have irunipelcrs, drummers and
pipers attached to them, and it was their notes
which had to sufftce for both the disciplined
march aitd the urge to l>aitle. Furtiser,
mercenaries were in the ranks everywIuTe, atsd
in the tight little island ”, uf which Dibdin,
Britain's Tyrtacus, song 150 years ago, the
toitgs uf the deeds of a Ilcreward the >Vakc or
a Richard O^ur de Lion would have had little
appeal to the hired soldier (sefdr = pay).
Siill, so long as the soldier had a voice, the
march it) g'song came to his lips vs hen occasion
demanded, even though ii may have beers
unoiliclal.
Yet the tiew wliller's ««sg was no locsgef
that of the cAcium 4< gtiie type, 'I'he Iron
diuipliric and drill of the Renahsance
theorists of the art of war had lessersed the
nccesvity for this class of song and, because of
dlls, material of a trivial nature came to be
adopted. Kastiier, the historian of French
military music, has shown wlvai was popular in
those days, and a good example is * Lc rs>y s'en
va deia les mons which was sung by the
soldiers of Francis I during the expedition
against ihc Milanese in J315. little later
came the 'Soinmation d’Arras’ (i343)> while
tnurc hinoric is that prcsers'cd by Tinctor :
Imiw. l9(n« Arnt^
Ki Hobinet lu m'u
I.S moti iJeimee
QiurwJ lu (>n vss . . .
Kow melodies were adopted in these days
IS of great interest, and the influertce of trumpet
calls in this direction is worihy of note. Even
the rhythmic cadence of the drum-beats
fashioned the metre. How Infectious these
military sounds were may be seen in the
refrains of the soldiers' songs, where we sec
how large a part onomatopoeUe had m
creating such lines as 4on4ai/it. 4dR, which
stood for drumming, taittau, pom, pom, for
trumpeting, artd ittro Ituo, for fifing. An out-
standing favourite of this species was the
rollicking * As-tu vu la casqueite du |>^re
Bt^caud'. Naudcsille airs naturally rlaimcd
the soldiers* cars, as we know later from
Marfchal Save, and at the time of Fumrnoy
(1745I it was 'Adieu X dr la TuIjjk;' that took
their fancy, a sentimentality that scorns lo
have an abiding interest with iho soldier, ’Fhe
‘ Marche de I'ureiiiic * was also in favour,
as was dte later * Malbrouk * 07 dt). 1 'lm
latter, strange lu say, arlually belojigod in the
nursery, yet those nonwn^e llm*s: '* Va Uin,
bon. bnti. bon; l)i dan. di, d.an, <lon ”, h.id
ilveir at trad km, atofold. for ilir rank and I lie.
Snme chastening rainc uith (hr Revolution,
as we see ill ' ^ ira ’ atxl ’ La C.irnugnolc
By 1830 iIm* .army went back to ihe prcvioiu
ideals, as the jMipularity of * l.a *
reveals. Strange to say this was of German
oriQin. aiMi t1>c w’ords irll of the old familiar
seniimpMi : "fl^iutan, l.euinant, Fahtidrich,
.Sergeant, nimm das M.idrI brj Jrr Hand
I'he interest of Germany in the soldier’s
mng rose to its highest plirh in tlir war of
liberal ion and afti-r. c i illrr t Ion » if * SohIa ten-
lieder • (Vienna. iBjr; Iiy u Major iXikcT,
dedicated i«» the Grown Frince of I’rnssi.i,
contained songs for rsrry hranili of the
sefvkc. Then came two othen : ‘S<»|Jaten*
lieder* (MrWn, idjtij and * I.jcdcr fur
^uisclieKrirgi r * (Halber^iadi, i8gBj. .More
imporiani was ihe ’ Licdrrhuch fur dcuische
Kriegcr und deuisclies \ vlk * (l)arinsudc,
1B30) by CJarl Weiicrshausen, in whiih all
units had their own songs. It wax iniinrn«ely
popular and ran into several edit lorn. Of
wider range vsas a * l.lcdrrUurh fur die
\ etcranen der (Jrtrwen Napoleons .\rmcc von
1803 bis 1814* (Mainz, 1837), whkh waj
fullovsTd by ‘ SohJaieiilieder von lV>rnen)ann ‘
(Berlin. 1836), and 'Sfddaien Lieder* tlkrlin,
(838) edited by Grell and Neithardt. the latter
being the baiidmasicr (18^2-40) of the
iVussian Kranz-Kegimeni.
In Britain the soldier was litde difTiTcnt.
IV earliest soWicn’ song, * Wc be soldiers
three* (r, 1C20), with Us amusing ** Fardonex-
a perfect gem. So is
Lilliburlero'. This latter began as a quick-
step before 168$, but svkh the pseudo- 1 risk
wc^, •• Liero, lero, lilliburlero, lero, lero,
bullen a la ”, the captivation of which was Its
mmsense, carried all before It. and Bishop
Burnet asserts that ” the whole army was
«*’• Even in Smollett's day it was
Mill a favourite. As we Have seen, tunes
especially words that
soldiers like. Kastner lias revealed how, afier
the battle of Rcurus {1890), the soldiers
improvised ^pUts. Kappey sutes that
the old Netherlands song ‘W'ilhelmus van
176
WAR SONG
WARD (John)
Nassouwc' (^. 1568), which was certainly a
iroopcrs* song {ReuttrUidUin) in 1603, was
originaUy a trumpet tune. In Britain pre>
cisely the same adaptation may be discerned.
* Ve brave boys and joUy tars * was set to the
'Duke of Ormonde’s March’ (1702) » 'Brave
Grenadiers rejoke' was sur^ to the 'Prince of
Orange March ’ (r. 1 734) ; the ' Garb of Old
Gaul ' {1765} went to the tune of the ' High-
land March ’ of General Reid, likevnse we
find the onomaiopoeiae of “ Tow-row-row ”
in ’ The British Grenadiers *. The vaudevilte
song conquered in Britain as elscw'here* and
even the proud regimental marches, by War
Oflicc authority* still cherish many ephemera
of the i^ih century, among them* La Mando-
lmau','rm Ninety-five’, ‘The Light Barque’
and others. The present century brought no
change in these preferences. Indeed 'Tipper-
ary' in the first world war artd'UlU Marlene’
in the second were of far greater popularity
than any of their predecessors.
Since the days of Dibdin, the " Tyriaeus of
the Navy ”, hide has been done in Great
Britain to encourage songs with a more
spiritual purpose — songs that might rank
with the ’ Marseillaise' of Fr arKe, * The Battle
Cry of Freedom ' of America or ‘The Soldier’s
Song ' of Eire. Elsewhere, too, attempts to
make use of the war song to greater advantage
met with opposition. In rdsk Kastner tried
to induce the French to adopt regimcnul
choirs, and he actually composed songs in four
parts for each corps i'Hite, but the seed fell on
stony ground. But Germany, with the ksson
that Kurncr’s ' Leier und ^hwert ' (181$)
lirought home, encouraged the war song, even
to the appointment of singing-masters in the
military schools. Russia proposed, in 1901,
the formation of regimental eht^ aetd allotted
a speeiai song to each regiment. This was
the suggestion of General Kryzhanovsky who,
quite apart from the moral value of the use
of rcgimerxial choirs, saw in them a tactscal
value, since the general staff could recogrUae
at a distartce by their regimental song where
particular units were engaged. In Britain,
m 1907, a move towards the betterment of
this type of music was made by Dr. Arthur
Somervell, the Inspector of Schools, who took
a wider view of the soldier’s song. Pointing
out how the Japanese had realised the mental,
physical and moral benefits that had accrued
from the organization of vocal music in their
army, he ui^ed that well-directed and care-
fully supervised choral singing should be
adopted for the British services. In addition
to the advantages mentioned above, he
pleaded, the territorial regimental song would
promote esprit dt totps- More important still
was his claim that proper instruction in breath-
ing and a scientific training in singing would
lead to physical fitness, in which statement be
had the support of Surgeon-General Eviti.
The scheme held out great hopes but, for lack
of support by the War Office, the idea lapsed
aetd died. h. g. v.
BIBUOGRAPHY
rU Sokticr'i
CenTsa. Fat.iu<eois ft Mncea, G. J.
Soof Book * (Loodoa,
Dnrvunc, F. W. von, ‘ Die VolksISeJef dcs dreiuir*
iahrifen Kriefu * (Berlin. i96«).
KAmta^ Gaoact*, * Lee Chnou de Fannie rrsnctiM ’
tra/u. i8ss).
* Manud e^o^ral de Rtwsiaue cAMOaire* (Pau,
iM)«
MacLfAv, John (Editor), *tVar Sonp* (*The Caelar*
bury Po«U\ ].«a>deo, n.d.).
TocMsa, F., * Ueber K/iefipoeiie * (Munich, iBd?).
* THe Orrbniral Timn’, 1906. pp. 9s, 96 .
WARBECK. ^WeeftBECKs.
WARD, John (». ?; d. ?).
English i6(h-t7ih-century composer. He
published in 1613
The FhiI Sti of Etwiish Madriiali To 3. 4. d
parts api boib for and Voyce** W’iih a Mournicyi
&esi( tn memory at Ftimi Hrwy. NrMly Compoted by
Me M’orV. . . . FnauHy Thomas Snodhain, 16)9.
Xhe work-in six paribooki — is dedicated
”To the Honorable Gentleman, and my very
good Maisier, Sir Hcnr^ Fomhowf, Knight ”1
and in the dedication tite composer (ells hii
patron that
Thew . . . ae« ihr pnmiiiaa of tr>v Muw. planied in
your pkiawre, aad aherahi by Uia («nde c&lme of your
ravowr.
Sir Henry Faruhawe (? 1569-1616), R«*
mcmbranccr of the Exchequer, of Ware Park,
Herts., and Warwick Lane, London, was a
personal friend of Prince Henry and a pr>
minent member of the Protestant ^rty at the
beginning of the 17th century. His daughier-
in-law, Anne, Lady Faruhawe, says in her
Memoirs (1630, p. 43) that he
MM t rtcai lovw of mwc. ti>d kep* many eenOemen
ihai were pw^tly ntll ^ual^Ard both in ihn and th*
Italian toofue. in whKh he H}eni some time.
John Ward was evidently one of these gentle-
men of the Fanshawe household. He witnessed
Sir Henry's will (dated 13 Nov. 1613), by
which the testator left to his heir all hli musical
imtrumcnu “except the greatc Wind Instru-
ment in my howie in Warwyck Lane ” } and
from Lady Fanshaw^e's will (dated 30 Feb.
1629) it seems that he was a trustee for her
jointure, for she states that by deed dated
ao May. James I (*607). she had assigned a
lease of the Dengcy Hall estate to her son-m-
law. her nephew and her ” ancient servant
Ward gem ”, in trust for the uses ol her
will- On 8 July 1619 \Vafd was granted iw
arrears of a rent of i:8 : 6 : 8, payable to the
kirsg out of the Manor of Bengeo, H*rts. ,
according to Sir Henry Faruhawe’s wdl this
manor had been conveyed to trustees as par
of his wife’s jointure. Ward was a witness a
Lady Fanshawe’s will, among the be<|utfts rf
which arc sums
» CiL Dwn. Jama I. QX, Siga. M*n, », No.
WARD (John)
•77
and two otben, ** three of my feoffees ”, aiKl
of mourning to John Ward ** and ihe rest of my
own servants Apart from his musicaJ com>
positions this is all that U known >Vard's
biography ; he must have died before 164J , for
in that year John Barnard printed an evening
service and two anthems b>' him in his collec-
tion of church music, which contained works
by deceased composers only. w'. a. s.
The value and importance of ^ Yard’s w'lvrk
as a madrigal writer was not realized before the
publicaiioti of his sec of madrigals in the ;ioth
century, (t is in his writing for five and six
voices more especially that he exhibits a
dclinitely individual style, aetd several of these
madrigals are to be placed in the very first
rank. * Die not, fond man ’ has long k»cn a
popular ra\'ouricc, and deservedly so, but ii »
by no means i he Jinest of t he set. ‘ I f the deep
sighs ' is a Superb and very rnwing |Mecc of
music. Like many of Wain’s madrigals ii
of great length; rsp<><iaUy beautiful ii the
lUssagu " Nor not a riwr weeps not at niy
talc Another magnilirrnt madrigal is * I
have entreated and I have complained * ; ihe
words arc by \N’ahcr Davison, and the final
rmsaage is very lM«auiift»l. * Out from the vale *
and * Up^m a hank with roses set * are ahn
lirst*ratc madrigals. A characteristic feature
nf Ward's work is his use of suspensions ; and
he alv> uses passing*notei soinctimet in a very
individual mantirr; an example of this is to
bu fuund at tbc words *' <\nd die 1 shall "in
* Flora, fair nymph '. RernarkaNe examples
of Wartl'x use of susperuiocis occur in the
< loving pswage of ' Upon a bank', at the words
" her cruelly hath JihI " in ' <>ui from the
vale ' a:id at ” with miseries opprest ” in ‘ If
the deep siglu V ery line massive effects arc
huilt up in tliK manner, and not infrequently
SIX dilfcTcnt notes of the scale are siinultan*
eoMly employed. But suspended di^ords of
all kinds, simple, double ajid triple are found
throughout Ward’s madrigals. He sJiowed
great taste in Klecihig wurds and seenu 10
haw had a v|)ccial prererrnce for the puerm
of Sidney and Drayton, and poems by both
'Valter and Francis Davison are among his
madrigals.
NN’ard wrote a good number of fantasies for
viols, notably ihosc in B.M. Add. MSS
29,372-77, as well as jiivces for tlie virginals, and
a bne collection nf fantasies for 4, 5 and 6 vi^s
u at Cli. Ch.‘ Compositions by him arc to be
found in F«>5ter’s Virginal Book, B.Nf., R©y.
Lib * Little t>f Ward's church musk is known
io*day, yet a fair amount of it has survived.
He coniribuuxJ ‘ O let me tread ’ (« 4) and
• < ) Lord, consider ' (e 5) to Leighton’s ‘Teares
or l^menucions and Barnard printed hli
VOV. IX
‘First Evening Ser\'iee' and 'I will praise the
lx>rd' and 'Let Cod arise ’in 1641. Appended
IS a list of hit church music In manuscript ;
^CRVlce.s
T.D.. K., Cl. flLM. .Vkl. MSS so.sda to). 107).
i«i \’er»e (R.C.M, 11,49 Tul. i6e).
SikI LseruMC Snvke ( I'rrtli. 791 lul. 2«j9),
bo*
Doon <dii«tr isfrKli,
l.xwcM tfcumww.
Ibfw lone iIkmi reren.
Iloa, lu)i« J Keb
I IwjrJ ih« wife of a f/rai muhiuid^^.
tl hi nw ireul.
O. L<««l. mv moiio.
rtoiM (he I 4 m 4, (} Alt » 4 jh 1 , O
ibe L.wnl. <) soul, afKl *H.
Ihi> ts 4 pitful <Ur.
L MM I he*. O LyrJ,
e. )l. f.
His viol musk shows many of ilie citarat ter*
Uiks of his vocal music, and ihougfi gvnt rally
quite iristronienial in style, carries over a few
of his v«al prcds*lictj<>ns, particularly Itis love
U prolonged series of com pi ex suspensions, so
lltat sutnr of his passages (or viols are slightly
jssarrrd b> a use of ihls nu’dttim noi tu its best
advantage. None of Jiis viol works is of qulic
thr brst rarik, although matty t/f them arc very
filrasirig; none has Ihtii prjmvd. \Var<l h
imitidtxl l^v birnpson » and Mac<*« in ih< ir
l>rief lists <4 good roiri|>o»efs of raiilasivs for
'-ioh. „ ^
Tlie folio witiR are 'Sard’s madrigals, i)ub*
lisited in i(it3 »:
»OR JtlKi.i. voiO):s
I I. M> true lws« K*tli mv hfjin t|*i. i),
t. Hit heori h,i huwhI rj*l. n>.
V (> u>. <l4Ar litr,
4 . Ill an*! <4«t am I.
t. (!»• Mimis.
Cl. Ih fH»t m fa«t.
kcm HJt'lt
7 . A •*<> r WAfc •ImI rui au a> .
9 . O «n> <hvMsiiiv Mineaia.
9, S<»V*I pily, «»4tie.
ia. Lesr n a iia,m«.
• I. Ktre from |a\r‘« bninlt.
ij. Him kaw ikaU l>
ktSR H\T. VOICtS
H). W«« rhilgowl ipi, j).
{ 14 * Ye ssisan nsmphs {IS. ii).
I s. I^a. Utt M>wiph,
16. ni>ltn. (k« bf.clu.
cit mv hean,
iB. I p«a a iMnk with rows sri.
Fo« SIX s'ou;i:s
* 9 . mv troubled mhiI,
a«>. <Hi lia^r i leridernl.
81 . CKm from iJw sale,
va. <> divine lose.
!»$. If the lieep uO^ ift. i).
184 - There s hot a grove (IN. »>.
(>t^hp. .is in ed. of 3 738 .
V^.* 5 ciX^‘*^ “ M^r.g .1 School S
M
178
WARD (Robert)
WARLOCK
9$. Die ooU foiMl man.
90, 1 have enifeaied.
97. Come. Mbie nifhc.
sS. Weep forth you9 tearr.
BitL. — FrLLOwn, C. H., * Lnclnh Madri^aJ Coa>-
pcseit' (Uxlocd, 1991 }.
WARD, Robert (^. CIe\'eiand, Ohio, 13
Sepi. !9I7).
American composer. He sttidied the piano^
forte as a child, and in 1939 he enter^ the
Eastman School at Rochester, with a scholar*
ship in composition. There he worked with
Howard Hanson, Bernard Rogers and Edward
Royce. On graduating from the Eastman
School he obtained a scholarship in composi-
tion lo the Juilliard School in New York,
where he studied with Frederick Jacobi for
composition and with Stoessei and Schenkman
for conducting. During the summer of 1941
he studied with .\aron Copland at the Berk*
shire Music Centre at Tanglewood, and in
1943 he joined the U.S. Army, where he
spent some three years, during which time
he wrote music for soldiers’ revues and
functioned as a band leader. On his discharge
in 1943 he returned to the Juilliard School
and linished his studies.
Important among his performances have
been his * Fatal Interview ’ for soprano and
orchestra, given by Howard Hanson at
Rochester in 1 937, and his * Ode* for orchestra,
given by the same conductor and group in
1939. in )<>44 Ward won a Dilion Award
and in 1946 a grant from the American
Academy of Arts and letters.
His principal v.'orks, apart from ' Fatal
Interview* (t 93 7), arc Symphonies Nos. 1 and
4 , 'Concert Music’ Cor orchestra (1947).
• First Harvest* (t940) and other orchestral
piecci. F* 0-*M.
WARDEKISKI S Bartlomiej Fordon,
? ; d. ?, 1O31).
Foiish composer. He was employed as a
theorbo play'cr and lutenist at the royal court
in Warsaw, which he joined in <643. One of
his canons was published by Mareo Scacchi
in ' Cribrum musicum * at Venice in 1643.
c. ft. H.
WARFIELD, William (^. Helena, Arkan*
sas, 20 Jan. 1920).
American Negro baritone singer. U'hen he
was three years of age his family moved to
Rochester, N.Y.. where he fint sang in his
father's Baptist chureh. As w’inner in a high
school vocal competition he obtained a
scholarship at the Eastman School of Musk
of Rochester University, where he received
his degree in 194O. Meanwhile his training
had been inicrruptcd by Military Intelligence
service in the U.S. Army; but after his dis-
charge he resumed it under the American
Tiieatrc Wing’s Professional Training Program
for war veterans, studying with Ys’es Tinayre
* AIm knowA u WA/dvAi or WjrdyAAL
and Otto Herz. He began his stage career
with the travelling company of the revue
* Call Me Mister ’ and later sang in Marc
Blitestein's opera * Regina '.
Warheld’s concert debut, at the New York
Town Hall on [9 March 1930, won unstinted
praise from the critics ; in a short time he
came to be regarded as one of the foremost
American singers in this fteld. Later in 1 930
he made an Australian tour under the
auspices the Australian Broadcasting Com-
mission; American trariscontinental tours
followed. Hh first film pari was in * Show
Boat ’ (1951) ; he has also sung for radio and
television. He sang Porgy in the production
of Gershwin’s * Porgy and Bess ', which
opened a series of engagements in Vienna,
Ikiiin and London in Sept. 1950; his wife,
Leontyne Price, sang the other title part in
this opera. N>’ith a voice of unusual range,
volume and flexibility, he is also notable for
expressive understanding, command of a wide
variety of musical styles and clear enunciation.
His concert programmes are unconventional
and musically distinguished. f- Tt. a.
WARUCH, Rcitthold von (». St. FeicrS'
burg, 34 May 1879 ; d. New York, N^. i& 39 ,)’
German baritone singer. He studied music
at the Conservatory of Hamburg and later,
when he had decided to specialiae in singing,
look courses at Florence and Cologne. He
made his first appearance at Florence in ! 699 .
Later in life he became a distinguished
teacher o( singing. *- ••
WARLOC^ Peter (k. London, $0 Oct.
16^; d. London, 17 Dec. 1930)*
F.nglish composer, whose real name wm
P hilip HeseUine, the article on whom should
be consul led for further blog raphical detaib and
an account of his critical and editorial worL
He was taught little in music, but received
encouragement and advice in composition
from his friend Dehus, although it was ac-
quaintance with Bernard van Dleren and his
music that led him to compose ihc first work
that still exists — ihe »ng-eyclc ‘ Saudada
(1918-17), « written very much in the
style of van Dieren, lo whom it was dcdieal^
in part. He then started composition in
earneii. and in i9i7-*8»
years he was in Ireland, he wtoic An Old
Song ’ for small orchestra, ' Five Folksong
Preludes’ for piancrforic, 2 carols for unaccom-
panied chorus and 7 songs, as well as several
other works later discarded. Of the surviving
works ihc first two still show traces of extemaJ
influence, but the caroU and the songs ^
quite original in conception. In t 9>9
iore songs were wTitten, and a Umd^
THiHisher accepted a doren of them for puWica
Son {,9>9-^o). P>rdy oT hi. crm«l
activities he adopted the pseudonym of
Warlock in publishing these songs, which were
W.^RLOCK
well received. They display bis remarkable
ability to capture the spiht of a poem of an
earlier age musically without resorting to the
use of archaisms. The music of the EJlta*
bethan composers, as well as Delius and van
Dieren, contributed much to his musical mind,
but he very soon showed himself to be an
original composer possessed of great melodic
gifts and a unique harmonic sense.
Because of his activities as editor of 'IIm
S ack but ’ he composed little in igao-21, but
in the following year songs pourH from Ins
pen, and it was then that completed his
song.cycle Tot tenor, flute, English horn and
string quartet, ' The Curlew ' (W. B. Ycau),
which won a Carnegie award In 1923, In
which year he made a chamber version Koe
soprano, luriione and string quartet) of the
' Corpus Chrbii ' canU originally written for
tenor, contralto and chorus (unaccompanied)
in 1919.
For (he rest of his life he coniinued (o
compose, as bent fitted his geniuc, in the
smaller forms. In 19*3, the ‘ Three CarUs '
fur chorus and orchestra were pubtUhed and
performed, as was the ‘ Serenade ’ for strings,
which has a deliciously Delian flavour. In
1935 he arranged some * Sociable Songs * fur
John Goss's concerts and completed the set
<*f ‘ Dirge-* of Welntcr ' for unaccompanied
voices, which exploited musical hut teehnically
difficult effects. In 19*6 he comp«ed iIm;
' Capriol ’ Suite for strings, of which all but
one movement was based entirely on thematic
material from Arbeau's ‘ OrchCsographie ’
All that time he was accumulating those songs
for voice and pianofurte on which his fame so
largely depend*, which indeed have made Itim
an kmglish song'Writer comparable in quality
" i th Hugo Udif or (la brii-l Faur^. H is output
was not regular, for it was by no means unusual
for him to suiter periods when composition
was virtually impossible. These w-erc <^tcrt
followed by short j>eriods of concent rated work
at composition which usually resulted in the
production of a batch of songs. An example
of this occurred in 19^8, when, it is known for
certain, at least six of the ten songs composed
In that year were wTitien in one month —
July, In the following year, however, he
produced only one song.
Contrary to a belief widespread among
those who do not know Warlock’s music well,
there is considerable variety in both the style
and the mood of hb songs. The fluent
and thoughtfully written vocal line (alwa«
strikingly melodic), the Interesting and
beautiful harmonic devices In the accompani-
mcni and the attention paid to the sense and
enunciaiion of the words are common to all the
songs, but when these have been taken into
account jt is impossible to avoid dividing the
no
songs into different types.
This necessitates a w-ord of explanation.
In the article on Heseltine rrfeix-nee h made
to the " irreconcilable divisions in hb naluK*'’
— and it was inevitable that they should
make incursions into hb music. On the one
side was a mood of seriousness, mi-lancholy
and deeply poetic feeling, on the uihcr a
contrasting and possibly n-sulianl intMxl of
unrestrained gaiety and higli sfiirlis, .Xtieinpu
have been made to draw him as pf*r{K'tually
vacillating lietwevn one mood and ihi- oiher,
to make a Jckyll-and-Hyde story of hl> doings
w'ith which many who knew him ciinnot agix-c.
The matter 1 $ so eunirovertial as 10 Ik- Ix si left
to individual jmlgnu ni; |>ut the evidence of
his musk $hou*s more than two sides of hi*
character, and it may safely Ik* assuniul that,
whereas in limes of great nervous strain there
were periods when one of the two tleeply
rooted c^^>osiie fram<-s of mind dominated
him, in more normal ihm-s luiiher was
markedly predoininam.
The chronological lisi of \\*arl*Kk’s suntfi
begins and ends, fXThaps signlliraiulv, ''•th
works of a very meianehnllc nature, thriving
fn^in tl»e first rnoiKl. Ik iwem '.Saudatks ' and
llw three pc»sthi»mously published songs (‘'I hr
FrimlMund Utiod', ' ASirr Two Years',
* *1^ Fo* ’• a full circle is closed : and in the
same mood Wtwrrn them are ' Ihe Curlew '
cycle and ‘ Autumn Twilight which held a
high place in the coinjx»er’s alTs*ctlor>s. ( llijs
n a rarity, for \>'arlock did not often express
favourable opinions of his own works, but
often derogaiory ones.) Other works in (his
vein are to be found among the irifretiucniiy
perftirmed partsongs; the menacingly l>cauii.
ful * Corpus Chfisii * carol, ‘ I'hc Full Heart '
^Di^ of NVebstcr ’ and * TJir Spring of the
In complete contrail arc tlic popular,
essentially masculine songs such as ‘ Captain
Stratton’s Fancy • Good Ale ' Tlic Jolly
bhepherd’, ‘JiJUan of Berry’ and the .*)rrangv-
ments of '* sociable songs ”. From this mood,
too, spnng oiJwr works of less heavy Raieiv
bke • The Bachelor ’. .\fur (hat it U*comes
difficult to draw a clear line of demarcation
between inspiring moods.
iTserr are songs of pronounced Kliza-
bethan atmosphere ^ the carliesi published
»ng» are examples of thb; there arc oiUvn
<kriy^ from but not based on folksonirs (r.#.
the Lilligay ' cycle) ; and there arc songs of
nwmwahic melodic and harmonic imercsi
wluch cannot be caiegorltcd (r.e. ^ Rest
sweet nymphs' and the 'Three BoUoc Songs’)*
A prominent group consists of lovcsonc
^ich ran^ from the delicate an<l sim^c
Piggpnic and the joyous ' In an arbour
2«n to (he i^c^ng ‘Prayer to Sc. Anthony
of Padua and the peaceful ‘ I'he Contented
i8o
WARLOCK: Works
Lover \ which Utter is uniqtie in Warlock's
work. The lullabies (from ' LulUby ’ to ' Cradle
Song ’) are an interesting group, and his
many carols for various combinations coiV’
stitute a unique contribution to tbis field of
music.
In assessing the amount of Warlock’s work
we must bear in mind that everything of value
was composed within thirteen years (i$ 18-30) ;
and the time devoted to authorship and irans-
scribing and editing other composers’ music
diould be taken into account. The catalogue
of works which follows ts concerned only with
Warlock’s published music, and no mention
is made of the many works (especially early
ones) which were discarded or destroy^.
K. A.
BoL.— Avaav. KtMNBTH. * The Chronplogy of Warlock*!
$OA9’ <M. It L. XXIX. 194 ^ p. 39$).
CootSHOiT, GaaAka, * Some Notes on the Soon of
Peter Warlech * (M. & 1 .. XXl. 1940, p. 946).
Chav. Cseit. ' f«(«r Wa/loek t 4 Memoir cf Philip
Hescliim* (London, 19341.
CATALOGUE OF \VORKS
CHORAL WORKS (WITH ORCHESTRA!
TitU 1
! 1
DrAVen'sa 1
‘Three Carole*
t. Tyrley Tyriow.*
9. Balulalow.*
3. The Syramore Tree.
Anon,
1993-
• 9 tS>
R. Vaughan Williami. !
1
j
CHORAL WORKS tWITH KCYBO.ARD ACCOMPANIMENT)
* SncUhk $«nt« \ orr. fi>r male
voicn 4
I. The Toper's Sonf,
s. Orta More Kiter.
3. The Ladv'i BtrihJay.
' cheer? Cend cheer! * for
uniMii chorus 4 orean,
' Where rlchro is everlssittiflv * hr
unison rhorue & organ.
* The MiWv beereih me bell awer *
for t votcft 4 pf.'
* l.uUsbv ’ for vomrn’t Uio 4 pf.*
* Mourn no moe ’ hr wumen's (rie
I 4 pf.^
*lhe Pint Mercy* fee S veieei
4 pf.*
* The Five (.eteer Joyi of Mary *
the unison rhoeui 4 nreatt.
' Can lien Canlla * rurmiaed t-oices
4 organ.
Anon. <i6«h ceoi.).
1934.
'•5'
1
John Ceas. ]
Anon.
Anon.
1993.
1993.
199#.
199#,
John Goa 4 (he Caihedral
Mak< Voice QuarKi.
Anon. (hied.).
1999.
>99#.
Evelyn Heaeliine.
Anon. (Med.L
*997.
199#.
Evelyn Heeeliine.
Anon. (i|«h cent.).
191 1-9#.
199#.
—
Thomas DeUter.
IBIS'S#.
1998.
John Fktcher.
1919-9#.
1998.
1
1
Bruce BJiUM.
I9«V94
1998.
—
D. V. Kelkher.
19*9*
1930.
Albert Whitehead. 1
Hilaire Briloc.
1
1930.
1930«
Arthur Barclay.
CHORAL WORKS (UNACCOMPANIED)
* Cornish Christmas Carol ’ for
mited voices.
* As Dfwe ift Aprylte * tor mned
voices.
* Denedieamus Domino tor msaed
voice).
* Corpus Chrlui ’ Ter contralto,
tenor 4 miaed v^m.
*The Puli Heart* for mued
voices.
* Three DitiHs of Webtiet
I, All the ttowers of (he spring,
(or miacd vokes.
9. Cal) he the Robin Red-
breast. for remalc v'oiee^
$. The Shroudine of the Ouch*
M of Malli, for mak
voicn.
* The Spring of the Veer for (bur
voices.
* 1 saw a Taif maiden \ he i
voices.
* Bethlehem Down *. for mixed
voices.
Henry jenner.
1918.
Aoon. <i3thee(H.).
191#.
Anon. <i3ihetM.>.
191#.
Anon.
1919.
Robert Nkhob.
l9l7-«>
John Websier.
1
1991'
1993.
1
199$.
Allan Cunningham.
i99S>
Anon. (Med.). '
19*7*
Bhinc 1
1997.
I994*
F. Bennkke Hari.
•9*4'
—
1924.
—
1991.
The Bishop of Ovfotd '
(Thomas B. Strong). ,
1993.
The immorial memory of .
the Prirwe of Venose. j
• 9»4-
Charla Kennedy Scott 4
(he Oriana Modrigal
Society.
Colia Taykf.
19*4
199#.
Albert Whitehead.
1995.
—
1998.
The Eflgluh Singers.
1938.
—
Originally wTsItaa as a s(4o song. &rlrfsiP.
\V.\RLOCKr U'orfcs
OftCHCSTEO\L NVORKS
74ib
f C»Ai9»u4
1 /W<4W
1
* An Old Son( ' fw smail each.
1 igiy.
1943,
.Aodtony Bamavd.
' SotmAda * fo* »in.
1 igti-aa. I
>9^.
Pfnkatck Prlws iwn hi» 6oih birthday).
CoprM>l luitv Tot ilgt. («mK« twc full
oerh. i9il«
1 1
1
•94}. 1
Paul Ladtoirautt.
VOCAL OiAMBLR MLblC
/irk
1 H*ard»
C^crd
1
4
/kdli'dllFH
‘ Tiir (;u4lew'. tont'Cyfle \V. fi. y«au.
t«nur, Au(«. tiiR. horn A t»t, '
4ltt.
*<^irp«H C:Mni»'. fur tofMAHu. Anon.
ba'iu«»F A tif. 41 FI,
*S<.«ro«<’« (.wlUtry fur Mpraiiu. IKoma* l^rll lk<|>
tMiiUaw K wg. 4ie«. 4 vf«.
pl.vxoroK 1 j.
cgjv n.
•919 4J.
r*My.
ML SIC
' «9i4.
1
. ‘9F».
<9iT<
(k< M CfAy.
1 .Sriiuld lk'<.
/irk
Ca«9Mrd
/VWiiVd
' PblluunB IkeliHici.*
4
I 9 IH.
49 *).
SO.MrS
/lilt
IPndi
Ci«^.ird ;
, ikdMOTMO
t. Alonft ihe
t. Tiike, M uh* ihuM Ii0» AWAy.
*T<^ ilir Memoey <4 « <ir«at
SlflFFF/
' A* K*Ff t Saw.'
‘ MtrMailn bear«iKlJt«bF(l«w«v.'
’ S|f fnallv fadrr/
’ lh« rv«.*
•Ull-U,'
•TiU, « uhF • fjiKl Mitiiii).
■ M\r tnr (.avf,*
' Mm'm ho ntuF.'
' SwMl lonWhi.'
' IVdhJlHIO ’
‘ *1 hFtr >* A UJy »wr«i aaU kind.'
' My link ywFfl darliiiit.’
' Mofn.<h(r.'
' Summer.'
* (hF SimtFr.*
' BaloUJow,'
* Vapiain Straiion'i Pamt.'
' Mr BfHm'* KamT *
* GmH Ak *
' Hrv ifol* Myio.*
Thru*. (Ukr*
’ PittFvtif.’
* >Vicrnfiw *, Sn I
I, <JyAfwltfr»T.
a. A Sad Song.
% KwMFTkin.
'l4\Ut*y-
I. I Dniraclad MaiiJ.
a. JohiiAw wi’ iha 4k.
1. ShoFmaker.
4- tWJ LIkn and Tam-
Una.
S. Rantum Tanfum.
Li'IU. ir«ra. I..CrAn«
MM'^nC.
Shahr«()*Arv
CUBiniAcktiA. traiM.
W. Cmft.
kobavl
•on.
Anon. ^i6<h«FM(.r.
Ano4». m6(Ii (Fht,*,
* CUiatIm d’Orkan
Cvmca Park.
Ihili ia t Ikilw*.
SKaktipCAta,
Am*!. reM.L
PkuhFr
DrkkFf.
Sir nmtip Vkyry.
Anon. (iMk tamj.
Anon, K^h laiitJ.
>'4%Ar<l AhMkA.
Sfc^ka.
Anon iCMVmihA).
r m Mf«irW.
CLSnokc.
Anaa>. fi6(h
AiM«i, (i6*h cant.K
Anon, liuh ctnL).
Anon. UMb ««nu>.
<k«F«« Peak.
Pkwlvr.
SfcFken
>««■» 4bc AfMhokyy.
' LiHicay *.
FleAchar.
I7> I99S.
•919.
•OiB.
19411.
19181
1918.
igrf.
1918.
1919.
• 919.
<919.
1919.
1919.
*919.
*9*9-
• 9 i»
1949.
•919.
I***.
I9»i-}
i 9 »a.
igaa.
i9».
i 9 aa.
* 9 a»-
•9aa.
• gaa.
I •’'»-
1949.
I 1949
» 1919.
I ‘ga*.
1919.
•9>9.
1990.
i9a«>
igao.
1919.
i9ao.
• Oav.
<9*4.
199$.
499&.
•9»J.
1994.
499a
I9>0.
t99a.
I9»*.
I9aa.
• gat.
<9*9-
•9*y
<993.
IktuAfd lan
Cohn i'Aylor.
|<>ld) <iow.
Pwiia.
Robarl LoFFur.
UoFu C^hfutulihfT.
Plhlip Wiltoh.
lliiJip WiUwi.
(r«nc KnFhinr.
WARLOCK : Works
182
Titit
IF'trdt
OsyiW
fisdiran'M
^ ««%««« n>'?nphs/
Anon, (isihoeat.).
Anon, (tw cent.).
JOM.
> 9 * 9 .
1 * ! > fJcy Tvtipw,*
»9*9,
1939 .
1 ' Adam liv yboundfn.'
Anots. (ijth «euL).
»9n~
1939 .
‘ Lht)« Tr«iiy
I^B Caore.
1033.
1933 .
' (n an arbout pte«n.*
Robert Wever.
tpn.
* 935 .
_
' Auiumn Twilifhi.*
Anhur Symoui.
tpn.
193 ).
Arthur Symons,
* $«i t
1933 .
* 933 .
H. Balfour Gardiner.
1 . Reum DMtfr.
N«holaa UdalL
3 , Spcinp.
Thomas Nashe.
1 s L^iy fwv«ntM>.
Wever.
: * Milkmaid/
From the antholofv.
1933 .
> 934 .
1
’ Larkspsir '.
1 * Candlrliftht ’
Selected from a eol*
193).
1934 .
' 1 . many milr* to Baby-
lection of Nursery
lon?
Rhyvnes.
t C uon'ib<«yk*aUKr*iJark.
9 . Robin and Richaid.
4 . 0 my kitten.
( 4 iile Tammy Tuek«r.
0 , '('here wa> an eW man.
7 . ] had a llitle pony.
6 . Little Jack Jinflc.
p. There wia a man of Thei*
taly.
1 ro. Suky, you ihall be my taire.
1 1 . There was an ok! Homan.
' ta. Arthur O' bother.
' * and Twenty.'
Shakoprare.
? >93).
1939 .
John Goat.
* Two ihon «OAt» ’
Robert Herxick.
t*3J,
* 994 .
1 . ] held LoveT head,
a. Thau lav'xi me leave to krca.
* Cerutder.'
Ford htodoa Ford.
ipt).
* 934 .
C. W, Orr.
* VtKtf Warkoek'r Fancy.'
Anoo. (tdth ceiu.L
<934*
1933 .
Trtlawny OayvcII Reed.
* Twelve Oaen.*
Amts, lidih cesM,).
•934.
>934.
John Ceu.
* Yarmouth Fair.*
Hal Cofrins.
* 934 .
1935 .
WA.
* 1 have a pa^<n.'
* Two Sonet *
1 hnmsi Mooee,
■ 934 .
Symons.
1933 .
1 . A Frayrr to St. Anthony of
Fadua.
t. Tlie hick Heart.
Winifred Baker.
* Chaneon dw lour d« Noel.*
dOmetii Marot.
^ 1933 .
t930.
Sir Richard Terry.
* Frettv rini'timc.*
* 1 'hi (^wunlryinaa.*
Shakemar*.
foho Chalkh.ll.
i»
1936 .
1930.
Wi.
l>ew«y Gibson.
* The Birdt.*
leOor,
19 ^
A Howard Evant.
* Maltworma’ (written with E. J.
Bishop Still.
ipaS.
A. H. MeUiAell.
Moeran).
* Robin <jood(ellow.*
Amu. (ikth cent.).
193 $.
• 937.
Kerman Feterkin.
* Ji Ilian of leery.’
Beaumont B Flrtrbev.
1936 .
i9*7>
BmiI Trier.
* Fair and Trw.*
N'khotM Brewn.
193 S.
1937 .
* Away to Twiver.*
Anou. (litfc ceiM.l.
1936 .
1937 .
Lionel jeliiaek.
* Three lellee Soetci *
1 . Ha'naeker Mill.
BeBoc.
1936 .
1937 .
3 . The Nifht.
9 . My Own Country.
* The Lo^r’i Maze,'
? Thomaa Campian.
1937 .
193 $.
L Peter Kauter.
* Siih no moee. ladies.’
Shakopearc.
• 937.
193 $.
n. J. Moeran.
* Mockery,*
Shakmpeare.
I •9»3*
• 930.
Dennis Cardan.
* Walk iris the woods.*
Anon. Itdtheeot.).
1937 .
1937 .
—
'Cradle Sene.*
Jehu PluBip.
Bruce BItmt.
' 1937 .
tptB.
Alee Rowley.
* The First Mercy,'
1 ' The jollv Shepherd.*
1937 .
1937 .
Anon. HTth cestC).
7937 .
•91®.
G. T. Leigh Spencer.
' Queen Anne.*
iCentribuSed to an
album of children's
sm«s by C Wmn|.
*937«
1930.
Hal Collins. '
!
* Pa*'in* by.*
Amn, (ifrih «ent,|.
1030.
> 939 .
1 * And wilt thou leave me thus? ’
Sir Thomaa Wyatt.
I 93 B.
<939.
£. Aroold Oowbigf m.
' Ynuth,'
Wever.
lOaS.
>939-
ILD
'The Passionate Shepherd.'
CSirvUopher htan
• 930.
> 939 .
—
lowe.
1 * The sweet 0 * the year.*
Sh^espeare.
1930.
1939 .
—
1 ' J om Tylev.'
1 * Flore u>:
Amo. Irdth ceuLl.
? 1930.
1939 .
—
Anoik. (tTlh coiLl.
t930.
1939-
— t
' ‘ The Contented Lover.'
janses hlabbc.
t930.
< 939 .
“
• The Droll I,evef.'
Anors. (tyih cent.).
t930.
< 939 .
' The Cricketers of Mambicdon.*
Bksit.
t930.
3939 .
•• Composed for the xiami^
shire Etkimos’ New k ear t
l^v rricbei match, > 909 . j
* The Prottbnund Wood.*
Bl«mt
1939-
I9S>>
Arnold Dowbiggln. |
1 ' After Two Years.*
Rwhard AMineSon.
19)0.
>971.
“ I
* Bethlehem Down.*
* The Foa.*
Bluot,
Bluw.
• 937 - 9 ®.
>99®.
•99®.
I93i<
Herbert Kryner. j
Fnr an almost complete lUt of WarlockY (Hesehm's) traMcnpdocu, artanfemonu and Uurary works ser Cecil Gray s 1
• bMkmrtiidMd (fiiUs)s
1
WAR MS LEY
\\'ARR
v(). Moccaa icoUab. ia MOff).
StU(Jft<le* (dcfioilioo). Sonft P>
WARMSLEY. ^ Walmslcy (Pemt'^.
WARNER, H. (Harry) WaJdo (i. Norch-
ampu>n»4jan, 1874)-
English violist and composer. The family
moved to London in 1880, but although the
boy wo-t pauionatciy fond cJ music, his train*
ing was not seriously taken in hand until
he entered the O.S.M. in 1888. He then
studied the \ioUn with Alfred Gibson and
composition with K. Orlando Morgan. Hv
won manydistinctionss including the associate*
ship and gold medal, on<l was afterwards
appoint! d a professor ; but he had 10 rrlin*
quUh this post m 1920 owing to the touring
cngagi'inems of (he I,oo<lun String Quarin, in
wiiich Jie plasi'd the viola from Ms foundation
in I «)07. Kor uone years he also plavrd as prin*
ci|Ml viola in the New Symphunv and Royal
Philharmonic urch<s(ra>. His lir^l |Hiblir ap*
pearances, how<‘v<T, were ns a vioJmisl,
As a student Warner wrote an ujMTa, * I he
Royal \'agrants \ whuli wna jM’rrurmrcl at the
O.S.M. Later he betaine U'si kjsovm ns n
writer of (hainber tnosie. His name occurs
mure than once os prirt'winmr in lh<’ list
of cuni|>o»iiions m "phantasy” form due in
the initiative of W. \V. Cubbetc and as the r«*
cipient of a commisshm to write a sprcjlied
w’ork. His chamlier works include three
pianoforte trios, of which one obtained a
Gohhclt and another the Cooitdgr pri/c of
81000 in 1921 ; a string Quartet in C minor,
awarded the hrst prise in the "War- lime’'
eompetitiun of (pih; three l*hantasics fur
Siring quarlrt, in F major, \> major and G
minor, the third Ln’ing liasrd on folksongs in
accordant e with thr t« rms of the (Uihlirii
comi>ct)(iun in which n was a successful
entry; a .Suite, * The J'ix>*Kmg *, fur string
(piartct; a KhapsiKl> fur viola and string
(|imrtrt; a violin S<rnatA, a viola Sonata,
numerous short pieces for each instrument and
also for (ello, Hr also wrote several suits-s
fur orchvjlra, cine of which, ' Three tlfin
Dances* (‘Ivlvcs’, ‘Nymphs' and 'fJisomr^'/,
was performed at the Promenade Gonreru
and elsewhere, and upwards *4 a huisdred
songs and ii.irhonvs. e. t.
Warner, iy^tvia Tawni«Ml. Sri JrrIsnJ 1 J.. 3 imis).
Nwrilnir (' Mr. S'orlvnc oprra*.
WARNOT8, CUy (Eliaabech) (f. Li^c,
• Us?: 4 .
Uelgian soprano singer, .She was the
daiighnr and pupil of the tenor Henry
Warnoii and made her debut on 9 Sept. 1878
as Anna in Hoieldicu’s ‘ Dame blanclie' at the
*1 h^atre de la Monnaie in Brussels. She sang
there fur two seasuns, and in (881 she was
enRag<>d at the IVatro della Pergola at
Horence, On i? May of the same year she
made her first appearance in London at the
Royal Italian Op«ra as Marguerite dc N'alots
183
in Meyerbeer’s ‘ Huguenots *. During the
season she also played the part of th<' same
que^n in H<ToJd‘s * Pre au\ clerrs ’ and was
favouraUy rt^ceived. After that shv wav fn**
quently heard at tlu* Promenade Conce rts, at
the CrvsUil Palace ami clsc’wherr. For some'
years she was a regular visitor lu lainclon.
V. (;,
WARNOTS, He&ry b Urus.rls, 1 1 fuly
1832; •/. Sai n I - J « »s>e . \ i n . .\o.kI<', 27 J- c l>.
18931
BHgian tenor singer and composer, father
of tiu’ prc’cc'ding. He was taught music first
by his fatlwr and m 1849 Ix’catne a pupil
at the lirusw'L Conser\.*ii«iiic for Jiarmuny,
inanoforte placing and Mngiog, In 1 8^0 he
appeared in ujieia at Liege as a light tenor
and was engaged for a short priiod .'ll the
Opc ra*<>*mu|ue, Pam. fur the title-part of
lloic Idieu’x ’Jc’an de Paris'. He n<'\i satig
at StravlxHirg, ami on *24 Jan. i8t>y an uperetM
Ilf Ills romjMvsition, ' L'tie lUiire de niariagc*
was (M’rfurmed there. He also <uim posed o
l>airio4k cantata sung at (iheiii in i(M>7, iiiid
in that sear lie wac c ng.cged at the Nution.il
Ihealre uf Urussids. In (><(. he s.vig in
Flrmisli the biro's part in Mirv's 'Fran/
.\4 kermami '. In iVr. of the same year lie
nlitained a pruh ssupihip .U the (lonservaluirv
ami retired Irum tin* suge. In i8iM| he was
appoint'd dirt'ctor ol the onhesira <d (he
hrwssels City Musical Scxlcty and In 18711 he
Asumled a sshmd uf music at .Saint-Jusse-ten*
Nciodc*Scliaernl>reck, a suburb of Ui ussels.
A. c.
WARR, Eric (Harry) .b, Noitingharn, 4
May 1903/.
l.nglish «>n<lurtor. He was a (horistcr at
the .Mamhc'Sirf Cathedral C'hoir School m
1914*90 and afterwards a 1 tended the Man*
clsrster Gramm.tr School until 1923, when he
went to (RMUillr and Caius Cullege, Cam-
hriilge, until 192G. He tiKik the NLA. in history
iherr as well as the Jl.Mus. From ip2G lu
1929 he stmlied at the K.C.M, in lo^ndon as
a pupil of S. I*. W'addington for tomposiiion
and H. Procter Gregg for opera. In 1928-30 he
was v^anisi and choirmaster at the London
church of St. Anne's, SoJto. and in 1930 he
brcanic coach and chorus masn r to the Carl
Rosa Opera Company, acivatiring lo the j>osl
of conductor in 1939. Fic left that company
in 1934 and the fodow'ing year joined I he
Beccham Opera Company as coach and con-
ductor. He was in charge of the performances
of >Vvl>rr’s ‘ F'reisrhut* which was toured
fora whole year, brglnning ai Coven t (iarden
in 1935, and Gounod’s ‘ Romeo and Juliet *.
\\heft that extentied srasun came to an end
in 1936 h« was appointrtl lo the music stalf
of the O.B.C.’s Midland Staiiun at Binning-
ham, among his duties being tliat of assistant
conductor of the B.JLC. Midland (Orchestra.
WARRACK
WARREN
I&4
Warr has remam<d with the B.B.C. «ver
since, but in 1939 iciumed to London 10
become assistant to (he B.6.C. Chief Censor,
whose office incorporaced the American
Liaison Unit responsible for the broadcasts to
America by all U.S.A. radio commentators
in London. In 1945 he transferred to the
Music Department, which offered him more
congenial occupation, including a good deal
of conducting, and in (930 he became Auistant
Head of Music next to Herbert Murrill.
During NfurriiTs long illness and after hU
death in 1934 \Narr was Acting Head of
.Music.
He married the singer \*ida Harford, who
had gained much experience as an operatic
coaeh and in the t930s began to make a div
linguished career for henelf by coaching, at
Covent Cartlen, for the B.B.C. and elsewhere,
excelling particularly in preparing artists for
such difficult works as Berg s * ^Vo»zeek
Hindemith's * Mathis der Makr \ etc., of
which each singer memorites a single part
while Vida Warr knowi them all. e. a.
WARRACK, Coy (DougUa HamUtoo)
(ft. Edinburgh, 8 Feb. 1900).
Scottish cortductor and composer. He was
educated at Wincheiter and Magdalen
College. Oxford. In 1933 he proceeded to
the K.C.M., where he studied eonduciing
with Adrian Boult and eompodiion with
N aughsm Williams He played (he (impani in
the CSolIrgc orehettra ar^ became an expert
performer on them, capabir of taking his
place, when required, in the professional
orchestras irt [.ondon. On graduating in 1935
he ioinrd the icachmg*stafT at the R.C.M., and
in the folluNvtng year he formed a small
orchestra with which he gave a series of eon*
certs presenting a number of forgotten classics
and works by British composers. In (934 he
was appointed conductor of the Handel
Society, but he relinquished this post in the
following year in order to assume the director*
ship of the B.B.C. SeoltiOi Orchestra in
Edinburgh. He brought this orchestra to a
high slate of efficiency and showed much
enterprise in (he choke of music suitable to
its size and to the scope of the programmes,
which necessarily cannot compete with the
B.B.C. national activities. He was sue*
ceeded in this post by Ian kS'hiie in 1945 and
returned to London, taking charge of the
conducting clats at the R.C.M.
Warrack has also composed music, and
his Variations for orchestra (<934), and
particularly his Symphony (1933), which
was produced at a concert at the R.C.KI.,
showed considerable merit. Latterly, how*
ever, he has been content to work in kas
ambitious forms. He has arranged for modem
orchestra a number of old works, mostly by
F.nglish composers. d. if. (11).
WARREN, ?. Stt Ekoush Musicians
AaaoAo.
WARREN, Edmund Thoenna * (ft. ? ;
d. London, 1794).
English musical editor. He edited a famous
collection of catches and glees, published
anntsally in oblong folio volumes between
17^ ttnd J794, in which latter year he
probably died. He was Secretary to the
Nobkmen's and Gentlemen's Catch Club
from its foundation in 1761 to 1794, being
succeeded by S. Webbe.
The volumes of kVarren’s collection of
' Catches, Canons and Glees ’ were engrav^ed
and printed for the editor by different pub-
lishers. It is a valuable w’ork, containing 632
pieces; many oi the volumes are of extreme
rarity. A selection from Its contents, under
the title * Vocal Harmony*, was published
by kN'elckcr, who also published Warren's
' Monthly Collection '. P. r.
WARREN. Joaepfa (ft. Undon, 30 Mar.
1804 : d. Bexley, Kent, $ Mar. 1881).
English pianist, organist and writer on
music. In early life he began the study of the
violin, which he gave up for the pianoforte
and organ. In 1634 he became organist of
St. Mary 's (R.C.) Chapel, Chelsea, and com-
posed some masses for Its service. He was
author of * Hints to Young Composers *• ' Hints
to Young Organists', 'Guide to Singers' and
other similar works, and editor nf Hilton’s
' Ayres, or Fa las * for three voices (for the
Musical Antiquarian Society), an English
version of Beethoven’s ' Chrisius am Olbergc
Boyce's ' Cathedral Music for which he
wrote new biographies of the composers,
including, in most cases, exhausliv’e lists of
their compocitions, and many other ^vorks.
He also compiled a * Biographical Dictionary
of Deceased Musicians *, issued in (wo parts
by R. Cocks & Co. in 1843.
w, H. H., adds. r. K.
WARREN, Uonard (ft. New York, at
Apr. 1911}.
American baritone singer. He studied sing-
ing with Sidney Dietch and later, while a
leading member of (he Metropolitan Opera,
coached wiih Giuseppe De Luca. After
graduating from Columbia University, he
first engag^ in various business activities, but
decided in 1933 to concentrate entirely upon
music. In 1937, after he liad been singing
with the Radio City Music Hall's Glee Club,
he entered for the Metropolitan Opera’s
auditions of the air. Although he knew only
live opera arias and a little of ' Rigolctto
when he sang in (he finals of this audition m
Mar. (938, his voice was so impressive that
he was et^aged by the Metropolitan for the
following season. The president of the com-
> He Ui«f calM Umelf tt'arren>Home.
\VARROCK
WARSAW
ptny which spoiuortd the audiiioiu gaNX him
(5000 for six months* study in Italy.
^^’acTe^ first sang at the Nfetropolitan in an
opera concert on 27 Nov*. 1938, arvd he made
his stage debut there as Paolo in X’erdl's
'Simon Boccanegra' on 13 Jan, 1939. He
has been with the company ever Strut. He
made his South .American debut in 1^2 at
the Teatro Municipal of Rio de Janeiro and
sang tiiere and at the Trairo Colon in Buenos
Aires for six seasons, also appearing in opera
in Mexico (hty m 1948 ant) 1949. He has
given concerts in l>oth American commenis,
sung for radio and lelevisson, and ma*ie his
film d^but in * V\hen Irish Kyes are Smiling *
(1049). He is considered one of (he foremost
.\>nencan opera singers, wiih a rcprriury o(
leading parts mainly sn Italian ami Kremh
uorks. Hit voice is t xcepuonal for its volume*
and quality, and he has slioMn increasing
drainiiic abtiily, with his persuasive imprr*
soiiation of Kiguletio as hiv outst.*t ruling feat
in this respect. f. l». p*.
WARROCK, Tbomaa. S<r NNAavsKh.
WARSAW. 'Ihe fi4l<ming are die main
musival instiluliom of the I’tdidi ca|HiaI:
OnrsA, The lirvi operatic performance
took plat e in \\'arsaw in 162U during tin*
reign <)| PiKbrnundm HI n^B7-tb32). ilis
it<m and Miirrsior l^didas 1\ ^632' 481. an
artb’ni mu>ir-|o\er, estaMivhed a permanent
Opera in 1^37, 'liu* fjcrformarKes were held
in a hall called theeuum on du* first Boor of dir
royal canie anti cotisivied entin ly of Italian
r>|jcras sung by Italian lingers. TI.ey attained
a vt ry hig)i stantlard owing to the extremely
gem rtnis patronage of the king anil rn die
excellent work of ihrep Italian masters
SMf f pssiv ely eiigagrd as court niusiciaiu. rhey
were Aspriho J'acHli, Chnanni Krancesro
Anvrio and Marco bcacchi. *J he last-namni
l>e< ai7ie chapel master in 162K and remained
irt Wanaw until Mar. 1649. His successor,
liartjofnicj P^kit l, a Pole. aWy maint8int>d
the high standard of the Opera. King Jan
Oasirnir 1 1 (14 B*68;. occupied with the puliiical
lrtMil)l<>s ati<l wars which for many years look
place on Polish uill. dissolved the theatre In
1035. Not iM'fon* 1724, during the reign of
AuBiiiius II fid<i?-i733>, <^‘d a permanent
Opera again come into lieing, Ihiring tlie
last years of his reign, and rspeeially during tlie
reign of his K/n and suemsur, Augustus III
(1733-63!, many artists and musicians from
the Uri'sden Court Opera, trained hy Hasse,
pa it! frequent visits at the Polish capital.
During the reign of the last king of Poland.
Stanislas Augustus (l7fi4-93)» ihe National
Iheatrc was opened in Warsaw on 19 Nov.
• “bj. The other impuriani dale, as far
as Polish op<*ra is concerned, was n May
nyB, when the opera ‘ Misery Contenied ’ by
Kamteftski, to a libretto by DogusUwski, was
Ibr the first time publiiK pirfomied. 'I lii** is
now regarded as the first Polish opera *
After the last partition ol Poland '1 705) die
Gcrmanizaiion of tlie wcsiefii and southern,
and ihe Ruasianizaiuin of the eastern fiaris
of Polaml, inclutiiflg ^^'a^«w, wTre ruihUnsiy
carried out in the course of over lao years.
All Polish cultural instil ul ions were subjected
to a most severe censorship anti tht ir fate
was diarrd by the Warsaw Opera. It urtit
through many vicissliudcs .vnd its hisiors
presents a picture with more shadr than iighi.
The dir«‘ctor^ip of the (>|XTa during this
|ieriod was held liy Jwi'f l.hner 1 1
Karol Kuriiinski *i«i6 41 1, .Sa|>olcun .Nidetki
under whom the ore lustra was
iiicreasetl to 53 players in 1B49, Quaitrini
1 i 8$2-58<, Stanid.nv .Moniisszko 'iH3y-7ji,
and later by l.mil Mlvuarski, /vgiinini
.Soskowski. Henrvk Opimski and Zd/iNluw
Rirolaauin. .\fitr the lirst world war the
0|>rra was ret^ganiml m Kitq. Its directors
were Kind MlynarsU .thrite uidi inlervals’,
.Ma/«.rkiewM7. StrrmichAahroai.ita, Mim
KondewUMVuytlowa twite., Ma/.tr.iki ami
IXd/ytkt. ,\lter the second world war it uii«
again re..fBani/ed, and it ntiw hirnw a single
Stair esialdisimteni with the WarMu Piul*
hamiotitc 'it*
V^'Alts sw’ Pi t iLi I \R Ml >yii • . — 1 1 ;,.| y
was ItmtMitHi as a litntirtf ctimpany nnti a
concert agency with its own (xnttanetu
ttrebestra under ilw name of Kilharmunia
Warsaawska in t^ot. Its founders were
Prince ladKsmirski anti (inini /ainovski, and
its ftrsl diretlor was .Meksamler Rajchm.iti,
Ihe inaugural concert t<K>k plate in Warsaw
on % Nov. iqnt umbT its thief condurtor,
Kmil Mlvnarski. He was su<rerd<*d (>y
Gregor Fitelbrrg (1907-111. Zddslav* Uirn-
l>aum fi9if«iu Hrnrvk Melrer (ttijt-ari
and Juref O/imiAski. L'nttl the uttthreak of
the second worhl war it gave n g.tlar series of
concern on Frklay evenings, with Sunday
matinfes and scIhwI concerts <*n 'rimrsdav
nsomings. In 1947, when all the other
symphony orchestras in PolantI were re-
organised and nationalized rCracow, Kato-
wire. lAiblin, f.ddz, Poznart, Wroclaw^ the
Warsaw lltilharmonie was renamed F ill tar-
monta Stokrzna and Iwcame the City of
W'amw Philharmonic Orchestra. In 1950 it
was reorganized once again. Insleatl of one
large orchestra shared hy the State 0|X'ra and
the NVarsaw Philharmonic, two orchestral
bodies were eslaldishcd ; the Stale Opera
Orchntra and the iTii I harmonic Orchestra
i*nl V . r »l'unf»mien«o *
k? . . V. a* •' trpr^ntesl a t
'c Nk-Ui*. duonc ilir Cartiivaf of
Ihe maorr. hcKx^cr. U
\VARS.A\V
i86
Z. Gdrayrt^ki and \V. Rowicki vftrt appointed
artistic directors of the Opera and Philhar-
monic respectively. The Direccor-General of
(he Opera and Philharmonic as orte Stale
establishment is T. Buraztynowica. The I%ii-
harmonic Orchestra consists of 6$ players.
^VAasAVv Musical Society. — This was
founded in 1870 on the initiative and thanks
to the energy of a few persons; Mmc
Muchanow'Kalergis, Sianislaw MoniuszkOi
Ludwik Crossmann, Ignacy Krayianowski,
Adam Minchejmer, \V. Trosael and \Ma<l)‘S-
law W islic ki . It organized symphony concerts
and performances of the larger vocal works.
Its directors were Aleksandrr ZarT>‘cki,
Jdzef Wieniat^’ski, \Madyslaw ZeleAski. Zyg-
munt Koskov^’skh Boleslaw Domaniewdti ac^
Mieerysiaw Kariowicz. Like ihe Warsaw
Opera it went through many vkbsitudes.
Later the Society extended the scope of iis
activities and established several seetlons, ihe
aim of which was the furtherance of Polish
music, especially sacred, and ihe publication
of works by the old Polish composers. It
is now divided into sev^eral sections. Besides
the general seccion there are the following;
Church Musici Chamber Music, Chopin,
Moniuszko, Kariowicz, Szymanowski, etc.
Under the auspices of this Society the inter-
national Chopin competitions for pianists were
ozonized in Poland. In 1951 a new Com-
miiiee of Management was elected: Piotr
Rytcl (chairman), W. Koscinski and F.
Kulezycki (vice-chairmen), Mme Dzikowa
(secretary) and S. VN’ikzak (treasurer).
CiroRAL SociaTJcs, — All the larger towns
of Iceland have their choirs. In ^^'artaw the
most important are Lutnia, founded by Piotr
Maszyrtski in 1887, and Harfa, established
in 1906. They both achieved a high standard
under their permanent conductor, Waclaw
Lachman.
Otiirh Societcrs.— The Society of the
Friends of Ancient Mtisic was formed in Dec.
1926, the Society for the Publication of
Polish Music in 1938 in connection with the
former Society. ARer the second world war
the Polskie VN'ydawniclwo Mutyezne. know-n
as '* P.W.M.**, the greatest imiilulion for the
publication of music and books on musk in
Poland, owned by the State, w’as organized,
but has its headquarters at Cracow, lis
director has been Tadeusz Oehlewski. The
Polish Section of the I.S.C.M., abo at
Cr&<o^v, was organized in >Varsaw in
J937. For many years its presideni was Pr^.
Zbigniew Dracwiecki, who in 1949 was
succeeded by Artur Malawski. ** ZAIKS ",
whose full name is Zwlqzek Auiorbw,
Kompozytordw i ^Vydawedw (Union of
Authors, Composers and Publishers), was
organized soon after the first world war. It is
represented in Great Britain by the Performing
Right Society. It is divided (1953) into 14
sections (Serious Music, Light Music, Plays,
Publishers of Musk, Publishers of Books,
Librettists, etc., etc.). The chairman of the
GouncU is Adam Wieniawski. The Zwiqzek
Kompozytorpw Polskich (Union of Polish
Composers) was founded soon after the first
w^ld war as an association; later it was
reorganized into a purely professional body,
changing its name from ** association " to
" union The chairman is Dr. Tadeusz
Szeligowskt, the general secretary Wawrzynlcc
Zulawski (1933). The Zwiqzek Zawodowy
Muzykdw (Union of Polish Musicians), a
union of professional musicians, was organized
shortly j/ier (he first world war to uphold
(he rights of its members. After 1945 U was
reorganized. Its chairman is M'itold Wroriski
(' 949 )-
OtHeft IwTtTVTtOw.— The Warsaw Siring
Quartet was founded in 1885 by Sianislaw
Barcewicz, Bonifacy Szalowski, Klein and
N. Cink. It ended its activities with the
death of Szalowski in I 993 <
The State Music PKze, insiiiuied in Warsaw
in 1918, has since been awarded annually.
The amount at first was 1 0,000 zlotys (r.
soon afterwards increased 10 15,000 zlotys
(c. ;^Coo), and since the second world war il
appears (o have been IncrraKd again.
The Frydery k Chopin Institute was founded
in Warsaw in 1 934 in memory of the composer.
Il issues an annual review dedicated to him
and eolleets his manuscripts. Afier the second
world war it began publishing the newly
resdsed collecied edition of Chopin's works,
prepared before 1 940 at Morges in Switzerland
by Prof, J6cef Turczyfiskl and Dr. Ludwik
Bronarski under the personal supervision of
Paderewski.
L.I.M. (Ludowy Insryiul Muzyezny, the
Polk Institute of Musk) was founded in the
summer of 1945 thanks to the inliiailvc of
a group of musicians (Lasocki, Mroszcsyk,
Rudzifiski, Szpinalski and Szubzda) whcM
principal aim was (he promotion of music and
ils appreciation among the Polish masses,
whom it assists with technical equipment
(instruments, puWications, etc.), and the
organization of travelling concert tearm
which give performances in the musically
backwartl regions. .
The Phonographic Archive, organized m
Warsaw, was rransferred to Poznad just alter
(he second world war. Its director is Manan
Sobieski (1953). . .
The State Institute of Folk Arr, orgaruzeO
after the second world war for the cultivation
of peasant art, issues a monthly iwew,
’ Polish Peasant Art with a summary of the
articles in Englbh, French and Russia. It
orssmizes faiivals of folk art (concerts, dances,
cwnpetitions, exhibitions, etc.). Its director
WARSAW
>V.\RTEL
J87
has been Mahan Sobieski (IQ53).
Polskie Radio was foundi^ as a limiiail
company in 1925. Since ihe second world
war ii has been reorganized and is conirolicd
by the Sute. The direcior of chc Music
Division lias been Roman Jasihski, his
deputy Jerzy Kolactitowski (1953). Since
1935 the Polskie Radio has possessed Its own
symphony orchest ra. From the vei^* beginning
until (o*day, excluding the war years, its
eonducior has been Cregor Kiirkberg. Until
1930 (be orchestra resided in Warsaw, but
since the war ii has been stationed ai Kaio*
wire, Poland is divided into eiglii radio
areas which are covered l>y eigUi rtgional
wirc|i*ss staiions apart frotri NNarsaw. 1'n
some of them permanent choral or orchesrral
ensembles are attached. Hy 1931 it was
constituted as follows;
Warsaw (headquartrn). An orclu'stra
(30 playersj, conductor Stefan Rachon. a
darice hand C18 p^ayen), coruJurior Jan
Cajmrr, the Polskie Radio Choir fa4 singers),
conducted by Jerzy Kolaczkowski ;
hydgoszcz. An orchestra (30 players),
eonducKxl by Arnold Rezler;
Cracow. An orchestra ami a choir (40
players and 1 8 singers), comlucinr Jerzy Ccri j
Katowice. The l^oiskiv Radio Symphony
Orchciua (100 players), eumJucior Gregor
FiU'lberg, assistant conductor Jan Krenz;
hOdi Oicad of music Nticczyslaw Drobner),
a choir and orchestra of conductor A.
Tarski j
Poanah (Prancissck Lukasiewicz) ;
GdaiSsk (Stefan Wodziezko) ;
Szczecin (U'ladyslaw G6rayiWki) ;
WrcRlaw (Pioir l^boz), choir (60), chorus
master W, O^wiej, orchestra (33), comliici(*r
*1'. $cvedyrtski.
Until 1 939 the Polskie Radio issued a weekly
magazine callrrl VNnlena* (‘Aerial'). Since
the second world war it has been iMuing a
weekly called • Radio i Swiat ' (* Radio and
the World ’).
Educatiov, — A school of singing and
elocution was founded by jozef Eisner in
Warsaw in 1616. Two years later he sub*
miticd a plan to the Education Committee
which after much opposition was hnally
approved, and the Conservatory in Warsaw
came into being with KIsner as its line director
in 1821. After the unsuccessful rising against
tsarist Russia (1830-31) the Russian authori-
ties as an act of retribution closed down the
(^•nservatory in 1831. During its very short
hut active life it educated quite a number
of pupils, the most famous of whom was
Chopin.
In (8$} it was reopened under the director-
ship of Apolinary Kqiski (de Kontskit under
the name of Musical Institute, but it soon
reverted to its original name. Since 1919 the
Conscoaioiy has been a state ins liiu lion.
Its directors w’crc Apolinary K^iski (1 80 1-79),
•Alcktander Zarzyeki <1879-95), StanisUw
Barccwicz, F.mil .Miynarski (twice), Henryk
Melcrr (1922-36). Karol Szymanowski (193&-
I9i8t, Eugeniusr Moraw'ski (1930-45), StanR-
taw Kazuro (1945-51), Sianislaw Szpinalski
(i95t».
The CI>opin Schoed of Mu^ic was foundtxl
by Wladyslaw Z«*lcnski in Warsaw' in 18C1.
It is owned to-day by the \S'arsaw Nfusical
Society. In 1949 it was reorganized and
divided into higher, iniermediati* and lower
sections, and an a[>preciauim school of music.
Its director has Itei n Adam Wicniawski.
.Neeording to the list of music schools issued
by the Ministry of Culture and .\ris U5 Jtdy
1948; there are in Poland 30 sch<N)h of music
owned by the stale, a8 public schools </f
music not owned by iJtr stair, and 1 1 7 pri\aic
sclio'iU of music. 1 o iIk' firti category' iH’long
C high uhtHils of music in Warsaw, Oacuw,
KaiowKc, IamIz, Poznan and Sopot ; an
opera high kImkiI at Po/nati : 10 iniermrdiute
sf Isools of Miusie (Uarvaw. Ilydgtrsziz, Graeow,
Gdadsk, Gdynia, Lublin, l.mlz, Puznart,
Sopot. Torun; ; 8 lower riiusic siIkkiIs
^ Bydgoszcz, Cracow, Gdynia, Lublin, Ldd?,
IWnad. Sopot. Turutii ; a primary' sctiool r»f
music and a music lyccum, Wh at Kaiowhc;
3 scIhwIs of musical ap|>refiaiiun (Cracow*,
Luldin and Poznaiij.
Until 1939 courses in mucieology wtcc lie|<|
at else Mlvw'ing universities ; \Varsaw,
Cracow, Lw6w and J*oznah. By 1953 chore
were courses in Warsaw iPr</f. Dr- Zofia
Ju«4', at Cracow (l*rof. J)r. Zd/Islaw
Jachimccki, Lecturer Dr. Jo/ef Reiss), at
l^li (Senior Asdsiant Lciiurcr Ur. Alicja
Sirrson), at I'oznah (Senior Assistant l^iurcr
Dr. Ntaria Saezepanska) and at \\roclaw
(Lecturer Abb^ Ur. flioronim Fokhi).
c. a. It.
"ARTEL. French family of musicians,
<i) Pierre Fnogoia Wartel ,b. V ersailles,
3 Apr. 1806; d. pjiis, 3 Aug. iftSz), tenor
singer and teacher. From 1823 to 18-28 he
studied at Choron's Khool of music In Paris
and aftcrw’ards at the Conservatoire under
Bandrrali and Nournt, where he obtained
a first prize for singing. From 1B3: to 1846
he play-ed small tenor parts at ihe Opera.
He afterwards sang with success in Germany,
but on hts return to Paris devoted lumsclf
entirely to teaching. He was considered
oncof the b«i teachers of the dav, and among
his pu(d)5 must [fc named Clirisline Mlsson,
Trebclli, Mile Hisson (Opwa), «ic. VV'artc-l
has another claim to distinction, having inlro*
duced into France and popularize<l Schubert’s
*ongs. fndeed it was he who drew the atten-
iwm of the Viennese to them in 1 842, at a time
when Schubert was completely eclipsed by
VVARTON
WASIELEWSKY
1 88
Proch, Hackel, etc., and an occasionaJ per-
formance of the ‘ Wanderer ' was ihe only
sign of his existence.'
<2) Atale Thermae Aaaeete Wartel (bom
^riea) (^. Paris, 2 July *814; rf, Paris, 8
Nov. (865), pianist and composer, wfe of the
preceding. She was the daughter of a vMinUt
at the Opera and leader of the Conservatoire
orchestra. She received instruction in musk
at the Conservatoire, was appointed accom-
panist there and in 1831 obtained a professor-
sit ip, which she resigned in 183S. She was
the hrst woman instrumentalist ever engaged
by the Scekt^ des Concerts. In 1839 she
visited England with her husband and gave
a concert at the house of Mr. Crete, where
she played Mendelssohn's pianoforte Trio
in 1 ) minor with Joachim and Piatti. She
composed Studies and other works, including
her * Lessons on the Pianoforte Sonatas of
Beethoven
(3) Louis £oaiie Wartel Paris, 31
Mar. 1834; d. ?), singer and teacher, son
of the preceding. He ^vas engaged at the
Tlkitre-Lyrique in Paris from 1858 to 1865
and aRerwards established a vocal school of
his own, A. c.
W*ri«». Jo**pb. S<t ClalUen (* 04 « m famv'l
Cretrii
WARTON,MRS. 5 m Mahok (5).
WARWICK (Warwick*, Warrock),
Thomas ( 1 ) (ft. ? ; d. ?),
Englhh :6th- 1 7th« century organist and
compusrr. He was a descendant of an old
Cumberland family whose seat was at NVar-
wick Hall, some four miles from Carlisle. He
married Elizabeth, daughter of John Somrr-
ville, of /Sston Somerville, and b>' her veas the
father of Sir Philip Warwick (^. 1609), who
was Secretary to the Treasury to Charles II.
He succeeded John Bull as organist of Here-
ford Cathedral in 1386 and held this post
until 1589. His name appears among the
benefactors to the library of the viears<horal
at Hereford. j. k. (li).
WARWICK (Warwick*, Warrook),
Thomas (U) (6. ? ; d. London, i<^).
English organist and composer, son of the
preceding. He succeeded Orlando Gibbons
as organist of the Chapel Royal in London.
Gibbons died In 1833, but there is rto indka-
tion of M'ar wick's appointment until 1630,
when on 29 Mar. he had to forfeit a month's
salary
b«<*uM he prewmed (o «eew *n the oeitaa at
s^ntirr lyme. bcin* Tornwrlv iAhibii«d by ik« l>r»ne
from doince the ubm. by of hs iAwfB<MtiCY for
(h*i lokmn scrrice.
In 1641 he appears as musician '* for the
Vif^inall ” and on ty Nov. 1660 a warrant
was issued “ to admit Christopher Gibbons
musician upon the virginalU in place of
Thomas Warwick deceased, with the yearly
* Hanilicli. ' CoA«eriM«ut *, p, 346.
wages of to be paid quarterly ”. A
‘ Pavano ’ and ‘ Galiardo ’ by Warwick U in
the Fiuwilliam Virginal Book, and Thomas
Tomkins's madrigal, ‘ When 1 observe
included in his ' Songs of 3, 4, 5 and 6 parts '
(tSds), is dedicated to “Mr. Thomas War-
wicke He is said by Hawkins to have
composed a song in 40 parts performed before
Charles I about 1633, and Anthony Wood
refers to him as onanist of Westminster Abbey,
but this is unsupported by the Abbey records.
ANTHCMS
1 UA mine eyes. * 5. Ch. Ch. j6-6o, Bss ^ri waotinr ;
Had. 0343 / 14 . Wofds only.
I lift mv Kan up to i|t« hilb, • 5 . B.M. Add. MSS
_ Cmttu. Uau and situs paru only.
O Qod of my aalvaiKsn, a y P.H. ; 6uth. ; Ch. Ch.
30-4*. BaH pan waAiini; B.M. Add. MSS
K . 4 ) 4 . 70 . Tfm tmstnt part only ; Harl, 6343/ 1 aS.
ofdi enly.
J. M. (ii),
WaaUsatM* <je«rf*. Sn Bull <0., memctial
PWC«>. Kfrnek (Van. lut pf.).
WASIELEWSKY, Joa«ph (Wilhelm)
von [b. Gross Leesen nr. Danzig, ij June
163a; d. Sondcfihausen, 13 Dec. 1896).
German violinist, conductor and author.
On 3 Apr. 1843 he entered the Conservatory
at Leipzig under Mendeissolm's personal
teaching. Other branches he learned under
David and Hauptmann, and he remained In
the institution till Easter td43. He acted
as music critic for the * Signalc ' Lcipsiger
Zeiturtg', 'Dresdencr Journal', etc. He played
in the orchestras of the theatre, the Gewand*
haus and the Euterpe concerts, till 1830, when
he left for Dusseldorf at the invitation of
Schumann, remaining there for tw’O years,
fn May 1832 he removed to Bonn and became
conductor of the Concordia, the Gesangverein
and the Beethoven- VereJn. /^ftcr three yean
he exchanged this for Dresden. In 1669 he
was recalled to Bonn as ** Town Music Direc-
tor He withdrew from this appointment In
1884 and retired to Sondershausen.
In 1838 ^Vas^elcu'sky published his bio-
graphy of Schumann (2nd and 3rd eds. t 869
asKl i860) : in (869 his excellent book on
'Die Violine und ihre Melsler' (and ed.
considerably augmented 1863, 3rd, 1893).
In 1874 appeared 'Die Violine im XVIi.
Jahrhundert und die Anfange dcr Iiulru*
mentalcomposition ' (Borui), with an mlerest-
ing collection cf *' Instrumentalsairc" by
way of supplement to it. Further literary
w'orfcs were ' Geehichtc der Instrumental*
musik im XVJ. Jahrhundert ' («878} ; ‘ M^*
kalische f ursten vom MIttclaher bis su Beginn
des XIX. jahrhunderts' (1879); 'Schuman*
niM.*- (.883); -Bmhoven’ (.888); 'D«
\’iolonce]] und seine Geschichcc (: 889 i <
( I 88 q) ; ‘ Karl Reineckc ' ( 1 892) : ‘ Aus
siebrig jahren’ (1897)* ^ contributed
much to musical periodicals, and as a com-
poser wtotc some partsongs and a Nocturne
^V/^SO\^'SKI
WATERS
189
for violin and pianoforte. He had a decora*
lion from the Duke of Meimngen (1871) and
was a Royal Music Director (1673) and a
member of llie Accademia Ftlamionica ai
Bologna. o.
WASOWSKI, Andraej (i. W’artaw, 04
Jan. 1921)-
Pulish pianist. He studied under Nfme
Tcomblni-Kaauro at the NVarsaw Consena-
(ory. During the second ts'orld war he con*
tinued his studies first under Igumno\’ in the
U..S.S.R.. where at the same time he gave
many pianoforte recitals, then under Friedrkh
SVuhrer in Vienna, lie made his Uvidon
debut at the \N'igmore Hall on 33 Mar, 1946,
warmly received both by press and puWk.
He now lives in Belgium. r. a. «.
WASSERMANN, Heisr^eh Joseph h.
Schwarihach nr. Kulda, Hesse, 3 Apr. 1791;
</. Kichen nr. Bawl, 3 ^pt. 1838^
(•rrman viulini^t and composer. He was
the son of a village musician and sIucIhhI
un<|« r Canlor Henkel at Fulda and Sp<ihr at
Oolha. He was violinist at the eiiurt of
Hechingrn, KafHUmriUrr at Zurich, chantWr
musician at Donaueschingen, ntmlirt Jt (k 4 fHUt
at Geneva and finally seltled at R.ur l. Hr
composed three qurtricls, one wiih flute,
violin duets, dances f«»r orchestra, fantasies
and variations for violm and string (|uartrt,
also with pianoforte, 1
ci^jrr.T.T' ^
WASTE VALVE. .\ safety vaKv for
organ l>ellows,
WATER CARRIER. THE (Chcrulnni,.
or# Ht.tix J<n avSi,s, Lis.
WATER MUSIC. THE. .\ series of In-
slrunterital moveoKiUs composed by HarHiel.'
It consists of twentymne irKncmenu. llie
original autograph has disappeareil, bstc
two ntovcmenw, undatc<i and dillering ctm-
sKirralily from the prmleil ct»pje», will |>e
found In B.M. A<I<1. MSS 30.31©. 'IV
earliest punted edition is that of Walsh
published In 1740, w. 5. a.
WATERMAN, Richard (AJao) {*. .SqI.
vang. California. 10 July l9t4J.
American anthropologist and writer on
music. He studied at Santa Barbara Coil«rr.
(.all forma, gaining the B..A. in 1937, at Clarr-
moni (.Mlk-ge, where he became an M,.\. in
*941, and at North western UnisTfsiiy, lllinob
where he obtained the Fh.D. in 1943. For tb«
next two years he was an instructor in anthro-
pology at Nonhwcsiem Unlvcnity and fnan
•94.5 10 igjr he was Assistant Professor of
Authropohigy at the tame Univenity, being
app<«ntcd Aisociate Professor in 1951. He
dirt field rweareh in the folk music of Puerto
Kico m 1946 and m Afro-Cuban religious cull
W>’ £!»;? 0*PPOWd hKKKV - W H4HD.V.
mu»c iwo yean later. Since t946 he has
served on the Council of the American
.Anthropological .Association and since 1949
he has been chaleiitan of the Committee on
Research of the .American Folkh^re S<>ciety.
He is a nxrml»er uf Phi Ik'ia Kappa and of the
Society of the Sigma Xi. and in 1951 h^- was
appointed tu the 0>unc|] of the .Xim-rlean
Musicologieal .Association.
W’atennan has com])ih'd a bihliography of
.Asiatic music, published serially in th<* ' Nou s’
of the Music IJbrary .Association fl)ec. 1047-
1930; and a pamphlet on Puerto Rican
Folksongs for the L*.S,,\. (iovernmcnt. pul>«
lithed in 1947. Ills other articles Imlurte the
fvl lowing ;
•Ih-l RhtiaiM ill \e<r« Mmsk* Ainir Mii*koI.
>*** . »rH«Ac leta,,
MuofA ik <ul<M ' '• UCVKW tk fMu^lioi
*, Jkc. iy»q».
• Ihwl ( 4.irf. U ,n CMf.k J„nrn.
JiU t. 4 k Slo^ <:.>MHil, y AI. Ill, (if^i
Vlm^n ii» iI,^ M,,,,. u* Awik.in’
rr.«. vl iIm* WIXili Ini. ( ioiivieu <ir.%nicri< .ii.ivit,
•«U-
WATERS, Edward (Neighbor) i.
f.eavrnwiifih. Kamas, J3julv iifo()i,
Aiiwrican rMmi<oh>g|>t, Me uiidie<l a I the
lasiman hefoKd of Music, K«Mhesier L nlver*
siiy. \,V., rerun 1923 to iruJI, Ixxoming a
Mus.Bac, in 1927 and an M.M. the foUouing
year. From 1923 to 1930 he taught ihr piano-
forie and organ and acte<l as director of
various chmrs privutelv, and in 1930-31 hr
wa» a maclM-r at Juniata College, Huntingdon,
lasadena. Hr then I>rcarne awiuaiit in the
Music Ihxiuon of Uie Uhran* of Congress (iif
six years and in iri37-3« was a Ictiurrr in
bibJsography and mudeoingy at the Catholic
University of .\inerlra. Washington. Since
Ihen he has worked as assisiatil chief of the
.NIosic DtMsMHs of the Library of Congress.
From 1941 to 194$ he was pcsidcni of the
SXvsic Library Atw--iat:on and in i94t)-4-
l»c was chairman of the (x.uncil of National
l.il)rafy .\sv*e*atlo:is. He was secretary of
the Ameriean Musicologieal Society in iriay
and again in 194^*. and since 19VI he has lH*en
s^rclary of the Committee on Slusn ology for
the American Council of Learned .Societies.
He wrote the programme notes for the
Natimsal Symphony Orrhrstra of \\ asldngion
tivm 1934 to 1943, and he has produeexi a
number of articlei, including • Panorama dc
musieales (,9 <h)-,94,^ . ror
i-«**no Americano dc MOslea
Vol. \ . Other articles include the following :
of NJwic '
. ^ ‘♦-‘hw • <iM.. 1944)
WATKIN’-MILLS
190
WATSON (Thomas)
* A Brahmt M»nw«cnpt : th« SehkksaMiH * {* Ouartcrly
« »urnal of Current AcqubiiiMt Lib. ^ Cm 4TC*».
ol. III. 1946',
* Cmhwin'i RhaiMody to BJue * Vol. IV, IM?)
• Liiti** Sotrto de Vknn* • (i*rV., VoJ. VI. t 949 >.
*ili« Music Colltcivon of (be Heiaeoujt Fou^oiioA*
<‘ Notes •, Vol. VII. 19J0). U H
WATKJN*MILLS, Robert (i. Paiiuwick,
Gloucesicrshirf, 5 Mar. 1856; rf. Toronto,
Dec. 1930).
English bass • baritone singer. He was
taught singing by Edwin Holland in London,
by Federico Blasco at Nfilan and on his return
to London by Blume. On 17 May 1884 he
made his d^but there at a Crystal Palace
concert. On dt May tol lowing he made a
single appearance on the stage at Birming-
ham with the Carl Rosa Company as Bal-
dassare in an English sersion of Donizetti’s
' La Favorita' and was ofTcred a permanent
engagement, u hich he declined in favour of a
concert career. On 1 Jan, 1885 he created
a favourable impression at the Albert Hall in
London in Handel's ' Messiah ’. On 14 Feb.
he 6rst appeared at the Popular Concerts.
In the autumn of the same year he sang at
the Birmingham Festival in the production
of Stanford’s 'Three Holy C/hildren’. Thence-
for\vai'd he liccame a favourite bass* baritone
singer at all the principal concerts and
fcsiivah, and after 1894 he made several
tours in Canada, the U.S.A. and Atistralasia,
etc., with (he greatest success. He ultimately
settled at loronio, as a teacher, and with
his wife, organist of the Knox Presbyterian
Church, established the Watkln-MMIs Music
Club. A. c.
Waihyns. Rowland. St* Naylof (f., eaauia).
WATLEN,Joho (A ? ; d. ?).
Scottish :8(h-igih*century mtisic publisher,
music and musical -instrument seller and
musician. He was originally in the employ
of Corri & Sutherland of Edinburgh and
started publishing from his private house, 17
Princes Street, in 1791. In i793'-93 his
business premises were at 13 North foidge
and from 1793 to t79d at 34 North Bridge,
with an additional address for a lime at 34
North Bridge, Francis Llnley of 43 Penion
Street, Pcnionville, was his London agent,
but some of Watlen's publications have the
London address 1 Charlotte Row, Long Lane,
Southwark. In J798 he became bankrupt
and his stock* In-trade was sold, after which
he continued to teach and pubibh at his
house. The Hermitage, Abbeyhill, near Holy-
rood.
About sdoo Watlen moved to 3 Upper
James's Street, Golden Square, London, and
soon aAer became a partner in the firm of
Cobb & Wallen at 1 9 Tavistock Street, Covent
Garden {<. (8005) and at (86 Piccadilly (c.
1805-6}. From 1806 to j8t8 he publish^
alone at 5 Leicester Place, Leicester Square,
and from (818 to 1839 at 13 Leicester Street,
Leicester Square. Besides sheet songs, etc., by
other composers, he published a number of
his own works, sonatas, concertos, dcKripdvc
pieces, etc., on one of which he suicd that
he was formerly of Salisbury Cathedral, late
onanist of Bombay and an officer in the
Royal Navy. Kidson says that he claimed to
be “patentee of the oblique pianoforte, so
much admired for its full and melodious tone,
the only patent piano now extant
w. c. s.
R. M. ^ ScMt (C., 15 Mn;*).
WATSON, Sydney ( 4 . Manchester, 3
Sept. 1903).
English onanist, pianist, conductor and
cOTiposer. He came from Warwick School
to the R.C.hf. in London, to study the organ.
Sept. (931 to July 1933, and proceeded
thence in the foHowing year to Kcble College,
Oxford, with an organ scholarship. His first
academic post was as assistant music master
at Stowe School from 1925 to 1936. From
1939 to 1933 he was precentor at Radley
C^Je^. In 1933 he returned to Oxford as
organist at New College in succession to
Dr. tv. H. Harris, and there he remained till
he succeeded Dr. (now Sir) George Dyson
at tVinchesier College In 1938. In 1946 he
became Direcior of Music at Eton College.
tVliilc he was at New College he submiticd
himself in the normal way for examination by
the R.C.O., which won him some faw>urable
comment, the degree of F.R.C.O. and the
Lafontaine prize.
At Oxford U’atson held as supplementary
appointments the organist’s post of the Shel*
doitian Theatre and the directorship of the
Balliol Goneeru ; he also taught and examined
for the University degrees in music. But the
chief development of this stage in his career
was his emergence as a successful conductor.
He took over the small Oxford Harmonic
Society in 1933 and the Oxford Orchestral
Society in 1936, and did outstandingly good
vrofk with both. His published compositions
arc church music. The talc of his all-round
musicianship is completed by the excellence
of his pianoforte playing.
WATSON, Thomas ( 4 . ? London, ? ; dJ.
t. 1593).
i^lish poet and musical editor. He put
forth in 1590
Ttw fi»* t«t of lulon Midng«Jl* Enirl«»hed, »
(he MfM of ihe orijtirall dink, Wt ih«
Ok No***, Bv Thorn** TTxr* »re
imerwO (WO ewllrtt ^f»<lnr*ll* of
Bwd » tfompowO *lkf (he luiiw* viu« •( the nqoai
ofihe uyd Then** W*uen.
It is dedicated in a Laun metrical epistle to
Robert Devereux, Earl of Essex, and there is
also a similar epistle addressed to Lum
M ar«>zio, from whose works twenty-tf^ «
Ihc twenty-«fhi madrigab included in ihc
WATl'S
WATSON OVmiarn)
ic,i
pubU<au<m were iaken. Waiaon b con-
jee ly red lo have been tdencioal with Thomas
y> aison» a native of London, who after stud ying
poetry for some time at Oxford, retumexi to
Lontton to study law. A eoJIection of sonnets
by him entUW 'Hecatompaihia, or Passion-
ate Ceniurie of Love was licensed in tjSr.
and some poems by him were insertrd in
England’s Helicon 1614. w. ii. m.
W4W9». (Si*) WUIUm. .Vr CiMk (C. A., ‘
or&emin«twAicr \K»asJ. Quil«r <iun«).
WATT, Henry Jackson (♦. Aberdeen, ts
July 1878; d. Gla^gw, 25 Oet. 1923.
•Scottish psychologist in music. He was to
Britain what Siumpf and Hornbostel were
u» Germany, save that >Vaci was a pioneer in
hUnwn pariirulareomributktm to the psy^hcK
physics of sound. Lducaicd at Aberdeen
Grammar Sv*h<Md, where hr was da r G 8931, he
rnirred the fnivrrsiiy U Aberdeen (i^>,
taking his M.A. ( 1900; with first-class Honours
in mcriul philosophy, winning ihr Hutton
Ffue. the Bain Gold Medal and the Fvdiarlon
Sthtdarship. (n 1901 lie became aWunl to
l>r. \V, L. I)avid««>n, the IVnfessor of lj*gk.
but during the summer semester c*f that >Tar
he was at Berlin, wIhtc he atiernled the lec-
tures ofDrsv.ir, Dikhev, l.as«m, Paulsen ami
hlumpf, l>emg deeply impressed b> the last-
named, It wat there that l>e turned hit
altetjii«»n to experimental pvyel>nlogy. Jn
iVU he took himself to the University of
SV ur^burg where lie studied under Kul)>e and
MnrlK>. He remained some years, sircriglh.
rned by a Garnegk' SchularsUip <1903-4) and
a Carnegie JVIIuu^hip (ipo)-?). P<^ a bril-
ham thesis. •J:,xprri nun III Ic Beilrage au einer
Iheoric des IVnkrns ' (Wuraborg. locu) lie
was awartlesi ihe Ph.l>. degree, f.dlowing
this U ait ini mediately sprung into the frmii
rank among tJic younger |ayi)iologkit. Still
prtjpuruijng rrwarcher in inemi>ry, react itw»
and after-images, lie <<>ncribuird seseral
thoughthil articles to ihc German scientific
jmirnals whUh centred further attention uix>n
hun.
in 1907 he waa appointed lecturer in
Psycho- physiology at the University of Livirr-
ptHil, where his asset iaiion with Sir Charles S
Shrrringlon, the Pw/fstor of Physiolcgy!
prompted liis thesH'iw «.n Integra ih«, first
aovaiicrd m his paper ’ Some PfoWems of
^nsury Inicgraiiou • (• Brlltdi Journal of
IsycHolugy^, ,3,0). Alierdccri University
conferred on him the degree of D.Phd. In lot t.
Meanwhile he had been appointed Lecturer in
Experimental Psychology at the University of
Glasgow (tgo8), and it was there that music
became the subject of hLs invesiigattom in
working out “a tomp.irativc method of ana-
lyst of nsory experience 1 1 U marriage with
f/iTirude Nellie Smith (rf. 192*/), a cultivated
musician and gifted pianist, greatly enhanced
hU interest and studies in this new field, as
we sec In such articles as * i*s)cl»ologicaI
AnaJysb and Theory of Hearing ' (1914^ A
Theory of Dinaural Hearing’ (1920; and
‘Funciioni of the Sure of Intervals in the Songs
of Schubert and of the Cliippewa and Teton
Sioux Indians* (19241 in the * Briiisii Journal
of Psychology and ' The Imporumc ol the
^nsory AuriUiie of Order’ (J920) in ’ Mind
To musiciaiu in general he was bciicr ktiown
by his contrilmiioiu to SI. & L., ••spccialJy Jiis
‘ HcImJtoJu \ * Rule and Law ’ 11923), ‘ In
Turn- ’ {1924) and ' On Listening to Music ’
(1926;. Of greater imjsgriancu svctc Ins
liookt, ‘ J*he l^svthology of Sound ’ i,Cam-
lifidgc, 19*71 and ‘Use Toundj lions of
Mude ^ (Cknnbridge, 1920). I hc first was
primarily addrvvwd to psyc)iij|<igiii> and
ph>»i<>kigin%, and in 11 wj, dc vcIoiKxJ what
wc'imj to Ihcjuihof to be ‘the only system-
atic ally true and promising theory" of the
plwnomena ol sound. In the KCotid book he
sought lo satisfy the musk ian and psythojogki,
and essayexJ " tc» brnlge the gulf between the
plAsiolcigk .il rU’inenis and prcMrcH’s of inudc
on the one liaiMl. and on the mlier I he semury
siufl and lunciion of music as the muskian
observes ilwni Un last work, save hU book
on the * Catininoji Sense id l2reams ’ (\N’or-
cester, L*.-V,V, 1929; publislKxJ |>osllium<>usly,
was • riw Sensory Basis and Structure of
Kisowfedgc’ (IakkIoi*. *925/, wlmh "a
general «x|>osiiion erf the |>ure jisychology of
*ensory cxperwiKC ’, upuii whkh he had
worked for vescnieen years, wlien lie was cut
off In Use priiise of llle. In J914, when on a
vwil to hi> old fnetuJ and teat Her Kuipc at
Wurzburg, he was caught wheti war was de-
clared and sent as 1 civilian prisoner of w.ir
to a coneciiiratioo camp. Here his licnlih
broke dow.i and Ik was invalided home in
19*5- He never recovered, and in 1925,
when carrying out investigations m ahmpiul
he comratird a disease from whiclj he dlcd-
J> VV.,
B«c. Ill loriMwecoK, Hteioa
H«aU ‘, rytki i 9 »s
vv*T^ II. / •Ihe tUwM.on s^nse of tbeanu*. bio.
inoiMluciHM iWofiMler. U.S.A., I02$)
I KoccliJin • Uis.n* \ e»|»«
Ul^n. <>IU-U«h / ^rgrrs sk VV-t.f*u Ulleo. ’
.^■***' p‘ St* Mdlvnl (thoral song), SiAiifuni
(mcnsofial ^mplHHiyr. •/.••••vn,
wnSIa'tltS?**' ^ WiUun.s (li>mn for
Em.. - Hi ft. Vieroa, ' Isaw W»tu and A.c
^^tnbouen w Lak1>Ui • (New York*
WATTS, John (k. ?, 1678; rf. London,
Sept. I7b3/. ’
English Ujoksellcf and printer. Benjamin
trankhn served with him as a journeyman
when he wa* in London. Wmis was esiab-
m Udd Court, Lincoln’s Inn Helds,
beJore lyab, and in conjunction with Jacob
JoAsoti published plays and miscellaneous
192
WAULIN
WAYLETT
NN’orks. 'Die introduction of ih« balUd opera
at Lincoln's Inn Fields Theatre brought >Vatts
into brisk trade in the publication of the operas
performed there. He published the firet and
later editions of* The Behai’s Opera * (i728«
music e^gra^cd), and after this practically
the whole of the series of ballad operas as
they were performed. I'hcse editions have
the airs for the songs in the operas printed
from engraved tvood blocks and are especially
valuable for giving the old names of the tunes.
Another important work in six volumes is
‘The Musical Miscellany* (1729-31), which
was reissued with different titles to the volumes
(' The Harp ‘ The Spin net ‘ The Violin *,
etc.) by J. Wren (r. 1750).
r. K-, rev. sv. c. s.
WAULIN, AJexaoder (6. Abramzevo nr.
Moscow, 3u Jan. 1B94).
Russian com|>o»er. Having concluded hU
general education in St. Petersburg (1912),
he turned entirely to music and studied
privately under various teachers, r.g. M.
Gubko, F. Bronlin, A. Lourie, B. V. AmAcv,
etc. After the October Revolution he look
an important part in the new o^anixation of
Russian music, but later he emigrated to
Koriula (Yugoslavia) and in 1923 he settled
down in Prague, where he has since been
living and working (1932) as an ardent ad«
hi'rent of Czech music. Among his works
favourably received and published both in
Moscow and Prague should be mentioned 3
airing (|uaricls and a considerable amount ti
other chamber music for various romblnations
of instruments, 3 pianoforte sonatas and
several sets of jiianoforie pieces, and e>xles
of songs. He has also wTitten occasional
informative articles on Russian musk.
o. t.
WAVE ORGAN. Stt ElicirOpho.sic Ik-
SrRLIMKKTS.
WAVES. A i6th-ceniury English term for
a small type of contrapuntal composition in
2 or 3 parts on a ctmftu firmiu, intended mainly
for either practice in polyphonic writing or
instrumental playing. HughM. Miller {M.Q.,
XXXIII, 343, 1947) describes a set of little
keyboard pieces of the kind, to be found in
an anonymous manuscript (D.M,, Add. MSS
29,996, ff. i92-93» ««*ilRd 'Pretty
\Vaycs ; for Young Beginners to Looke on *.
It contains iC diminutive compositions, the
shortest of them only 6 ban in length, all but
one in 2 parts (the exceptional one in 3 being
in canon) and based in passacaglia style on
part of the pJainsong hymn-tune 'Jam lucis
or 10 Mldcrc '. The <biiIus firoms k in the bass
throughout except In No. 13. and while its
notcf al way's remain exactly the same in order,
it U not only rhythmically varied but metri-
cally subdivided in different ways. Thccountcr-
polnls set against it indulge in all wis <if
rhythmic divenitses, including syncopations
and duplets set against triplets. The par-
ticular problem the composer sec himself and
his pupil is described at the head of most of the
pieces — “ Counterpoynic long and short”,
“ Indenting counterpoynte ”, ” Q^adriple by
three ”, *• Crotchet, minum and crotchet ”,
“ Triple to the minum ”, ” 2 parts in one ",
and so on, much as in a modem work for
the pianoforte which has very similar peda-
gogic alms — Bartok's ‘ Microcosm '.
B. B.
Sm Wceiton (T.).
WAYLETT (or Way let). English iSth-
century family of music sellers. They were
established in London about 1743^5, and
their relationship is not clear.
(1) Henry Waylett {^. ?; d. musical-
instrument maker, printer and publisher, who
was established in 1743 or earlier, at "The
Blaek Lyon” In Exeter Change (or Exchange)
in the Strand, where he remained in business
until 1763, when he was succeeded by Richard
Bride. He had the honour of issuing the hrst
edition of ' Rule Britannia which formed
part of the following publication :
The MuvK Ml the Jvid«n>rnt of Fstii , . . Te vrhkli
I By fiatiwular Umre^ Sevenl Cn rourafrn of thii tv'»rk)
are added Tlic celebrated Ode, ia Hongur of Creai-
BfMain Call’d Rule AHuMia. And Sawney A Jenny, a
fevMiriic Oialgcue in >'« Scotch $ok. The whole
Compot'd b> Thomu Aucu^ine Ame. Opera Sewa.
This vv'^k appeared some time after 2i
Sept. 1743. It has been wrongly attributed to
Jan. 1 741, because of the royal licence granted
to Amo to print his works, dated 39 Jan. i74b
a copy of vvhkh vvas included in the volume.
It it quite clear, howover, from a notice in
‘The Daily Advortiscr' for 21 Sepi. 1745 that
Ante had not ittued the work up to that
date.
Among Henry tN'ayleit's other publications
were C. Corona's ‘ Si* Sonatas for Two
German Flutes' (r. *745); T. Davis's
' Twenty Familiar English and Scotch Ain
for Two German Flutes ’ (r. i 750) and ’ Solos
for a German Flute’ (1744-45) 5 'Twenty-
four Country' Dances for the Year 1751 l
' Minuets for the Year 1 759 ' ; Rameau s
‘Treatise of Musiek* ; and a •Complete Tutor
for the German Flute *.
<9) FraoeiB Waylett (*. ?; d. ?), music
seller and publisher, who had a shop opposite
Suffolk Street, Charing Cross (near Pall
Mall). He pu Wished Joseph Bry-an’s The
Muse's ChWee, a favourite Collection ol
Songs’ < 1 756-5®) Christopher Dixons
• Two English Canutas and four Songs {<■
1 760). Hb name appears with that of Heno'
Waylett and others in the impnnt ol A.
Scarlaui's ‘Thirty-six Arietta's’ <<•
It also appears in the Imprints of Ijy
Favourite Songs in . . . Aniigono ’ by N.
Conforti (1757) : ' The Favourite Songs
\y\YLETl' (Harriett)
^VLBBK (Sanmt’l -
in . . . II r< pasiore ' by Basse (1757)-
Wben he ceased business 1$ not known.
(S) John Waylett (*, ?;/?). HI* address
was also Kxeier Exchange, in the Strand, and
the only reference to him which has been
traced is in advertisements in • The Daily
Advertiser ' for 23 May e 745 and subsequent
dates of
A (^ulWiinai ot such Pvilnt T«ftr» n irr «ocMmonh wftf
in (lie Churdies al IamhIoii mmI
0*e of Cwel u, Nu»tf>. . . . iMMied
Md liy ilvf Aiidinr. b> H^nrv Kob«^i . , , jnd jiAii
NVuylm in txei^r tsrhancr. in ihr Ntrand.
W . S.
WAYLETT, Harriett bath» 7 Feb.
1800: l^ndon, 26 Apr. 1851).
hn>'li>h aetres* and suprano singer. She
wa* ih<' daughiiT of an uphoUterrr naimvl
C,*(M>k('. She tiecamc the pupil of one of ihv
IxKlcr faihljv and inadr her debut on the
Ilaih .stagr on ib Mar. 1816, performing
in provincial iheairet for tl»r ncJd ihr»r or
four years, At this time she ntade a consider*
able icpulation by h<>r playing and singing m
the ihararteruf Margery in Arne's |M«iir(io
opera ‘ I.iAf in a Village in which she after*
wards appranxt at Deory l.ane 'l*h<’atre In
Jojndon. .She had made her hrst u|>praraiKe
on a Ixmdon stage at the .\d< lphi Iheaire in
Oc t. ibao ; but ns a singer she was a favourite
mainly for her delivery of Iwtiads of the kind
|M>|nilar at the f>ublic pleasure gardens,
In tfliy she had marrird an actor named
vVayleii, who proved a very unsiiitalilr
husi>an<h and she experienced many nils-
fc*riunes through her marriage, which ended
in separation. In 1826 *hr mariied fJeorge
Alexander Ixe, the comixxer. She appear*d
•>l the l>ublm 'Iheatre Koval almost es'ery
season from iUjO it» 1838. In (Kt. 1833 she
got ^800 f(»r a three w«eks’ engagrntrnt.
t K . odds. w. II, r;. r.
WE WON’T GO HOME TILL MORN-
ING (.Sung), Sff M,M.Ha<M)K.
WEALE <Whe«U). WUUam <F. ?; d.
Hedfurd. I7a7).
1 -iigllsh organist and composer. He was
urganUt of St. Pa„j s Church, Bedford, from
ujwgt : 7 15, and took ihr degree of Mus.U. at
(.amUidgr in 1719. He deserves mmlion a*
the compos, r of the hymn-tune * Bedford
which seems to have equal authenticity in
hock iu versions, in triple and duple time.
WEBB, Chick. ^ * '* ***
, w*»»b. Mary. W Duntup «r f..rsh *.
• liotM... l,jvl.i|i« f(,o.ir U> larih*. ANni. Cbnvillr.
iKki He»«| jvs-C). N»y|« (B., M^).
KuU/r 4 (Mnc). tViJlums ((;raev. soaki.
WEB8, Riebns'd 'F ?; rf. nr. WincUor. 13
Apr. 1825),
hngllsh musical editor and composer. Hr
was a clergyman with the degree of M..A..
fompikr of a valualdr collectl.m of 15th- and
VOt,. JX
• <»3
l6lh*ccnlury madrigals for 3-6 voices (I,ondon,
1808), and another collection of 3*. 4. and
5-pa« madrigals in 1814. He also composed
a SCI of four glee* for 3 voices.
r,. V. d. s,
WEBB, William (A. d. ?).
English l7(h-ceAtury com|x»er. His songs
are in John Hayford s 'SoIe<l Mudcal .Vyres
and Dialogues’ (1632), 'Select Ayres . ,
leditioiuof 1633 and tdjqi, Hiltons 'Catch
that Catch flan ’ of ami (. Idavford's
edition of 1667, Fbyfwd's ‘ the Mudeal
Comjianiofl * {1673. three*pari song*) and a
three-|>ari song in * .VB. PJillo-Mu*. .Svngpsw
of Vocal Muviek ' (16B01.
WEBBE, Samuel (I) b. ? l.undon', 17.10 :
d. la»nd«m, j’, Mas • i«H* ,
Ltiglidi org.mist ajMl compuvT, He wa* at
the age U eleven apprentic'd to a London
(abittei'maker. but u|)<in the expiration of hi*
time qglitcHl that calling and copied mu vie
lor a hvrirhood, being employed by' \V'elekt*r
in SoIm*. through whose Insirumeiuaiitv he
had hvMini from Barbandl. organist of the
Bav.srun amiMJs.nJor* chapel. Hr uUo
studied the ijun, Freni 1 1 and Julian lan-
guage*, which wvre aft erw arils supplijtK'iuril
by (ierman, Creek and Hehrew. He first
aiHreared a< a computer al>out 17(13, devoi*
mg himtelf clils'My to the pruiluiiion t.f
unaccompanied vocal niuvie. In 1706 the
Cateh Club awarded him u price medal fur
his canon ‘O that I had wings', and In
sulisequeni year* twcnty.ilx other rnrdaU for
the follinsjng cointXHitlons :
^ ...V xtNnan , calih (» 7 U?r,
‘*"'**‘' *“** ' '' f' 8••Mi J,*|. •
' .'baw » |MHW «r^• .
I.Wh* • qijH <4*r mi fllHKI 'i:?i I.
1 1 > 721 ,
*’*ilwff‘i **** ‘ IJH <‘spffv,
' NW t'm »t*t***f^ *. ' 1 ?? s ',
*•“ ye’wurb',
• S-nw*?’. <a«K (.«,».
loTVr all «>vrttV <40*01
-
m9mm
N
‘94
>VEBER
WEBBE (Samuel — ii)
' O Lord, sbow Thy mercy ^ <aiico, aAd * SwiJUy IroQ
(be meuDUin‘s brow *. glee (tyM)
' Jullel ii prcicy ^ e«tch. and ' Non Adi al mar rl<«
{lygo).
‘ T«U me *, ca<cb. 1 794.
More than half of these composiiioiu arc
catches and canons, and but three of the glea
can be ranked among Webbe's bat His
finest works — his glees ‘ When winds breathe
soft’, ‘ The mighty conqueror ' Come live
with me ‘ Thy voice, O Harmony *, ‘ To
me the wanton gjrU and ‘ Hence, all yc
vain delighu and hU catches ' Dear father,
the girl you desire me in marriage’ and
’Would you know my Celia’s charms’ — arc
not to be found in the Use of his prise coru
positions.
On the death of Thomas Warren Home in
1 794 became secretary to (be Catch Club,
an office he held unit! his death. On the
ocablUhment of the Glee Club in 1767 he
became its librarian and wrote and composed
for it his glee ' Glorious Apollo which during
the whole existence of the club enjoyed the
distinction of being the first glee performed at
every meeting. He wMi also organist of the
chapel of the Sardinian embassy, fn the
‘Laity’s Directory ’ for 1 793 (quoted in ‘ The
Tablet’, 1817) is an adv'eriisement which
supports this statement, and (he publication
of music used in this chapel, as w'ell asofmusic
used in the Poriuguese chape], seems to imply
that he was organist of both. He published in
1792 ’ A Collection of Motetu or Antiphons*
and ’ A Collection of Masses for Small Choirs
principally composed by himself. He pub-
lished ai various periods, beginning 1 764, nine
books of glees, etc., which were sub^uenily
republished with additions in 3 vob. folio.
Twcniy-five glees, thirty-six catches and nine
canons by him arc included in Warren's coL
lections. He also composed several excellent
songs, of which ' The Mansion Peace '
enjoyed a long-continued popularity. Nine
of his glees, holograph, dating from 1788 to
j6io, are in (he Euing Collection, Glasgow
University.
Webbe died at his chamben in Gray’s Inn
and was buried in Old St. Pancraschurchyard.
William Linlcy wrote an ode upon his death,
for the best setting of which a pHse was ofTcred.
Seven competitors entered the lists; William
Beale, Lord fiurgliersh. James {?) Ellioct,
C. S. Evans, William Hawes, William Knyvett
and William Linley, the prize being won by
Evans. Webbe stands in the foremost rank o(
glee writers, and his works will maintain that
position as long as a taste for that style of
composition shall endure. As a man he was
much beloved and respected for hb social
virtua. w. M, K.
Sft sli9 Bursh«nh (ode on tV.’s 4«aih). Ctee. Oe«
Club. Heimn (E.. son.in*Uw).
WEBBE, Samuel (U) (^. London, r. 1770 ;
ft. I^ndon, 25 Nov. 1^3).
English pianbt. organist and composer, son
of the preceding. He studied principally
under his father, whose eldest son he was,
and became a good pianist and organist.
Like hb father he early devoted himself to
the practice of vocal composition, and in
1794 obtained from the Catch Club prizes
for a catch, ' Ah Friendship', and a canon,
' Resonate Jovem and in 1795 for a canon,
' Come follow me He wrote music for an
operatic ^rce, * The Speechless Wife
produced at Covent Garden on 22 May 1 794.
About 1798 he settled at Liverpool and be-
came organbt of the Unitarian Chapel,
Paradise Street. About 1817 he returned to
London and joined L^er in teaching on the
latter’s system, and b^me organist of the
Spanbh ambassador's chapel. Some years
later he again settled at Liverpool, where
he became successively organist of the St.
Nicholas Church and of St. Patrick’s Roman
Catholic Chapel. Toxteth Park. He com-
posed many glea possessing great merit
(among which ‘ Come away. Death ’ from
^akcspcarc’s ' Twelfth Night ' is conspic-
uous), songs, moteu. etc. He edited the
collectJoa of glea, etc., entitled ' Convito
armonico ’. w. K. H.
WEBBER, Amherat {h. Ganna, 25 Get.
1667; d. London, 25 July 1946).
English pianbt and composer. He was
educated at Marlborough College and New
College. Oxford, where he took an ordinary
and a musical degree. He then went to
Dresden to study composition with J. L.
Nicod 4 . and in (he winter of 1 869-90 was at
the Paris Conservatoire under Guiraud. He
was engaged as mar/tre ti pieas for several
years at Covent Garden Theatre in London
and (he Metropolitan Opera-House, New
York, and did valuable work in coaching
various eminent singers in the Wagner
repertory.
Weblw composed a Symphony, performed
by (he Philharmonic Orchatra in Warsaw
in 1904 and at Boston by the Symphony
Orchestra under Gericke in (905. His one-
act comic opera, ' Fiorella’, to a libretto by
Sardou and Chetui, was produced at the
Waldorf Theatre, London, on 7 June (905.
Various songs tn English and French became
popular with the refined singers to whom
they appealed. ‘Aubade’ and 'La Premiere’
were two of the most succosful as well as the
best. j.A.r.-v.
WEBER. German family of musiciam.
TTic several members, of whom Carl
was the most outstandirtg figure, arc d«cri w
below in order according to the following
uble.'
‘ 0«b«r Weben, ao* of ihk lioe. ««
Pf). 3SS-S
Um mow
Krlck ceowam tnai <>) aoo an
WEBER
•9b
( I ) Jobfton v«n
( 4 } PrtJebo lc)9s-79)
(S> jM«pbt ( 6 ) Ahmia (7) CowUue (ft) So^ie
Ii7ift-J6i9) (I?ft3-ift42) (i7ft4-ift4J>
(s) Jowpb Frani X«v«r
(ft) FrKioUo (/. I7S4)
(ft) Frans Antaa von (1 734-181 2 j
The earliest known member of (Ke family,
(1) Johacka Bapdai voa Web«r ?:
rf. ?), a man of property in Lower Austria
during the latter half of ihe iCkh century, was
made /VnArrr by the Emperor Ferdinand II
in The family was, and remairted.
Roman Catholic. We know nothing of Johann
Baptist's muftica) lastes or facuUies, but hU
^•ounger brother
(a) Joseph Frans Xaver Weher (ft.? ; / ?},
apparently living in Upper Suabia, b said
10 have been a great amateur of music and the
drama. The title of the elder brother was no(
transmit led till 173$, and of the younger one’s
descendants, one
(3) FridoUo Weber (ft. Stelten, Baden,
(bapt. aa) June 1691 ; d, Freiburg I'B., aj
Feb. 1754). was in the service of Freiherr
von Schonau'Zella, near Freihurg i/B., in the
jflih century, He was passionately devoted
to music ^ sang, and played the violin and
organ. Of his two miss, the elder
(4) FridoUo Weher (ft. Zell, Baden, 1733 ;
d; Vienna, aj Oct. 1779), also a singer and
viohn player, succeeded his father as manager
of the Schonau-Zella estates. He with his
broihcr wai a mcm>>er vf the electoral chapel
Jf,. M*“nhclm. In 1756 he married Mane
Ctcilie Stamm of Mannheim, by whom he had
four daughters. The eldest,
(5) JoBcpbn Weber (ft, 2eU, 1758; /
V ienna, aj) Dec, iBtg) was a bravura singer
with a high and flcaiblc voice, but a poor
music tan. Mocari wrote for her the pan of
the Queen of Night in ‘ Die ZauberBote ’ and
a bravura aria (K, 580) She married in 1 78U
Ilofer, viol mist at Skhikanedcr’s theatre, and
after his death Friedrich Sebastian Mayer, a
bass singer, in 1797. The second,
(6> Aloyala Weber (ft. Zell, 1760 ; d. Salz-
burg, 1039), was Muzan’s first Jove during hh
viut to Mannheim In 1777, but she jilted him
on his return from Paris in 1778. Her voke
was ckcepiionally high and extremely pleasant
m tone, though perhaps rather weak for the
stage. In j 780 she was engaged for the opera
•0 Vienna, and married an actor at the court
theatre, named Lange, who died in 1831
bhe made several professional tours before her
tinaJ retirement in 1B08. Mozart wrote for
her SIX ariu (K, 394, 316, 383, 418, 419, 5^,
and a rondo (K. 4.t;). The third,
Fw Mdtsrt C7 foneea iriss wrillea be her).
(7) Conatanae Weber (ft. ZeU, *763; d.
I I 1
(lej Fnu (lO Edmund (la) Gsrlhfam^oii
(i786-i8aC?
Salzburg, 6 Mar. 1843), became Mozart s
wife. Sf^ MozAftr (4I,
(8) Sophie Weber ift. ?, 1767; d. .Salz-
burg, i8]6), married Haibel, tenor and com-
poser. attached to Schikaneder's theatre, in
1806, During widowhood she lived with
Gostanze at SaUburg. She ^vas present at
hfoaan's death in Vienna, and In 1G33 wrote,
at Nissen’s request, a touching arcouni of the
last sad moments.
(9) Prau Aatoo von Weber (&. ?, 1734;
d, .Maimhclm, 16 .Apr. 1813;, became the
failkcr <rf (lari Maria, who was thus coimccicd
by marriage with Mozart. Franz Anton must
have been a vi<*lini«i of more than roinmon
ability ; he was alvo a virtuoso on the double
bass. He took military service wiih the
Elector Palatine Karl I licodor, at Mannheim,
on the understanding that he was to awisi in
the celebrated e<»urt Isanti. He fought against
Frederick the (ireat at Rosbach |I75G> and
was slightly wounded, after which he It ft the
army and entered the service of the lilcctor
Clement Augustus at CJologne. In 1738 hr
became steward to the prinre-ltivhop, and
court councillor at Steuerwald near Hildrs-
helm. His dev’otlon 10 music, which was such
that he would even play the violin while walk,
mg in the fieWt with hii family, caused him to
neglect the duties of his olBec, and he wa*
Jprived of it. From 1 76B to J 773 he lived at
Hikrtheim as an ordinvy citizen and there
decided, despite his age and numerous family,
on becoming a peaciical musician. He appears
to have started on a tour as a viola player, and
then settled at Lubeck, where he puWlshed
Lieder mit Melodien furs Clavier’ (1774).
In 1778 he was musical director of the theatre
at Lubeck, and from 1 779 10 1 7B3
to the pnnce*bishop of Euiin, 1 *i 1 784 he wen 1
to Vienna, where he married again the follow,
mg year, returning to Putin as director of the
town Und. While in V ienna he had become
acquainted with Haydn, to whom he entrusted
his two eldest sons.
(10) Priia von Waber (ft. ?; d. ?) and
(ii> EdmoDd von Webar (ft. ?* J s)
both of whom showed ulenl for music ’
(Friedrich Eraal) von
Weber (ft. Ruun nr. Lubeck, 16 Nov.' 1786;
i» Ift Dee. isftS: bui
«« >0 nS
> 9 ^ VVEBER: Youth and Early Studies
d. London, 5 June 1846), was the first child ctf
Franz Anion’s second marriage. The father
had always longed 10 have a child that should
turn out a prodigy, such as Mozart had been,
and he was anxious to dcscern in Carl Maria
talent of a high order. The boy was early set
10 learn music, principally under his father.
The lalent so ardendy longed for, however,
would not appear in the dclicaie, nervous
child. There is a iradilion that after lakir^
greai pains with him in vain, hb elder brother
Fritz exclaimed on one occasion : " Carl, you
may become anything else you like, Imi a
musician you never will be
His father had left Eutin in 1787 and was
leading a restless life as director of a dramatic
company mainly consisting of his own grown-
up children, ^ring the next few years he
is to be found at Vienna, Cassel, Nfelningen.
Nuremberg, Erlangen and Augsburg. Bad
as the influence of this roving life must ha^e
been on the whole, it had its advantages for
Carl Maria in the special line to which he was
to devote himself, for he may be said to have
grown up behind the scenes. From hb child-
hood he was at home In the stage-world as
no other great opera composer was. In 1794,
the father being at SV'eimar with his family,
Carl Maria’s mother, Cetwveva, then twenty-
six, was engaged as a singer at the theatre
under Goethe’s direction. The engagement
was, however, cancelled in Sept., and Franz
Anton left Weimar. He went, it appears, to
Erlangen, and in 1796 to Hildbu^hausen.
There the boy of nine found his first scientific
and competent teacher in Heuschkel, an emi-
nent oboist, a solid pianist and organist, and a
composer who thoroughly understood hb art.
Carl Marla did not at first like the hard, dry
studios to which his teacher inexorably bound
him, but he soon found that he was making pro
gross, and thefitherai last beheld wlchastonbh-
tnrnt the dawn of that genuine musical talent
whieh he had himself tried in vain to evoke.
Study woia Mickaii, Haydn. — Unfor-
tunately this inslrucuon lasted but a short
time, a^ Franz Anton moved on in the autumn
with hb company to Salzburg. Here there
was a training-school for chorister boys,
similar lo that at $1. Stephen's Cathedral in
Vienna. Michael Haydn had been in the
service of il\e Archbishop of Salzburg since
t7S2, first as KoitztfimfiiUf and afterwards as
cathedral organist also. One of hb duties was
to tearh singing to the chorbters, among whom
young Weber soon found a place, speedily
attracting the attention of Haydn, who con-
sented to give the boy gratuitous imtructkm In
composition. Six fugheltas were apparendy
composed under Haydn's own eye, and the
proud father had them printed in score. The
dedication to his brother Edmund b dated
I Sept. 1798.
Carl Maria's mother had died on 23 Mar. of
CMtsumption, and her death perhaps occa-
sioned a trip to Vienna in Apr., on wWch Carl
Maria accompanied hb father. Here they
heard the 'G^ation * (29 or $0 Apr.), and
probably entered into personal relations with
Joseph Haydn. Immediately after hb return,
in the beginning of July at the latest, the father
began to talk of leaving Salzburg, for " one
cannot exbt under this hierarchy ", and in the
autumn they all moved to Munich. As the
lessons in composition from Michael Haydn
only began In Jan. 1798, they cannot have
lasted more than six months. Franz Anton
had gradually tired of stage-managing and
returned to military life. Thu consis ted i n his
adoption of the title of Major, to which he had
no sort of right. In Munich Carl Maria had
two new teachers, the singer WaJluhauser
(Italianized into Valesi) and Johann Nepo*
muk Kakhcr, afterwards court organbi.
With the latter he made rnore progress in
composition than with Michael Haydn. He
soon began to play at concerts with success.
Under Kalcher's eye he wrote hb first opera,
* Die Macht der Liebe und des Weins a
Mass, piano sonataa and variations, vloUn trios
and songs \ but (he manuscripts have all dis-
appeared. One work of his time has survived,
a set of Variations for piano (Op. a), dedicated
to Kaleher, and specially interesting as litho-
graphed by himself. He had been led to thb
kind of work by hb acquaintance with Aloys
Senefelder, the inventor of lithography, in
whose shop he frequently oecupi^ himself,
even imagining that he had discovered some
improvements in the method of mechanical
reproducti^. Indeed, hb interest in litho-
graphy became so keen that for a time he
rteglected composition. The father, always
restless and whimsical, thought of carrying
out the new dbeovery on a large scale, and it
was decided to move to Freiberg In Saxony,
where the neeessary materials were more
easily procurable.
The plan was carried into elTect In t8oo,
Carl Marla giving concerts on the way with
Success at Leipzig and other towns in central
Germany. Arrived at Freiberg he speedily
lost hb interest in lithography, partly owing
to an opening which occurr^ for producing a
dramatic work. The large and well-selected
company of Ritter von Stcimberg, whom the
Webers had met before, had been playing there
since the summer. Steiruberg had written an
opera-book, ^Das Waldmidchen which be
handed over to Carl Maria, then jtist thirteen,
and the first performance took place oo 24
Nov. Public expectation had been roused to a
high pilch by Franz Anton's manosuvres and
seems to have been barely satisfied by the
result. Two Freiberg musicians entered into
a newspaper correspondence with the com-
WEBER; Early Vrars — Vienna
«97
po«er, whose pen was obviously guided by his
faiher, to Judge by the intemperate, iraperiin’
ent tone of the letters. The opera suceeeded
better at Chernmu (5 Dec. 1800) and was
evidently appreciated in Vienna (Leopold*
s^t Theatre, 1604), where it was given e^ht
times. It was also performed at Prague and
even in St. Petersburg, but negoliailoju with
Weimar fell through, Carl Maria was quite
aware afterwards of the small value lif this
youthful work. In his autobiugraphical
sketches he calb it “ a very imntature pro
duciion. not perhaps without occasional marks
of invention, the second act of whUh 1 wrote
in ten days
h'rcibcrg in iu turn was abandoned, possibly
towards the end of idoo. ceriaUily by the
Ijeginning of 1 Sot. 'I he Iasi wr hear ol him
their is that he wrote on Dee. to .'\rlaria ol
Vienna offering hint hii lithographic inven*
lion. He also ollereil the Viennese puMixhers
several t<>iufHniiions for sirings ami (or piano,
Arlari.i took no notice of the letter. Afli'r this
I he father and son seem to hate made some
stay at fihemnity, fi^r we ha\c Iclters from the
former there dated Apr. and 17 May iHoi,
By Nov. they were again at SaUUirg. where
Carl Maria composed the opera * IVirr
.Sihinoll und seine Naclibarn produced at
Augsburg (probably in Mar. 1803) wiiliout any
special success, In a letter of 4 S Nov- iBot
Carl Maria calls himself a pupil of Michael
Haydn, "and of several s>thrr grsat masters
in Munich, Dresden, Prague and Vienna
but who these masters were, tf indeed they
t'xisied, is not m be ascertained. As far as
Vienna, Prague and Dresden arc concerned, it
can refer only to short temporary relations
with musirians, as up to this time iio stay Itad
iMrn made In any o| these places.
In the numtner of jgor lie went with hU
father to north Germany, and In Oit. jtaid a
lormight^ visit lo his Urihplase. Here Ise
saw much of Johann Hciruich Vo», a fact
worthy of note because of the xtungt he after-
wards made to some of Voss'* poems. On the
return journey he composed at Hamburg, also
in Oti., his two first songs — ‘Dir Kerrc’, by
Matihissou, and ' Umsonsi At Coburg,
where the court was srry musical, lie tried to
procure a hearing f«r his ivro operas, but
wlu thcr successfully or not cannot be aacer-
tained. More important chan Che actual
musical results of this tour were the iheoretkal
studies on which he embarked during its
prtigress. Ho coUveted books on theory by
^"1 Agrirola, KirnWrger and
oiliers. Thus lie began to cultivate Indcpeod-
cnci* of thought on matters of art; but his
newly acquired knowledge of theory was
rudely shaken at Augsburg, wlserc he arrived
JNov. il 3 oi and made come stay. Here be
formed .1 c|r»M- friendthip witli a ceruin l)r-
Muiiding, who in all their conversaiioas on an
had a disturbing haUt of demanding the
reasem (brewery rule propounded, wluih NN'cUt
was not at tlutc time competent to gicc. *riii,>;,
bowes’er, stimulated liiin to clear up his uwn
views on tlie fundamental law’s uf art.
V'ooLtft IN \'«NK.v.— The most sirlkitig
fact about him at this time was the extra*
ordinary activity of lu» mind i>i every direc*
lion. He took great interest in tnuNhal
criticism and in Dec. 180J wjc hu.sy with
preparations lor a musical dkiiunary.
Sals burg friend, Ignar .SuNon, wrote to encour-
age him in a plan lor a mush'al ;H’r iodic .il, und
w’os soon afterward* employed in procuring
him niaieriah fur a history of mu«lc in Vienna,
whither In* wen I early in 1803. I'hi’ nit*.t
imporiam arquaintaiwv he made on this vhii
was that *•( ilie .Abbe V’ogler, who was then
composing his opera ‘ Sjiuuri llils gifted,
many •sided man exercised a more sliinul.iting
effect than any otlHc artist on Weber, who
atiai lied lihnsrlf 10 him with all the enthusiasm
iA youth. VoghT hiinsc’lf put great < onfidcmv
in Ids pupil and coininis'iotied hhn lu prepare
the vocal score of * Samtjrj Hie relations
with Jusc'idi Haydn were also renewed. Heel-
hoven. on the other hand, was dillkult of
access, and hit rough ways may have rejmlled
the dclkaie, refined and gi ireful ^outh. That
Vggler used underhand meant to kc c'p them
asunder it prcdiably an unfounded assumpiioti,
but a certain irriiaiion against Beeihot cn i lung
to Weber for many a year, lill it gave way in
nwinhuud to an unreservTd ad 11 lira lion and
hearty veneration. Ainung other mudeiann uf
note In \ ienna NVeWr mcniiuiu Hnmincl. just
made Asfir/tmetiUt to 1 Vince EsierliSsy, whom
he calls the “must elegant pi a noforte* player In
\ icniia “. This opinion he modified on hear*
mg him again in IVaguc in lUid. Of Welier's
own works during this time in Vkima but few
exist, and of these few most arc eonneitrU with
^ ogler.c-g. the pianoforte Variations on themes
from ‘ Sainori ' and ‘ Castor and 1 ‘ollux *. J'liat
he was studying liard is certain, bul this was
not incompatible with a youthful enjoynunt
both of life and natural beauty. He beeamc
acciuainted with a young oflicer, joJiaiin
Dapiist Gansbaclier, a mu deal amateur, also a
pupil of Vogirr's, and the acquaintance soon
ripened into an intimate and lifelong friend*
ship. Webers son and bic^raplier also has
something to say of a “tender connection with
a lady of position ” in Vienna. Possibly a
s^. • Jiingsi «« ich am Grabe der Trauten
^ein . exposed immediately after his
deiwiurc ft^ V'icnria, had something to do
with this affair, Vogler had recotnntendeil
htrn for the post of KepellmiiUt to thg theatre
at Breslau, and by 8 May 1B04, before hv was
cpnic i7|, the an-angemenls were concluded
He went first 10 .Salzburg to fetch his old
198
WEBKR: BmJau, 1804-1806
fftcher, and there composed the song just oaen'
tioned. On 5 June he was at Augsburg^ and
travelled on the 14th by Carbbad 10 Bredau.*
Appointment at Breslau. — The Breslau
theatre was kept up by a company chieRy
consisting of bcttcr*cla» citizens. The or-
chestra and chorus were sufficient for ordinary
demands. Weber, on this his Rrsi entrance on
practical life, showed great talent for direction
and organization, though from over-zeal and
inexperience he made many mistakes. He
had from the Rrst to contend with (he pre-
judices of the managing commiitee and with
strong opposition in the chief mtisical circles
of the town. The leader of (his opposition was
Joseph Schnabel, formerly Rrst violinist and
deputy conductor of the theaire,artd appointed
cathedral organist in 1805. Schnabel left the
theatre on Weber’s arrival, probably from
vexation at not being A'aptUmfislir himself,
and, as a man of thirty-seven, he declined
to serve under a lad of eighteen. The two
continued on awkward terms, and some rude-
nesses of which VN’ebcr was guilty towards
Schnabel, a respectable and much-respected
man, did not raise him In the estimation of
the better part of the public. Among the
managing company he had roused opponents
by insisting on several expensive alterations.
The manager, J. G. Rhode, however, was well
disposed towards him and wrote a libretto,
* Rubc&ahl on which Weber set to work at
Breslau.
A definite breach ensued in the spring of
ido6, and Weber's resignation was accepted ;
but the years spent there were of great
importance to his own dev’elopment. Not
only was his great gift for conducting Rrst
made apparent to himself and others, but 11
was chiefiy at Breslau that the original and
gifted pianist and composer was formed.
Although somewhat isolated socially, his gifts
and his amiable disposition attracted round
him a small circle of musical people. Hb
closest friends were F, W. Berner and J. W.
Klingohr, both little older than himself, and
both admired pianists, Berner being also chief
organist of the church of St. Elizabeth, a
talented composer and In a certain sense a
pupil of Vogler. All three exercised them-
selves diligently in extempore playir^. then
justly considered the highnt qualification for
a good pianoforte player and organist. In
this branch also Weber prov'cd (he most gifted i
in spite of risky harmonies, and even awkward
counterpoint, detected by critical hearers, he
carried ail before him by the charm of his
melodies and the originality of his whole
musical nature. He had also acquired cort-
sidcrable skill on the guitar, on which he
' M> ven W«bcr u incorrect here (I, ^7), Abo ibc
VaKaiioni, Op. 6, were «ocnptete 4 eulter dtan Aatcd
br ]Ah» (So. 4^, p. S 7 ). They were undoubtcdlf
finithed by May
would acc^pany his own mellow voice in
songs, mostly of a humorous character, with
inimiuble effect. This talent was often of
great use to him in society, and he composed
many songs with guitar accompaniment. His
fine voice, however, he nearly lost at Breslau.
One day, in the early part of 1806, he had
invited Berner to spend the evening with him
and play over the newly completed overture
to ’ Rubezahl ’, but Berner found his friend
insensible 00 the Rom*. Wanting a glass of
wine, he had taken by mistake some nitric
acid, used by hU father for experiments in
etching. He was with difficulty restored to
consciousness, when it was found that the
vocal organs were impaired and the inside of
the mouth and air-passages seriously injured.
He recovered after a long illness, but his
singing-voice remained weak and even his
speaking- voice rtever regained its full power.
Beyond a few numbers of * Rubezahl ' Weber
composed little at Breslau. An * Overture
chinesa *, lost in its original form, was re-
modelled in (809 as the overture to ’ Turan-
dot
After his withdrawal from the theatre he
remained at Breslau without any regular em-
ployment, living on the hard-earned proceeds
of mtisk-lcssons. Having his father to provide
for, and being encumbered with debts accumu-
lated while he was endeavouring to live a
somewhat fast life on a salary of 600 (haler
a year, he found himself hard pressed and
determined to try a concert-tour. One of his
pupils, Fraulein von Belonde, was lady-in-
waiting to the wife cf Duke Eugene of Wiirt-
temberg, then living at Schloss Carliruhe in
Silesia, where he kept up a great dciil of music.
The lady's Influence procured for Weber the
title of which would. It was
hoped, be a help to him on his tour ; but that
prospect having been destroyed by the war,
the duke inrii^ Weber to Schloss Carbruhe.
There he found not only a refuge for himself,
Kis father and an aunt, but a most desirable
aimosj^re for the cultivation of his art. He
took up his abode there about midsummer,
arwl though the duke was summoned to the
army in ^pt., the war was expected to be so
soon over that at first no change was made in
(be peaceful life at the castle.
In these few months Wehcr wrote a con-
siderable number of instrumenlaJ pieco.
chieRy for the excellent artists who composed
the small ducal chapel. To Jan. tSo? belong
two orcbotral Symphonies (his only ones, both
in C major), and these had beeo preceded by
some Variations for and orchestra (19
Dec.) and a small Concerto for bom and
whestra (6 t\'ov. j8o6 ). Possibly, loo, the
well-known variations on Bianchi’s “ VIen
qu 4 . Dorina bclla ” belong (o the last few
weeb at CarLruhe.
^^’£B£R : Stuttgart
S£CRr,TARV3ll!P AT STUTTOAItT. — This
happy time cane to an end in Feb. 1607, after
Napoleon’s decbive \ictory ner the Pnmians.
when the state of um\*enal insecurity made it
necessary to dbmUs the band. But the duke
showed himself anxious to provide for hn
musicians* and through his inter>‘eniion
>\eber was installed as private secretary at
Siufigari lu Duke Ludwig, brother to Duke
Lugenc and to King Frederic of Wurttemberg.
As things were, he could not hesitate to accept
a post which promised him, even at the cost
of a temporary caile from his art. a certain
income, doubly necessary now that he had hi<
father to provide for. Aa he was not required
at StuitgArt III I I .Sepi. be made use of the
jnierval after his de par lure from CarUruhe on
Feb. for a comer 1*1 our. The war made
conrerh a mailer r>f great dilFiculty, but after
several sain aiiempu he succeeded at Ansbach,
NurrmberR, Bayrruih and KrJaugen. He then
turned in ihe direcibn of.Siuugart, where he
arrived on 17 Jill v and enlered on his new p«»i
I Aug.
Duke l.udwig was a frivolous man of
pleasure wJio habitually spent more ihan his
income and did not scruple to resort to under*
hand and de^perate expedients lo extricate
himseir from his embarrassmenti. 1'he cor*
ruption of morals at the dissipated court of
Stutigart was terrible, and ^Vcber’s position
was a dangerous one from many points of
view. Hi* duties were to manage the duke's
private eorrcspondeisce> keep his accounts,
furnish him, sometimes by n>«t unpleasant
ineani, with money to satisfy or put off his
numerous creditors^ all things for which
Weber was loo ignorant and Inexperienced,
and which formed a ruinous exhibition of
dissolute life for so young a man- His natural
tendency to dissipation and gaiety was fostered
by Ihu immoral life, aJ! the more because his
llile of Freihttt at once gained him admittance
to the circles of the corrupt young nobility,
t hus involved he lost sight of his own proper
life^bjeti -music — or like a mere dilei-
lantc treated his art as an amusement. He
iiad, besides, great social gifts and was always
a Welcome guest.
Siuitgart abounded in opportunities for im-
proving his general cultivation and procurii^
fresh nutriment for hu active and receptive
mind. He made acquaintance with the prin-
c»pal authors, artists and scientific men of the
place. Lehr, the court llbranan, opened to
him the treasures of the royal collection of
hoob, among which Weber's preference was
for philosophical worb.
H*s great gift for music naturally became
known, and Duke Ludwig made him music-
master to his children. The K^ptUmtukr of
•lie Opera (from 1807) was Fran* Daiul a
mel odious composer, an excellent cellist, and
sociable, though of regular life. J'hough
twent>'-ihree yean older than Wober, he
speedily formed an irttimacy vdih him and
tried to exercise a calming and restraining
influence over him, while both by precept and
example be was of great service to him in
his an. His friendship with Danzi brought
NVeber into connection with the company of
the Stuttgart coun theatre, a circumstance
which, while it stimulated him to fresh dram-
atic p^duction, in\-oIved him in the loose life
oTabohemian set. A violent reciprocal attach-
ment for the singer Margareihe Lang ' Jed
him into all sorts of follies, causing him to
negWi cultivated and intellectual society, and
ruining him financially. Another personage
of importance in hU artistic career was Franz
Carl Hirmer, il»e dramatic author. Both he
and \S’eber belonged to a society of lively
young men, who called themselves " Kausw
liollenfshrl Hlemer had had some previous
success as a librettist and undertook to write a
romantic-comic opera for him. ' Das Wald-
mack hen ' was the subject chosen, and Hiemer
seems to have adheretl pretty closely to Steins*
berg's book, which Weljer had set at Freiberg.
The new work, ' Silvana ' by name, seems to
have made slow progress amid the disiractiuM
of Weber’s life. It wa* begun, as far as can be
ascertained, on tB July 1B08 and finished on
93 Feb. 1010 .
Through Danzt's intcrs’cniion the opera was
accepted foe the court theatre and was about
JO be put into rehearsal when an incident, to
be related ihoctly, ruined all. While busy
with hU opera, Weber composed wJiat under
the cireumsianeev must l>e considered a large
number of other wuths — 4 strong proof of the
increasing force of his productive p«»wer. The
wt impocunt wa* ‘Der erste Tun', a poem
by Kochlitz, for declamatiun with orchestra
and concluding chorus. He rcmcKlellcd the
overture to * Peter Schmoll » and published
n as a separate work ; also the ' Overiura
chirtesa *, which was made to serve as the
introduction to * Turandot ’, a play by Cozzj
adapted by ScWllcr, for which he also wrote six
short ineidenul pieces.* Of pianoforte musk
^ far the most important piece is the Polonaise
1" ?P‘ *'• completed 4 June 1806, at
jAsdwjgsbu^ and dedicated to Margareihe
^ng. With her, too, are connected the
Vanattons on an Original Theme Op. 9,
the clever ‘ Momento rapriccioso Op 17
and the charming ‘ Six Pito pour le piano-
Jocte a quatre mains ' fay Nov. t8oo). His
sobury piano Quartet (in was also of this
' th« Oauchtrr. as M. v. \SVbcr tuift It 1
sow* of Th*«b*M Uf.( Ihe vielinjii.
of many sonei.
*'• All nt founded
200
NVEBER : Leaving Sluttgart — GrilicUm
period, ^s well as the Variations for piano and
vioHn on a Norwegian (heme, an ‘ Andante
and Rondo Ungarese * for viola and orcbesira,
not published in this form, a Potpourri for
violoncello and orchcsira, and thirteen songs.
King Frederic lived o& bad terms with his
brother, Duke Ludwig, whose frivoUcy and
extravagance were especially irritating b^ause
the king had several times had to extricate him
from his embarrassments for (he sake of the
family honour. His displeasure also descended
on the duke’s secretary, who generally bad the
unpleasant task of informing the king of his
brother's difficulties. On these occasions the
king would load the unfortunate Weber with
most unkingly abuse. This roused Weber to
revenge himself by various little spiteful tricks.
On leaving the cabinet in a great rage after
one of these violent scenes, he met an old
woman in the corridor who asked him for the
laundress's room. “ There,” said Weber,
pointing to the door of the king's apartments,
” the royal washerwoman lives in there”, and
went olT. The woman went in and, being
angrily received by the king, stammered out
that a young gentleman who had just left the
room had directed her there. Enraged at this
affront, the king ordered him to be arrested,
but he was begged off by the duke, and no<
thing more was done at the time. That the
king did not forget his impertinence he learnt
afterwards to his cost.
As Duke Ludwig's financial position became
worse, he was driven to still more quesiionaUe
expedients. The king having made a decree
by which the only persons exempt from miln
tary service were the members of the royal
household, these appointments were much
sought after, and many parents were wiUing to
pay a consideraUe sum for the reversion of
one. It was observed that about this time
there was a sudden accession to the duke's
household of young noblemen who b^e
official titles without any corresponding duties,
just then Weber had been er^ea vowing to
obtain a loan from one of his acquaintances, in
order to discharge a debt of his father’s, who
had been livirig with him since 1809. On the
gentleman's refusal a former servant of his
oflered Weber to procure it for a coosklcra-
tion, and (hen assured his late employer that
the secretary, if obliged in the matter of the
loan, would secure his son an appointment in
the duke’s household. On this underslandiog
the loan was cHcctcd ; but when no appoint-
ment ensued, and the son was drawn for a
soldier, the father in his indignation made (he
affair known. The king had long been dis-
satisfied with the state his brotl^r’s house-
hold and, believing Weber to be the real
culprit, determined to make an exam^e of
him. The preparations for ‘ Silvana ' were in
progress, and Weber was at the theatre, when,
on (he evening (rf 9 Feb. 1810, he was arrested
and thrown into prison. An inquiry ensued,
and Weber’s innocence, of which indeed all
Stuttgart had been convinced, was completely
established ; but the king, on 26 Feb.,
sentenced him and his father to perpetual
banishment from Wurltemberg. This hard
stroke of fate might be look^ upon as a
punishment for so many frivolous yean, and
for sins committed against the guiding genius
of his art ; and it was in this light that Weber
look it. Henceforth his youthful follies were
laid aside, and he settled down conscientiously
and perseveringly to the life of an artist in
earnest pursuit after his ideal.
hfAMNHEtM AMD Dahmstadt.— Danzl, d real
friend in need, gave him introductions to
Mannheim, where Peter Ritter was Kopeii-
miiitir. Received in a kindly spirit by all, he
found a friend for life In Gottfried Weber,
under whose auspices concerts were at once
arranged for 9 Mar. and 2 Apr. and at these
* Der erste Ton ’ was produced. His first
Symj^iony, loo, was a great success, as well
as his pianoforte playing. In Apr. AVeber
moved to Darmstadt, where Vogler had been
living since 1807. Here he met his friends
Gansbacher and Jacob Beer (Meyerbeer) from
Berlin. Weber did not return to the old
relations of master and pupil with Vogler, but
sought to profit by intercourse with him.'
CainctSM . ^ Weber’s attract ion towards
literary work, of which traces may be seen as
far back as 1802, was very marked about this
time. He came forward frequently as an
author between 1809 and r$(8. after that at
longer intervals, and not at all after 1821. At
Stuttgart he began a musical novel, ‘Ton*
kurutJen Leben’, which had been accepted by
Cocta of Tubingen and was to have been ready
by Easter i8m i but the time went by, and it
was never finished. A fragment published in
the ‘ MorgenbUtt ' for Dee. 1809 eontairw
some severe remarks on Beethoven’s third and
fourth Symphonies. Moaarl was Weber’s
ideal musician, and at that time he was quite
impervious to Beethoven’s music. He new
began to appear more frequently as a critic.
To all criticism of himself he paid great
attention and vras fully convinced of the value
of good musical censure ; so he set to work
with his friends to elevate the art in genera^
Towards the dose of 1810, he, Gottfried
Weber, the latter’s brother-in-law, Alexander
von Dusch and Meyerbeer founded (he so-
called Harmonischer Verein, with the pnerd
oWeet of furthering the cause of art and the
particular one of extending thorough ano
impartial criticism. The regularly constituted
memben were required to be both eornp^ert
and literary men, but writers were adoiiiicfl, a
> Tor WeW's share Jn Voftet's adapiitieo B*'**
chorals nt Voouic
WEBER ; (!ofnpc«i<ion — Ojiutti Tuiin
;;n|
poMesa^ ofsufRcknt musical knowledge. The
motto of the Society was '* the elexaiioit of
musical criticism b>' musicians themselves a
principle (hen promulgated for (he first time in
musical Gcnnany. In this branch ^Veber Has
the direct precursor of Schumann. Hr and
Gottfried Weber also considered the fouisda-
tion of a musical journal, and ilMHigh the plan
was ixevcr carried out, it was long befc»re
\NVber gave it up. He wis still occupied with
it rvun during the Dresden period c^hb life.
Other members of the Socirty were Gans-
baclKT. Berger the singer, Dan*i and Berner.
The existence of the Soriciy was a secret, anrl
each memlirr adopted a pscud'Hiytn. SVeber
signed lumseir Mrios ; Ooiirricd VN'eber,
Giusto: Gatubaclter, 'rrtt>le, etc. Here,
again, we arc rcminderl of Schumann and the
l^a^'idsbu^r||rr.
VKor.Htis IS Cou IS isrnoN. —Weber found
rxisu iice at D.trnisladt hard after the ptra»an<
<iay% at Mannheim. )(r grx away a\ (dten as
he could, ga>e concerts at AschaHcnbuix,
Mannheim, GnrUruiiv and Frankluri. and
found lime also to compose. I drat flowisl m
\4>on him, inany to be used only in much laUT
Works. For instance, the ideas of thr fust
chorus of fnirlcs and of the Inlirt music in the
third arc of * Olieron acKJ the chief subject
of the * Inviiaiion to iW Dance', were in hit
mind ai this period. NVhik on ikte lock*out
for a subject for an opera he and Duseh hit
upon ' Def Frebchuu a story by Apel, thm
just puldishcd, and IXisrh >ct to work to turn
it iriio a libretto. Ft)r the present, how-cser,
it did not gel beyond the beginning ; noi till
'even ye ars later did UVber begin the wx^k
which tnade his reputation, ilc succeeded in
I )rit)g i iig <ni( * .Si I \ ana ’ a t Fra nkfiirt on i C Sepi .
tfliu, when, in spile of unpropttitKic ciixuin*
alunres, it pnxluced a >ery favourable imprev
sion. The |>ari of Silvana was taken by
Ciuroliiic Brantit, Weber’s future wife, and
M.irgarelhr Lmg was I lie first soprajui.
Having eomplcird hy 17 Oct. six easy bonaias
f<‘r i)iaTO and \ iolin, for which Andre had
given him a commission. ^V^Wr soon after set
out for Offenbacii, l>ut had the mortification
of having thent refused, on lltc ground that
they were lw» giHnl for Aitdre’s purpose.
Tljc cause of Wcla r’s so soon giving up the
* Irvischutz whit h Dum h was (o prepare for
him, was that he had been busy for sr>me lime
wiih a iww opera, or rather comic Stufipift, in
one act, called ’ Abu Ha&san ’, the libretto of
which >ranz Hiemrr sent him on 99 Mar.
18:0 from Sluugart. He composed one
nMml>er, the creditors’ chorus, at Mannheim.
I I Aug,, left ii untouched till 1 New, and com*
plcied it at Darmstadt on 12 Jan. iBit.
On 14 Feb, he finaliy left a place where lie
bisd nc\ cr felt thornugltly at home and started
Oft a grand concert tour. At ihh period he
often felt sorely the restless, uiiceruin <nn<li*
tiona of his life, the inconstant nature <d aj]
human relations and the loneliness to wlih h ht'
seemed doomed b)* the sudden ,«na Idling «tw'<iy
of friends as soon as he became attached to
them. During his last visit but one to .Maim-
hrim he composed a song called ’ ^^elxT^
.Xhechied ’ * {8 Dec. 1810) to xvoftls hy Duseh.
Concert T<H)R8.“\Vcbi'r tratclled through
Franbfnrt to Giessen, where he gaw a well*
attended concert on 18 Feb. idi 1 , and Hanau,
wlserc he saw a ’* bad play ” nrt the 23nl ;
went next day to .XsehafTcnbnrg. wlirre he
sta^-ed two da)** and made acqoaiiuaiuo with
Sicrkel, an adherent of Vogler’s j .tml by 3
Mar. lie was at >Vurzburg. Tlwnte he went m
Il.tmbefg. where lie met E. T, .\. HofImurui
and Bader the tenor, benh of whom reappear
in il>e • Freivcliuiz ’ period : an<l by Nurerii*
berg and .\ugsburg to Munich, arriving on i.y
Mar. Here he stayed nearly five months.
hntUng powTrful stimulus in the mm Iciy ol
Hrmrhh IGrm.mn, the greatest tl.irhut
jtl.iyer of Ins tjinr, for whom he wrote within
the next few immths no I ewer lh,m ihr<H*
(••mcertm. *ll*c lirvi, in C minor nml lIs^
was played at his first coiuert i*, .Npr.j <\s w’ell
as his pf, <AMKert<>, one <>f Ins 'ympfioniev,
and * Xier sr>ie Tun ’. B.innaim playrd the
scrtiod *, in F minor, at a (tuuert given by
Kaufmann (he piari< 4 V>ric maker <»f Dresden
1*3 June), and again at Webrr's second {7
Aug.). The compositions protured him warm
adherents, not only ariumg the general public,
but also in (he Munich ordmira, noiorinut for
its haughty reserve. Fherc was also a success*
ful performance of ‘Abu Ihiksan ’ under
Uintrr on 4 June, and during the prejNi rat ions
UVber learned that it was t«» be given before
Use court at Ludwigshurg in the beginning of
May, iMJt, tnuch to hi< indignation, not tinder
his name.
<>n 9 Aug. lie started for a lour fit Swiizer*
(arid, during which he gave himselfup to tlw
enjoyment of nature rather than of music. By
the beginning of Nos . he was again in Munich
and gave a brilliantly succei^ul concert on the
t ith. For it be had composed a new concert
rondo, which he afterwards used for the
finale to the clarinet Clnncerto in FjS and
fcmodclW the overture m * Rubezahl ’, a
piece of werk which Iw decl.sred to be the
elear^i and most powerful (*f any thing he had
yet done. Besides these he composed some
wal pieces, chiefly for his patroties^, Queen
^r^inc, and a bassoon Coaeerio (Op, 79)
fi»r Brandi, the ctwri play-er. On i Dec. he
started again, this time In company with
Barmann, for central and north Germany.
* NbIMwd • Tin KumOm A»rt.lii«0 \
. the • ComeriMMi <)i, a<,
• i.Op.,,.
' C«oeerio ,, 74.
202
WEB£R: 1811-18(2
In Prague he met Oarubacher, then living
there, formed some ties whieh beeame ^ im-
portance when he settled there later, composed
Variations for clarinet on a (heme from
' Silvana * (Op. $3) and gave with Barmann a
largely attended concert on 2t Dec. Passing
through Dresden, they arrived on 97 Dec.
at Leipzig. There ^Veber met Rochlitz and
other musical authors and fostered his own
inclination for literary work. Indeed, so
strong was this (hat he seriously thought of
slaying at Leipzig and devoting himself
exclusively to literature. His ideas, however,
soon took a different turn. The Crown Prince
Ludwig of Bavaria, on whom he had evidently
made a deep impression, had written about
him to Duke Emil Looped August of Saxe-
Got ha, and the result was an invitation for
himicir and Barmann to Gotha, where they
arrived 17 Jan. 1812. The duke took great
pleasure in his society, but, having at the time
many claims on his time, invit^ Weber to
return in the autumn and msdte a longer stay.
At Gotha Weber met Spohr, who since 1805
had been Spohr had not re-
tained a \erY favourable impression of Weber’s
music at Stuttgart, but received him in true
brotherly fashion. On 34 Jan. they played
before the court Webers Variations on a
Norwegian theme (Op. 33). From Gotha the
two musicians went to Weimar, were kindly
received at court and gave a concert. If
Weber had been hoping for inspiration from
Weimar's great poets, his only chance was with
Wieland, for Goethe behaved coldly, or rather
look no notice at all of him. His diary con-
tains an entry ;
J«n. SQ. Early to fMiMcn (.Matva ?*vl«vn4|.
Utere *nd spoke. I dwl not iihr him.
Spohr had met with scarcely better treatment
some little time before, but this may have
arisen from Goethe's lack of interest in music.
Against Weber he was personally prejudiced,
possibly because of former circumstances about
his father and his family, and the feeling was
fostered by Zeltcr. Indeed, Weber never
succeeded in approaching Goethe.
By the beginning of Feb. Weber and Bar-
mann were in Dresden, but left U with no very
favourable impression ; indeed, they are re-
ported (0 have said : “Dresden shall not catch
us again “ ~ very contrary to (he fact, as far
as Weber was concerned. On 90 Feb. they
arrived In Berlin, where Weber had hopes
uf producing 'Silvana*. It had been tried
through some months before by Righini, but
'* went so confusedly that all prortounc^ it
perfect rubbish **.' He had thus to meet a
prejudice against hh work and, w^se siiU, a
personal one of the Kafiellmfuttr against him-
* Weber lo Csfubacber.
self. Bernhard Anselm Weber especially, an
able and cultivated man, and a pupil
of Vogicr. was by no means kindly disposed
to his young namesake ; but difficulties were
gradually overcome, two arias were added,
and the performance took place on to July.
Weber conducted in person and succeeded in
inspiring both band and singers, and the
public gave the wwk a warm reception, in
spnte of its startling novelty. Even b^ore this
he had made many friends in Berlin, and the
two concerts given by himself and Birmann,
though not well attended, had roused great
interest. He was introduced to the Sing-
akademie arid the Liedertafel, and wrote for
the lailer a composition, * Das Turnierban-
keit which even gained the approval of
Zelter. Meyerbeer*! parenu from the first
treated him as a son, and he stayed in their
house the whole time he was in Berlin. He
was introduced to cultivated and musical
families, where he soon became a favourite for
lus pleasant manners, hU admirable pianoforte
playing and extemporizing, his inspiriting way
of leading concert^ music and, above all, his
songs and his guitar. For these private circles
he composed five charming partsongs.
>Vhilc he was in Berlin lus old father died at
Mannheim (16 Apr. (8(2), an event which
brought back in full force hU homelessness and
loneliness, and made him touchingly grateful
for any proof of friendship. Barmann had left
him on 90 Mar. for Munich, and on 3 1 Aug<
he himself also left Berlin, stayed some few
days at Leipzig, where he found a publisher
for some of his compositions, and then, paving
through Weimar, arrived on 5 Sept, at Gotha.
The duke's treatment was politeness itKif, but
iruiead of having, as he hoped, a quiet time
for composition, Weber found the constant
attendance on the duke's inspired moments
exciting and exhausting. In the midst of this
he received an imitation from the Princess
Maria Pavlovna to come to Weimar and teach
her some of his works, including the Sonata in
C, which he had dedicated to her. He had to
give her a lesson each morning for a week, and
the rest of his time he spent with the company
at (he theatre, among whom Pius Alexander
WcJfT especially attracted him, and with Wie*
land, who was a sympathetic listener to his
playing.
At Gotha he had much stimulating mter*
course with Spohr, and also with Al^
Mcihfescl, then passing through. His diw
CMitains some interesting remarks on Spohr s
cwnpositioftS. At Spohr's he also met Herm*
stadt, the clarinet player from Sondershausen,
who played a concerto of Spohr’s in masi^ly
style, but seems to have been inferior to Bar-
mann in purity of lone and expression. As a
ruk the quick-witted, far-seeing Weber was
more just towards Spohr's compositions man
203
WEBER: A[^>oincmmi in Pra^u^
the more ponderous and shoct*sigh(ed Spohr
was to his.
The duke's younger brother, Prirwe Fried-
rich, an admirer of Italian music, had brought
a singing-master back with him from Italy,
and often asked Weber io go through Italian
operas with him. He had a good tenor voice,
and for him Weber composed an Italian moio
e 4 aria, with chorus, from the libretto of ' I net
de Castro performed at a court concert on
I? Dec. Other works written at Gotha were
the piano V'ariaiions on a theme from Mehul’s
'Joseph \ the first two mot ements of the piano
concerto in E> major and a hymn, * In seiner
Ordnuiig schafTi der Herr’, to Rochlita's
words. Spohr having recently started on a
concert lour, Weber left Cot ha. on 19 Dec.,
for Lrip,cig, where he produced this hymn at a
Ge wand haul concert (c Jan. 1613); and he
played the new Concertu, ** with a success
he writes himself, “such ^ was perhaps
scarcely ever known in l.eipsig belV*re. It is
pronouiired to lie the lirtt of concerto* for
elFect and novrlij. Truly these people, oore
to cold, have quite adopted cnr.“ Ihus the
new year opened to him auspiciiHisly.
That year, 1B13, was the greatest turniiiv*
point in VVeber's short career. Hitherto hiv
life had been that of a wandering minstrel.
Roving restlessly from place to place, winning
all hcaru by his sweet, iminualing, lively
melodies, his eccentricities making him an
aitrac live figure to the you ng of bot h sexes and
an annoyance to the old, exciting the attention
of everybody, and then suddenly disappearing,
his person uniting in the most seductive man-
ner aristocratic bearing and tone with issdoleni
diwipaiion, his moo^ alternating between
uproarious spirits and deep depreuion — in
all ways he resembled a figure from some
roinaniie poem, wholly unlike anything seen
before in the history <jf German art. In think-
ing of Weber people have in their minds, as a
rule, only the last period of his life, beginning
with ' Der Freischuta ' and eruling with
' Obvron ', but from that point of view the
work becomes too prominent and the man of
loo Utile imporunce. As a man l»e made a
greater encct by his versatile gifts in the first
lialf of his arlisiic career than in the second.
The love of the anliqur, whether in history,
the life of the people or national melody, was
then newly awakened in Germany and gave
its stamp to the period.
ArpoiWTMfcNT » HmAceE,— In 1813 this
roving life came to an end and was succeeded
by a settled existence, with ties of place and
circumstance and definite duties. The wander-
ing impulse was Indeed too ii^ained in his
nature not lo lu»ve a secret influence on his
later life, bot henceforth it was sufficiently
under conirol to admit of chat colteecednms of
»plrit without which the creation of great and
enduring works of art is impossible. On 1-2
Jan. 1813 Weber arrived at Prague, intending
to go on by N'ienna to Venice, Milan and ilu*
rest c( Italy, and (hen back through Switzer-
land and France. This tour he calculated to
lake fully two years, and from it he hoped for
great results. At Prague, however, there wac a
X acancy for a AafieNmriilfr of the theatre, owing
to Wenzel Muller’s resignation. I.iebich, the
director, knew Weber's value and ollcred him
the post, with a salary of 300a gulden (ahout
X^ton|. a vacation of two or three nionihs, an
annual benefit guaranteed at 1000 gulden and
absolute Independence of tlic <»pera. I'lie
grand tour, planned with so rnucli expecu-
tion, was given up and I.jebkh's oMVr
accepted.
Cnder Muller’s direr lion the opera li.id de-
teriorated to such a degree that Lirbicii deter-
mined to divband the toinpany an<l emlrelv
reorganize it. For this task lie selected Weber,
who started for N’ieuna on a? Mar., fiirnidicd
with full powers to engage good musk bi is and
German singers,' In V’ienna he met Meyer-
beer again, heard Hummel and Mn»chcles,
wlnne playing lie thniighi “ fine, but too
smooth and gate a toncen of his mvri on
23 Apr., but Mas priiiciimlly occupied with the
main object of hu journey. ’I’hc whole Com-
pany, with the exception of three mvmberH,wa*
new, and included Caroline Brandi, VSeber’.s
future wife. He entirely reorganized the whole
system and developed a marvellous capacity
fur that kind uf work. His wide experience
and energy helped him to conquer the singers
and musicians, who were at first amazed by his
strictness and the inflexibility of his rules.
Amtmg them w-ere a number of Czechs, and
in order to be able to grumble at him with
impunity, they talked tocach other at rehe.'irsa)
in Czech, 'riiis Weber soon perceived and «'i
to work ui learn die language, which in a k w
months he had mastered sufficiently for his
purjiose. Not only did he manage, arrange
and direct the music even to the smallest
details, but he also superintended the adminis-
iratiort, the scene-painting and the siage-
management, and proved by demomiration
that all these were really within his province.
He thus eiuurcd an accuracy and a unity in
all the performances such as had never been
seen befi>rc, and which the public did not fail
to recognize. He was perhaps quite as great a
eductor as a composer, and was the first of
the great German musicians whose talent was
conspicuous in this direction. The first opera
be put on the stage at Prague was Spontini'^
C^z’ (9 Sept. 1813). then produced for
the first time there. Between tliac date an<l
19 Iw. followed nine, and between that and
a? Mar. eight newly studied operas and
hjJ 10 f.hi
204
WEBER: Prague, (8(4-1316
SingipitU. Of each he made a scenario, in-
cludir^ (he smallest de(ails.
His aim >vas to reinstate the Prague opera ui
(he position it had occupied between 1760 and
1790. He was quite the man to do it, if only
the times had been the same; but urdertun*
ately this was not the case. During the war
society had ceased to cultivate music and lost
its power of discrinunaiion, and the only way
of keeping up its traditional reputation for
taste was to maintain a dignihed reserve on all
artistic productions. \Veber, accustomed to
more sympathy, soon discovered this, and it
put him out of tune. Besides, he bad not
managed to form comfortable relations for
himself. With the Prague muiiciaiu, Koieluh,
Dionys Weber, Tomaick and others he did
not hit it off. The real cause of hit dUcomfort
was that he could not at once fall into the
regular ways of professional life.
After bringing out seven more operas be*
tween 19 Apr. and 96 June 1614 Weber, who
had been out of health for some time, went on
8 July to take ihe baths at Liebwerda. But
the impulse to join the great world was too
strong to allow him to stay there, and, pushing
on, he arrived In Berlin on 3 Aug., a couple of
days before the King of Prussia’s return from
(he allied armies' victorious expedition to
Paris after the battle of Leipzig. Berlin was in
a tumult of joy, and Weber was carried away
like the rest. To increase his hapi^ness he met
with an enthusiastic reception from his friends,
whose circle now included Tleck and Brentano,
with whom he had come into close touch at
Prague in tdig. Brentano began to arrange a
libretto on the Tannhauser legend for him, but
other things intervened, and the work was laid
aside. He gave a concert on 94 Aug. and
received permission to invite the king, the
crown prince and other princes and princesses.
.Sev^eral great personago were interested in
him, and there was some talk of making him
KaptUnuUUr of the Court Opera, in place of
Himmel, who had just died. ' Silvana ' was
given again on 5 Sept., and Weber left Berlin,
happy In many a proof of heartfelt sympathy
and loaded with impressions destined to bear
fruit later on.
At (hat period patriotic songs were naturally
enough the order of the day, and in thisdirec*
tion Weber could hardly fail to be led. An
invitation from the duke took him to Gotha on
t c Sept., and the next day to Grafentonna, (he
duke's hunting seat. Here, finding a little
repose for the first time for many months, he
composed on the 1 gth two songs from Kdrner's
' Leyer und Schwert’, followed by eight others
during the journey home and in the first few
months after hb return. Six of these are Ux
male chorus and four for a ungle voice and
pianoforte*, and in them he recorded the Im*
pressions made on his mind by (he su^lng
national movement. It was his first oppor*
tunity of showing how great a power be had
of absorbing the feelings of the rnasses and
giving them artistic expression. The effect of
these songs on the wh^e people of Germany,
and especially on the youth, was extraordinary.
Wherever they were sung they roused the most
fervid enthusiasm.
Before hk trip to Berlin Weber bad entered
into closer relations with Caroline Brandt, but
there were difficulties in the way of marriage.
Gar^ne, a talented soubrcite, a good deal
spoiled by the public, was somewhat whim*
sical and had imperfect views both as to the
digni ry cd* art i n i iself artd Weber’s importance
as an artist. Neither did she like hU requiring
her to leave the stage before they married.
Tlics uncertainly about an object he so ardently
desired added to hU discontent with Prague
and made him anxiously look out for some
opening which should lead to hU removal. In
the meantime he made use of his summer
holiday in 1815 for an expedition to Munich,
and it was there that the news of the battle of
Waterloo reached him. The outburst of joy
and enthusiasm which followed Incited him to
a great composition in honour of the event.
Gottfried Wohibrkek the actor provided him
with the words, and in Aug., Ixfore leaving
Munich, he wrote the first two numbers of
' Kampf und Sieg The last two days of his
stay were embittered by a letter from Caroline^
conveying her conviction that they had better
part. This “ conviction ”, however, did not
last long. When Weber returned to Prague
her real affection for him overcame all
scruples, and he was able to look forward with
confidence to a time when she should be all
his ovm.
The canuia was quickly completed and per-
formed for (he first lime at Weber’s benefit
concert (aa Dec-). TJic immediate effect w«
great, though no( $0 lasting as that of the
Korner songs.
Weber now decided to give up his post at
Prague. The main object of his labours, the
reorganisation of the Opera on a solid basis,
was accomplished. To produce firsl*fatc
results, and make it one of the chief institutions
for promoting German dramatic art, was out
of the question under the circumstances in
which he was placed and with the means at hu
disposal. But he thought that it could w
maintained at its then state of efficiency with*
out his aid; and as Prague had nothing to
offer fee himself and (he furtherance of his own
artistic life, he resigned his post on 30
1818- Projects of a grand tout or a summons
to some other great art institution again
Boated through hU mind- He had beefi again
in Berlin during the summer and pi^
duced his eantata on (he anniversary ol >' aier
loo with such success that i( was repeateo o
^VKBKR : C^onducior^p at DrAdrn
203
S 3 June. Count Bruhf, inland’s successor as
intendant of the court theatres, was de\*oted
to both Weber and his musk, and tned, though
vainly, to procure him the appointment of
Kaptllmeisur, The post was occupied pio^
visional] y by Bernhard Romberg, and not
even a title from the Prussian court could be
had for Weber. On his ceiurn jourctey to
Prague he made the ac(|uain(ance at Carlsbad
of Count Vitzthum, marshal to the Saxon
court, who opened to him a prospect of an
invitation lo Dresden. After a formal farewell
to Prague he accompanied hb betrothed to
Berlin on a star engaRcment, and remained
there for the rest of the year busily engaged in
composition. The piano Sonatas in Ar major
and D minor, the (kand Duo for clarinet and
piano anti st'trral t harming song> Ix’long to
this time. On 3i .just liefbre starling on
a lour to llaittburg and Clopenhagrn, h*'
rccelsetl ihe news that the King of Saxony had
appointed him cufulut it>r of the Cerman opera
ai Dresden.
(ii.HUAK OrfBA Af DafsufN. Weber*'
Mork at DrevJen, which was to laM for nine
years and icrminaie <>nly wiih his premature
dcaih, is of the highest importaiKe. He
founded an institution for ilw perfurmanre of
Ceriuan opera at one of the nuAi musically
•lisiinguished courts of (lermany. whUh had
not ponscssed one before. IWards the end of
die ceinury, (krman Smgt^tU wtre occasion-
ally pcriormeti m Dres<Urn, but only by second-
rate actors at a small theatre In die so^allrd
IJnkrM'hc Ba<l. ihe rcHirt KMptUmukr being
rxpretdy forbidden to take part in the per-
formances. ;\ft< r King Frederick Augusltu's
return from ihc war in 1815 hb intendant,
<;ouni lleinrlth Vludium, irsduced him to
found a Cfennan opera, though only as an
adtihion to the Italian, sikI It was tbu iiMiiu*
lion which Weber was tailed on lo organize.
Such work naturally could not be carried out
without violent opposition from the Italians,
who had hitherto had it all their owm way,
widt the court and nobiliiy almost exclusively
on their side. 'I'he p<Ki of KapeUm<uUT had
Iwen filled since c8i j by an Italian, Francesco
Morl.xcchi. Weber had hardly enlered on hb
tiew office before he discovered chat pow^erfuI
hies were actively though secretly engaged
against him. In accepting the post he had
made it a liiuqua am that he and his institution
should be ranked on terms of perfect equality
with Morlacchi and hb, and had expressly
stipulated for the title of KaptUmiuKr, whkh
was held by the other. These conditions were
agreed to, and yet when the appmntmeni was
garetled he found himwif styled ^ffenTdiVriller,
a title which, according to general usage, made
him subordinate to Morlacchi. Weber at
once staled with decision that be must decline
the post. He. how’cvcr, allowed himself to be
persuaded, for the sake of the object, to fill the
ofRce pro>*biooally, until either a subsiiiuic
had been engaged in hb place or he hun*iclf
had been formally pronounced KopfUmitUt.
By 10 Frb. 1817 he had the saibfaction o\
learning that the king had giNcn way. His
salary ft 500 thaler £220) had l>ccn from
the first on an equality with Morlacchi 's, and
on (3 Sept, cite appointment was ronfirmc<l
for life. He had a first-rate orthcsira and ;i
tolerable body of singers at his dhpu,al and
found ample opportunity for turning iut know-
ledge and experience lo account,
German opera having generally had spoken
dkje^vse, often forming a large proportion r>f
the work, a custom had arisen of fjlling the
parts with actors who could sing. Tlic !*iyle
wa* not a very perfect one, the profession tif an
actor being su wraring for ihe s«)ice, and Iu'iko
small paru alone were lit for thoc singing
acioes. Of sut h materials >Vebcr’s rompnny at
first excJu'Iscly ronsUted, He was indeed
ailowTd, with spt'cial permission, i<> m.ikc use
of the members of the Italian oihtu, but this
avalM him little, because the Iiaii.ins could
rarely speak German and were unfamiliar
with German music. \\ for the cliorus, it w.as
at first fton-exisient. A few suihts with soires
and iwti or there sulxirdinatc snlo-singert
cofuti luted the basses and letiori, while ihe
st^anot and altos were supplied by stli<K,l-
boys, as was once the custom at all German
tlwaires. With MJth inaivriaU it needed all
Weber s gifts of organization and direction to
produce results that nughi bear comparison
With the far letter aprviinicd Indian theatre,
a^ keep alive, or rather kindle, nn interest in
German opera among cultivated j>cople.
The first opera he produced w« M^hul’s
Jwph ; (JO Jan. i8J7h The performance
was excellent mdcwl.all that could he desired
a* far as die team-work went, though the solo
singcn were but indifferent. 'Hie engagement
of competent leading ariiau was his next care
Here lie acted upon the priuclple Dial German
opera was not to be confined to nniivc works
tmly, but should also produce Italian and
p renc h operas su ng i n tlsc \ ernatui ar, To th is
end a ftumeriHis, well-trained and ilioroughly
cultivated body of artists was irquisite, and he
Jelt II necessary to engage at Icmi three h ading
wpranos, one first-rate tenor and one first-rate
bass. His iniendant sent him in Mar, 18:7 on
a mtssion to Prague, but the year 1817 came
to a close without any real acquisition liaNiiio
been made. However, Weber had secured a
regular eh<»us and chorus-master,
A third reform undertaken by Weber in the
early part of 18.8 was the rearrangement of
ilw orchestra- It had hitherto been placed in
the ^ncT as ai the Italian opera, but
this ^position he wished to alter for one more
»uited to the component parts of a modern
WEBER: I0i7-r8ao — * Dcr FreUchiiw ’
ao6
orchestra and (o the greater imp^unce
assigned to the instrumental part an opera.
The change was at first strongly opposed, and
he was obliged for the time to desist by the
king’s express command. Bit by Mt, however,
he made the changes he wanted, and his new
arrangement, having proved itself perfect,
was permanently maintained.
^^'ebec's work at Dresden very nearly came
to an end in a few months’ time, for on 27
June iSt? a KapeUmtister post in Berlin fell
vacant, and Count Bruhl, the intendant, at
once entered into negotiations with him on the
subject. It was an appointment he was
strongly inclined to accept. Berlin had many
attractions for him, and $0 far Dresden society
had done little to make his residence there
agreeable. The burning of the Berlin theatre
on 31 July, however, put a stop to the negetia*
tions, and, though they were several times
renewed, nothing came of them. One result
at any ra le was that h is appoint meat at Dresden
tvas made for life, and that he wu also
admitted to a share in the direction of the
musical services at the Cathotk royal chapel.
He conducted for the first time, on 24 S^t.
1617, the music being a ’Salve Regina* by
Schuster and a litany by Naumann, for whose
church mu^ic Weber had a great admiration.
Now that he was often called on to compose for
court festivities, the duties of his post became
varied and extensive, and abswbed much
lime. His colleague Morlaechl had frequent
leave of absence and passed long periods of
lime in Italy, and then all hU work fell upon
Weber. A man loving freedom from restraint
as he did would have found it very hard to
carry on his work with the cheerfulness and
elasticity of spirit so remarkable in him, if he
had not had a constant spring of happiness
and refreshment in marrM life. His union
with Caroline Brandt took place at Prague on
4 Nov. tSt?. On their wedding tour the
young couple gave concerts at Darmstadt and
Gic«cn, appeared at Gotha before the duke,
and then went home to Dresden, which they
reached on 20 Dec.
CoMrosmoN or ‘Dea Fsxischutz — He
had been at work on his next opera since the
summer of that year. Soon afier hb removal
to Dresden he became intimate wiih Friedrich
Kind, who, after throwing up hb employment
as an advocate at Leipzig, had been living at
Dresden solely by literature. Weber having
asked him to write a libretto. Kind heartily
assented, and the two agreed on the story of
‘Dcr Prcbchiitz* in Apel’s * Gespensierbuch ’,
which came out in iBio and had excited
Weber's attention. Kind wrote the play in
seven days; on 21 Feb. 1S17 he and Weber
sketched the plan together, and by i Mar. the
complete Ubretto was in Weber’s bands. The
composition did not proceed with equal
celerity ; on the contraf7, Weber took longer
over thb than over any other of hu operas.
Bit by bit, and with many interruptions, it
advanced 10 completion. The sketch of (he
first number ^ the duet between Agathe and
Aennchen, with which the second act begins —
was wriiteo on 2 and $ July 1817. Nothing
more was done that year, except the sketch ^
the trio and chttus in the first act (*' O, diese
Sonne ”) and Agathe's grand air in the second
(6 to 25 Aug.). In idtS he only worked at the
opera on three days (17, 21 and 22 Apr.). On
13 Mar. 161$ he wrote the sketch of Caspar's
aria in D minor, which ends the first act. Then
follows another six months' pause, after which
he Kt to work continuously on (7 Sept., and
the last number, the overture, was completed
on 1$ May i8so.
Compositions for the court, including
Masses in Ek and G, the ‘Jube!*Cantate * and
*Jubel Ouverture ’ c4* 1818, may have hin>
dered his progress in that year, but in the
summer of 1819, without any pressure from
without, solely following the bent of hb own
genius, he wrote several of his finest pianoforte
works for two and four hands, including the
Rondo in Er, Op. 62, the ’ Aufforderung sum
Tans’, Op. 65. and the ’ Bolacca brillame *
in E, Op- 7a, The pianoforte Trio also and
many charming songs belong to this summer,
which Weber passed, like those of 1622, 182$
and 1824, in a little country place, Hosienrils
near Pillnitt. By the time ‘ Dcr Frcischuts '
was at Iasi finUhed his delight in dramatic
production had reached such a pitch that he at
once began and completed another dramatic
work and at any rale started on a third. Court
Bruhl, of Berlin, had asked him for some
new music to Wolff's play of ‘ Pfcciosa .
Eberwein’s not being satisfactory. Weber did
as he was requested and wrote the music —
“ a heavy piece of work and an important one,
more than half an opera as he says himself
— between 25 May and isjulv
meantime he was working at a comic opera,
‘ Die drei Rnios the libretto by Theodor
Hell, a Dresden port, whose real name was
Karl Winkler. Thb work was still progressing
in the following year.
Count Briihl, who had a great esteem for
Weber, informed him in the summer of tSifi
that it was hb intention to produce ‘ Der Fr^-
schbtt’ at the opening of the new theatre, tti^
in course of crectioo by Scbinkcl. The build*
ine was to have been finished m the spring 0
1820, but was not ready till a year lat««
\Veber had intended to Ukc the opportunity
of hb vbit to Berlin for making a professional
tour, but it did not seem advbabic to
thb for so long. For the last two year* he ^
been out of health, and disquieting syxnpt^
of the malady which b^ght his life w a
mature close had begun to show themsei>-es
WEBER: Th« Bcrlio ‘ FwJschuir ’ Productiou
207
Relaxation and rdieshment were urgently
necessary. He also wished, after this inter\’a(
of tea years, to appear again in pubtic as a
pianist. He slatted his wife on 25 July
i8so, weot first to Leipzig, to his intimate
friend Roehli tz, c hen oa to Halle. The grea test
enthusiasm pce\'ailed at the concert be gas'e
there on 31 July. Among the universiiy
students was Loewe, who took the whole
arrangements for the concert off his hands.
Still more enthusiastic was his reception by (be
xiudenu of Cdiiuigen, where he arrived on 1 1
Aug., and gave a concert on *7 Aug. After it
he was serenaded by the students, who sang
his 'Lutzows wilde Jagd’, and, on his eomiitg
down to talk with ciirm, crowded round him
cheering, 'Ihericc they went by Hanover to
Bremen, Oldenburg and Ifamburg, where he
left hU wife, going on to Lubeck, Kuiin (his
l>irih place, which he had not vistird since
lOoij and Kiel, whence he crossed over to
Oi jwn hagrn . I'h is u as the moal Itrilli an i (joint
of li is journe ) . He was prrsen ted to the Da nrsh
king and queen, played at court on 4 <>ci,, and
at a public concert 8 (>ci., overwltelmcd with
applause on both occasions. After another
concert at Hamburg on hb way back, he
reached Dresden on 4 Nov.
As a great pianut \^‘eber was often asked to
give lessoni. and did so. Huiiib in tlw higher
»en^ of the word, that b 10 say, artists stamped
With his own sigmmanuat as composen or
pianists, hr had none. For ihb hb anktU
disposition was too peculiar, hb clsaracter too
rcsiless mid unrneihodKal. Ur find a pupil,
Freytag, ffgm lli rlin studying the pianofurte
and compoiiiioii with him at Prague in 1816
and are told tJiat he made his d^bui at 1 con*
cert of Weberns (^9 Marj. to hb master's
satufaction, but wc never hear of him again
from that day. Marstlinrr cummiinkated
With him in idl8, sending him hb opera
Heinriih IV and d'Aubigo^ * from Press*
burg, and coming himself on 16 Aug. i$in.
Webrr was much interested in the opera and
neeured its performaiKc at Dresden, where it
was given lor the first time on 19 July i8»o.
Marschner setiled at Dresden in the beginninjr
»» 1024 waa appoinied
MNukdxukior of tljc Opera, a post he friained
OH Webers death. The two maintained an
itiiertour^ which at times was animated,
diough U<‘ber never found Marv'hner a ccei-
genial companion. Marschner was undoubt-
edly sirongjy iridueiiced by \^>ber‘c mude ; it
IS rvidcm m all hb compodiions duriris hb
stay at I>rcsdr»i, and also in hb opera • Dee
\amp^ '. Yet he cannot be called a pupil
W tv e Per. whose most devoted and only real
pupil w« Julius Benedict of Stuttgart, who
came to Weber in Kcb. iHai
pRoouenox oe • Dca Facisciu ir:
Hcnedtct was fortunate enough to share tho
lightest and most triumpliant period of
Weber’s short life with hhn. After ‘ Frcclosa ‘
had been fdayed for the Brst time with \Vcber’s
music (14 Mar. 1821) at the Berlin Opera, and
very wcU reeeu'cd, the day drew near for the
opening of the new theatre, In which ' Dcr
Freischutt ’ was to be the first opera per-
formed.* Weber had been invited to rehearse
and conduct the opera himself and for ihk
purpose arrived in Berlin on 4 May.
Sp<»ntim was at that time the ruling spirit in
operatic matten in Berbn. I’hc king was a
great admirer of hb mude, and he had many
adltcrents among the court and in society, in
the rest of the world, however, opiiiinns were
divided. During the war a strong fe<'ling of
nationalbm had developed in (iennariy, and
there was a prejudice again^i roieigmn., espeej.
ally against forcignrrs hailing from Paris.
Hence ihr fact that a Framo-liall.in should be
installed, On terms of unusual liberallry, in the
chief musical post In the capital gate great
olferwv. It is lieyorid (juestion lliat Si>ontlni,
aj)ari from his bluixlcrs, wa.s made a scapeguai,
and that ihe dislike of the people ul Ikrliii was
as much due to political and social as to mude al
reasons.
.\U at once \N>lnf stejjfxd un the m rnc with
hb new opera. Uc can quiie uriderMamI how
ardently tJic patriots of IkrJin must ha\c
longed for a brilliant smeess, il only a
CounurpOne to J>(K>nllnl. Obviously, t<K/, it
was impossible to prevent « lerlnlii iiiixiely
kst Weber was not man enough to sustain with
honour this coni I let with the foreigner. He
was known as a gifted composer of songs and
instrumental mustc. but his earlier </|>crii» had
not Iwen undisputed succerse,, and (01 ihe Iasi
ten years he had done nothing at all in that
line. On ail ihoe grtmnds the first jjerforin*
ance r>f ' | 3 cr Frclnhut/ * was looked forward
to with a widesjjrcad fis ling of suspense and
excitement.
Weber thus could not but feel iliai miich
"re*** for Jtimself and fur the cause
of German an. As if to point the contrast siill
more ftwcibly between hfimelf and Sponiitii
beiwn native and fijceign art, Sponilni^s
Olym^a , entirely remodelled by the com-
poser after its production in Paris, had been
given for the first time in Berlin (14 May)
only a month before ' Ver Frcbchuiz*, with
a success which, though not enduring, was
at the time. Weber's friends were
lull dismay, fearing chat ‘ Der Kreischiiiz ’
would not have a chaise i \Vebvr alone, ns if
wth a true presentiment of the event, was
always in good spirit,. The rehearsals brsaii
on 21 May, and the performance was fixed
N*-vr
^ ** •law br vne vr two oiLcV
20 $
WEBER: Dresden, td^
i8 June, a day hailed by Weber as of good
on^n, being that of the battle of Waterloo.
So entirely was he free from anxiety that he
employed his scanty leisure in composing one
of his fitiest instrumental works, the ‘Concert-
stuck ' in F minor, fmUhing it on the morning
of the day on which * Der Freischuta ’ was
produced. Benedict relates how he was sitting
with Weber's wife when the composer came in
and played them the piece just finished, mak-
ing remarks as he went, and what an jndeliUe
impression it made on him.
Weber's presentiment did not fail him :
i6 June was as great a day of triumph as ever
fell to the lot of a musician. The applause of
a house hlled to the very last seat was such as
had never been heard before, in Germany at
any rate. That this magnificent homage was
no outcome of party spirit was shovm by the
enduring nature of the success and by the fact
I ha I it was t he sa me wherever ’ Der Frcisc h utz '
was heard. No sooner had it been produced in
Uerlin thart it was seized upon by nearly all
the principal theatres in Germany. In Vienna
it was given on $ Nov., and, though (o a certain
extent mutilated and curtailed, was received
with almost greater enthusiasm than in Berlin.
Weber thought It desirable to appear in
public at a concert before leaving Berlin. The
second performance of ' Der Freisehutz ’ took
place on so and the third on 22 June.
On the 2$th he gave his concert In the hall of
(he new theatre and played the ' Concert-
stuck ’ for the first time in public.
Weber returned to Dresden on i July 1621.
In comparison with other places In Germany,
Dresden was in no special hurry to produce
*Der Freischdtz', though It had not b^n able
altogether to shut its ears to the reports of its
colossal success. The composer, In spite of all
the pains he took to show his loyalty, was no
favourite with the king and court. From the
time of the first appearance of ‘ Der Frcischutz '
(ill Weber’s death there is not a sign that at
court the smallest pride was felt in the fact of
Dresden’s possessing so great a composer. He
was all but allowed to accept the post of court
KQf>eiUnt\sltT at Cassel, with the liberal salary
of 2500 thaler 1000 thaler more
than he received at Dresden. The minlsier at
last ofiered him an increase of 300 thaler,
calculating that with his attachment to Dres-
den that would be sufficient Inducement (o
him to remain : and he was not deceived. The
additional salary, howet*er, was deprived of all
value as a distinction by its being also bestowed
on Morlacchi.
‘Der Freischuia’ was performed at Dresden
for the first time on ofijao. 1622, and met with
a more enthusiastic reception than had ever
been known there before. But a few isolated
cases were found of people who did not like It.
Kind, the librettist, could not bear the music.
because it threw his own merits into the shade,
and Spohr, who had moved to Dresden ‘ with
hU family on 31 Oct. (621, heard it there for
the first time and was not favourably impressed.
But bis failure to understand Weber’s music
made no difference in their relations ; on the
contrary, Weber showed his esteem for Spohr
by warmly recommending him for the post of
K^etlmeistfT at Cassel, which he had himself
declined, but which Spohr accepted and filled
with credit up to a short period before his
death.
Ludwig Tieck, too, then resident in Dresden,
never could reconcile himself thoroughly to
‘ Der Frcischutz ’. He and Weber, much as
they differed in their views of dramatic art,
formed a lasting friendship, expressed with
frankness on both sides. Speaking generally,
Weber was on excellent terms with the poets of
the day. Wit h Goethe indeed he never got on,
though they met several times ; but with Jean
Paul, and also with Achim von Arnim, he was
intimate. He was also very friendly with
>VilhcIm Muller, author of the ‘ Schone
Mullerin ' and the ‘ Winterreise who visited
him at Dresden and dedicated a volume of
poems to him in the autumn of 1 824 ; but not
one of iheM did Weber set . His day for wri ting
sonp was over- Of Tieck’s poems he only
composed one (‘ Sind es Schmerzen, sind es
Fret^n ’ from ‘ Die sehone Magelonc ’).
CoueosmoN or ‘ EuavANTKa ’.—During
(he latter half of 182 t Weber was at work upon
the comic opera ‘ Die drei Pintos begun in
r820, but never to be finished by him.* Ha
was drawn off towards work of a different kind.
The criticisins of ’ Der FreischUt* ' were almost
always on points of form and mainly resolved
themselves into this, that the opera did not
contain enough of those larger, arlistlully
cortstrucied forms which betray tlie hand of
the master. When, therefore, an invitation to
write a new opera arrived (t i Nov. 1821) from
Barbaia of the Karninerior Theatre in Vienna,
he seized the opportunity with avidity. The
libretto was to be written by Helmina von
Chtzy, who had been at Dresden since i 8 < 7 -
She offered him several subiccU, and he
selected ' Euryanihe After several ailempu
in which Weber gave her active assistance, she
succeeded in putting her materials into some-
thing like the shape he desired. His idea ol an
opera was that the music should not 1^
entirely dominant as in Italian opera, but^t
the work should be a drama in which the w^s
should have a real interest of their own jJJ
which aciiwi, production and settmgs
all contribute to the viridness j
general impression. These principles be
• Thm *0 tk* tb.e«
roAuuk <•*>««. M«chner, ««
(a*t ai Lriptie. so Js">
\VI^F.R : * EuryatAihr ' in S’irnnA
endeavoured lo carry oot in ’ Der Freischuia * ;
in ' Euryanthe ’ he hoped to realiae chem fuJIy.
The words of the hnt act were ready b>' 15
Deo. 162 1 > and \Neber set to woi\c tsSih all hb
might.
Thinking it well to study the cireumstanen
under which hb new work was to appear, he
started on 10 Feb. (da? for Vienna, stopping
on the way to conduct ‘ Der Freischuiz * ((4
Feb.) at Prague, wich unmeasured success. He
attended a performance of chc same opera In
Vienna on the 18th, but found it far from
edifying, though thb work gave him a popu*
larity in Vienna (hat became almost burden*
some. He was urged to settle there aJingeiher
and undertake the direction of the German
Opera, There also he receivxd an Invitation
to write a grand opera fur Paris. In (he midsc
of all this excitement he fell ill with a violenc
sore ihruat. Thai his disease was making
progress was evident.
Having reiurncd home on Mar. ?C, he
remained at Hosterwlt^ all the sunuiwr, and
ihere was composed by far the greatest part rjf
hu cyan the *. for he had the same house the
following summer. His meat imporiant plcse
of official work at this time was ihc pruductinn
of Deeihovcn's ‘Fidelio’'. and he strained
every nerve to secure a performance wortliy tj*
the work. An animated correspondence cn»
sued between hint and Beethoven. Weber*
firsi letter was da led ad Jan. (8*3; Becihoven
replied on )6 Feb., and Weber rejoined on the
18th. After (hat there were letters from Be* i*
lioven of 9 Apr., and 9 June and u Aug.,
the last enclosing a sonata and variations of
Ins own com put it ion. ^Vcbcr was a great
admirer and a remarkable exponent of Bert*
Ju>ven‘s pianofonr music, es|>ecially of fih
sonatas, a fact which Ilecihosvn xmas to have
known. The corn-sponderKe has Imto lost,
except a Iragmuni < 4 a rough copv of W eber*s *
In Srpi. 1823 Weber started for N’icnna to
conduct the first performance of ‘Euryanthe'
^^5 1823), Benedict accompanied him.
onrUia had asaembled a comjiany of (irM-ratc
Italian singers and was giving admirable per*
lormanccs of Italian operas, especially R<k.
nriis. kossmi had been In Vienna and had
rehearsed Iiu operas himself. The public was
almost intoxicated with his musk-, and it was
j^rformed so admirably that esen Weber, who
had pretiously been almost unjustly severe
towards Rossini's operas, was obiiged, 10 hb
vexation, to confos that he liked what be heard
there, h was unfortunate that the singers cast
' Spiiu’a former xaument here Ihu • PideliA • IiaJ
*' ■ xKerreei. l>f. a
VOL. IX
209
for ‘ Euryanthe though as a whole rfiiriem,
were stars of the second order, btlll, * iJcr
Frciscliuia' had preposx^u’d the public, and
the first performance of the new work was
enthusiastically applauded. Bui the ciuliusi-
asm did not last. The plot was all but un-
intelligible, people found the music long and
noby, and after the sc«uttl and third i>er(brm-
ances, which Weber conducted with great
success, the audiences gradually berainu mU!
and thin. After hU departure Conradin
Krrutzer compreNsed the libretto to surJi an
extent as to make the opera a mere conglonirr-
aiion of Isolated scenes, and after dr.iggiiig
tlirough twenty perlt/rm.iiM rs it I'aiilshcd ironi
the bnariK.
\Neber refeixed hi tie consolation for this
fsilurr from hU frJIim •artists. In many
instances en»y prevented their seeing the
grand and beaulilul ideas in which ' I'.ury-
amhe' abounds: and there wercartlils alxne
the influence of any such mothe, who yet did
not appreciate the work. ForeitiMsi among
ilscsc was bchubin. I he only really saiii.
factory pari of WrUr’s vidi was Jiis int<*r»
course witi) liertlMivm, who welcomed him
heartily. At tme time Oeethovrti had not
valued Weber's cotitpositlons ai a high rate,
but his opiniim of ilw cnmposer of ‘ Ore
FfcistJtutt ' had risen enortnoudy. He did
not go 10 ‘Euryanthe': there would have
been no objert in his doing so, now that hh
troubles with his hearing had settled down into
total deafness.
Weber left Vienna on 5 Nov, ari<l arrived at
Dresden on the iiMh. By his dedrv BetiHic i
remained tn V ienna, to k<.«.p him iriftjrmed of
the progress of ' Kuryanihe': but what he
heard was <0 far from pleasam that he did
^ venture to reimrt it, WrixT had put his
full strength into tlw work, inienditig it as
a detmioMrat«>n of his jH>wcr and capacity.
With the k^nest anxiety he followed its pro.
gr^, marking ilw impression it produced, not
only in Vienna, but in every theatre which
performed it. When he found ihat in most
pl«es II received only a juetft rf'emW, and that
opinions as to iu value were divided, even
amoi^ unbiassed connoisseurs, he fell into
^p depr^on, Benedict, on his return from
Vienna, thought him looking ten years older
and ^1 tlw symptoms of his malady had in.
** undoubtedly to be
atinbuirt that all hi, old energy, nay, even
h« love of n.«,c, for the time abandoned him.
His compositions seemed to recede into die
far disunce, and m the summer of tdra he
wile m a bitter mood lo hb wife from Maricn-
h»d, whw he was taking the waters : “ I have
not an idea, and do not believe I ever com-
he did, 1,0 would
*^p*y- r cough and am la<y". During
210
WCBER : ' Oberon ' In London
hftoen months he composed absolutely nothii^
except one Utile French romance.
Many disappointments, however, as * Fury*
anthe ’ brought him, there were places where
it was at once valued as it deserved. At Dres-
den the Brst performance took place on 31
Mar. 1824, with a success that equals
Weber’s highest expectations. At Leipzig it
was much the same> the opera occupying a
place in the repertory from May 1624. In
Berlin there was considerable delay in pru^
during the opera, for which Sponlini received
more than his share of the blame. The Arst
performance look place on 23 Dee. 1635, and
in Berlin too, where Weber's most devoted
adherents were to be found, the effect it
produced was great and lasting. The com-
poser conducted in person, (hough, suffering
he was from mortal illness, it took all his
indomitable energy to make the mind rise
superior to the body. It was his last appear-
ance in Berlin.
Tks IrrvrrATiON to 1x>ni>on. — Weber knew
ihat his days were numbered. His great desire
was to leave enough to place bis family above
fear of poverty. 1 1 was h is love for them whkh
roused him from the languor and depression
into which he had fallen after the completion
of ' Luryanihe*. The immediate impulse was
a letter from Charles Kemble, then lessee of
Coven t Carden Theatre, inviting him to write
an opera in English. London had also partki-
paled in the ' Freischutz’ mania, three theatres
playing it at the same time. Kemble added a
request that he would come to London 10
produce the new opera in person and conduct
’Der Frcischiiu* and ’Precioea’. Weber did
not hesitate long, and the two soon agreed on
* Oberon ’ as the subject of the opera, the
libretto to be drawn up by James Robinson
Planch^. The terms took longer to arrange.
Kemble's offer of -^500 Weber considered too
low, and Kemble thought Weber’s demands
much too high. At last, however, he agreed
to give £ 1 000.’ Before the affair was concluded
Weber consulted his physician. Dr. Hedenus,
as to the possibility of the journey in his then
stale ofheahh. The reply was that if he would
give up conducting and composing, and take
a year’s complete rest in Italy, hb lile might
be prolonged for another hve or six years. If,
on the other hand, he accepted the English
commission, hu life would be measured b)'
months, perhaps by weeks. Weber replied by
his favourite motto, ” As God will and
settled to go.
Although he had undertaken to compose
this opera from a desire to make money, be
would not have been the high-minded artist
he was if he had not set 10 work at it with all
his might. So much was he in earnest that,
* So uy* BrncdUi, p. loS. vhI Mai
WbImt's acewint varkv llisKily.
at ihirty'Sei*en, and with one foot in the grave,
he began to team English systematically. He
set to work on ' Oberon * on 35 Jan. but
laid the wotk aside during the summer and
resumed it on 19 Sept. The last nurnber, the
overture, was competed in London on 39
Apr. 1S36.
By medical advice he took the waters at
Ems in the summer of 1633, starting from
Dresden on 3 July. His route lay through
Naumburg to Weimar, where he made a last
unsuccessful atiempi to enter into close rela-
tions with Goethe, and was warmly welcomed
by Hummel and hb family. Thence he went
by Gotha 10 Frankfort, greeting hb old friend
Gottfried Weber (or the last time, and then by
Wiesbaden to Ems. Thb journey must have
convinced him of his extraordinary popularity.
People of all ranks vied with each other in
showing ham kindness, respect and admiration.
At Ems he was admitted into the circle of that
accomplbhed man the Crown Prince of Prussia
(afterwards Frederick William IV). But (he
musician tottering to hu grave was no longer
able 10 enjoy the sunshine which shone so
brightly on bb last days.
The time for Weber's departure for England
drew on. On 3 Feb. 1626 he conducted 'Der
Preisehuu ’ at Dresden for the last lime and
took leave of hb band, all except Furstenau,
the well-known 6ute player, who was to travel
with him. He chose the route through Ptfb,
and made the acquaintance of the principal
musicians there, specially etijoying the atten-
tions of Gherutrini, for whom he had always
had a high respect. A performance c>
Bokidieu's * La Dame blanche * enchanted
him.
Proovctiom op ‘OaanoH’.— On 3 Mar.* be
arrived in London and was most hospiubly
received by Sir George Smart, then organbt of
the Qvapel Royal. On the 6ih he went to
Govern Garden Theatre to view the scene ^
hb future labours ; he was recognized, and the
cheers tffthe spec taws must have assured him
of Kb popularity in London. On 8 Mar. he
conducted a selection from * Der Frebchutt
at one of the Oratorio Concerts, and here
rcceptim was even more enthusiastic,
every piece from (he opera being encored. On
the 9(h the rehearsab for ' Oberon '
and Weber perceived at once that he had at his
dbpcsal all the materiaU for a firsi-rate per*
formance- To please Braham, who t^ the
part of Huon, he composed two ^ditionaJ
pieces, a grand scena and aria (“ Yes, eveo
love*’), which Braham substituted ftw toe
grand ab in the first act, and the praytf m
second act r Ruler of tbb awful hour )-
finl performance took place on 12 Apr-
music went beautifully, and the «omp«er h^
an even more enthuriasuc reception than ma
2 f I
UK BLR: I)caih in London-- Thr Operas
bestowed on Rossini iwo or three yean before.
By 29 May ' Oberon ' ' had reached iu
twenty-eighth perfonnance, the fini cwch>e
having been conducted by himself according
to his contract. Nevertheless the entliu^asm
exhibited by the publle at the hrsi performance
of ' Oberon * was not maintained at the
following performances. In a letter to his
wife, written on the \ ery first night of perfortn-
ance, Weber says :
My dnr Lint. TiuoM to <;o.l aisd to Hm
wkll I iLiJ e\«wini Ibr MHcew •( my
life. I h« nrotion prAduceti \,v uak a i/iwotph it immp
*l**n t ctn dfoenbr. I<> Cod atoA« belonei iW cl<wy.
tSArn I entered Ihe orcAnirt, Use houtr. (ranMiieil im
the rf«f, burn in«i t tretirr ot tpfslttur, K»u m. 1
htiiilWrtrhirfi '^ere in ili^ aw. Jlse (K^rwre
htil 10 iw e»erutr<l i*»Ke. ai had aho Kveral pw<e« in
''I tiK rod of th* ri*rfvcmaM« I
rallrd .M) fM ihe tttye by iKr rndiuaioiiw xelaniaiiont
<< Ihe puUhe i an honour >»|iHh n» «n«nimr« ka<l «%»
(•efive wbiiineJ m Kii<laAd, .MJ H-ni efteariiUt. and
eserv one around me Hta Kapfn
I hough hit strength was ectmiantly declin-
ing, he was always ready to Irisd his name or
his servircs when he could be of assuiaiwe to
others. Thus he took part In concerts given on
37 .\pr., I, 10 and 18 May b>' Mhs Hawes,
Fursirnau, Kemble and Braham, es'cn at one
of Miss [*&u>n’i on 30 May, six days hrforc his
death. A concert of his own on aC May was
a failure, TJie day was badly chovn, arsd
Ucl>cr in his state of utter exhaustion had
omitted two or three social formalities. Aniung
other music given at this concert was hi*
' Jubel Cantate’ ( 1 8 1 6), put to different words,
and a song (’ From Chindara's warbUng
fount ’) just composed for Miss Stephens, who
sang it (o his accompaniment. It was his last
composition, and the last lime his fingen
loticlied the keyboard.
I he preparations for his journey home were
made in haste, for U eber was filled wtth an in-
expressible lunging to see his family oiwc more.
But his own words to a friend before Icavss^
Germany, that he was going <0 I.ondon to dir,
were fulfilled. Far from home and kindred he
sank under his sufferings during the night of
4"5 Jtmc 1826. The following certifseate of
Weberns death was amrmg list jsapers of Sir
Julius Benedict :
On r«»mioiA« ih« budy -if Csrl At. vmi \V«brr w
fuuiKl .Ml ulcff nn i».r kn •«k ibr laryiu, Tbf
^iin alm«( uiM\e(Vill> bikd Hiih lubereln.
« wflieh injoy ^ert mi a siaw a# Mpp«r«(ian. *,11.
twa vnnieap. one of ihem ih« Mi« oT * eeaMMi
^le. Ihe Ollier imjlkr. Hhuh a auite tulSriem
'aw ^ <kath. iSipieilj F, JeiHhcn, M.D. : Om*.
r Forbes M.i). ; p. Si. Kiml. M.D.: Wm. nohmua
i'ohS *' Sireei. y
Hit bi^y was laid in the grave at MoorfieWs
Gliapel, to the strains of Moaart’s Requiem, on
2: June. The funeral ceremonies were c«».
ducted as if for a person trf the highc<t rank,
iind there was an enormous crowd. In 1844
ihr wxsiwe ;a the pa.i of
•hr Mermaid, let M\a, f., iftag, p.
the coffin was removed 10 (fermany and In-
terred in the family vault at Urctdvn. A
tablet was affixed to the house in Grc.rt Port-
land Sired, which no longer exists.
nan’s OeEftAs.*— Tu form a right esti-
mate of Weber’s music it is neers^ry to look
upon him as a dramatic cojnposer. Not that
his other compositions are unimportant ; but
In one and ail may be discerned more or lev*
plainly that dramatic genius tvlilch wa* the
essence of his nature, dcierininrd their form
and gave them that stamp whereby they d I flee
so sirlkincly from the productions uf other
artist*. <>>mpose« gifted with the true
dramatic imiinct have always been rare In
(Jetmany, and it was this that \S’eher possessed
in the Ikighrst degree.
The eailiesi opera, ‘ Di<« Marlji d< r I.lclie
und des Wetris was dcscroved, apparently by
htmwJf. Of the second, ‘Das W'altimad.
chen •, tltere are extant three autograph
frag^nis, containing in all at.y bars, thr
ofiginah of some ami copies of oihm hrmg
miw ill the State Library at Berlin, » These
fragments seem to bear out Weber’s own \'er-
diet that the opera was an immature produc*
i»on. not perhaps wholly devoid «»f invention
Although it was played several time*, no
complete score ran miw be found.
The libretto of • Pciei .SchmolJ und sehic
Nachbarii ' was adapted by a certain |osenh
I iirke froin a novel of the same name by <;arl
Ooitlob Cramer, one rrf the romances oi
kmghis and robbers with which the mcirkct
was then flooded, of no aMistic merit, but less
crude and sensational than some other* of iti
clas. Turke arranged thr plot in two an,
and treated it after the fashion of the German
with spoken diahscue. All this pan
hOHvver. has U^en lost, tlw word* <4 the song*
alone being preserved in the score. 'I he mu*i<'
show great talent, perhaps artjfinally ma-
tured, but naturally .so great and so healthy
tliat not even the hot-hog sc treatment to which
It ^cn subjected could injure it perman-
c^ily. Ue^ WM impelled to produce opera.*
before ^ had fully dct eluped the feeling for
J^KaJ harmonic progressions, nay, before he
had mwiercd musical orthography itself, to
»y mrthing o( the skill ncscisary to comiruci
muMco-draniaiic forma on a large scale Real
dramatic characteriration i* not to be expected
Of fourteen: so far his music h
rather sugey than dramatic ; but still he had
even then, un^esiionably a brilliant talent
for the stage. This u mainly apparent in the
*€•**«« Berlia «>me
212
\VEBER : Opcw
treatment of general situations. The mekidies
are iliroughout catching, often graceful and
charming, always related to German song and
never reflecting the Italian style. He puts
almost all he has to say into the voice parts,
the accompaniments being unimportant, at
least as regards polyphony. There is much
originality in the harmony, ami the colouring
is individual and full of meaning; and it is
precisely with harmony and colouring that
V^’cber produces his most magical effects in
his later operas. The instrumentation in
* Peter Schmoll ' is quite peculiar, No. 14, a
trio, being accompanied by two /eati 6aid
(Apple Butes), two basset horns, two bassoons
and strings. HU motive was not a mere
childish love of doing something different
from other people, but he had an idea that
these strange varieties of tone helped to char-
acterize the situation, ^^ebcr adapted some
paru of the opera in his later works: for in-
stance the last song in the third linale of
‘ Oberon '. The overture to * Peter Schmoll ’
was printed, after WeberU thorough revlsiofl
of it, in <807.
I'he subject of* Rubezahl*, a two-act opera
begun by Weber at Breslau, but never finished,
was taken from a legend of the RiesengeUrge,
dramatized by J. G. Rhode. The versification
U polished and harmonious, but the action
drags sadly. This wrakness is redeemed by
some supernatural situaliom, excellent for
musical treatment. Of this libretto Weber
says tha l he h ad composed ' ' the greater part " ' ,
though the overture and three vocal numbers
alone have been preserved.* Even of these the
second vocal number is unfinished, while the
overture exists complete only in a revised form
of later date under the title N* ' Dcr Beherr*
scher der Geister’ (‘The Ruler of the Spirits’).
Those familiar with ‘Der PreUchuu’ and
'Oberon' know Weber's genius for dealing
with the spirit world ; but the Rubezahl fr^-
ments show extraordinarily few traces of the
new language he invented for the purpose.
The music, indeed — always excepting the
revised form of the overture — is less Webenih
than a great deal in ‘ Peter Schmoll nor is
there any marked advance in the technique of
composition.
With the next opera, ' Silvana we take
Iravc of boyish compositions and teach a
higher stage of development. ‘ Silvana ' and
' Abu Hassan ' form the middle group of
Weber's dramatic works, while * Freischutz ’,
‘ Preciosa ', * Euryanthe ’ and ' Oberon ’ con-
stitute the third and last. We have already
staled that in 'Silvana' he used some maienaJ
from ‘ Das Waldmadchen the Ubvtio of
* Hl< autegraph liji that the finl act eoctaiMU
<S Keirn, the seceod Z7.
* A chorus c( rpirils. • mttaine sc>d ariciu and a
quiAiet. {.$>« Jahns's Inc N«». 44. 4 s. 46 aad i»,
AnhsAf 9 , No. 9?.)
which has been lost, except the few verses
preserved in the score.
This opera, with its medieval romanticism,
is the precursor c^‘Euryanthe’, and therefore
of great interest in Weber's development. In-
dependently <rf this, however, its merit as a
work of art is considerable. The story deals
with emotions which are natural, true and
iniclJigibly expressed. The plot develops
naturally and inielligibly, the interest is well
kept up, and there is the necessary variety of
sensation. That Weber transferred 10 it
musical ideas from ‘ Das Waldmkdchen ’ can
be verified in two instances only, one being
the overture, the autograph of which is
docketed *' renovata il 23 Marzo 1 809 ”, a
lerm which must necessarily apply to the
‘ Waldmadchen ’ overture. The “ renova-
tion" cannoi ha\*e been of a very startling
naiure, judging by the music, which :s neiiher
interesting nor original . The second case is the
air assign^ to Khps the Squire (No. s), the
opening of which is identical with a riiornel
in one of the ‘Waldmadchen' fragments. It
may therefore be assumed that the adapiation
of 0^ material wu very limited. The fact
that there had been any adapiation at all may
partly explain the inequality between the
separate numbers in ' Silvana ', but we must
also take Into account the inevitable distrac*
tions and interruptions among which it was
composed at Scutigarc. A remarkable point
in the opera is the musical illustration of dumb*
show, even in the vocal numbers, a device for
connecting the music and the action together
which in ' Silvana ' is turned to account most
effectively.
* Abu Hassan ', the second in the middle
group of Weber's operas, was adapted by
Hiemer from an Arabian fairy-tale, with
occasional remioiscences of Weisse’s ' Dorf-
barbier*. The stor>’ of this one-act Singipttl is
closely connected with ceruin experiences of
both Weber and Hiemer at Sructgarc. It must
have been easy for \Vcber to find approp^ate
melodies for a creditor dunning a light-
minded impecunious debtor; and curiously
enough the first number of the opera he set
was the creditors' chorus, ‘‘ Geld, Geld, Geld,
ich will nicht linger waricn " (: 1 Aug. i8io).
The little piece consisted originally of the
overture and eight vocal numbers, a duct
being added in 18(2 and an air in 1823.
The fun in German comic opera has alwa)^
beeo somewhat boisterous ; for more refinw
comedy we must generally go to the French,
but ‘Abu Hassan' U almost the only German
work which produces a hearty laugh and at
the same time charms by its grace and rerme-
ment, and by the distinction of its musical
expressioD- Perhaps the best thing is the
between Abu Hassan and his cwdiioR,
but the duet between Omar and Fatima (No.
W EEER : Operas
6), the final irlo (No. 7) and F*imia*a addi-
tional air (No. 8) axe ah oT^ai merit. This
Uktt air» it sliould be home in mind, was com-
posed twelve yean after the rest and bean the
stamp of the matured composer. V arious
little instances of want of finish appear in the
music> but defects of this kind may w’ell be
overlooked for the sake of the invention, so
spontaneous and spirited, and the downright
hearty fun of the whole, mingled a» it is wiiJi
rare and louchiiig tenderness.
Between the completion of ‘ .Vbu Hassan ’
and the beginning of ^ Dcr Ftdsohut* * imer-
vene no les< than six years — a long period in
so short a life— durjng which Weber com*
ptaed no opera. Not that the dramatic Im-
pulse had abandoned him. ** I am anxiously
looking out for another good libretto’*, he
writes after the production of ‘Abu Hassan *
at Munich, **for 1 cannot get on at all without
an opera in hand.** We know he had several
projects, and that he Isad a * Tatmhawer ’ in
Ills mind in 1814; but his restless life, and the
unsatisraciory nature of his positional iVague,
prevented his bringing anything to niaiurily.
Nevertheless his dramatic powers did not lie
absoluiely fallow. Six grand luliatt arias with
orcheira, some with rhurus also, competed
during this period, though intended for the
concerl.room, may be classed with his dram-
atic works, because they presuppose a Kcne 4^
situation in which some distinct person gim
ex[>rcssion to his or her feelings. The same
is true of three Italian duels, which mark an
important stage in his development, as it was
through them that he gained dexterity in
handling the larger forms of vocal music.
Several of ihe six concert arias are of high
mcfii, particul.viy the one cotnpoeed
IWc Frederick of Gotha, "Signor, sc padre
aot , the setM t 4 aria for * Atalia ‘‘ Misera
me ’*, and the utita erf aeia for Mehul’s ‘ Helene *,
** Ah, sc Edmundo fosse I’^uccbor ’riH*
ihrw ducts with pianoforte are also worthy .if
notice, as allowing N Veter’s perfect familiarity
with I he Italian style, while retaining inlatt
his Gcrinan individuality, a combinaiion
which gives them a special interest.
With ‘Der Frcischuu ’ Weber laid the
foundatiAn of German romantic t^ra. In
Silvana * he had already approached that
domain, but had not yet found adequate
musical expression for German romanikism
Hut Freischuts * was a revelation ; from the
dale of lU production there was no question
as to what a romantic opera really was.
Kind did not draw on lus own invention for
the hbreito. The history of the sutdeci is still
incomplete, but we know that tlw story can be
** f^r as the 1 7th century. It was
pub ished m the beginning of the 1 8th, in a
^k called Uiiterredungcn vom Rciche dec
Oeister . of which a second edition appeared
at Leipzig in 1751. From this book Johann
August.Apel toedt the story, which he publisluvl
as a narrative called * Dcr Kr<i«<hui/, a lrg«*nrl
of the people ' in Ved, 1 of iIm • Gesprnsirr-
buch edtuxl by Aprl and l.jiun ti.rjp/ig,
i8io), handling it so cleverly that it again
became popular.
As an interpreter of nature \\\ l>>r U)<jk up
position in the dranuik world like ih.it U
Beethoven in the symphony ; nuy, ihe infiiiiie
variety of nature pklurr* CiMiiaiiuil in * Ihr
Freitehut* ‘ Freehisa *, * KurvaiitlH- * and
‘Oberon ‘ i$ quite new <4 ii< kind, and vatli
equally surpassev even the nianifisiationv of
f enius of the " Pas loral * * bym phony. Nolvid y
had ever depiiKxJ with the same truth at he .1
sultry moonJight night, the stilJnest broken
only by il»e mghlingalc** trill and the snlcmii
murmur of the ine,, av in Agal)ie*» qrantl
scena ; or a gruouinr mg>il'><rne in Ihr
glwmy furc't ravine, such as that in the linale
of ll»e s«and act. With this dcsiriptive
fatuity vwiii hand in hand consuniin ate skill in
orrhevtratiun, I here u soTrieilnng originM
and imoxkaiing m the sound he hrings out of
the t^hesira, a cumpU’te vimplkiiv. com*
bitted wiih perfect nowliy. He wav able, as
it were, to tram|M>rt himwlfinto ihc soul ofihr
imiruments and make them t.ilk in in like
human beings, eat h in its ow n language, each
speaking when it alone has power l<» lay bare
the very heart of tJie act ion. < )rr I lest ral < t.loor.
mg handW in this masterly manner naturally
serv^ priAfipaily to characierire siiuiiiioris,
*he personages. .\o.
thing distinguishes NSeber as a born dramatist
more than the way hr suited to a charaiter
from lit fmt entrance upon the stage a certain
mride^of musical cxprcs'ion, winch ho main-
tained as a kind of keynote ihrongh all the
vary ing ensotiocui uf ihe opera.
I*erfect as are the smaller musical fornu, it
must injustice be conceded that Weber did not
always succeed with his larger ones wliidi
often have a sort of piecemeal ciTeti. Tho
construction of a piece of music in grand, lull
proportions was to Jum a labour, and rarely a
wccftsfuJ one. He does not so much dcvcfoi)
from wiilnn as superimpose from without, and
m>l i^requemly the musical How siagnaivs.
For the most part, however, this is only true of
Jus music when considered simply as music
wnhout regard to dramatic fitness, and such
owts axe ihexefi^e much less noticeable in
perTormance, so accurately dues |,c hit the
appeopnate musical development for each
^metii of tlie action. He has also a wonder*
uJ pow of keeping up one prcvalline idea
throughout the piece, so that amid ail the
vawiy erf successive emotions there is unity
. ^1 f* ^ ' Preciosa ’ was adapted from
W 1 1 ^ ® ^ Crf' anies by an ac tor iianted
Ihus Alexander WoHT, of WVIniar, rngagisl m
214
Berlin in (8i6. Before Weber undertook, at
Count Bruhl's desire, to write music for ii, he
had several limes used hh pen in a similar way.
Mention may be made of his music for Schiller's
German adaptation of Gozzi's ' Turandot
consisting of an overture and six smaller tnstru*
mental pieces (1809), for Mulincr's ‘ Kdnig
Yngurd ’ ( :8i 7) and for Cchc's ‘ Heinrich iV '
(161$), besides many smaller works of the
same kind, all bearing witness to his extra-
ordinary talent for illustrating a dramatic
situation in the clearest and most distmciive
manner by music. A predilection for Spanish
subjects is observable in Weber about this
period, and may be attributed to the inlluertce
of Ticck. Columbus, Pixarro, Don Juan of
Austria and the Od, all passed before him as
subjects for operas, and in 1820-31 he com-
pleted a sketch of the first act, ar>d a duet for
the second, of ‘ Die drei Pintos a Spanish
comic opera. This, however, he laid aside for
‘ Euryanthe ' and ' Oberon It was in all
probability iu Spanish local colotiring which
attracted him to ' Preciosa '. One of the signs
of his natural gift for dramatic composition
was his love for strong contrasts, not only
between different paru of the same work, but
between the different worb he took in hand.
I'hc phrase " local colour "in music may be
defined as that which conjures up before our
mind the associations connected with certain
scenes, races and epochs. Weber's unusual
gift for this kind of illustration was most prol^
ably connected with the peculiar manner in
which his musical faculties were set in motion.
This Is a point on which wc are thoroughly
informed by means of his own expressions
preserved by his son and biographer. As a
rule It took place through external impressions,
presented to his imagination as tone*pklura.
With him any external impression at once
clothed itself in musical form, and (his peculi-
arity of mental constitution undoubtedly con-
tributed to give hU music its individual char-
acter.
The music to ' Preciosa ’ does, no doubt,
reflect the then prevailing idea of Spain, its
scenery, its people and lu art. In fact, lie
hit the keynote of Spanish nationality in a
marvellous manner. The prevailing impres-
sion is heightened by the introduction of
gypsy rhythms and Spanish national airs,
d'liis method of characterization he made use
of several times, as In * Turandot which has
a Chinese melody running all through, in the
' Freischiiu ' peasants’ march and an Arabian
and a Turkish melody in ' Oberon *.
The original source of the libretto of
* Euryanthe ’ was the * Roman de la violeite '
by Gilbert de Montreuil {13th century), re-
printed textualJy by Franelsque Michel (Paris,
(834}. The subject was used several times by
early writers. Boccaccio borrowed from it the
Decameron ’ (second day, ninth tale), and
(hence it found its way into Shakespeare's
‘ Cymbeline *■ Count Treasan remodelled it
in 1780 for the second volume of the * Biblio
(hique universelle dea romans and in >804
it was puUhhed at Leipzig, under the title
* Die Ocschkhic dcr tugendsamen Euryanthe
von Savoyen ', in the collection of medieval
rMuantic poems edited by Schlegel. Tlie
translator was Helmina von Ch6zy, who com-
piled the libretto for Weber, After completing
the latter she republished her translation, with
many aJ terat ions . The Ii bret to has been much
abused, and when we consider that It was
remodelled nine times, and at last brought into
shape only by AVeber's own vigorous exertions,
it is evident that the authoress was not com-
petent to create a dramatic masterpiece ; but
it does not follow that with the Itelp of Weber's
ability and experience she was not able to
concoct something tolerable for the purpose.
‘ Euryanthe' is Weber's sole grand opera,
both because it is without spoken dialogue,
and because it is much the fullest and longest.
He oteam to put his best into it. and he did.
’Fhcre is no question that it is richer, more
varied, deeper, grander, than all the rest of
Weber’s dramatic works. AH that gives
distinct Imi (o * Der Freischuta ' is found here
again : songs at once dignified and easily
cornpreltensible, melodies genuine in feeling
and full of fire, orchestral colouring as new
as it is charming, Instrumentation ^th bold
and refined, an intuitive grasp of the situation
and complete mastery in treating it, such as
genius alone is capable of- In many passages
the colours are us^ with masterly skiU.
One point in which (he music of
‘ Euryanthe ’ Is far superior to that of ' Der
FresKhuiz ' is in the use of (he larger dramatic
forms. Here we have recitative, full of ex-
pression, passion and movement, arias, duets,
concert^ pieco and splendidly constructed
finales. The song or cavatina form is used
freely for the parts of Adolar and Euryanthe :
but Lysiart and Eglantine never express them-
selves except in the grand dramatic forms,
and the higher the passion rises (he more
excimively do these (wo characters occupy
the stage, in this respect the second act is the
climax: Lysiart's «oM ed aria, his duet with
Eglantine, Adolar's air, in such wonderful
contrast, and the duet with Euryanthe ; lastly
the finale, in which a perfect temf^i of
pxsdons seems to be let loose. Though it can*
not be va id that there are no little roughnessw
or bits of dull or unformed work in the opera,
any such are completely submerged in the
overwhelming flood of beauties.
Although Wcbcr wrote his last opera at
KeraUe’s request, he chose the subject bim-
»:lf and was aware Ikiw completely it suited
WEBER: Incidental Music — ' Euryanthe '
main Incident one of the stories of the
\N KBER : * Obcron * — Vocal Music
hU own individuality. Since the poblicaiion
ofWicland’$poeni io 1780^ two German operas
had been composed on Oberoo. The hni,
Wranilzky’a <1789), was one of those childbh
fairy-pieces, whose lively music. Jiarlequin
tricks, scene-painting and machinery w'crc
long the delight of the simple-minded people
of \’ienna. The other, composed (be Copen-
hagen with the title of * Holgcr Dan^ke ‘ (also
J789) by Kunzen, Schulz’s talented successes
and J. F. Rcichardi's friertd, was a far mcee
serious work, and can be spoken of in con-
nection with Weber’s, though the latter put
it so completely into the background as to
obliterate it.
Weber’s Uliretthi, Plancbe, likewise workitl
on VMeland’s ' Oberon or railKt on botl»cby*s
translation. Though salbfied with the psnn
In detail, Weber eould not reconcile hlmss lf u.
English opera aa such. He tsTiies:
r mmt ttpui Otat ihr iyi << she h heir n very (Mnoi
tw all A> i4e4i sikI Jhe U
in JR) nfMiii(s«| A<k>n Hhu >mic, (In’
ihr miuir jn (l<e iwni inipofieiK MNNnritu *U «lr|Misr
our ( Jhrw of ihe tide fd t„ Um,
unlu |i»r aiJ oiner il)e..l(e> tii I
‘I'hese words contain a very just criticism of
the libretto. 'Ihe continual change 0/ wcise.
which keeps the spectamr in a state of restless-
ness, is certainly a mistake. Weber intended
to remodel the opera for Germany, when lie
would have put it into a form mure in accord-
ance with hii own ideas, giving (he music a
larger share in the course of the pJtM, but
simpUfylng the plot so that it should run wrre
smtK)ihly and comecuiively. Whcihef he
would abo have endeavoured 10 strengthen
the dramniic interest is doubtful. As it scai>d>
it is an epic poem dramatized rather than a
drama. But no subject dealing with lairyJand
can admit of dramatic treatment beyond a
hrnlted extent, for the characters, instead of
moving independently and of their own free
will, act under the guidance of su|KTna(ural
poss^ers, who visibly interfere with their
(la tiny on all occasions. \N’eber ro^uired ih»i
so muih characters full of dramatic action, as
.suggestive situations and picturesque scenes,
and ih«c hanchi's libretto supplied lotlie full
I he musk to * Oberon ihougli the work
of a man dying by inches, bears no traces of
mental exhaustion. Indeed it u delightfully
fresh and original tbrougliout, and entirely
different from all the rest of Weber’s com-
l>^i lions. The keynote of the whole is Its
picture of the mysteries of ellland and the
life of the spirl lv of air, car th and water. Trve
this note U touched In * Oer Frcischuia ’ and
• F.uryanihc ’, but In ‘ Oberon • it U struck
With full force and vibrates with an almost
iftloxicaung sweetness. What Weber did in
this direct.on w« absolulely nesv, a valuable
addition to his art which many composers
have followed wHih suceca. His melody, the
chords of his harmony, the figures rniployetl,
(he effects of colour so totally unexpected --
all combine to waft us with mysterious power
into an unknown land.
boxes Axo Oliitn Vr>CAL WoRK>. -Nrxi
a/ler \\>lieT’s operas ctime into conddi’raihm
his songs, the song-form playing, as wav
natural with a German, s<» im]K*riani a p.'tri
in his opens. He left sewn ty- fight German
/Jedrr for single vtace with pianoforu’ f»r guitar
arKHnpaniiMeni, besklet two or three Italian
« ansoni it, a French r«>t2iHn(c and a song from
* l.alla Roukh •' From (‘lilitdara’v uarhling
fount I conw Ins Iasi cutnposiiion, witli the
accompaniment merely skeUlird in.* \Vc do
noi include his i« n S<ois airs arrangul with
afC(mi|»anmKnt f-»r pianoforte, (lute, violin and
cello. Among the parlsungs shoidd lx* singled
out sixteen for men's voin s and three (biksnngs
for tw*o MHcei wilh accompaniment.
It was at N'lHtler’s suggest Ion ihat \ Seller
first made a siiidy of ilie songs of the people,
and this study, addl'd lu his own inuililve
pef<rpii<»n of what wjo Intrlndcally good and
individual In pofniUr musk, en.rhied lilm
to hit oil Its fliaracterUiic lone as nobody
had done Iiefore,' * Mein Schalc 1st auf Hie
Wanderschaft hm \ * ller/.cheti, mein Sihaiz-
chen, bist lausendmal mcln ' Wcim ich
eln Vofleln war \ ’ Ich hab’ mlr eins er-
’» *0 KeHin, ich muss dlrh laisen
’’bis nichts mil den alien W>il>ern’, arc songs
in which ever>' variety of feeling Is expressed
with freshness and orlgmalliy, His musical
treatment, ukj, <4 umgs in dialeit, eiprcially
those of a liumorous or rollicking character,
is exeeUent. The form of thc*e vongs is most
«mple, generally SI fophic, the accompaniment
frequently for (he guitar.
Besides tlwse songs \\>|)er composed othen
of a more amlMliuus charac ler, with pianoforie
accompanimeni, each sianra having a different
rneJody. Weber's vocal eompoxiiions contain
the two main elements of which Orman opera
IV constituted — the and the dramatic
»ong. These, too, appear in turn in the ten
splendid songs from Kocncr’s * Leyer und
’ rour of winch arc for single voice
and plaisu and six for male chorus unarvom-
panicd. ‘Lulzows wildc Jagd ’ contains a
complete drajiuiic scene within a sinalc
stanza of twenty-one bars.
It has often been felt as a difficulty that
'\cbre should pus slraighl from such operas
as Silvana and ' Abu Haasan ’ to a mastcr-
Tw* *r ihtfc uuim.
"‘"“'•vsj* iliorvin tor men's
parcsoon fo, vsri*v* veiic* Hiut
*^iu »*Hl •* n>o« cif (h* V*1blie«l but thi* ««
b> known com-
thsi fcoxo «n.eved vd* cumnev (.« t'oi.xs-
WEBER : Church, Orchestral and Ojambcr Music
piece like * Der Frcischiiia One explanation
of this sudden and startling pi^iess may
probably be found in the songs which were his
main occupation from i8t t to 1B17. Another
important landmark b the cantata * Kampf
und Sieg ’ (i8i5)> The central idea b the
battle of Waterloo, with various episodes
grouped round it, and a chorus, '‘Herr Gott
dich loben wir ”, as hnale. The description of
(he battle forms what we should now call a
grand dramatic scene, an opera finale, only
without action.
Between t6io and 1815 W'eber wrote six
concert arias with Italian words, and these
also have their share in explaining the extra-
ordinary maturity of 'Der FreischuU*.
Several are of high artistic merit, notably the
fourth (‘ Signor, $e padre sei compost in
1612 for Prince Frederick of Gotha. It is
written for tenor arvd double chorus, and b in
fact a dramatic scene, None of these Italian
arias, however, come up to a German scene
written in idiC for insertion into Cherubim's
' l.odniska It is a work of the first rank, and
of itself proves that the creator of * Der
['reischuiz' had now attained his full stature.
Among Weber's remaining vocal compesi-
tions we have still some cantatas and the two
masses to consider. * Der erste Ton ' (i8r8),
words by Rochlitz, must be merstioned among
the cantatas, although the term Karcely
applies to It. The greater part of the poem is
declaimed to an orchestral accompaniment,
but a four-part chorus b introduced near the
end. The form is peculiar and new. The
descriptive part of the music shows already,
though indistinctly, that plasticity which )w
was presently to make use of in such an in*
romparable way. 'Fhe closing chorus docs
not satbfy the requirements of art, and Weber
himself spoke of it as ” rough ” part-writing.
Another hymn of Rochliu's, * In seiner
Ordiiung schafTt der Herr was composed in
tdta and dedicated to the Musik-GesellKhaft
of Zurich, which had elected him an honorary
member. Of the six occasional cantatas com-
posed for the court of Saxony, the ‘Jubel
Cantate ’, written for the 50th anniversary of
Frederick Augustus's accession (i8i8>, b the
most important, both in rise and matter.
Church Music. — As to Weber’s masses,
those acquainted with (he state of Catholic
church music at the beginning of the 19th
century will not expect to find them written
in a pure church style. Fine music they con-
tain in abundance. As previously mentioned,
they were produced within a short lime cf each
other, in 16:8 and tSig. After Weber's
fashion they contrast sharply with each other,
while each has one prevailing rrtood running
consistently through to the end. The year
1618 being the 50(h of the Saxon king's reign,
he gave to (he Eft Mass a tone of solemnity and
splendour noticeable specially in the Sanctus.
That in G, being for a family festival, b quite
idyllic in character. Occasional suggestions
of well-known passages in hb operas jar on a
modern ear, but a composer is scarcely to be
blamed for retaining hb identity even in a
mass.
Orchestaal aho Chamber Music. — When
a youth of twenty Weber wrote two sym-
ph^ics, clever and to a certain extent inier-
ating, but parti-coloured and without form.
The indications (hey gave of his future position
as an orchestral composer were very inade-
quate, and in later years (hey by no means
satisfied himself. Of wholly different import
are hb ten overtures- Of these, ‘ Peter
Schmoll ' and ' Silvana ' are unimportant
and immature. In ' Turandot ' the local
eolouriog furnished by a Chinese air is pushed
to extremes, The remaining seven are very
fine, and excepting perhaps ‘ Riibezahl ' and
' Abu Hassan all have been most popular.
They hold a middle position between simple
introductions and abstract orchestral works,
sounding equally well in the concert-room and
(he theatre, W’eber constructed them out of
(he materials of the opera, and each Is a
complete conception, That what looks like
mosaic may have been constructed organically
is proved by Cheru Uni's ' Anacreon ’ over-
ture, in whkh — a lb tie-known fact — there
is not a single bar not contained in the opera.
Weber's natural way of working was net to
develop continuously, but to proceed from one
strong contrast to another. Hb musical ideas
are Mldom adapted for thematic treatment,
being always full of meaning, but with few
capacities of development. The instant one
idea b given out decisively it calls up another
absolutely opposed to it. This method of
progression continual contrasts is vn«
doubiedjy the sign-manual of Weber’s dram-
atic genius ; and to it his works owe as much
of their stimulating effect and fascination as
they do to the variety, tenderness and brilliance
of the ifutnimentalion.
This explains why \Vcber produced so little
chamber music. The quiet thoughtfulness,
the refinements of instrumcnial polyph^y,
the patient development of a subject, which
arc the essence of this branch of art, were not
congenial to him- He did not write a single
string quartet ; and his piano Quartet, clanncl
(i^inict and Trio for piano, flute and cello arc,
for him, unimportant compositions, and^t
always in the true chambcr-music style. The
subjects are almost like spoken phrases and
the conirastt ringularly life-like. Among
chamber music must not be forgotten six
sonatas for piano and violin, pu bl bbed in 1 0 1 1 ,
Thot^b of roodet dimensions, and occ«>od*
ally swnewhat Immature, they contain a host ot
charming thoughts.
EBLR : Pianofori^ hfusJc — Concertos
217
PiAKOFOfcTfc Music. — Weber was one of the
greatest and most original pianists of his day.
After his thoroiigh grounding when a boy he
never became the pupil of any of the prinelpaJ
virtuosi » and all the finishing pari of his educa-
tion was his own work. He formed himself
neither on Clcmenti nor Hummel, but he
obtained a number of elTects ai onec new arsd
thoroughly in accordance with the nature of
the instrument. This was the principal cause
of the unejtpcciedness which was so striking in
his playing, besides its brilliancy, fire and
( xpresdon. Wide stretches, easy to hb long
flexible fingers, bold jumps friKn one part ol
ilie keyboard to aniKher, rapid passages d
I h I rds for one hanti 1 1 ; > Conecr wO , or of thirds ,
sixths and octaies for both, rum with aeeom-
panying chords for ilic same hand (Sonata in
(J) — su< h are some of his technical rrs4»urces,
all of real value because U'ed to express really
tiew ideas. I||^ pianolorte style alto shows,
wiihin reasonable limits, a leaning to the
orchisirnl. For insuiue, in the finale *A the
Sonata in \) minor he must crriainly hat chad
Ihe cello and clarinet in mitKJ when he wrote
the CM/ai/Y# and ihe still tnorc Uauiiful
coumef^ubjeri. Again, in the firvt mose.
inent of the Snniiia in (J hb menial car has
rvidcnily licen filled with the sfKind of the
orchestra frurn bar 4 onwards.
The four Sonatas (in C, A ». D minor and
I. minor) are pronouticrd by Sfarx to excel in
some respceis even the simaias of beeihosrn.
'I'idi is going too far. In perfect ion of form
Weber b always far brhlnsl Beethoven, and
though his ideas may be etpially original, they
arc far less solid and not so varied. His
sonata* therefore cannot be coaddered nwideli
of the type, I hey arc rather faniasies in
sonata form, and tlieir very irregularities give
them a kind of air of improvisation, which is
thcjr chief thjrm. Kath has iu distinctive
character, consistently maintained through-
out, although certain favourite phrases arc
fr^ tjueijtly repeatesi and J»is sphere trf ideas
IS not extensive. His sonatas contrast more
in form and colour than in esserKe: in each
he gives us his whole self, but from a dilTrtent
point of view.
Next to the sonatas in importance are his
ten sets of variations.* \>ebcr did no* attempt
• w Ilavh did in the '• Goldberg” \ arialiuns,
or Beethoven in the " Kroica '• <mes and tliose
on DialHlIi^s waltx -to enlarge the bounds
o the variation form, but clung to the simple
old-fashioned procedure, I'his makes it all
the more wonderful that he could cram so
much that was new within such narrow limits
In the invention of new figures and striking
harmonies he is inexhaustible, and — a main
points each vrork has its own dbtrnciive and
t>D VjrUlHHB b, «.|
wp. »2, dnd fvr jfHl il^inci, Op. ty
sharfriy defined stamp. F^b dramailr genius
nesTr left him.
Hb talent shone mnst conspicuously when-
ever he had a poetical idea to interpret
musically, and nosvhere do wc see this more
clearly than in hb two Polon.sises, in and
R. and abos-e all in hb ‘ .\ufTorderting rum
Tanze known all over the world. 'I he
‘Rondo brillani Op. 6a, and the ‘ Momenio
capriceioso*. Op. 12, though not unaitractivc,
scarcely come up to the other three pieees. Of
pianofiK-ie music f'v four hands his only ex-
ani^rs are Opp. 3, to and 60, containing six,
six and eight pieces respecibvly, Op. 60 Is a
colleciion of litilt' pieces which ftir in\'<*niitin
and fascination of sosind do not yield to
Schubert s liesr work of the kind.
CWr.R rot. -Finally, Welnr takes high
rank as a composer of concertos. As a
pianist be aimed, rif course, at finding scope
(••€ his own in«.( rumen t whh an orchestra. Of
hb three toncrfpx. the utw in F minor. Op.
70 COiiM ertstuek is to this day a stock-piece
with siriiKwi and lias lift its mark on laier
compowr*. Not the least of its many aifrur.
lions b Its fiirni .r/fcfrfl, Mnrth,
Finale\ diverging «> materially Iroin that of
all presious coricerlot. 'J'heri, too, ihougit
complete in itwlf as a jiiece of musie, it is
prwiipi^ by a jxietical ide.i, for a com pine
dramatic scene was in the composer's mind
when he wrote it. What this svas we are told
by Benedict, who on the murning nf ihe first
pCTformance of IXr Frebshucs ' sat listening
with Weber's wife while lie played (hem l)ie
* Concertstufk then just linished ;
T>e <1iaiel«ine tin «U *k-nt «4i her i»al«oMr c.vinff
Her hiiivlit (i.n g.H,f |“
• m ISol> t.4ml. li*ve l,>, junlx Jlav^
>*T]*** l*.***',*^**^ 1.1II ihr ever »er liim
???•? . imaeiiuiki.i <i,ih up a m.i.ni
|«,M« uuwkkfl an«l Wiken 00 Die haiile.
s^^’t I'T ^ hi'n litf bv hU Mile*
l**<k WN«M.,ou», ||„i I, Ark! kh*i RMiesafe
^ m 1^ dKUiKe* tKft .l,.re m tl.r fo<«.
i w iKf wnhrhi nearff ami nearer.
KoKhu aiwJ mvirn "hK ihe eei« of the C;fmA.len.
>^^5 ftiid there
BfciL ^ wnki 1*10 h« Minx. Love if inum.
huV12Jj the woa ©fkAe; 4 thoiifaml vokv* pe««Umi
The other isvo concerctis, in C and Kp, hasc
^n unduly neglected for the ‘(kincertituck'
Ihe fwincr, composed in tfiio, rs indeed not
» brilliant, but its delightfiilly original finale
vr^ld alone make it a saluaUIc work. The
wherowes its origin apparently to Becihovcn's
Concerto m ba. Hus came out in Feb lOi i
jmd ^ learn from \VcberT diary (hat Jic
^fht a copy at Leiprig on 14 Jan. 1812.
Hu own Concerto ai !• , was finished in Dec
« (be same year at Gotha. 'I'hc choice of the
key. (be remote key of B major for the edugie,
• Ins]Sii'*I i wuAlly app<.a„ «
kvt « UwuW Ik. in Wtbh. • to
3l8
WEBBR : Li in'ary Works — Bibliography
and still closer resemblances between parts
of the movements of the tw-o, show how
deep an impression Beethoven’s work bad
made on the younger artist. Still, it was only
suggestion and did not affect Webb’s identity.
The differences between the two will be found
quite as decided as the resemblances.
When once Mozart had introduced the
clarinet into the higher range of music it
rapidly became a favourite solo uuirument.
Germany had at the beginning of the century
two pre'Cmineni clarinet players — HenS'
stedt of SondershauMn ai^ Barmann
Munich. Spohr composed for the former,
Weber for the latter.* It is a remarkable
instance of his power of penetrating into the
nature of instruments that, though not able to
play the clarinet him>elf» he should have so
far developed its resources that since his day
no substantial advance has been made by
composers in handling the instrument. Hb
three clarinet concertos (0pp. o6» 73 ac»d 74,
the first a Concertino) were all written in i6j j ,
when he was living at Munich in constant
intercourse with Barmann. We have aho two
works for piano and clarinet, Variations on a
iheme from * Silvana’ and a fine ' Duo con*
certante ' In three movements, Op. 46. Seldom
as these are heard, those he wrote for other
wind Instruments are never played at all.*
And yet the concertos for horn, bassoon and
riute ratify to hit wonderful gift for perwl rating
into the nature of an instrument.
UteaAJiy Works.— W eber’s turn for liter-
ary composition, developed most strongly
between the years 1609 and 1818, has b^n
already mentioned.* As a rule his pen was
naturally employed on musical matlen, only
one of his newspaper articia being on a generaJ
subject * CiMr Baden* Baden r Aug. j6io.
Kis talent for authorship was undoubtedly
considcralHe. His narrative is clear and in-
telligible, his style correct, elegant and livdy,
with a certain freedom not at all unbecoming.
Now and then, too, he wrote successful verse.
In this respect, as in so many others, Weber
was the first of a new generation of artists. It
pleased him to reveal the ideas with which hb
mind was crowded in words as well as In
music. This is evident from hb active corre-
spondence. As an author he was the precursor
of Schumann and Wagner, on whose music,
too, hb own exercised so great an infiueoce.
But unlike them he did not concentrate hb
' or W«b«r’s six works Soc <l»naet sote, Ave arc
dedicated to his rcirnd Barmonn; tiw mcb. Op. 4I.
L*esn no dedi<atien. It tcroo pcobsblc due thb wm
comp ose d iot Henroirdi •( hb owe request. (bat
Wrl^ would fioi dedicate it to hzat oui elf rntniikTuida
for Barmann.
' Mr, John Parr (MfSinmttP) hw played ibebasaeoa
Concerto several tima. notaWy at St. Joha's Collie.
Oxford, in ipsO.
* Webee’e posthuenoue writiives came out erifMaUr ia
% volume' and were republuhed as V'ol. Ill of >fax xon
\\'eber*s * Leixnibild *.
literary powers; hb nature was too restless
aod hb life too unsettled. It b a pity that his
musical Do\‘el, * Tonkunsders Leben re-
mained unfinished, for as he himself was the
“ musician '* whose “ life ” he described, we
should have gained an artbtically drawn
auioUography of inestimable value. What
remains of the novel b interesting and tanta*
lizing, on account of its many acute and
profound observations on an. Not that Weber
could philosophize and systematbc like
VVagna ; he loucha lightly on subjecu, some*
tima indeed superficially, but every word
rev'eals the man of intellectual cultivation
capable of forming hb own Judgment. His
literary affinity b closer to Schumann than to
^ Vagner. The imagination, the humour, the
kiisdneas and cordiality towards hb Juniors,
(he absence of jealousy towards equals, are as
eharacierbtic of Weba as of Schumann. He
helped materially to launch Meyerbeer and
Marschner, exerted himself heartily to extend
(he knowledge of Spohr’s music (a service
Spohr did rkot return in kind), and though as
a youth he passed a hasty judgment on Beet-
hoven, he amply repaired the oversight in
Riaturer yean. When ' Fidelio ' was being
performed at Dresden, he wrote to Beethoven
(38 Jan. 1833) *
Each perfermsnec wiU be a fciiival to mr, i"*
the •pporiwnhy ot offcriiti to your noble ipirit a
speincinf from my intneti hrtrt, whtrli is filletl vrtib
awncM odmirstioo oM afTretion for you.
And Weber was no man to pay empty compli-
ments. Like as he was to Schumann in many
respects, they were very difierent in others.
Be^a the sense of humour characteristic of
both, Weber had a strong satirical vein, a
caustic wit and a love of fun, which he shared
with Mozart. He was also more mercurial
and brilliant than Schumaon, who by his side
seems almost slow. He took wider views
life, was more a man of the world, often with
a kittd of chivalrous gallantry ; but far more
fickle than hb younger comrade in art. He
wrote 00 all sorts of miuical su bjects ~ critical ,
polemical, bbtorkal, theoretical ; most often
perhaps to irttroduce new works and prepare
(he public mind for their reception.
f , 8., abr. and rev.
BIBUOGKAFHY
•wen, Dewti. • Csrl M*n» voo W«bct \ in * TM
HeriUfv of Mumc \ Vol. II (Oxfort. iom). . . ,
■tarosns. H.. * Webor: «sui dc enuque muHcUe
Webrr ' (Loodon, jaS* * .
Mmc. •Cirl hW yeo W«b«r.' "
•cb4«-. «»chkbilieb, iMoacb u*m 1 muMkiUtn
umor. A«m4, • Webor* (Pxw, ws). * , u
Eiwxw. J.. • A tVebw Coowpxrv * («• A '
WKtiiu • SchnfUUJD wber C M. voe Weber
C*H Man* «« Weber ' (M- * J •
XV'lll. igS7. P' 0)<
VVF.BF.R : Bibliograplty — ,\VorVs
CiOMit, W., * SV«b«r «b KUvktkontpoiikt * (LeipsM.
I9>4)-
HAmw4ii>. C. bv>. ' Cul Maria ven UkWr i fine
Gcri*aktfhtiri ' '.l>tr«d«n,
Xime. T,. * Oc tCarl Ma/U \vn Weben *
(CarlHMhr. i4M>.
KiMOiar ao. U. ’ Rvli^uMaKbrrwt •In N(«ni«r» Kad
Mana \eei Wcb«t, ie Mian* huedcreMA Te^ialw
aufrairiti ’ (B«tbe, 1927,,
J*Hj« f. W. • C*/( ^larla vao W«bef r one I^bnw-
*ha<« * 1 I 73 K
* Cart Mi/ia von Meber in teinen Wotkcn ' tPotUn.
iB 7 t) <cb«Mwlotirak th^maiic imksK
Kmmk, G., *Briwa|p au «in<r CliarAivfiMik C^l
Maria voA Weixn * ^Iktlin.
kAKa, Jc'iti'j, ‘Carl Mjria sxe, Welter rime »fai-
vraphie (Onlin.
219
‘ firirk V, UVbcr an dm Crakn K, i*oi) Urulil ' *d.
by U, Kaucr (191 1).
* DrieC; W«b«n an H. tj<hirnii«in rj. bv 0 ,
Kudorit 1 1900).
*HiMrrlaam« SchrUirn \ e%\, hy Thrmlnt IIHJ
'SamdKbe m(, |>y C, Kaiicr llktiin
IOO0).
* SicfafM m b f b^it bnhrr uncrdruckia Rfkre \ rd
by L. HirvbWr« (((illHirshausm. 19/6).
SSuaa. Ma* i^lASM voi<. • C.itl Maria ^on ^Vcb^f'
on LrbeMibiM*. «d, by Kuduir I'cibrt BerJin
' liarl kfaaia vun UVber*. lraei». by I, H. Shnniari
'Undon.
/•Mvia, V^KMH>M, 'Carl Maria i«<n Wilyr: Min
Wbrn und vbatkft* riJitdi, mi',. '.
U\TAUXiL*li OF WORKS •
ON.RAs
7n/r
* llaa WaUiMaJrhnr irra<ni«uu «Hi(y
rcrnanMMK, uii|Miblijh«d>.
' J^ief lied «cin« N^bbarn,*
' Kuberuhl * ikft unbnidirtl in iltoyr.
•>»lvana.*
* Ab.. Maiwri *
'HrrtiMa' (plat udb cniM, or <Hicra
•iih JiaWfofi,
* l>«r rrriKliHt/.*
* l)ia dm hiimi,' ,kfi unfiuahrd in liji.
iuinplaied by Mabkr).
* LuryaAlhf/
* ( >brrvn, or I hr bir Kuik** C hilh,*
/jtf.ne
Carl ftaiu <i«Mlliiid«r, Kidcr
v«A .Sirihlvri.
JiMcph (urk. U^Jonanw^cl b)
<.arl Kraiarr,
J. hMe.
rrar»< Karl llimirr. UmH um
I hr librniM U *|>a» VS'aU.
■naihjHM * iiH Mmt,.
rraiK Kail Htrnwr,
l*Mia AkaaMin ^Subl. ImuvJ on
t^vanir^* Mory
nella .
I'noibifli Kind, baaed on a tale
•e .%*e4 4 LavuV * Crtfwtoier.
biHh *.
Ibeodur MelL ItMfi «m (arl
UdMiK V«kr. tlory Ikr
Baawlliaoipl \
llrlButia von Ckday,
JaiNO Kubinaon flamU. ba*«d
<ft W.IlM WiWbvt Want.
Uiran of W irtand*# ‘ Obeton ’
*Ml Oribrr liaik on Ok htnth
tofsance W Muon gf Kw.
deaua.
Fmbertf, <axvM>\ u -Nmi.
AHffIfury. iKoj I f ACat.j.
i8uu.
Franlfyrl n M.. ib Si|>t. iBiw.
MaMuU. 4 Jvric |M| 1 .
Berlin, (l}tf>ia. 14 Mar, tR/i,
Ikriin, Sihjgtjiielliaui, Jimo
tbar,
• j'llvis^luriHipaJ Jlieattc. vo
V'leHiia. Katrilneitwr 'I lie«i(rr.
rHki. itij.
l/uniliHi, GineniCjAnlrii Ibeauc
n Am. idrd.
Kiaav, Vier.ivAL H., *UadiHiiin«> Irvin*. Barkaai
• VSVW.*"?^ * ' H * V" '*S®'
sivir *" 19*4 tb’ (M.y.
Weber' iBkkkW.
*;■*'*'' *«*» "♦ber' .Puudam.
'<;irl Maria vnn U>ber: mn Uken in JkMcrn *
LeiiviK, loyfiK -^*1
*'‘'“'^J*'*J^yberaU<>.i»eM««»bo-*^,«Ha * iWnr/.
hWa Web*.:
Werh * -LeiiMiv. loan,
***** <A*^dMir*.
«*' V'Vb'r* (Kainbon. 194,,,
^ iWdab Carl Maria
>oei Cetera* ^Minuari. lo-j?),
Karut, h 'Karl Maiia \em Webera huMileriaeke
KrrK-.tirhkeit Kliim Vheifaen' (Uipri*.
.‘5;r ‘"
c..
IXCIUKNIWJ. ML'SK:
MutK for Silulke’i IraiMiaiHUi <d Cnari’a ' J urahibii '
vr < V. M uSmo;.
M«iwi lor MomoS * lAmiia iXaiia '
Mnur tor A«Mr MaHiier'i ' Koni* Viiiiurd lo pie<e«
ft • ion* a«J?l. pr^r.
Mmac ^ riieiMur IWI a ' llaur Ahalade ' hbiU ,
.MniK kr OriUparrrr * • Aajifiliu 1 rJigfg* & | nieJo.
drama (i9id/.
Vjune ^ Gehe** ' lieiniHh IV ’. H pkree • (i9i9).
Mum tar HuUai V« • |.,eb' Mil I.icU \ 4 io<al |)kn«
.« mafiband . mrlodrania ndift), ‘»‘»*I>kn«,
^**'^^, Ho»awak*» Ua«ei|y ’ Oet Leucbumm ', ,
MHwJramaa 4 » Kiwriude* for harp r iljor.
hW far a ^ivaJ plav by UiIa*« Kwbrri. ' I>cii
INTLRPOLAI IONS INTO PLAVb AM> Ol'LKAS
^?r..i,^.,r?%‘':6r;5:r ""
• ’• *?• ^•»rpt. duel. wa% inrludAi in
hanoforir IfarO :
&ao
WEBER: Works
4 for yoke & guitar in K«a<bwe's ‘ D«r anae
Minn««iAfet ' ^ (iSiO*
S(f*a t 4 «ri« for tenor 4 : s chonma. “ Sifnor «e padi e
sei^ . ^ m Bianrhk*i ' Ines de Casuo
Sftna fd «//« for soprano, *' Non povenine in tbc same
Op. 51 (1815).
H 4ri« for roprano. Ah, sc Edmontio fosse ]* uc.
cisor ", in M^hurs ' Helm O9. $0 (1815^
0 Sonii (dr baritone in Anion Piseber's 'Oct iravesiJrie
ArncM ' (i 8 * 5 ).
t Sonei for baritone and for tenor in Cubiu's * Licbe
und Versohnen * ItQis).
Billaij for voire and harp in fUinbarh's * Gordon und
Montrose ’
Arietta in Huber's * Uos Strmriun«ikhen im blacdlinter
>Salde * {1818).
XuiTvanre for voice & euitar in Cattelb’s 'Diana eon
I'oiiirn ‘ (i8t$).
Sens n> Frietirich Kiixi's fntivaJ play * D«r Weinberc
an der Elbe * (1617).
Sons for t-oiee & puiiar in Kind's 'Dee Abend am
\VaIJbtunnen u8i8),
Stt*« t 4 »t%9 for soprano, “ ^Vas sat’ kh? ", in CheeubuM s
• LedolsU ’, Op. is < i$se).
Chorus for womens vniees wish wted insat.. *‘AcniM
Dei ", in blankensec's * Carlo ’ I iSm).
Sont for 3 women’s voices 4 cuitar, ** Saei woher
summt Liebeslutt” rXell me wheee it fonev
bred ; in Shakespeare's * Merchant of Venice ’
(•8si).
Music 4 recitaliv'e in Spontirti's * Olympia * (t8«^.
CHC’RCK hiCSIC
Mass, ma. for 4 solo voices, chorus 4 oech,' (iloo).
* Missa sane la E7 ma„ for 4 *«h> vekea. cborua 4
orch., Op, 734 1818).
OfTeriory, ma.. for soprarso, chorus 4 orch. foe d>e
same hJass (1818).
’ Missa sanett O ma., for 4 solo vuscei. choA« 4 oeeh-
Op. 78(1818-19). ^
Orieriory, C ma., for soprano, chorus 4 orch.. for the
same Mass (1818).
CANTATAS
’ l>ar erstc Ton ’ IJoliann Friedrich Rochliii) foe
•leelamation -ith orch. ft final cbonu. 14
( i8o8/.
Hymn ’ In seiner Ortinunc KhalTt tier Herr * (RocMits)
far 4 solo voices, thorw ft orch.. Op. sfi li8tt).
' Kampf und Sief ’ (Woblbcuclil foe 4 sole vekes.
chorus 4 oe<h.. Op. 44 (1813).
* L* accoflienaa * (Celani) for 8 sole vohes, ebocus 4
orch.* tiIsjK
’ JubchCaniaie lFr.e<lr>ch Kimt) foe solo voices, chocvi
4 orch., Op. 38 {1818).
’ Ou, bekrkniend unwe Lar«n ’ (Kind) foe solo vake
4 chorus Hith pf. 4 lluu (tPai).
ORCHtbTRAL WORKS
’ Smfonla in C *, No. 1. Op. sp (1808-7).
* Grande Ouveiturc 1 plusmirs trotrusttenci *. Op. t
(i 8 o 7 >.* ^
' Sinfonia in C No. a (1807).
’ Overture. E9 ma.' (? tOop).*
* Overtura chiocia Op. 37 (1800).*
’ Ouvcriure aunt ** BcherrKhicr der Gcister ’* Op. a?
’ rVuucKrr D ma. (1813).
’ TeJcMo *. D ma. {1818).
* JubebOuvcilurr *. E ma.. Op. m (1818).
Pratmeni from an unknown work (1843).*
MUSIC FOR WIND INSTRUMENTS
’ Kleiner Tuseh von awansif Troenpesee * (1808).
Walt! for wind band. £p ma. ( i8ia).
’ Marcia vitace * for so iruRspeu. D ma. (iSn).’
March for wind baod, C naa. (i8a8}.
^ Included in Op. 9 $ as Nos. a. 3 ft $ (scr Sos^),
* Known as the " Crouc jugendmew **.
' FofsiOly intended to be Op. 37, a munber om «od
risewhere.
* Overture le the unpublisbed opera * Peter Schmoll '.
* Possihlv epuneiss.
* Pan of she izKidcntal musk to * Turandot
' Used in the eritinaJ production of * Etayaathe *.
SOLO INSTRUMENTS AND ORCHESTRA
* Romanaa skdiana G ml, (be flute 4 sznall orch.
(s8o8).
6 Vanaiaens on ibe fidhsong ’ A Schueerl uad a
Rcmd’rl % C ma,, for viola (t8o6).
Andant*. D mi. and Variatfooh F ma., (or cello (iSioJ.
CofWMno for bom, E mi., Op. 43 (1806, ccacored
. *8ts>.
‘ Grand Pot-pourri * for cello, D ma.. Op. so (i8o8).
* Craod Coftccno’ for pf.. No. t. C roe,, Op, it (:8t©).
Cooceruno (or dar,. C mi.'Ep ma., Op. a8 {181 1).
Concerto foe clar. No. 1, F mi.. Op. 73 (i8ti),
Goeeerto for clar. No. 9, bu., Op. 74 (i8ti>.
CoiKcrie fee bsacooo. F ma., Op. 73 (181 1 ).
Adaik and Rondo for harmonichom (or harmonium),
F naa. (i8it).
'Grand Concerto' for pf., No. s, Eb ma.. Op. se
Itlia).
* Andaose c rondo oshm'OW C mL, for bassoon. Op. 34
(1813).*
'ConceetMuck * fee pf., F mi. 4 ma., Op. 79 (1821).
CHAMBER MUSIC*
' Craod Quatuoc ' foe vp., viola, eello ft pf., Op. t8
<1809).
CfOisos Quinieti* fee clar., « viu., viola ft eello,
Op. 34 (18s 3).
Trso for flute, cdlo 4 pf., Op. 63 (1819).
SOLO INSTRUMENTS AND PIANOFORTE
! \’asiation4 on a Norwefiin air for vn., Op. »2 (t8o8).
Sonatas fee vn. (i8io>
(. F ma, 4. E9 fiu.
*• V ma. 3, A ma.
f o sni. 8. C ma.
ariationi on a theme from * Silvsna ' for elar.,
Op. 38 (>8m).
Divtnimenio aieai facile’ for ruitar. Op 38 (1818).
' Ccand Due ceieeerunt ' for clar., Op. 48 (1818).
PIANOFORTE SOLO
' Sechc Futhetten '. Op i <1798).
8 VarUtioew oe an eritinal theme. Op e (1800).
' DotiM AUemandes '. Op. 4 (tIOJ).
’Sis Ecoeuaes' (1802).
8 Variatkeu on an '*air d« ballet" from Voflers
'Oasioe mid P^lui Op. 3 (s8e4>«
6 N’lrjatksM 00 an air from Votler’s ‘Samori Op. 8
<i 804 >.**
7 Variationa eo Biaoebi’s ' Vies quk, Dorine belle .
Op 7 ( 1807 ).
’ Thfme eritinal vark Op. 9 (1806).
’ hlosnenee capneesoeo B9 ma.. Op. it fi8o8).
' Grande Polooaise '. B) ma.. Op. 1 1 (1808).
Snnau No. t, C ma,, 24 (iBit). ,
7 Variations on (he romance from Mfhul'i 'Joseph ,
Op 98 <t 8 it). .
18 * FaversuWalaec dec Kaiserin von FcankRich. Merit-
Louise* {i8ra).
*Ak CUM' (''Sebone Minka ") uiih 9 vanatiom.
Op, 40 <i8i3l.
Sonata No. a, Ak ma.. Op 39 (1816).
Sonata No. 3. D ml.. Op, 49 (i8t8),
7 Variaiieiuon a Gypev Som, Op. 39 (181?).
’ SKhekeher ZapfensUckh ' if s8i8).''
'Rondo brOantc' (' U Cakk'), £> ma,. Op. 82
(1819).
* Atcflbrderunt cum Tana * **, Rondo brilfant. U? ma..
Pelacca
(. 8 . 01 .
t'L’Hilarik'). E ma.. Op. 7»
Sonata No. 4. E sni., Op ?o (i8ta).
PIANOFORTE DUET
’ See Petite Pkm fkciltf Op 3 (i8os)
I. Sonatina, C ma.
e. Rosnanae, F ma.
' Ontinallv foe vMa, composed to 1809.
• Sre «b» PiaMfocK Solo. Op 8 (1804).
* With s-o. ft cello «d M. . _
•' Publnhod as br Vv'ebcr ti> an ‘Album des march«
internaiiooaks ’, but in lutbeotkity is eatremwy
•* ’no correct Enalish title u ’ Inviutioa to the Dance <
not ' . . . to ibe W'alu *.
EB£R : \\ orks
S. MisuMio, m*.
^ AodAftw foo variazkwi, G M.
i . MifciA, C nu.
. Rondo, £9 CM.
6 Pieces, Op- Id (i9o9)
I. Mod^nte, B9 ma.
a. AedaBuoo con ommo, C mi.
9. AodABie Can varioziosii, G mi.
4. MisuAk, C ma.
i Adafto, A aa.
Rondo, C9 ma.
6 hecev Op. 60 (t 8 iS>t 9 }
I. kiodcraio. O mi.
*. AUegro, C mn.
3 - Adagio, P ou.
4 > Allegro, A mi,
i . Alla siciliana. T> mi.
I Tema varjain, t ma.
7. Marcia, U mi.
8 . Rondo, by ma.
-SONGS WITH PIANORIRIK OR GL'HAR
op.
• * Siral'ptnlrgt uh«r «U franaustMlie * c’l
iidoij. '
• - ’Dio Krr/e ' Ftkiirkh i«n Maiil,LMn) GUn*}.
• Enidxhci Hlineil von mi« * i 4 rin< um SmJa>
* l< h »«h «ir hinyriMitkcn ’ r^HMhgd^, 0 &mi.
13. 3 SiMiKi (with guiur)
I. Ok Srliarminnde Oram Karl lIxiiKf
ti8ioi.
a- 3 ^'i«crni>«d Oliamrr) ^idior.
3, l/irbcwauber <1. H. iJwrrari '1807. .
4. LKKuGrurv Knnl>mki '1800,
. .*?•'/'“ 0'>**P*' l.'alwia M« 4 I> Utin’.
• Trinklicd U^Kri ri 8 <> 9 ).
1). p Sour*
I. Mfih# l.iwirr. mrine S*ntt OVdlxIni »«m
li>»riHleMi<WcnhFM«i iHi^oi,
a. l-.in Krica Kamid <C.irl MucMrri Iiftier.
7. Arh vrpMi Kh hwr rin Uebchan hail < lfa<li.
iMinaIr (lioo),
*' “• Zaubcrkrrn* (MvchkrJ
i . I(h wh rin RomIma rSfiMhkri (1800).
. J,in UIm krnn* tt,k tUhr) 4 iRi 8 >.
aj. P SfMiri ‘
I. Slrinr Parlirn <l.rhr) GHud).
a, HK4pw.ha ^KrrcttrHli Haii*) 0809),
3. Maicr>blwmi«,n fAiiauii UbMhUrcr) GUni.
4, TKirvah iSircckruiai HAiir.
fi. An rine PtrumliM iCIIirnii»n Frksbich T«au>
tMt V«*oij (Ilia).
— Kommhm mu«ibalMfkn Krruhchcailien * i'ftnrf
an IhiMarj tOmipmari fiMK
- !«. jK)«h* BarreKf.)
- Komimaf. • Ok kuintn ‘ iH«ir>herbi OSm).
(-Maoncita. ^ lu?iehH<»rfi Aian^ihan ' 'anon,.
German warn, bv Rnkonl M>h
• I Golllrird «on Ifrrdrc)
' * <Awmm von Ko 4 Mbw*} •
9 >. i SuMBi {whh mtiiar)
I. l.irhr.C.lMhM. (FtKdrkh Willwlm GubM#
Miirf.
» C'lwr dk Brrsr mil Vncrsium tKourtniei •
( iBl i I.
3 > I'asi mtch vhluminrm <Ko«»rlHK< • GBi j1
4 « PrillcrIinI n'rarliininah fiRia)
&. Umrinal vumimilrrlidlirn lieorr«KoUcbue) •
an- ‘ Tra ranirmcife • /«,»ih oiiiorj »?> ri8ii|
I. All <lo«r «*eic .*
a. Nink v line,
S- (%' i«i mai \> peuo.
• R'*^n«. / Um KcMun* hkcc ein rukl nev <ie-
Aihcxai. iKiU of Saaa-
30 , 6
1. Wkdmrh«, < 3 V'*INKt) (idoa).
Ja iiMrmi anf drr FUir Or^dekb RocUiia)
Moia).
• Pru 7 aK.Marb.i?riiv,*fiJra^ Mionciioger *.
а. Unberaneenbeii (anon.) (1813).
4. Mmswlted (Johann Hnnrich Vo%s> < iBic).
’,. Reicet) <^’o3s) <16131.
б. Sii^ n Schmarsen. lind ei Frrudrn (I.imI^^ I:'
Tierk) (iBrsi-
ii. • l.ei'crund Sch^vcl ' (‘nrMd'ir Koriicr) <1614)
I. Gebai wahrcntl tier Schlachl.
a. Abwbkd vom C.pbrM.
9. I'rost. * Hen, lau «JkIi nil lit srrtpaiicii
4. Was Ml ift Saiifrra VairrIaiKl
y * l^ver und ScbMcn * (KorMor) GII16)
rhi«*re Harmoniree !►«* kh hlinem.
6. • Die Tmprramrnie Wlm \*rrluMe drt (;ilicl>lcii ‘
i<*uUuj (idler
t- 0 (T Lcwhimuiigr.
t. Drr ^hHermutigr.
y rVr l.kbcMviire.
4 - TVr Cekithfnuligr.
7. i Snn«»
I. Ok rrdanemm .Sangre ^-on VhrMkrii*
durf I -ifltdi.
7. (he freten Saiierr fFrirtlriili rur«icip
3. Baliailc, 'Wai »i«irnici Jw HckIc luriufr
iKnnbrcb) <16131.
4. (>ir^Jvinflin« wihI «i*c S|ir<r<k iGulriu^
t Mcm VWIaiivrn iFiKiirn GfliC'.
<<rbrl an «li« (>rl<rMe IGuIntcr ' 1814).
K.*w« cln.i erfansren ia»v • iJ«na, Fiim
claMeHir 'SBihi,
‘ I inJ in dec Itrinde * < 7 j (? 1617],
4. 9 S*mti *
I. Ilir rri^mme Marti ‘R.n}i<>|oin.>M. KinruaM)
3. I *rWdiftl '*l>adilkir>a|j '16171.
i . Alir VVcil«r FriesliKli .S^tdaii (1617).
. \«db»l*r<l, *W>Mn rh nn SWIrin it.ir* •
<1radilajnah Glilflj.
7, V nlkd«j.I, *U>Mw, ueiiir' ^JVailiiion.ilJ
{ 1 8 1 d;.
I- • Snn«i *
i. VdkilH^I. •Mrin Vliaurrl i« Imi>i« 0,*
(Tradomiiali 'iHini,
y lleiinlsrl.r« l.idir fVm Craditionalr (*816),
4. C*rklinhrii rMaru>» <>|Hir» (iBiOr*
-w Ahetahe«e<i t'l radiivaiah iligl.
b. laeb^ruM »h% Jer Fern* ( TiiMlkM.rul)
6, Vnlkdinl.^ ’Hrr^h^, nirm Silialw|,rM*
I (radilKeial, (1819?.
», 6 Sonet
tF/irtlei«h Kindj
*' Haare flPriKr. .tfiri (illiA.
1. (ihtknkcrkui iMatilHoiHO ilikili;.
4. I.elwi»an>nhl 'anon,) (iBiv),
> iff* L**>«** 'Ika*o»er>) (rSwo),
h. Wuowh um) Irfiiiarwiit 'Oasirllo tifliai
Romanre, * !.»,<< iKiml;
. e .Songi
s. Trieku <Fvrsirr> (lAsg).
a. 8«ih. Frlm. Kw« (KhhI) 'iAiSI.
* “V **" VlMir«tor|„|,cn
(Friedrirh vnn C*er«lrr»beiB> (tBiu).
4 Crntomi 'anon.i 'tBo«>. “
y lard «kr llirim 'Kind) (ifliB)
. C.Stmsrt
*• Glolddr (CInlikIr von Nnstis)
"’"'Ii-
* gKi?^"^'* **^*‘^*^''» ’ (Tlioma* Moore)
! a * 4 »fe paruongs.
* NoK. 2 & 7 are parxsongs.
• a r
' Alraandrr
22a
WEBKR : Works
SONGS FOR SEVERAL VOICES
Trio for soprano, terror & bass, * Ein Cirtchcn und ein
HluKnm * (I $03).
Quartet without wor& fer Danii (t8op>.
3 Ou«u foe 9 sofwanot & pt. Op. 31 ((61 1>
I. 5 e il Stic ben.
3. Milk volte.
3. Va, ti consoU.
Sextet. * Lena erwachi for 9 sopcaooi, » tenors 4 2
baiiei (ifiie).
3>part Burlesque. * Drei Knableio lieblkh auaManWm V
on themes from Meaan's * Zaubeeflote ’ (tSi j>.
Duel. *S«i jrerrusst. Frau Sonne’, foe tenor 4
{i 9 t 6 }.
* Natur und Liebe * (Ftiedrieh Kind) fee o sopeaooe. *
tenors. 0 basies & pt. Op. Si (i 9 i 0 ).
’ Wo nehm’ ich Blumen herr ‘ <HeiJ) fee 3 vekm ft pf
08 « 3 ).
CANONS AND SOLFCOOl
’ hfadchrn. aeh meide hliimersehmeiehefeien *, Op. is
No. ft, 3 >pari canon (rtos).
' Die Sonate soU ieh ipklen * 3^r( ranon (tftin).
‘ Carbon* su swei sLimI nichl drei 3 *part canon iiftto).
‘ Lerk’ mieh im Anteikht *, 3 *pari canon (iBio).
’ Fro*) I Neujahr ^‘voice canon (1811),
* Leiee kvmmt der alend seiocea S 4 *part canoe (1814).
’ Scheidrn und leiden iit eineriei *. a*parl canon <1814).
* Zu dem Reich der Tone schweMn *, 4*pari canon
Itixih
‘ \\eil Maria Tone hat *, S'part canon (1816).
4 Solfegji {rBi8).
Double canon fee 4 voicet (1819).
FaRI'SONCS
* Crablied S.T.T.B. wiih «»ind insu. (iBo3>.
’ TririklkH ** Wei) n Coil abo Refutt w sole voke
4 chorus (liep).
’ Ndrsl du der Klare dwenpfert Sr hall? S.A.T.B. ulih
wind jnau. (1811).
Suabian Dance Son*. ’ Ceirer uihI rfeifer *. S.T.T.B.
(i8iel.
’ Kriefteid " Wir itehr> vor Gort unhon with wind
intu. 08 i 9 ).
* Urer und Sehwert * (Theodor Kdmert. Op. 4 «. 4 *pa<>
men'i ehann (1814}
I. Rnierlie^.
9. Lutiewr wiliW laed.
). (irbei vor der .^liLachi.
4, Manner und Buben.
! . Trinklied vor der Schlarht,
. Sehwcrilinl.
* Heisae »i»lle L>ebe Mhwrhet *. Op. 73 No. a (rtit).
' Quodl ibet * ^radi 1 lonal ) . (hi. 34 No. a { iB» f).
’ Abtchied * (Tradiiionol). Op. >4 No. 4 (iBr?),
3 Partaenfs for a>pon men’i cherii*, Op. ss>
I. LcbemJied am Geburttlai* (1814).
a. Zwri Kranae sum Annee*Tate (1817).
3. Sehbnc Ahrtun* ill ceRl^men (til 8).
4. Sehmuektdas Haus ftBii).
t. Smtei dem Cetane su Ehreo (1818I.
' Mail ltd* iTradiuonal). Cfe. 84 No. a <i 8 i 7 >.
’ Ei. ei. wie xheini der Moitd to bell’ (TradiiionaM.
Op. 64 No. 7 (iSii).
6 PartionRs for 4 *parl reenS chorus. Op. 88
I. Dai TurnirrbinkeU (ilia),
j. Emunierune uBipl.
3. Frciheiulieil 1 1819).
4. Schlummerlied (i8ae).
3. Cute Nacht (181 g),
8. Hiuamilied (iBei).
* Rosa * (1873).
* Keilerlied " Hmaut. hinaui. sum Mui'Rvn Straws
for 4 *part men's chorus (i8es)>
* Schuuenwcihe " Hernenchall. Uberfall ". fer 4 iutt
men’s ehorua < 1 893) .
ARRANGEMENTS
'I'uneof * Cod lave ihe KinR * arr. fee 4 <part cnen’seborus
I. Den K 6 ni 4 lefnc C^t (? iBi0).
9. Heil dir im Sirferkrant (? tBrB).
3. Music lo the Prologue, with insi. ftBip).
10 Koliith National Sonn with preludes aW accoen*
panimenU fee Bute. vn.. cello 4 ^ (iBes)
I . 'Hie soethini shad^ of itloatning.
t. ClowiAR with love, on Pro fer feme.
3. O poortith cauld and restless love.
WEBER (B. A.)
4. True*bcvi4d was he (Bonnie Dundee).
t Ves, thou mav'M walk.
A soldieff am I.
7. John Aadenon my io.
8. O my lure’s (ike ihe red, red rose.
9. Robin is my joy. my dear.
10. U’bar hac ye been a* day,
£«afre Balfe (appeannee In ' Freischuu ’). Birmann
O. me^sfaip). bnediet (pupil). Berllot (arr. of
lonubon to the Dance ’ 4 reciw. for ' Frciwhuu ’)
Bis^ (H.. nvalr>’, 4 ' FrelichUta ’ adapt,). Brahms
(pT. Rondo art.). Cooke IT. 5..’ Oberon’, parody). Oiti-
cism. pp. 334*73. Fhcher (A,, add. music fer’VerirtLnd*
liintcp ). Hawes {W.,addi.to*Freiwhil(s*). Hindemith
(SyinpK VaiT on theme). Hummel (J. N., airs from
f/esKbelta for pf. >. Leitmotiv (use of). Mendelssohn
(Vac. on ' PreciOM ' March for pf. duet), Morlacchi
(nralry), Meeer (H. J., adapt of ’ Euryinihe ’).
Overture, Reiosicer (‘Weber'i Last Walts', mh-
attftb.). Schula (J. P. C.. earlier setilnf of ' Preciou
.Smart (3, rtimmission of * Oberon * ; W.'t death).
5«o*. pp. 937*38 TifJichibeck
f k3cber’s Bild . oiKral. Wade (add. polacca for
Freuchuti ’>. Wafoer (R .canuta fer reburial). Walts.
WEBER, Ben (8. $1. LouU, 23 July 1916).
American composer. He studied ripping
and ptBikofprce, bu( is self'tBught in compori*
Hpn. In (94^ he sealed in New York, where
he beciune active in the U.S.A. section of ihe
I.S.C.M.. of which he hai at various times
been vice«president, seereiary and treasurer.
He receivH the National Institute of Aru
and Letters grant of $1000 in 1930 and »
Guggenheim Fellowship grant in (950-51.
U'cber's principal compositions are the
following :
Ballet ' Pool of Darkness '. Op. sd. prod. Jan. r95u.
* Siofema * fee cello 4 oreh. (1943).
CorKCfto fer pf,. vdnd snMt. 4 cello (1950),
^mpbony op poeou by William Blake for baritone &
chamber orch.. Op. 93 (1930).
* Lyric Piece * fer sir. atet (1040).
Varfeifeoo fee clar,, vn,. eelln ft pf, (1941).
C e ftce ft Aria after Solomon, fer soprano with vn.i crUo,
wind uwes. ft pf.. Op. 99 Ol49)>
nonata fee tm. ft pf., Op. 3 (1939).
3 Tiem for cello 4 094C*4t).
i Fiecci fer pf.. Op. 73 (1948).
mtasy (Variationt) fer pf.. Op. *3 (1947).
Suite No. a. Op, 97 (1948).
3 Sonfi, Op. t5 (1941).
P. O.-lh
WEBER, Bersbard Anatlm (8. hfann*
helm, j 8 Apr. 1766; d. Berlin, 23 Mar.
1621).
German pianist, conductor and composer.
He was a pupil of \'oglcr and Holzbauer, and
studied the^og>’ and law at Heidelberg about
1781. After touri ng for some t Imc as a virtuoso
on Rollig's Xanorphiha ' he became, in 17^71
musical director of Grossmann’s theatrical
company whkh played ahem airly at Hanover,
CaasrI and Vyrmont, and it was during that
time that he produced his first ssorks for the
stage. In 1790 he joined Vogler In a tour
through Holland, Scandinavia and Germany,
continuing at the same time, under (he latter
his siudlea in counterpoint. After a prolongeo
stdoum in Stockholm they relumed lo Ham-
burg. where Weber appeared with great sue*
' Oue of the many abonive aiiemptt •<>
cfevfec festrument ift which the tow »»
rncifeti.as » the hurdy-yuHy, Cf. Sosnsexrt Fi«r>-
SOflTl.
^VEBER (B. C.)
WLBER (Ocorg) 223
cess as pianoforte virtuoso. Thence he went
CO BerUn as KaptUntAsigr, conjotniiy wtch Wet-
stiyy of the National Theatre.
In 1793 Weber was sent to \‘ienna to
engage singers for Che Berlin theatre, and it
was then that he wrote the essay on the Vienna
theatre and the singers of that town for the
'Berliner Musikseitung ’ (1793, p. 131). In
Vienna he became acquainted with Salieri,
whose experiences with regard to the theatre
were of gn at \alue to him. He also heard
during that time some of Gluck's operas,
and on his rt^um to Berlin he used all his in-
lluencc to has'e them performed there. 'I'his
he<afnc possible only when he succeeded in
indue ing the famous Margarctr Schick to
I'xihungc Italian for (ierman 4 h>era. She
sang ilic (iUe>part In ‘ Jphig* nia in Tauns
the hr^l of Glwk'a o|Jcra» given in Kerlin
under Weber's <lir<<tion and conductorsliip,
on 2.J Icb. In i7<y» he refused an
engagement fur Kbeinslierg. and liencrr*>rih
his salary in B<<rlin was rau«<l to lotxi thaler.
On 10 Mar. ilk*> WVIkt's opera ' Mudarra
to a llbreico by Carl Alexander Herklois, was
produced at the Berlin Opera without sutcess.
ft was followed there on 21 Jan. 180$ b>
a onc-atl cojuic n|Hra, ‘ Ole VVctir ihc
libretto of which was a German translation
of P. Guillei's, • L'n <^uart d* heuredc lilenee',
si’t in 1804 by Gavciux.
fn iHoo WoUt went on a concert tour to
liredau with the viollnht llrnst .Scbiik and
bh wife, and in 1003 he visited I'aris with the
faniuus dramatist Km^erbue. On ibr rmion
of the Italian and the National {>|Kras in
Uerlih he became royal K'ap^fmtnUi , and In
ibi6 he will decorated with the iron cross on
a while rlblson 'non-comliatant?. In i$i8
ho was attacked by a serious malady which
<oni[)ollrd him to withdraw* gradually from
hU ollieial <luiies. Ho was a (irohrsc roinptocr
of ojteras, songs, etc.*, but Ise lacked
the qualities necessary to ensure their isennaii'
ence. Some <sf \ua songc, hov\eV'rr. retained
their popularity, <-»preially the ni< Uidies to
" Mil dern I’fed dein Hogen " and ' Rasch
triit der I'od dm Menu Ik n an'* from hie
mode to St biller's ' Tell ', lirsl pe rfornu d in
Ik rlm in |»«.^. r. v, d- s., adds-
W£BER, Bernhard Cbrictiao (*. Uolfer*
vliwcmb, ihoriiigia. 1 Ihr. 171 i; d.
IVnnsicdt nr. Lrfqrl, 5 Feb. 1758?-
fJerniun organist and fomp.n«>r. Hr was
sqtjxnnled organist at IVncHUdl in 1732.
He was long suppovd u> have aniitipauxi
Mach in writing a « t of preludes and fugu«'s
m all the major and minor kt \» and eniiillng
t ie work * Das wohUemptrierte Clavier’, for
Ihere is a inanuscr.pl of thiv work dated
• Wij tn the BruswJs Cemservatoire Ulwary^
in. ‘
twenty. three years before Weber's birth. The
work was in fact written aljoui 1 745-30.*'
£. u.
WEBER, Dioaya (Friedrich DioBysue)
li. Vclichov', BohrinM, ij Oct. i7(>b; rf.
Prague, 25 Dec. 1842}.
Bohemian composer and teacher. He wav
a pupil of V'ogler. In tflt t he was one of the
founders of the l*raguc Conservatory, of which
he was appointed the first director. He did
not take v*.*rv kindly to his natnevake, C:drl
Mana von \^’<•ber, who v\'a8 c« inductor at the
Prague Opera in i«i3-ib. and seems In liavv
done little or nothing to lielp him. On the
olJsef hand, when Wagner a< a young man
visited iVague in 1832 with his Symphony In
C Jjsajcn*, Welier awcnihleil the Oonservansry
orchestra lo give the work a first h<*aring.
Welser's <«mpo>iij<ms' include light operas,
music fur millury li.and and for solo wind
iristrntnenls, etc. Hi* uUo vvroK* several
tlveori’iM al IxHiks, p,
WEBCR. Franc k (-ikigne, lU Aug, 1 805 ;
«/. (^ikignr, 18 hepi. 1870..
<H*rinjn organic, londuitor and conipuMT.
He wav a pupil ii| Ik rnlurd Klein and became
organist of (U.bsgne Gatlinlr.il. He was also
aM».Hnh*d conductor of the Ooiogne malt*,
voire chotf, with whuh he vidted London
lor a very surrevsful wries of lotiieru, In
1873 he rr< lived the title of l*rofe^^ol^ He
fomp.w.Hl a setting of Ihnlm lA H for
vuires aiul mah<*voice ( hurus<*s.
JhU'
WEBER, Ceorg *. Mubih.iusrn.
rtngia ». t*; /
(h*rman ibth- century <oin|H>ser. He
studied at Irip/ig almut 1354 and bivariie
lanior i»f Wdswnfels in He the
"» i'>enfeJs cantor before the Ihlriy
gears’ War, .\mcmg his roniposllions are
<*erman sacred songs and jwalins (1 r,88 ; and
ed. I5 Cp6j and (irrinan Psalms of David for
4-6 voKet d5bH and »„ v, d. 5.
"‘“ hifcii'l'w"* *V'!*
r«nK m Wciv>m4rU ' . 41 .,.
^ WEBER, Georg b Dableri nr. Meissen,
. I e. rj.
German 1 ?ili.<en»ury composer. He studied
^ KomgslKfg and l-xaine vicar and surer iitor
of Magilrliurg Cathedral. Hr w as an excellent
[»•>« and eompon r, and wrote a nuinl>rr of
1-K.kx of saerrd songs for 1-3 voiies. The
first ivvo books, with afrompanlinenls Ibr
wveral mstruminw, published in ifi.io and
H)43 m block htdin, wlu re alsi, ih<* di'dii uil.m^
a^ signed, show that he was living then* at
tfic time. Four books at>pcafiil in r(>4H at
^n«g. three at KonigslH-rg in 1049; thn*e
melodies friun tisese have been republlvhid.
• ^ -M.tM.. .t( 48 . .V®. o^ and No. 8
Kmanri u)., W>is,*hfr(..
224 WEBER (Gotifried)
WEBER (Johann^)
Two other books appeared at Leipzig in 1652
and 1653, *• V. d. s.
WEBER, Gotifried (k. Freinsheicn or.
Mannheim, i Mar. I779i d. Kreuznaeh, at
Sept. 1639).
German theorist and composer. He studied
law and philosophy, in both of which he took
doctor’s degrees, and travelled as a student
ot music until in 1 802 he settled at Mannheim
as a lawyer and holder of a government
appointment. It was there that his namesake
Carl Maria von Weber sought a refuge after
his banishment from Wuriiembcrg (1610).
In the house of Gottfried's father an asylum
was found for old Franz Anton von Weber
until his death tn tSts, and a lasting friend-
ship was formed between Gottfried \N eber,
then aged thirty-one, and Carl Maria, eight
years hit junior. A year earlier the lawyer,
proficient on the pianoforte, llute and cello,
and well versed in the scientific branches ^
musical knowledge, had founded, out of two
existing societies, the Museum, an orchestra
and chorus of amateurs who, under his able
direction and with some professional help,
did excellent work. Gottfried's influence
gained for the young composer a hearing
at Mannheim, and (he artists and ama-
teurs, carried away by the spirit and fire of
thrir conductor, did much towards establishing
Carl Maria’s fame in their city. There were
pleasant wanderings in company with other
choice spirits, many sang ihcir latest songs to
the guitar as serenades and establish^ a
so-called secret society (with high aims) of
composerditecati, in which Gottfried adopted
the pseudonym of Giusto. Some of Gottfried’s
best songs had been inspired by this Inter-
course, and were no doubt exquisitely inter-
preted by his (second) wife, born von C^sch.
Besides these songs, strophic in form and
sometimes provided with guitar accompani-
ment. Gottfried Weber's compositions include
three masses, other sacred music, sonatas and
concerted pieces for various instruments.
He held various legal posts at Mainz from
1814, and at Darmstadt from rdid, and in
1833 was given the title of Cruiktri^glkhtr
Genefo\st<uUpT9kuralQr.
In the intervals of founding the Mannheim
Conservatory, superintending the court church
musical services and doing occasional duty as
conductor at Mainz, he laid the basis his
reputation by a profound study of the theory
of music, the result of which appeared in the
‘ Versuch elner geordneien I'heoric * (1817-
1621), of which translations subsequently
appeared in French, Danish and English
(Boston, 1846, and London. 1651); ‘Allge-
mcine Musikichre ' (1832); ’Die General-
basslchre zum Sclbsiunterrichi ’ (1633):
* Ergebnisse dcr bisherigen Forschungen ub^
die Echtheit dcs Mozartschens Requiems*
(j 826)< and other volumes, and articles
published tn * GaeciUa \ the musical periodical
publidied by Schott Mainz and edited by
Gottfried Weber from its beginning in 1624
until his death. Weber's examination of
mtisical theories led to his work on time-
measurements and Che “tempo interpreter"
(‘Cher chronometriKhe Tempobezeichnung *,
1817)’, and his study of acoustics to certain
improvements or inventions in wind-instni-
meni making. l. u. u.
Sn «/w Stsdkr {M., coitirexeny about Mossrt’s
Requiem}.
WEBER, Cuacav (i. Munchenbuchsee,
Canton Berne, 30 Occ. 1845; d. Zdrich,
(3 June (867).
Swiss organist, conductor and composer.
He received his first lessons from his father,
Johann Rudolf Weber (181^75), himself an
excellent musician. In i86t he studied at
the Leipzig Conservatory, and as late as (863
he worked with Vincenz Lachnerat Mannheim.
After a period spent at Zdrich as an organist
and a much-appreciated teacher of the piano-
forte, he decided to perfect himself as a
pianist under Karl Tausig and for this pur-
pose lived in Berlin to 1869-70. In 1873 he
succeeded Theodor Kirehner as organist of
St. Peter's Church at Zurich. In 1876 he
became organist of the Minster and soon
after gave regular organ concerts. For ten
years he conducted the big mixed choir of
Zurich known as Harmonic, was singing*
master at the public Khool and teacher ^
(he organ and the theory and history of music
at the Music School.
Between 1876 and 1683 \Vebcr edited the
' Schweizerische Musikzeitung ' founded by
his father, a magazine that to this day con-
tinues to be (he most important of its kind in
the country, and wrote a good deal of musical
criticism, for he was not merely an excellent
organist and conductor, but also a talented
writer on music. He was an extremely
versatile man and published several collections
of songs. In common with his contemporarin
— and influenced by the same romantic
spirit — he composed choruses and solos with
^hesiral accompaniment, partsoDgs for male
voices, songs, orchestral and chamber music,
and pianoforte pieces,
WEBER, Jobana«a (h. Brusmaih, Alsace.
$Scpi. 1818; d. Paris, 19/30 Mar. 19®*)*
French writer on music. He was
to Meyerbeer in Paris and music crioc of Lc
Temps' from 1B61 to 1895. He wrote a
• Oramnuirc muskale ’ and other iheoreucai
books, and ‘La Situation muslcalc en France
(C884), ‘ Meyerbeer : notes et souvenin d un
de sa secretaires’ (1898) and 'Les Illusions
RcqiM* b Wly Ouii with in W. Me'* ‘Story «
Mpurt'5 R«quiem* {i673)>
* Sn aitTiu»NoitS.
WEBtKN
WEBER (Ludvng)
muiicaJes la vvrilc »ui I’expmsion' (snd
cd., 1899), u, L, P.
WEBERf Ludwig (6. Nuremberg, 13 Oci.
1891 ; d- Borkeni 30 June 1947}>
Gvcman coniptMer. He w«$ largely W'lf*
taught. His works include an opera, * Mida^ \
in one act ; 3 works tor reciter, dance and
music, * ChrUtgeburt ’ and * Totentane ' :
* Hymnen an die N'ache ’ for chorus and
orchestra, and other choral works ; Symphony
in B minor; a string Quartets, songs with
.string quartet, wind Quintet; a pieces for
organ with trumpet and trombone; piano*
forte works ; songs, ole, j. a. f.-M,, adds.
Uiiu. — Hpbzoc, F. W.. ■ l.uJwif tVVbrt '{Wtjrnrftuiwl.
WEBER, Ludwig (^. N'ienna, ag JuU
ilkW).
Austrian bass sirig<t. Originally inictKled
fur a teacher atid itic lining towards cho career
of a painter (he went through a («»ursc at else
Vienna Schtxd of Arts and Crafu under A.
Roller), he discos cred his scnce as a nsrtnbcr
of the Vienna Oratoriensrreinigung under
VVagncr*Schonkirrh and began to study singing
with A. Boruttau in igig. Cutitinuing that
course until 1925, lie gained some practical
experiener at the Vienna WtlksnpiT under
Wcingarincr. In Hjj^ he was engaged fnr
Barmen* El bt^rfcld, in 1937 for DusseMorf and
in 1930 fur Culogne. Hasing rung at the
Wagner festival prrtWmancrs at Muriith in
1931, he was engag<*d for the State Opera
there in t933.
As early as 192G Weber began to appear
as guest artist abroad, his visits taking him
to Ihc Hague, I’arl', Antwerp, Barcelona.
Bruiseh, Budapest, Rome. FJorenee (Slagglo
inusicale), Milan (Scala, 1936-39. 1942) and
J.ondo« (Covetit Ciarden, 1036-39). 'IV
I ntlvah of SaUburg and Zurkh wrlcomcd
him lewal limes, in Sept. 194? he went to
i.ondtm again with the Vienna State Opera,
of which he has been a member since 1946,
and in 1946 he was engaged by the Tcairo
Colon in Buenos Airrs. He holds the tiik of
Austrian chamber singer. His voice, richly
sonorous down to the lowest register, fits him
admirably for the great operatic bass parts,
such as Moaart'.s barasiro, ^Vagner’s King
Mark and H unding, Verdi's Banquo, King
Rhilip (• Hon Carlos’) and F'alstaff. Mu»org*
s'<y'j Boris, etc. But he also appears frequently
in classical and modern oratorio and gives song
recitals {c.g. Schubert, Schumann, W<df and
modern composeri) which testify to a first-rate
art and Intelligence. M. n.
WEBERN, Anton (von ') (F. \’irnna,
3 Hcc. 1883; */. Miitsrslll nr. Sakbu^
15 Sept. 1945).
Austrian composer. He breame a research
‘ <lror»p94 the pcrfiK of ••oWlicr in Im> taUi
>r9f'.
225
Student under Guido Adler in N’icnna and
took the Ph.D. degree at the University there
in 1906, the same year as Carl Horw'iiz and
two years before L^on ^^'elles^, All three
w'ere pupils of SclMcnbcrg, whose* Inllucnct*
b shown in their works ai tliffcreni periods,
but Webern w*as the fitsl and rcinamvd the
most loyal adherent. Berg and Webern were
working with Schoenberg at a critical jilias**,
w'hen, according to Erwm Stein, " they
actually i*x|>erienc<*d the absolute necessity
that gave birih to a new music, and could
dxrelt^'c not help making .St hocninTg’s style
iVir own
After leaving the University in 1906
WelKrn held conducting posit at various
Ckrman provincial thealres and In Prague.
Ulu*n .Vbornlicrg founded his .S«Mi« iy for
Private Perforinantes {\'rr«*in fur muslka-
Itsthr l^rivauuiruhiuiigcni m N’irnna in .Vuv.
191B Webc'rn sulHrinlended many of die per-
hifinances all of modi rn works, many of
(hem of (he most advanced kind. He aller*
wjnis liecamt* |irm« ipal rimdutioi of the
\irmia ktiirkeis’ Symphony (!«merl<. organ-
ised b)* the ScKialist municipal authorities,
and direxted (hr hrsi |KrrormaiK<*t of a
Itunilirr of works by .Srhu<*nlx'rg anti iiis
followers. In lliese conieris he also showed
himst'ir an able ecjsonein of the classics, He
formed a fine amateur choir, Kuiwistelle,
which took |>ari in iluw symphony ct/n<i*ns,
But <les|nic tlu'sc art It j lies \Vebern was never
a prixninent figure in ihe V'iennese concert
world ; Isc prelerntJ to live in si*nii*retireinrnt
at Niodling, wJsere he sen led tJireclly after the
ftrst wurltl war, in 191U, to devote himself to
composiiion and the teaching ol comfxxilion.
During the si'ctmd world war Webern's
rircumsiames became more and more diffi-
cult. His music was banned as " cultural
Bolshevism ” in (icrmaciy and all (Jerinan-
occupied countries, Ih* was forbidden to teach,
and the Ire lures in w'lhch hr expounded the
prinelpU*s of music from Ba<h m bchovnberg
could only be given in secret. I'or a time he
was com|sclled to act as a proof-reader with
a \ iennesr publishing huuse. Towards the
end of the war he nvoved with his family to
the country near SaUlmix, and there, on
13 *Scpt. 1945, Im* was accidentally shot by
one of ilsc occupying troops — a most tragic
and untimely ci^.
I’rcviously his life had U'cn singularlv fr<r
from outward Ineidcni, apart from the hosille
demonsira linns provoked by $•» many of hb
^ their first apps'arance, demonstra-
tions which on at least one oceaslon led to a
hw fight between members of ilw audience.
His ercaiis« career was severely conslstenl.
He began it, after the orchestral Passacagha
ar^ the choral sstling of Stefan George’s
’ hntnicht auf h icluen K.ihnc n ' <if 1908
VOL. rx
22 $
WEBERK
(wrliwn after four years’ siudy under Schoen-
berg), as an exiremc modernist, and he
remained an exiremisi tver after. Even the
Passacaglia, almost Brahmsian as it is ii is
closely akin to the Brahmsian side of early
Schoenberg — is full of portents of Webern's
later scyle : angular, leaping melody, ex-
quisitely subtle effects of scoring (much eon*
trasiing of muted and unmuicd strings, divi-
sion and subdivision of strings, ppp trm^ic
passages sal ponlicefh), the breaklng-up of the
esseniially contrapuntal texture into thematic
scraps which suggest the influence of Debus-
syan impressionism. But the passacaglia form
holds the whole piece firmly together; the
thought U clear, continuous and compara*
lively expansive (the piece plays for about
lifteen minutes) ; and the scoring, if trans-
parent, is solid, even rich, in conventional
doubling.
I'he ten Stefan George settings of 1906-t)
(Opp, 3 & 4) are already practically atonal,
and in the compositions that immediately
followed — ' Five Movements ’ for string
quartet (composed in 1909), * Six Pieces • for
orchestra (composed in 1909, but not per-
formed till 1913) and 'Four Pieces’ for
viol i n and p ia nofor (e ( 1 9 1 0) — scrappy, angu-
lar melody and almost painful subtleties of
scoring are left to speak for themselves without
aid from any preconceived ideas of tonality
or musical construction (although traces of
sonata form are still faintly discernible in the
first of the quartet movements). The best
of these compositions is unquestionably the
powerful 4t*bar 'Marcia funebre’ for orches-
tra, At this period U’ebcrn was completely
in the thrall of Schoenberg’s ideal of pure
expressionism. He stated it in a description
of Schoenberg’s ' Piano Pieces' (Op- u) in
the symposium 'Arnold Schbnberg', published
in 1912 :
No it d«veJoo«d ; at most a btwf praftwiee
It inunediaifir r«n«at«d. Oiko sUiied. ihe ihrme
rxprwKi alJ ii hai io»ay; it nuM Ik foBowed by rirrf-
ihifit Troth.
And Webern surpassed even his master. His
next compositions — the 'Five Pieces' for
orchestra (Nos. r and 4 composed in J911.
Nos. 2, 3 and 5 in 1913), which made a sen-
sation at the Zurich Festival of 1936, ' Six
Bagatelles' for string quartet (1913) and
• 'I'hrce Little Pieces ' for cello and pianoforie
(1913) — arc still more highly conceniraied,
still more transparent and poiniillisik in
texture. The whole ' Six Bagatelles * eonuin
fewer than sixty bars of musk. >Vriting of
them in ‘ The Chesterian ‘ (Oei. 1922),
l^win Stein pointed out that
ftimow every note of a oMlody « riv«ti to a diflrrcnt
instrumeiu, and sMh one in a dMcrmt tone-colotir
((>armon|a, legn*. «e.). This, loeriher
Mith a rliyiKm that often la)<s turn on the weak beai
of a bar. imnaru to these pieres somediios umoually
glitccriog aod fluid. Seboeaberg’s idea of a “ nelody
• nay hat'e influeoced ib«*e
( AMacfartrmi M/n : Seboeoberg speaks of th^ poui*
bdiiy ai the ««ry end of hu ’ Hamiooielabre ’.] U was
€«oaetiueoc« of the composer’s renuneiaiion
of ibe conveabonal formaJ means that these move-
nwnu could ooi be allowed lo aanirae larce dimensions.
They ere melodies 10 oee breath.
Ycl each piece is supposed to cohere, through
being based on subtle iraruforroations and
rearrangements of some little basic scrap of
three or four notes. The ' Pieces ' for cello
and pianoforte arc equally short and aphoristic,
and the ‘ Five Pieces ’ for orchestra altogether
play (of barely ten minutes. Only one of the
Utter is more than fourteen bars long, and
No- 4, scored for clarinet, muted trumpet,
muted trombone, mandoline, celesta, harp,
side-drum, solo violin (muted) and solo viola
(muted), consists of only six bars, beginning
^ and dying away fipfi like a breath ".
‘I*he viola has only one note, a pianhsim
harmonic held for a Utile more than a bar;
(he whole piece lasts little more than a quarter
of a minuie.
The disiniegralion of melody, harmony,
rhythm and cone-colour begun by Debussy
is here carried to its extreme. Beyond this
point, if not at this point, music ceases to
exbl. Webern himsel f appears to have realised
this, for the songs that followed (Opp. ia*i8,
practically all scored for voice and various
unconventional ensembles of solo insirumenii)
show a modlhcation of the extreme position
taken up in the pieces just describe. At
first <c/. ‘ WicK iffl Park ', the first of the
' Pour Songs’, Op. 13) Webern clung to his
poiniillistic iostrumenul technique, though
even here the voice part, despite its hideously
unvocal intervals, provides a slight thread
of continuity. Moreover, the song lasts for
five minutes. In the 'Fiinf geistlichc Lieder'
(Op. *3) \N'cbern turned in the direction
already taken by Schoenberg in the second
part of ' Pierrot lunalre ’ : toward those strict
forms of iniefleciual counterpoint which had
always had an attraction for him. (His Op- i*
the chorus * Entfilehc auf Icichteo Kahnen
is a double canon.) Thus the fifth of the
' Geistlichc Lieder’, “ Fahr bin, o Seel', su
deinem Coti ”, consists of a double canon jn
contrary motion ; first of all, voice and »lo
v*iolin perform one canon in contrary mooo^
v^ile simultaneously muted injmpcc and
clarinet play the other, then the clarinet u
replaced by the flute and the violin ^ (h*
harp, the clarinet and violin continumg
free parts. Extremely close cohesion has taken
the place of complete disintegration-
the voice part, though intensely chronutjc,
eonskts of easily singable intervals- *
most disconcerting melodic lines ^
simple chromatic scale fragmenU with nol«
an octave higher or lower than one
Op- 1$ again comisu of ‘ Fiv*e Canons «or
WEBERN
227
voice, cldrinet and bass clarinei, >« i(h Lai in
Viords taken from the Breviary. In the
‘Three Spiritual Folksongs* for volee, clarinet,
bass clarinet and violin (Op. 17) Webern
adopted the twelve-note to which he
remained faithful for the rest of his life.' On
(his new basis, and preserving his newly re-
gained respect for '' strict form ", he began to
write longer works than he had yet atiempied
since bU Op. 1, though these later compost*
lions arc still extremely tenuous in fabric,
point iUislic in technique and if possible esen
more aphoristic as rrgartls thr thematic
material, which often consists of mere scraps
ol two or three noir*;. Wrl>ern still remained,
as in lyit, " the tomposer of the ^eatrstMO
fipieaiiD ". The ouuianding works f»f (hk
phase arc the Trio /()p. jo' |«>r violin, viola
iind cello (tomposrrl in ipJ?, perl*)rin-*d at
the Siena K«*stival of ih'* I.S.C.M. in Sept.
193B and hr»t heard m England on 14 Dee.
• and the Symphony ^()p. 2 1 ) for t lari net,
bavi riarinct, two hurni, Itarpand strings Irom*
posed in 1928, lirst performetl in .SVw York
at a •• I.i agur of Cotnposers " ronrert on
ill Dee. 1029 and also heard at Queen’s Hall.
Ixjndon, In the course of the J.S.CM. Festival
of July H«ith are in iwo tnovcnients.
riie second iiiovemrnt of the I rio is in sirklly
• lossiral firal* movement form, with slow intro*
(luctioA anti even duuble*bar and repeat of
exposiiion, but extremely well disguised n*
eapilulaiirm ; the slow hrst movement is a
rondo; and ilie two movements of the Sym-
phony are a double canon, again with lilieral
nolc*for*floic repetition of passages, anti a
ihrine wlih vrvea variations.
AAcf the Symphony \Vel>ern produced a
Quartet (Op. f<«* Aaxojdiucie. elannel.
violin and piantiforte Ofjji) t a Conreriu lor
nine stilo instrumenis (composed m 1934 and
performed xi the I..S.(;.NT. Festival in Prague
m .Sept, 1935J in wiitch the basic iwclve*notc
row is broken up an<l employed In thiee*notr
panicles; 'Das .Augenlkhl ’ (a work for
chorus and ordiestra, compowd in 1933 and
given at a l.*)nilon I.S.C.M, Festival concert
I? June t<)3jb; a set of Van* lions for
pianoforte (enrnposed in 1936. first English
perfortnxme 27 Jan. 1939): and a string
Quartei (Op. 9^^ rommjssioned by Mrs.
l.liMlirth SfirJC'U* Ckx,ljdg<«. first performed
A I the Coolttlgf Festival xt Piitslnirgh, U.S.A
on 22 Sept 193B. also hearti at the Warsaw
r.S.O.M, Fesilv.il iif 1939. <;, A., adds.
The works of this peruxi (i«»3i-3$) continue
the. tendency shown in the string Trio and the
Symphony lowartls a very sirici use of form,
nod many of them are extremely ingenious
in eonstriiclion. notably the string ^artet
And the pianoforte VarUltoos; the latter
' S<t Tw(tve*Non Miw.
are not variations in the ordinary* sense, hut
form a sonatina in tJiree move men is wJtieh
exploit every conceivable aspect of the varia-
tion form. The first movement makes a con-
siderahic use of mirror-writing, ihc sceoml is
a veo* concentrated detelopmrnt of the basic
material, while the last movement ahine has
the aspect of a nonnal theme and variations.*
M the same time some works of this period
lend increasingly towards gr<*at<T lyricism
and expresst\eni*ss. particularly the ConciTio
for nine irntrumenis* ami 'Das .\ugenllcht
whicli k a sTry moving and dramatic ivork.
During ilie second world war. in spite of
(hr dillkuh cirtumstances mentioned above
Webern wrote three wtuks in which his genius
shewed Its fullest llowmng. These are ihc
Hrst and M’tond Cantatas, Opp. 29 and gt,
and ilie VarlaiKms (or orehtsirai Op. 30!
Both Cantatas are on texts liy liildegard
.lone, w 1 k» also wrote the jXM-ms iif the .Songs
Op. 25 and of ‘ Das .Vugenlicht ' ; they show
a mystual quality somewhat reminisreni of
IMderlm, The first Cantata, completed in
.Mar. tqp*. ts r«*r soprxem solo, cliorus and
cl la miser ofrlieura, and continues thr tend-
ency of • Das .\ugenlicht ’ louartU a more
expressive and kts fragtnentary nw thod of
writ tog; ilw first movement, for ehoru* and
orcliestra, is lull of remarkable dramatic
efTecis. The Cantau wa< first iierformicl at
the 1949 I.S.C.M. Festival in lx>ndon, and
made a profound imjiressjon on iho*e who
heanl it.
Tlie V'ariadoiw for orxhvutti alto date from
1940 and were first performed by Hermann
Vhmhcn at U inter ihur in Feb. ttjxi;
Weliern was able to lie presen c at the per-
formance. Ukr lUr Cantata, they are simple
and direct in style and full of beautiful tire Ins*
tfal effects; (he orchestra is still of <haml>er
«re. ihtnigh 11 includes a luU. W'vktvrn'i
asi work, tl>c second Cantata, is also his
farpt-scalc composition. It ts seoretl for a
ratlwr bigger (urhesira than he normally
used, ic^ether with soprano and bass solos
and m.x^ chorus, and is in six movements.
Die words arc dcfmlkly religious In vh.iraeirr,
and the last i^sermoi is a chorale in canon.
Ihc Cantata e certainly one of ^^Vbe^n•s mnst
impressive and remarkable works « Ai the
itmrofhis death he w as working on a Concerto
m snreral mmvmcnis, of which, however,
only fragments are rejsor I od to re m a I n
of . t''** oxpom ni
^ the twelve-note technique. Each note in
hB music has .(s exact place and purpose,
228
WEBERN: Work*
WEBER’S LAST WALTZ
and ihc whole structure is delicately yet very
strongly balanced. His remarkable ear led
him to produce elTecia of extraordinary
beauty and sublleiy; yet hU Ihoi^ht was
not merely impressionistic or pointUUsiic ; it
always remained architectural. It is in this
that the importance of his contribution to
music lies; and though he is unlikely to
have any direct followers in hb specialized
methods, his approach to musk has had a
profound influence on many other composers.'
Webern was a pure idealist, who allowed
nothing (o make him deviate from his chosen
path. He was an inspired and painstaking
teacher, always demanding the highest results
from his pupils, and a brilliant and lucid
lecturer. His penonaliiy was simple, direct
and charming, and like Cocihc he was a
passionate student of nature. His death when
still in the prime vigour of life was an irre*
parable loss to the music of hb time.
H. S. (ii).
BlBLtOCRAfHV
‘Anton \N'ebern. zmn so. CkUtmiae \ a (vmpeuum
(‘ aj Vknfts. iMj).
J., ' h’lAiwv OMiwinjkM Muatek : Schoabcff.
Bcri, Webern * <Anbl*reaai. i9s0).
Lsismmi. Rsnl. * ImroOuciwn h la miniqur 4I0 i«
>or's ’ IPant. iM9)>
’Qu'oiKe quo la muaique ik IS sons?*
‘artoenbera e< ion ^ole ' tPacH. 1947). <6nali ih
leant. N«w York, >940)
Krioi, VN'illi, 'Anion Vvebrm: The klan and hrt
Muiie * (' Tarnne '. London » Mar. 194b).
I^SAasr, Hvstanasv. ‘ Cenvmattona wMh Webern'
^Mui. T., 0(1. 1(140).
‘ Webam'i Loal Works ' (kl.kf R.. Dec. iU$h
CATALOGUE OF WORKS
CHORAL WORKS
Of.
9. ' CnUlieht auf lekhica Kshneo * iSielaa Gcorfe)
for unaccomp. chona ltoo9).
19, 9 Sons* (trem Goethes ' ChSaaiaehxletMMka
Jahre** urid TaceMciiee,*) fee 4*part ehorvi (or
•olo quanet). eeletu, gvitae, to., <Ur. R b*M
eiar. (is«e).
96. ' Das Augenlkhl ' (K»ldefard Jone) fee ehania A
arch. (tyss).
S9. Pint Cantata (Jooe) fee *epeaiK>, «h«nia A eerh.
(1940).
St. Seeenil Cantata (Jona) fer lopeaoe, baea. chorv* &
OitU. (1943).
ORCHESTRAL WORKS
I. I^ om catlia (idoS).
— ' Five Moretneriu ' fer wgs.. fttt iraascriiMion of
Op. 5 (ire Chamber Musk) I lany),
6. ' Six l*jece»' (iqto).
10. ' Five I'iecc* * * (1913).
a I, Symphony fer email orch. (ipaS).
jOi Viriallom (1 940).
CHAMBER music:
— t^iniei for t vn*., vioU, e«lle R pi. (early, tinpuW.).
S. 'rive Mo\'emenu * fersig. 4iei (1909).
0, ' Sis BaKatelle*' feraig. 4iet <1919).
«o. Tiio for vn.. viola A eetio <1907).
I ReeeniV some of the younger Freocti ai»d ItoIUtt
compoaen have ahown tigiu of atiempiani to adopt hk
ieehntque. with wbal tueeeti rv«uint to be taeo.
« F.oiiiIed ' LtfbiM ' Ve>«aadhiMr ' Ruekkehr
' Ertrtnming ' and ' Seele ’ fer the fim Vkitoa perfeea-
anre only.
at. Quartet fee ve., eiar., saxopbopa & pf. (1030).
t4> Concerto fer 9 insu. (1954).
aS. Strieg Quartet (19^).
VOCAL CHAMBER MUSIC
R t ScDg* (Raino Maria KUke) for voice A ebanber
anaasiUe (i9ii-i«).
1% 4 Soof* (Karl Knua, Hoe* Bethge & Ceorg Trokl)
for voice A chunber ensemble (tpiS).
14* • SoB^ (Trokl) for high lopraao, clar., bass eiar..
v»|a Aeelto (j 9 i 7-9I).
(». FuDf geisUicha Lieder' for voice, clar., bau clar.
A VD. (t99«-a9).
iS. A CanesK fer voice, «lar. A bass clar, ( 1 924).
17. *Drai gebdkhe Vdislieder’ fer voice, clar., bats
A vn. (19*4).
lA 3 Sanfi for voko, eUr. A guiior (1933).
VIOLIN AND PIANOFORTE
7* * Pour Piecei* (*910).
\TOLONCBLLO AND PIANOFORTE
II. ' Three Link Pkees * (1914).
PIANOFORTE SOLO
97* VarktioTH {199S).
SONGS
9. 9 S o ng s from ' Per liebente Ring ' (Strfaii George)
«io Lkd fur dick allem.
9. Wandetnebeit war meins FrM.
> An Bacbesranft die einsigen rniliee.
4. Im Mortentoun triim du hervor.
3. Kahl lo^t drr Baum.
4* 9 Soon (Cange) <1909)
t< Einsaag,
9. Non awloti mich Treua ubee dir su waehni.
9< Ja Keil und Dank dir.
4. So kh (raurif bin.
i. Ihr iraiei lu dsm Herde.
la. 4 Seen (letj-iT)
I. Der Tag ill verga gen (feUuoni).
9. Die gebeimnicvolle KIdte <Li*tai«PoJ. ^ ,
f. Schlen mir’a, ah ich lab die Sooos (Strind*
berg).
4. C4ei(h «a>d Klekh (Goeihe).
99* i Soo(i feoen * Viae laviae' (Hildegtrd Jotm)
^:r6L dunkle Hert.
a. Ea aiurai aui Hohea FeiKha.
9. Herr Jreua meift.
99. * Dcei Lkdev ' Ijone) (1994-331
I. W>a Wo kh fr^l
8. D(e Heraern Purpuivogel.
3. Ssemr.
TRANSCRIPTIONS
Boeb, Pv(tv« (‘Rieereaia a 6 vod’, No. 9 of ' Dai
RMHikalnchc Opfee ’) for or«h.
Schoenberg. Sorbs. Op. B, for voice A pf. ^ ,
' Kanmerwotphaetk Op. 9. fee vb., ecUo, Bute (or
aod vs.). eUr. (or viola) A pf.
* Five Onhastral Paeees*. Op. lA for a pn- ^ .
Selwbeet. * Deuucba Tisae vom Oktober i894
orch.
EDITION
Voek* by Heinrkh Isaac, publ. In D.T.O., XVI. •
(i909)>
THEORfiT/CAL WORKS
«ay CO Schoenberg iit a Symposium, Arnold bchoen*
berg'(Mgokb. ipia). ^ . ...
Der Wea nr Kooposition mir la Tonen (Vienna,
Dc'Sli- tur fteuen Muaik * (Vienna. >9391'
Stv abe Dallapiccola (ioduenct 00). TwelvO'Nete
ftok.
WEBER'S LAST WALTZ (‘ Web««
rtttcr Codaake *>. 5rr Rebsicbr. ^
Wabatae. Jobo. SrrBriaodooB). Bnuea ( pucb»
Mart \ iniid, ».). Davies (HT W., ‘ D? W •
eek* ( J . ‘ Ducheis of Mart ', aacid. m) . Milhaud (do.;.
WEBSTER
W'ECKEKUS
520
TKovtMO (V., * Dii|e V soa^J. W^rteck «) r^ruoat^J.
>>aod (R.. ehanis).
WEBSTER, John. Sef mi Mi sici.^vs
Abroad,
WEBSTER, Maurice. Ste EscLMl
ciANs Abroad.
WECHSELDOMINANTE (Ger., lii. ck.
changc-dominani), A lerrn invYntcd by
German musical scholars Tor ihe doniinani
of ihn dominant, D in ihc key of <J. G
bein^ ihe dominant of G and 1> ihr doiiunani
of G. Ii is thought useful by Gennans for
Ihe purpose of musical anal>ais, and it has the
slight ads'dntagc of expressing tltc lervn
dominani of the dominant " in a single
word ; but while ihe latter is self*explanacorv*,
Wecltseldoininanie U meaningless io ihose
who have not been taught iis signliKaiHe.
even if they are Germans.
Once this nim<* hail U’cn found for the
doniinatii of the dominant, there vs as no
reason why dominanis in any irther pmiiion
«>r Ihe scale should not havT their mlinitaJ
terms. Indued on«* vs* as fountl. Inic one oniv.
namely ^wisehrii 4 umi>taiiUH | l>riwn*n*(Uimi*
Hants;, and for this at any rate an English
<f|uivaieni ivas been iniro<lu<rd, by Gerahl
Abraham in his lM>ok on (:h«>pin. where he
calls such lemfiurary dominanis “ inter*
dominants ”, , B.
WECHSELNOTE (Ger. • changr.noie,
» h a ngi ng- n* )te) Sn Sot a < Iau bca i ,s,
WEGKER, Georg Kaspar \ k. Nurnulterg,
j .\\>r. l(>3a I N*uremlx;rg. i<» Apr.
(hrman orgnnUt and composer. His
father, who had some abiliiv as an instru*
menial musician, gave him his lirsi instrur-
lion in clavier playing. He reteivrd further
indruciion in organ placing and compositHm
from r.rasinus Kimlerinann, then organist
to St. Giles's (!hurfh (tgidienkirchr) at
N'ureinf* rg. At the age of nineteen Wreker
obtained his first uppoinlmcnt as organist to
one of the NuremU’rg ehur(hi*s. and after*
wards, p.assing from one church to another,
at jast in iftWi obtained the higlicsi post at
NyemlA fg, that isf organist to the SebaW-
kirche, where he remained till his death. He
was in great request as a leaclier and num*
bcfvd among his pupils Johann Kricgrr and
PacheUjrl. It was onl) at the urgent request
of his friend and pupil. W. M. End ter, who
was also hi$ publisher, that in the last yvar
of his life he prepared for publiration a work
with the following liile :
XVI II C«iMlkh« C«c)cenn». mil s bt* 4 VmaJ.
tuf dip HciliMn Pesfu« j„ iwittri* lal.m rwkhwi
«n. eihchfft aodrren. » he, voffa||.«rt, K.nhef^ettf^
niuten su BeU*u«lwn NurnWrf. i«$v.
'IV publisher introduces the work with a
preface in svhieh he gives direr tions as lo
various ways of performance. These* Spiritual
C.oncerlos* are in reality church eantaias and,
like similar w‘ork« by Buxtehude and others,
show ihs'form in iu intcrmi'diate stage between
Hein rich Ss liuu and J. S. Ba< h. I 'liey
begin with a short insinmuncal pre)u<|e
entitled ** Sonatina ” an<l have similar inter-
ludes entitled ” Ritonielli ” and short solo
arias betwesm the cIkituvi's. Two of these
cantatas an* given in ]>.! >.*] .. and seric'S.X I. i,
whirh contains vvorks by various Nin’einlxTg
masters uf tlw latter part the 1 7th centurv .
Ansitlier. from a manuscript sour<e. (>n tl>e
hymn ' .\llcin (!oii in der Hoh' m i l.hr *,
with a fuller complement of in'irumciUs,
though With little use of the familiar tunv,
and cvidentK designed for a great frviival
oecavton. is also given in the mociern publira.
lion, Several * Geisilirhe l.ieder ' by WVeker
for one soke vsiih loniinno appr^aivd in the
.NuTemU'cg hymndiCHiks of the liinr. Only
one short organ fugue of his rom]>osiii(»n has
cooiedown In us in manuscript. It is printed
m Kmu r’> *<M >ihi< lile dvvi OigeKpirh*. \-.x. 7y,
I. R, M.
WECKERLIN, Jean Baptiste (Theodore)
tiuelmdier. .Ms Vov . ib.M ; //.
IViUll^erg ni. (iuelnsiller, ao M.iv i«|lo .
Fr«*n< h <oin|><»si'r. writer oij imi'ie and
ediuir. He wav ihv son uf a ninnur.M turn .
So strong wsre his musical ihsiimts thin,
though c^u< ail'd for trade, he ran awiiv to
Fans in 1H43 an<l in mu red the Gun*
vrvatrnfe. where Jve Irarnv'd hanuoiiy under
1.1 wart, singing undi*r Fomhard and com*
positmn uitder Halevv, Not succeeding in
the Cun«eevatoir<’ exatuin.ttions, he left ilu*
scluwl and lc*ok lo teaching and couipcmiiun,
llagrr lo pMKJuce, and ver>' indcMrious. he
let dip no op|R»rtcmitv of making himself
known, atirmptlng all l>ranches of tuinposi*
iloo. lIuHigh soon finding that snreevs at the
ihealrc was uut of the question, in spite of
the fact that his one.oci piece. ‘ I.’Organkce
dans rniibarrat was tx ifcjmied at the
iVatre-Lyrique one hundred limcn in 1W53.
Musical l)jl»liogf4|»hv wax his m.iin resource,
and Itc brngglii to light many curious old
ccmqiiwi lions, such as the ' llallc t coinic|ue dc
la royftc *, which was given with others of the
aame class at the concerts of the Socictc de
Sainte Crtik, of which he was chorus-master
from 1850 to 1855. Seghers (1801-81) being
the coiwlwctor. He also made a fine collection
of scarce books of poetry, with airs in notation
and song-wriirrs, whicli he turned to account
in his eoilrclions of national airs. In i8<>3 he
was seleeicd to form the lilwarv of the new ly
founded Soekt^des Compositeur* do Musjqur
of which he became archivist, and in iB6<)
he was placed by .\uber in the library of
the Conservatwre, of which ho became he ad
''hich he
nhed wsth success until 190^.
Weckcriin’s first composition of ttnportancc
230
WECKMANN
WEELKES
was performed at ihc SalJc du Conservatoire.
Paris, on 5 Dec. 1847 (‘ RoJand heroic
scenes for solo, chorus and orchestra [gn*
pubiUliedl). His vocal and operatic works
include 6 operas; 2 ode • symphonies ; 2
antique dramas; a large number ofchoriises
for women's and for men's vmces; 6 ‘ Qua-
luors dc salon ’ ; various extensive eolicctiom
of pieces, and over 300 airs for voice and
pianoforte; a Mass and sundry' moiew. His
j ns iru mental works comprise a Symphony and
Suite , both for full orchestra , arrangemen ts, e tc.
His bibliographical ivories are as follows:
' ChiitMit* p«puUi<«i ^ provipm d« U France *
(i9oo), wiiJ) Chamofleury,
' Lei tchM <iu tempi % 3 voh.
* Lei Ecliei il’AnKleierre ’ (1077).
* Album de la prandmaiMn \ twenty eld melodies.
LAsriioni et rocdei peur les ruiMU * fiOEo.
'Charueai de France pour les petiu Francau' (lOs).
Revised cdtitoet of * Ballet romiqve de la Reine *
tamberfi operas * Fomooe ' aenl ‘Lei l*«iews es let
plaiiirs Ua ramour’.
* Le Bourpeois pentilhomme *. divv«trt«entfncs K
Moli^re and Lully.
Various arlieUs in the ' Bulletin de U SoeiCli des Coei.
pesiteun *.
' Chanioni populaiees de I'AlsMe \ « vela. (ca03).
La Bibhoditaue «lu Conseevaieire de Musmuc*. i v«].
0ve <iS0)). a <aW»fiir WMMe of the books in Uk
KC serv*.
Books of French folksongs compiled and
edited by Weekerlin appeared in t86C, 1887,
:904. etc., and three series of ' Music iana '
were published in 1877, 1890 and 1899.
o. c.,adds.
WECKMANN, MactUaa (k. > Oppers-
hausen, Thuringia', 1619; 4 . Hambu^,
24 Feb. 1674).
German organist and composer. At an
early age he was received into the electoral
chapel at Dresden as soprano singer, and
there he enjoyed the instruction of Heinrich
SchUiz. On the recommendation of SchuU
he was sent in 1637, at the expense of the
Klee lor Johann Georg I, to receive further
instruction In organ playing and composition
from Jacob Praciorius at Hamburg. After
hii return to Dresden in 1 040 he was appointed
organist and choirmaster to the electoral
chapel. A visit of the Crown Prince of Den-
mark to Dresden was the occasion of \Ve<k-
mann’s being permitted to go for a lime 10
serve as chapel master to ihc Danish crown
prince at Nykjebing. He returned from Den-
mark to his Dresden duties in 1C47, but in
>654 the occasional friction between Germans
and Italians In the electoral chapel induced
him to apply for the vacant organist's post at
St. James’s Church, Hamburg, which in 1633
the elector pennitted him to accept.
In conjunction with the other organists and
musicians of the town, such as Schetdemann,
Practoriua, Selle, Schop and Bernhard, and
' SooM dowbi i* ihtown on iIk place of bkib
IwcuuM his <*ih*r, who was a Lulherao ww oM
dppoinicd to Omnhaiurn till 1696, oml hu tiaiBc h
1101 four>d Ml (he hanti*mal regHief.
with the hearty support of all the ciliaens of
the highest social standing, he founded the
Collegium Musicum, a musical society which
gave frequent performances of the best and
latest native and foreign music, vocal and
iruirumental. This was the beginniog of the
system of public concerts at Hamburg. As an
organist and clavier player generally IVeck-
mann enjoyed great reputation in his day.
Mattheson gives an account of a trial of skill
which cook place at Dresden between Week-
man n and Froberger, who parted from each
other with expressions of mutual respect,
Froberger declaring his competitor to be a
rral virtuoso. None of Weektnann's works was
printed in his lifetime, and only eight of his
larger worb for voices and insirumenu have
been preserved . Five of them are d uc to the d lU-
gence with which Gustaf Duben, the Swedish
chapel master at Stockholm, colleclcd the
worb of north German musicians for the use
of bis chapel, and these arc now in the Royal
library at Uppsala. Duben made Week-
mann’s personal acquaintance at Hamburg in
1O64 and was aAerwards in correspondence
with him. The other three worb Weekmann
to^ with him to Dresden in 1667 as a gift to
the Elector Johann Georg If, and they are
now in the library at Dresden. These eight
worb are all in the sacred concerto style of
Sehuta, and have been published in modern
form in O.D.T., VI. One of several chorale
treatments for organ is in Straube's ' Choral-
Vorspkie alter Meisler '. Other works arc
edited by Buchmayer. y a. w.
Biac.— iLOMp, CaaMAto. * Msithiu WMkmsno : Mta
tcbm UAd seine Weikc * (Wolteabuiiei, laSO).
W««ksetL J. I Sh r«lmcree (* Daniel Hiert S
«p*ra>.
Wt4d»rl»va, Rakeri. S*< Briiien Ceree^eny at
Caf«l( *J.
WEDEKIND Erika (k. Hanover, 13 Non*.
1 868; d. Zurich, Oct. 1944)*
German soprano singer. She was a siMcr
of the dramatist Frank Wedekind and studied
under Aglaia Orgenl at Dresden in 1691 '84*
She was a member of the Dresden Court
Opera from 1894 to (909, but toured fre-
quently. excelling especially in lyrical and
Aorid parts. She was created Royal Saxon
and Grand-Ducal Hessian Chamber Singer.
E. a.
WvdtUad. Fraak. SreBerf (Alban, * Lulu *.
Cuina«r {• Frvhlinti Erwaeheo ', op«r«). Lulu (Ikrf,
nprta).
WEDOW, Robert. Srr \N'yi>cnv.
WEELKES, Thomas (*. ?; rf- London,
30 Nov. 1623}.
English organist and composer. He is not
heard of brforc 1397, when his book of
' Madrigals to 3. 4- 5« ^ 6. Voyces ' was
published. In the dedication of this book to
Geoege Phillpot (cf Thruxion near Andover)
Wedkes describes ihc contents as “the first
fruicis of my barren ground I n 1 59®
WEKLKtb
IQ the service of Edward Darcyc, Groom of (be
Privy Charober, to whom he dedicaied his
* Balletu and Madclgab, to hue voyces As
he speaks here of his “yews ytt unripened ”,
we may perhaps place his l^nh betsveea 1 570
and i^do. Two books apjKarcd in (600; (he
first, a set of 3*part madrigab, is dedicated lu
Henry, Lord Wins^, Baron of Hrailenham.
In this dedication he sa>i : “I confess my cini'
science is untoucht sviih any other arts”,
ihougli other musicians (r>’ to he more tlsAn
musicians ; “this small faculty of mine is alone
in me, anti u'ilhout the assivtaitcc of other
more confidem sciences I'he irfher tulumr
nf this year is a set of 6*part madrigals dedi*
CrtU'd to ficurge Brooke. Wrx'lkcs now' dt**
scrihes hitnsrlf as “ ol' the D>llcdRe at >N'in*
theater, orgniikt Mis name ticcurs only
once in the ColU’gc Utoks in reference to the
incncliiiit of the window ofliivroom in College ;
it also app<'ars from the b<>'>b that ihe (>rgan*
ht's siipt'iid in the years il>oo*a wa> ijs. 4d..
with hh daily commons artd his hKlging.
I’u ‘ The Triguiphes of Orutia’ 11601-31
W.cikes contributed a (>*part inwJrifaJ, '
Vesta was from Lutmos hill dncerKJmg mw
of the lim si madrigals in the collet ntm. He
seems to have been on icrim of intimacy wiih
Morlcy. the editor of the eollertion. for on the
latter’s death he composed a setitng of a verse
Iteginning ' Death hath deprived me of my
dear<-si friend published as " A Rement-
hrance of hts friend. TIturnai Morlcy “ in the
Aycrcj or l*harita«ieke Spirit cs ’ f>f 1G06.
On 13 July 1604 Wcelkcs look his degree of
B.Mut. at <>xf"rd, from New (lollege. The
eniry in the University Register wliich re<«^s
die granting of the grace (l i Feb. tCoa; men*
linm his sixteen y'ears’ study ainJ pracitce of
munc. Soon afterwards he wait appointed
organist to Cilnehestrr Cathedral- The
Chapter Records of Chichester has*c perished,
hut it is evident from the Subdcancry Registers
that he was at Cihichester with hb family in
1603* fr*r the baptism of I'homai \y’eelkes the
younger is entered there on ^Jutie; another
child, " Allcs ", was baptized on 1 7 Sept. 1606.
la i< 3 o 8 appeared his ’Ayeres or PhantasticVe
Spiriics fur three voices*, in vehseh he describes
liimscif as " Gentleman of his Nfaj«sty*s
flhapri, Bachelor of Mude, and Orgamst of
the Cathedral Church of Chkhcticr". The
name of Weelkes, however, is not to be found
in the * Old Cheque Book of the Chapel Royal *
(edited by Rimhault, 1879). He contributed
two pieces to Leighton’s ‘ Tcares or i^menla-
cions' (tCi4) : ‘ Most mighty and all *, a 4,
and ‘ O happy he *, a 5. Though these were
his last pu 1)1 icar ions it b probable that to this
period of his life belong the numerous anthems
which still for the most pari remain in manu-
script ; one anthem at any rate bears the date
0 Mar. 1617 (‘ Deliver us, O Lord R.C.M,).
the burial ur“Kliza; WcJkcs, the w'yfc of Mr.
'rho; Welkes, organist of (lie Cathcdriall
Church ", b entered in the Sulxleanery
RegUien, 7 Sept. 1622. o. r. a.
li’celkes died, wltile on a t isit to lx>ndon, hi
thr house of his frivisd Henry Dritik water, in
the parish of St. Dridf'S, Fleet .Sirt t'i. His wdl
is dalid 30 Nov. 1623, and tin r< gi«tm of -St.
Bride’s show ilut Itv was buried there <>n
I Dee. ; those facts point to his having died on
30 \nv, Hi> will was jiruvid </n 3 Doc. in the
Dean’s iVculiar G>url at Clucheui r (V'ul. Ill,
ful. 174).' He mad<* Drinkivaier lus < xeruior
and Ml legacies to I in chiUlreii lliomas,
Kaihcrtitc ami .Mice,
On the ocea'tnn of his ii rcentenary coni-
ine moranortt in 1923 nmnorial lahlets were
placal on the ivdils of M. Bride's C hurt it. liie
f^lobiers nf Winclwster College and the North
I'ranwpt of Clnclwslrr Cathedral.
NVet'lkes's niadrigai ‘ Ay me, my wnnletl
joys ', from tin' cyt? »el, was prinir<l in .Sessu
(I* .Nraisda’s * 11 f>rimo lihru de rnj<lrigaU it
quattro WKi, Coil uno ih ’J'hnmas \\'<'elke%
li»glese, KImsiat. ,\ src<»n<l <<{ition of
thr ballet Is (iy)B H|>|M>arr<| jii iboll.^
.\s a madrigal wTiier Weclkt'' holds Nery
high rank; indeed, some regard him as the
greatest of all madrigalisu, although nthers
wvMild prefer (he claims cl* the gfejii stylist
\Vilbyr, \\*erlkcs show ed his genius especially
in his daring use of what in lus tiiiK were novel
harmonies, as well a*> in the feriUiiy uf his
tmagiisaiiofl, which gave colour to lite cx*
IKTsdon of ideas and eiTn to single w ords and
phrases. Tliis aspect of his work is lu Ik* seen
at its brsi in his wnnderful madrigal ‘ O care,
thou will drspalrh me’ or in the very ex pres,
sivc three* part work ' Cease, sorrow'*, now \
But it H a mistake tn Hlfcci to sec the true
Ucelkcs only in his m*>fe highly colouritl
chromatic work ; he w as as well able as any of
III* contemporaries to build up broad and
iMssive efiecu w'llhln the eomenilunal limila*
tiem of simple harmonv. Examples of such
writing are * Like tsvo proud armies ’ or ' Mars
in a fuf>' In contrast to these is the ext^ulsite
delicacy of ‘ On the plaicu fairy trains ’. As
a syriier of balleita he was at least the equal of
Morley, and no higher prai« is possible, while
his ‘Ayer« or Phaniasiicke Spirites ’ show' hitn
in yet another light, that of a witty satirist.
A few additional madrigals survive In manu-
script, Among these the ballet ‘ Grace, my
lovely one’, was first printed under the cslitor-
ship of \V. Barclay Squire.
VVcHkea wrote a large amount of church
Uliibn \
..’-^•^," 9 ?*'“ PfwesJ.ht 'W jf> EnaliiK
MwiniHJVbool <M* Mm) w<»e ihute vt die MdtJriBab
™ '»7 or Uw MhiksI AniiqMahM Society and of iHe
^'*2- ^***«*h er ud Use ‘Amos or
%""*«• (ifea) in ArkwriBki'i ‘ Okl
bneMs F.dutM *. '
232
WEELKES: W'orks
music. As many u ten of his services have
survived In fragments, but unfonunaicly not
one of them is complete j indeed, ooJy the
simple four-voice Service, which is quite
devoid of individuality, can be saiUfaciorily
reconstructed, and the alto part of that is
missing. That is the more to be regretted
because the maierial that does exist dearly
shows that \Veelkes was remarkably original
in developing the form of the service and in
employing various devices for giving variety
and interest to this dass of composition. Verse
passages with independent organ accompani-
ment are introduced and various anti phonal
effects arc devised such as are found in the
Venetian school, but in the work of fexv English
composers of his ti me. Thomas Tomlu ru done
followed him in extending the con\*entionaJ
scope of the cathedral service. This is all the
more remarkable when it is recalled that for
nearly two centuries afler the death of >Veelkes
English church musicians, with scarcely any
exception, followed the old conventional form
of the " short ’* service of Tudor days as
defined by Cranmer.
Thc " full ” sections cf the Service “ for
two trebles " can easily be put together from
the available material, and this Service 'vould
be a very valuable additiort to the cathedral
repertory if only it could be completed. One
of the two treble parts and the organ part are
available, but it is difficult If not impossible to
surmise the composer's intention as to these
sections, and the verse parts may not all have
been limited to two trebles. The meanissg of
the term " in medio ehorl " in No. $ of these
services has been lost ; the direction occurs
in contrast to sections marked ** Verse” or
Pull ". Possibly it may mean the trebles
alone singing in chorus, but this is a mere
conjecture.
SERVICED
i. The flnt Service " for verMi lo the er««n in (mb
ui" r * Tc Drum *, * Jub>Ui« *, ottftiory " >h u eJ
ii he that coniKleecih ‘ Kyrie *. ‘ Ctt 6 o ’ (Tea*
burv MSS roi, M. 407*}, * hlafSiReai ' and
* Nunc dimhti* * (4iV,. m1. 411).
а. The tecend Servke ** with vmee ie the art aw in
D mI re : * Te Deum * fienedteiui *, atlereorv
** aieued be the man'^ 'Kyrie'. 'Credo*
tTeob. hlSS TBi. fel. 419*). ' Mafiufieai’ and
* Nune dimitlh^ (iM.. fel, C34<).
3. ' htunjficai ' and ' Nune dimittis ' *' with *erw ie
ihc onrans F fa ui " {Tenb. MSS 791. M. 416).
4. Service 'Tor two uebfee" in e pam (vene and
full) : ' Te Deum ' (Tenb. Mm 791, fpl* 405*:
Durham hf.SS A6 . M. m. Ct, M. iBs. Cts. M.
104*, CiB. fel. 75: PeierWw MSS 53, M. 4S',
54. fol. 5'. 3®. fat. 57, 39. W. 4f», srK
5. ' MaffTincat ' and 'Nunc oimMOe’ *' in ritcdio
chwi " (Tenb. MSS 791, fe(. 400*).
б. Service ‘'with verte for a meape": *Te Deuna*
(Wimbornc Miiuter KISS. alto. M. 95, teaer.
fol. 56. bau, M. tO : * MacoiRcac* and ' Nunc
dimiith ' <4W., «ener. fat. 90. baa. M.
7 . ' MasniRcat ' and ‘ Nunc diniiiU ' " te vem Sm
t eoniraieoore *' (Wimbeme M>w«er MSS, aJie,
fol. B5. lenor. fol. Ba, baaa. firf. sB).
B. Servire irt 4 |>att3: ' Veniie ' Te Drum ', ‘Isbi*
late' AHd. MSS 09 . 789 . Ro)'^ Lab..
MS : Durham MSS, AS, fiJ. 394, Cis,
fat. <431. ' Masnificai ' and 'Nune dicninjs*
{Durttam. Ci3, W. >47; Peierfeouw MSS sS.
43. 45). ^
9 ~''>if.\ytr\kn’t s parts": "Die Deum' aod
Jubdaie ' (Teot MSS ?9I. W, SSO. 'Mapu-
fieat and Nunc dimiitis ^(ihd., rof 139),
10. • MafniAcai * and * Nunc dimiuli ' of 7 eirU " :
medius <Dur)»fn MSS. Cl. fol. 508; Feterhouse
MSS 34. fol. S3) : alrw (HU . 39, (bb. 45. 60) :
^ (Durliam MSS, CtB, foJ. &: Peirrhouae
MSS 35. fel. 4^ 3B. fal. 34O.
Weclkcs left 8 large number of anthem),
but V an anthem writer he seems to show
some inequality. The greater number of his
anthems have not as yet been scored, and it is
not posdUe, for this reason, to judge accur-
ately of their value as a whole. Yet nothing
could be more splendid than hit noble
' Hosanna to the Son of David * and almost
equally fine is the Christmas anthem ' Gloria
in excelsis . . . Sing, my soul ’. In contrast
to these is the tender litUe collect ‘ Let thy
merciful ears’. The following anthems by
Weelkes hav-c been printed : ‘ O Lord, gram
the king * by Barnard in 1641 ; * All people
clap your hands ' and ' When David hcaM *
(bMh edited by RimbauJt) by the Mutical
Antiquarian Society; ' Hosanna * Gloria in
exedsis . . . Sing, my soul * and ' Let Thy
merciful ears ’ (ed. by Pcilowes) and ' Alleluia,
Salvation’ (ed. by S. T. U'arner), in the
' Tudor Church Music ’ series.
The instrumental works of Weclkes include:
A tel of pieeee for 5 vM» (R.C.M.).
t F*v4n( sad ont echer piece far 3 vioU (B.M. Add.
MSS 17,788.91 end <7.799.98).
9 ' la Neoune* e 3 (IMI. M5 Mui. S(h.
Th<w fa** with eiwKhft ' in Namine ' e 4 (B^l. hf^
aiut. Seh. deit'iB).
* Laerimae ’ 4 3 (B.M. Adit. MSS S0i4l(>44).
ANTHEMS
AH bud and praiM <R.C.M. ; Tenb. 791 fel. 74 4 r 4 M.
AH peopl e eUp yaur hand* (Rimbauli. Mu*. Ant. Ser.i
ABehiia,^} heard a vwee (B.M.. Add. MSS 99,57S*77 1
Ob Cfa 38.8a).
An eanhiv tree (Teab. 79* 491').
trhild hew 9^ and jetfal (RimbauU. Mm. Ani. Sec..
Behal^^ Cod our defender (Durham, C7).
BehoU. O luael (RimbauU. Mu*. Am. Soc., iB49).
BlM*ed b« the man (Tenb. 79* fal. 413).
Bl«9*ed i* he {Tenb. 791 fal. 400).
Oris* ritfa* (Tenb. 791 fal. 4io).
Deal bouaiifallv (Tenb. 79' fal. 354) •
Deliver w. O Lord (R.C.M.).
Give ear, O Lord (Tenb. 791 fel. 34 : 8 M, Add.
*hr judaemenw (fi.M., Add. MSS
30478-79; R.C.M. ; Durham: Trnh. 79« fal. «)•
Clwia m ewelui. Sjn«, O mv «Kd (B hf., AcW.
C7.7B8-91 ; C3«. C3«. 78-6® : Tenb, Ho?-* O- _ .
Hoaanaawthe Son (B.M., Add, hfSS :7.788.9» ; Tenb,
807-1 1, »9S : Ch. Ch. 58.80).
I Uh av bean (R.C.hl. 1031).
I *he Lord (Teob. 791 W. 474)> . , . ,
ff Kinf Manaaei (R.CM.j Ten^ 79i W* «4’).
If ve be again (Tenb. 79J M- 430)* .
InTtKC. OUrd (Tenb. ?9» W. 4*7: Durham).
Labwari (Tenb. 8<»7-‘i):. * . ,
L«« Thy meeviful can ( W. 5^
Ui u« bll «• nur eve« (Oilfanf. >684 .
Lord (o Thee ( make m> moan (O*. Ch. ib-oo.
fLC.hf.}.
WtELKKS: Work*
Most nu|Mv aA<1 all*|>£>oiMne (IkM.. Ad<l. MSS
SM*«)
O happy be (E.M.. Add. MSS a9.37«>77>.
O how amiable (Dusham: Nt.).
O Jonaihv) (B.AI.. Add. MS.S ; tHi, f:h, 56>
bo ; lenb. 116^^7
O Lord, arue (&.M.. Add. MSS 17,786-91.
K.C^.Nf )
O Lord Cod .MmiBho <Ch. Ch. t 2 KH 7 t. ioi»tr.
(> Lord, urani ilir kinr ^ftanurd; B.M.. A4M. MSS
3«).4?a.70 ; K.C.3k(. i I'.lr i Ch. CK 1001 1 .
O Lord, how jovrnl k U»« Kittc Add. Mns
$e«47b-79: (Xtfhaml.
O Lord, pmerve Thee (Rimha^li. M«i«. .\irl. S<«,.
<) t^ird, rebuke me ttm iRimlMnU. N(h'. .Attl. Noe.,
C) lord. iun> n<H awA« (Tenb. 791 toL 4^0^.
<) n»>rial man <K.<..M.>.
He^ Thou my ca»ne 4 K.(:.M.k.
Kejr»ice in Uie l.oed (mentHmesI by BumpMv 'okmi i^ti
ofllyk,
Smib Mnoi the I.erd ((MilTricd, 1U1 uml i6(t| fwoe^h
nadv I
KweeeMine co«ir«e ifl.M.. Add. MSS 9i,47l>79k.
( hy merrin sreui Kddrord, 1U4 |uoe<U eady )•.
VV liai. hr y> inie < K.C’.M. i ') ridi, ?A| fid. aa)).
Xy'hef» David hejr<l rfi. \I., WJ, MvS a9.)7a«77 ; Trid^.
Hop.i I, 1164^7 ; <di, < h. 96-h»).
W»lh all our Iteuth linenUoned by 0 mih|mm). Ii 4« only.
• . D. 1 .
Th<’ rollowMig arc \V<Tlk<'y*>i marln^iiU .iimI
bthor yyiM'Ici Tcir <ovrr>iI yriarr^ * ;
MAI>K|C;.VI.S <t^97<
Fnu Tkhi* Voai»N
t. Sti dh-f* aitfl »Mii.
i 7. My frr«l ihM *P(. i>,
y Im Mat k rmiurH I iFi. h'.
I 4, ('(ear welU iprinti nr>i <Pi. inr.
i . A (••unity (Mir.
. <*ea«r, (uerows now.
¥m h>i a V’MLt*
i , Nnw evrry Wrr renew*.
, Y4 >m«ii( l»aih pe<>(Unnnl.
ft. Ay me, nir w«Mile«l fy)*.
I'hree yirrm nym^dn.
1 1 . Our eouniry twolm.
(3. Lit! (onnlry rpnr«'.
For Pikx V*nKt«
I7. YnurlreaiiK, ii ulltireili,
14. irihy dereiiful ImAv
17. ’Ih«4e iweei delivhlfMl ldtr«.
16. l.ady, v«»ur feature.
17. Moke harie, ye Invert.
I A. U'liai liade, fair
r<m Sir Vim ts
I9> heiire, niy ihtMieliU.
30. Say. <lrar. wlier> wdl your frowning '
91. 'Iliuye (poll upon my la«ly'i
ay. If heauiT i« • tremurr.
31. My (ear* dn not a(ail tiK.
94. My |*hvlli( Im«U me puck awav.
XALLLrrs AND M.SDHIC.ALS
For Vixc S' 4(Rt>
I. All Rl (•tiee well mel,
3. 'In ih<»rten wmirrN *a«lne**.
5. Sweet love, I wdl m*ite.
4- WhiJvt yinidifol 'p.iec*,
! . <>n (hr pluiin laley uaie»*.
. Sweet liearl. ari»e.
7. Cnve n»e my liearl.
8. Hark, all ye hnely uinu,
9. Say, Oamiy daniet,
in. Fhylln, oo lake ih> pleasure,
ri. JT> priiW ntf M«y.
• a. Nine we at plraujre.
Volr'*?5‘'xM’r^ i" "Vf>r FjidoJt .Sfadrinl .School
13. Now is d«e liTMldt.
14. Sena, sbepherdt, after nw*.
VS*<Vome, »«>eei plcasurr.
In. l,aHy, your eve.
17. We di^dterdt him.
1^ I love and buve mv knr nvardeii.
I liR (Inme. clap thy baiyJt «l'i. •).
tro. Hiylli* hath sworn .Ti. «>,
3>. Facyveell, mv yoy.
39. Now* it my <Jl<uit.
th i Mo owe Jlecka, swcei (kovdin.
Job Sax V'on 1 s
34. (>a»e now. delirht.
MNDKKiM.S J(m MVL VOICl.s i&.o
I. (^dd WMitcr'x iir IS fle<l,
7. Now let xn waRr a (vecrv Breeiuic.
}• Take Itere my Wart.
I 4. C> tare, ihou will dev|uKh IPl. It.
4 V HcMte, care, ibuu art Ui>» ttiiel f{*l. if,
b. See where the inaHh are shichik.
f 7. kS h\ ore v'w Lailm suvuik f |*t. h.
I ft. Ilorkl I hear vrfwe iluiMUiK '1*1. m,
9. lM«h. (lie Inr.K eicht fasris.
In, wuniiMi birds.
MM>Kll..M.N lOK SIX VOl(:l> ,u,.u.
I. lake I wo r««nid aennes,
MWit llvMrfhsdelicIns iM walk,
f 4 . WImI havrtW 3<w|s.' JS. f,
I «. Mellwtvk* I War l*l. u .
7 I hn^ lin>e> a day ,
h. Mors Ml a h«v.
f ?. Iliwle. (lie |vmi*d «••<>«• «ra|>l<s I'l, if.
I M. IW kiHiolusian nntih.iiil K. m ,
9. H‘a*'«'w4wiwk iiTviei.
l<v NoH, odiew. ikiw* (irtirrydelielil.
IN MOKI.LVS • I mi; IKIVMI'IILs OF
f>ltJ\\\* 11601 )<
* .\* \'e*ia Wax Irun J.atin«n hdl de*renditia ft,r h
x«we«.
.MRS OK F.NM NsUC: sJ*|R!ls ^i6.i(^
I «« Iriair k'«a(it
I. (;n*nr let*» We.n im level ’I «Mie.
r. ^■k■e. thane Wn.pi|e\ dull.
y Some mr<i» di'wer spiwixn,
4. 1 o fiMurMW •« iW Hiarnaye <la>.
I'pon a Ml iW lemnv Ui>.
h. Come. ytfToh Ja« k. Im !
7. laix la la. ine« AUrv.
ft. rW <«idt h.ive Wonl my v<tw«.
ft. Ilmutli mx eatriaee.
In. IW ape. tW meadev an«l ItaUnai.
11. Na, ihmitb I dirmkvliH.
13. k» me. abv. W> Imi.
13. (Me in mx' r«d> arcsniHtiiic.
14. F*iMr arm*, iwo netkv.
17. I^ed. when 1 tWnk.
j 6. Say. waiiwm wdl you luxe me.’
>7. I Wi littuviri e nwc.
•ft. SinW H up. tolmy.
19. Ha ha < thu wxohl doth naw.
30. We Rcto Mcmd.
31. Fa la! N«*w weep, »<•«< vine.
tr. AW! O lany Iml rmr half hour.
39. Ax deodl) leri^m* Iwikiiie,
8». l>MMia ik wpstro bef xiwv
S5. fW iHcliliiKale, iW oeean of drlicht.
I
36. Draib bath sleprixed me.
Mua, Vul. XI, tl.
Iloivr Ijiwtae. The Terremenary ••! Byrd ami
iFr«, XLIX. ijas)
<-» )• Su... Ci.,
a 34 WEKRBECKE
WEERBECKE Caspar van («. Oud<s
aard«, f. 1440; d. Roxnc, 1514).
Flemish composer. Ho was probably
educated musically at th« church of St.
Walbut^a m his native town, and he must has-e
studied with Okrghem^ for G. Cre^pel» in hU
lament on that master’s death, enumerates
Wcerbecke among the latter's pupib. On his
compositions he fcncrally signed himself
merely Gaspard. We meet him first under the
name of Casparo de AlemanU as rerfore de to
diKoU at the Orologio di Santo Gotardo at
Milan, where he appears also as custodian of
the waieh in 1469. In 147s and 1474 he is
menthmed as maestro di eo^lo at Milan
Cathedral, and in the former year (in letters)
also at a singer at the court of the Dulte of
Milan, Galeazzo Sforaa.* The letters describe
him as a cleric of Tournai. He must, ihere«
fore, have taken holy orders before he went to
Italy. In 1475 the duke sent him to Picardy
and Flanders to engage singers for his rourt.
and in 1480 he was prebendary of St. Donat,
Bruges, probably an honorary and certainly a
non^rrsidcntial sinecure. From Oct. 1481 in
.\pr. 1 411^ he was singer in the Papal Chapel in
Koine, but he docs not seem to have left Milan
under a cloud, for at the marriage of Galraszo
Sforza to Isabella of Aragon in 1466 allegor*
ieaUmythological plays and Inierludcs were
performed at the court of Milan, looked upon
by Arteaga as the origin of musical drama. To
these VN'eerbeeke contributed ai least part of
(he music, and probably took part in them
alto as organizer and singer.
In J490 he rcvttiied Oudenarde, where he
wa« received on 14 Nov. with great rejoicings
by the citizens and couneil, who presented him
with four stoups of wine. In 1496^7 he was
.1 singer In the chapel of Philippe le Bel, but
(he following j'ear ho was at Milan again and
on 18 Aug. he was again furnished with
leitcrs^patent from the duke to engage singers
from abroad for the court. \Vhen the French
army Invaded the Milanese territory in 1499,
Wecrbccke went to Rome a second time, but
it is not certain whether he was there all the
time until his death. He may have visUed
Spain and Franee, but he was certainly In the
Papal Chapel in (309.
Pcirucci published between (505 and 1309
a number of Wccrbccke's masses, motels and
lamentations, A 'Stabat Mater' is ctmiained
in a magniricenily decorated manuscript
volume of 1490. Some masses of hU in manu-
script are in the Papal Chapel library. Other
manuscripts are at Barcelona, Breslau, Milan,
St. Gall and Verona. t. v. d. s., rc\'.
WEGELIU5, Martin (». Helsingfors, to
Nov. 1846; d. Helsingfors, 3 Mar. 1906).
' Abo Dodemrrr or P puOfWKtf (ewr. froni 4l'Ou4C'
narUr). Gmmto d« AkwAAka {» lu)y>, Vcobdw,
Vrrb«cHl. Vefb^k. tVarbeek.
’ C. Cnan, * Mumca e musieiMi cerir UbricMa
WEHRLI
Finnish musicologist, musical educationist
and composer. He studied the pianoforte
under G. Lins^, Philip Jacobson, Emil
Zechi and R. Faltin. Having been given a
govemrnent grant, he studied music in Vienna
with R. BiM in 1870-71, at Leipzig with
Richter, Jadassohn and Reinecke in 1871-73
and at Munich with Rhcinbetger in 1877-7$,
In 1882 \N'cgelius founded the Conservatory
of Helsingfors (since 1939 called bibelius
.V:adcmy), where he educated a whole genera-
tion of Finnish composers, including Sibelius,
Jamefeli, Melanin and Kuula. He published
many text* books on musical history and theory,
and composed cantatas, orchestral pieces,
partsongs and songs for voice and pianoforte,
written mostly in the romantic style. He also
wrote a book on Wagner, whose great admirer
he was, but this remained unpublished.
A. ft.
'^Floow. K.. * Xlarun tWireilui* (Helunzron,
(9391.
tVcciuvs. M.kKriK. Le(trn V Knn>tAar»brev ’). cd. br
One AaderMon, s voU. (HebinRfon, >9iB*i9}.
WEHU (Weble), Karl (^. Prague, n
Mar. 1625; d. Paris, 3 June 1863).
Bohemian pianist. He was the son of a
merchant and learned the pianoforte under
Moschelcs and Kullak, composed very much
and exhibited his talent in Europe, America.
Australia, India, etc. Paris was for long his
headquarters. The list of his works given
by Pougin comprises a Sonata (Op. 3$),
Impromptus (Opp. ro, 73), Ballades (Opp< >(<
79), Noclumes, U’altses, * Allegro hongrois ’
(Op. $0, etc. etc.
WEHRU, Werner {h. Aarau, 8 Jan.
(893 ; d. Lucerne, a? June 1944).
SwHs composer. AAcr studying natural
science at the University of Munich lie
entered the Zurich CoflserN'atory, where he
studied under Friedrich Hegar and Lot bar
Kempier. From there he went to the Hoch
Conservat^ at Frankfort o M.. where he
worked under Iwan Knorr. He also studied
at the Universities of Berlin and Basel. In
1930 he settled at Aarau as a music teacher at
the training-college and as conductor,
Wehrli, who was awarded the Mozart
Prize in 1914, was one of the fc^v Swip com-
posers who have written operas ii^ any
quantity. Some of hU other works also arc
of considerable importance. Those calling
for special mention are the oratorio ‘Uall*
fahrl', the enchanting pianoforte pieces ‘Von
ciner Wanderung’ O921) and, among his
last works, the mature and lucid ’ Ncue
Lieder ' < ( 944). His style shows a fascinating
mixture of picturesque romantic harmony and
modem linear tendencies, and the playful
clarity of his music is often unexpectedly
combined with the most profound scrii^ness.
>VchTii abo published numerous literary
WEIOJEN BERGER
WE IDT (lUinrlch)
Vi'orks* Th« Colouring are his chief composi*
liom :
* Um lieis Eum ’• opeta, aAei Hana Sacht
* Def J^larchciuiHera * , pla> « ilh nuuc ( id/ti .
* Die ScbHeiaet *. CeMival apeca 6»c Ihe Fe.k«jl Kxk-
ShooliitK RiJiv lAarau. tp34).
' Dk Aoicbe Cnii^al apera.
* Da* WeUrericht fr(ii>al opeia.
' Dia V'ennach*nii ", opera
' Kmi vrelUrrher Ke^u»en«*, arakMta MpaS'.
*AU«neele’. raniata loto mwrikraV <lBaMu
i trumpeu & pf. ^193^).
* Waliralirt atalor^v |»r lutiliMH** <K>aM« a.
<>ciMit*erg«vh,
* Ani.br Mruphrn ' M uimxmi • lM.fwv 4 . omxI m. l^.
U9441.
' Sinlonieita/
\ arianotH fvr <»rch.
’ I’aijlomiine ' lor diaiubcr o«li.
3 ^truiR Quantit.
V *1 rio*.
Oihrr d4inl*er fm»K, «aniaiaa, (l•ural wm«. |tf
& |>ie<r 4 ) »o<ikn wlwrol nMM<« rommuiMiv «omiv
Ac,
k \ . I
Uiai. -Mviiia \'u'« Kiiu. >V’,. * ^^trt•rr V>rlMli’
(Slhanc. Muk Xl«., I9M, Nwk 8^r.
WEICH£NBERCER> Johana Ge«rs
ib. i Vienna* ! \ 4. 1 Wnud,
Ausirian t7ih*<nuur> luimht. <>l iwo
1 7Ch*centgr)' manu«cri|>i lute*l>o<>k< in I rciwh
laUaturo in ihc Urnedictine munatU’ry pi
Kaigcrn one. cuntaminK ft ' LauiUrn Concert %
Ik’ATs lu» name and place of rr^iirlmce; ih«*
uiiirr eontaitu some pieces Uy liim, and yrt
another manuscript booh of the satiir period.
aUo in frvneU lute taUacuce. ai Krrmv
rnimsier. euniains pieces by Du Faut. l.aullvn<
sterner and NV . . , WckhcnltcrRer^. Brcit*
kojifV manuuript Catalogue eonuins a
* pHClito it liuto valo ' by him.
1. V. rl, s,
WEICHMANN (Wicbmann), Jobaon
{&. Wolyast, FuiMiTauia. 9 Jan. Jb^o; 4 .
KunigsU rR, ^4 July fCty)}.
(rcnnan organist .ind composer. Hr
suited the school at Kanu*ln. studied enuvir
and science at Danzig and, after reluming lor
•i time to KonigsUrg* b«anie eantor ainJ
organist at Wehlau. uherv he was irt
In 1(147 he was appointed eantor and dirertor
of die choir at the Altsladt (old town) of
Konigslierg. He eumposed ses’tral books of
motels, sacred and secular songs, two bu«*ks
of balkits, courantes, alleji<am<es and sara*
b.inds in 2 parts (1649).
• . V. <1. t.
WE]CH$£L <WeUha«ll), Carl. Sff
Hilu.s<;ton (daughter).
WEICHSELE, CbarUs London, c.
?>.
EnglUh violinist and composer of mlaed
German and English parenuge. He was the
v»n of Carl Wcichsell, principal oboUt at the
King's Theatre in the HaymarVel, and the
brother of hfn, Billingion- He led the orches-
tra at the King’s Theatre and occasionally
<on<luctc<l at Covent (Jarden 'llwatrc when
'iV>
his sister w’as singing there. He cotiiribulcd
music to the " grand serious opera ’ ol*
' Orpheus and IvurytJicr pcrfornu ii ai
Cm'cnl GanU’n on jU Fib. I'tjr. *’ ronijMKed
by Gluck, Haiidd, Bach 1 ’ J. GJ. .Surchini
and U'eichwl (nV). with additional imidc
by W. Revtc ** tand o\i*riur<* by
Gyro^\elz), in whkii iii» >>i'»l«'r sani* luirydice
in the Oqdirus ol Inch don. G. WcUhvll
aNo publi^lK^t some moImi nnnu'. ,n. i .
WEICHSELL, Mrs, k 4.
l.ibglivJi iUth-<rniur\ dngir. uiodur < 4 * Ihc
pritcding. Mw w.n', the VMfe ol G;trl Wrhh-
wll, a G<’riiian nlaiKt K’ttled in l.nn<l<ji\ and
pbying in the or< liesira of the King's *1 lu'.:ilie.
Haymarki't, ami in lyhj np]>«*aring .u a
rUrin*'! player. She was a jfopular xoi.ilKt.
e»|M><iallv as a liaILd singer at Vauxhall
(*arden>, nluTC sJie ap|H*jre(l as early as 1 *(>(>,
three years earloT than is gcntr.illy su|itK»t<’d.
She coniinu^Hl to sing ilur<* until > 7 d.|.
Krsich^ her Min Gh.irhs, she had a daughter.
1 li/alM'th. nlu» iH^iaine Miv. Ilillingtoii.
I . K.
WEIDEMAN'(N). Karl Friedrleh b
4 . la>n<Jnn, 17B4'.
Gerinan llauiisi and i oiuposer. Bornry >as «
Iw settled in England al>oui I74(>. Hr w.is
long the pnnci|Ml solo plas« r on the (jcrtnaii
lUue in London. Burney stalls further that
he was a good riiumian. but his productions
never ** rose alsove that medimrity to uhich
his Intlrumcnt seems conlinetl .S(att<Tcd
through many iBth*ccniury works such as
ITse IX'lighiful Bockei (ksmpanion fur th<*
German Flute* (John bimimin, c. 1740-13)
are numbers t/ airs of the minuet and gavotte
type of hrs coiu|KKlu»n. WuKU publishr<l
some rcmcertoi in 7 and U (laris fur lluies and
vkdins by him, and Urotnnir issued duels,
trios and quartets for (luirs. J'here are also
sonw vocal (ti«n|>osiiions by him.
It was Ueideman who, with Feslirg. fiisi
tiMiccived llie idea of a ciiusical iK'iirsoleiii
society, which uliitnately took form as the
Royal Society of Musicians. Weidenun's
name is on the deed of trust dated I7;^«i'
He was conductor of the King's Band u|'
Musuk in 1778 at a valan of too ycaiJy.
Bunsey and vtlicrs spelt his name incorrectly,
Hk own signature an<l all conlempor.Try
ptibikaiiom of hU works sjkII it with one N.
thosigli it must ecrtainly ha\e ha<l two
originally. P, k,
&(«/*• <:jn<Ai«wc iHocanh'ftj.
Charle*. Srt Miet (AnwticA),
WEIDT, Heiarieh (i. Coburg, iBafl; 4.
Graz. iC Sept. 1901).
German conductor and composer. He hcUl
several posts as KapeUmeisler in the theatres
of Switzerland, Germany and Hungary. He
was the composer of many popular songs, of
which ‘ Wic schon UKi <lu * w*as the most
236
WE IDT (Lucy)
\VEIGL
famous » and produced a long series of light
operas in the several theatres with which he
was associated. He wrote one serious four*act
opera> ' Adclma *, produced at Temesvar on
2 Jan, 1873. A. c,,rev.
WEIDT, Lucy (i. Troppau, 18^; d-
Vienna, 28 July tewo).
Austrian singfer, daughter of the preceding.
She was for many years ( 1 902-26) engaged at
the Court (later State) Opera in Vienna.
A. c., rev.
WEIGL. German, later .Austrian family of
musicians.
<s) Joaeph (Frana) WeigI (i. Bavaria, 19
Mar, t740; d. Vienna, 23 Jan. 1820), violon*
cellist and composer. He entered Prince
Esterh&sy’s band at Eisenstadc (Kismanon}
as first cellist in 1761, left in 1769 for the
orchestra of the Imperial Opera in Vienna
and was admitted a member of the imperial
chapel in 1792. He wrote a number of pieces
for the Hungarian instrument, the esiktlny.
Although he and Haydn, who entered the
Esterh^zy service the same year, dkl not work
together for \*ery long, they were excellent
friends, and Haydn stood godfather to \Veigrs
eldest son Joseph.
(3) Joaeph WeigI Ki^marton [F.isen-
stadt], Hungary, 28 Mar. 1766; d. Vienna.
3 Feb. 1646), conductor and composer, son of
the preceding. It is stated that his musical
talent was evident ivhcn he was four yean of
age, and also that Gassmann was his first
teacher. Sebastian \N’itzig. choirmaster at
Korneuburg, was his subsequent master, and
later, in Vienna, he studied with Albrechts*
berger and Salieri. At the ^e of sixteen he
wrote his first small opera, ' Die unnutzige
Vorsicht which was produced at Gluck's
recommendation in 1 783 and secured him the
favour of the Emperor Joseph, of which he
had repeated proofs thereafter, including a
present of 100 ducats for his Italian opera ' II
parzo per forza ’ ( 1 788) . A letter of con*
gratulation written him by Haydn on the |>ro'
duclion of his ' Principessa d’ Amalli ' in 1794
U well known. WeigI w’as abo fortunate
enough to gain admittance to the performances
of classical music under Mozart's direction, at
Baron van Swieten’s house. Salieri took a
special interest in him and cmpIo)’cd him up
to 1790 as assistant conductor cd* the court
theatre. In [792 he became composer to the
Opera, with a salary of looo florins, and later
conductor with the title of A«pe//armrer. This
post he resigned in 1823, and in 1827 he was
appointed vice court KaptUmfitler. Before
that date he had composed a scries of operas.
German and Italian, and ballets, many of
which became exceedingly popular. Among
these special mention must be made of * Die
SchweizerfamiUe ’ (1809), which long kept
the boards and by its pleasing melodics won
all hearts. Retchardl ' gives a pointed descri(>
(ion of \Veigl :
He is s reaUy chsrmlns, effeciionste, CMd'heSrted
VwMoe. and kU eyt saC whole eipreeim are (her.
eusklr in keepinf with hu teoder. graceful, plessins
melodin.
Other favourite operas were * L’ amor mart*
naro *, * Die Uniform’, 'Das Waisenhaus
' Der Bergsturz ' and ' Kachtigall und Raabe '.
Beethox’en preserved the air ’'Pria ch' lo im*
prgno " in the * .Amor marinaro ' from oblivion
by taking it as the theme for the finale of his
clarinet Trio, Op. 1 1. ' L’ Uniformc ’ (libretto
by Carpani) was composed at the request of
Maria Theresa, produced at Schonbrunn (in
1796}, with the empress in tlie principal part
(Pauline), and, translated by Trcitschke as
'Die Uniform given at both court theatres
and in many foreign towns,
VN’cigl was a special favourite of the empress
and had to preside at the keyboard at all
chamber concerts, besides composing cantatas
and small ballets for many court festivities.
He had an advantageous offer for Stuttgart,
but the emprcM, to retain him, made his
appointment for life. Soon after her death
(ite?) he accepted the post of KaptUmfisUr ti
Dresden, but tJie negotiations were broken
olf, and Morlacchi was appointed in his
stead.
WeigI was tw ice invited to Milan to compose
for the Teatro alia Sea la — in 1807-8, when he
produced two operas, * Cleopatra * and ' II
rivale di se stesso and In 1615-16, when he
produced * L' imboscaia ' and a cantata, ' II
ritorno d’ Astrea ’ (6 Jan. 1816), all with great
success. Of his earlier cantatas, ' Minerva c
Flora ' was given at Prince Auersperg's in
honour of a visit from the King and Queen
of Sicily (1791) and ' Venerc cd Adone ' at
Esterhkz in 1 793 for the Archduke (afterwards
Emperor) Joseph. This cantata figured several
times In the programmes of the TonkunstJer*
Societat concerts in Vienna. Of his two
oratorios, ' La Passione first produced at
court (t^4)t was performed at Prince Lobko-
wliz's, at the Burg Theatre (i8i •), at an extra
concert of the Gesellschaft der Musikfreunde
(1821) and in Prague and Milan.
After tSa? \Vdgl wroie only for the church,
composing his last Mass in his scventynrtt
year. He received many distinctions, among
others the large gold EftrtvntdailU {1839) and
the freedom of the city of Vienna. He was
an honorary member of the Consenaiory oJ
Milan, the Accademia di Sanu Ccciba «
Rome, the Gesellschaft der hfuslkfrcundc anO
other musical societies of .Austria,
The foHow'ing Is a catalogue of \Neigls
principal w'orks :
^ OFBRAS
• Die «Muuic« Vofskhi, oder Dk t*etroee«e A/?IUt ’
.. _
• * Venrauie Rriek*. I. 4«5«
UEIGI
‘ La «poM coUetka’ (?) i? <786).
’ ]| paaao per foraa * (1788).
‘ I4 cafTeiicta bissarra ' (1790'.
‘ P«r Lumpcnummler, otkr £u) nitn >ier< ikri >drA
Siap8 ' ilibmto bv Paul Wetomam', paotL Wima.
•3 tnt.
' (nulkiia « PierWto ' (Gk^aiHii <te Camrerat • 1791*.
* t>ai HetermaiiQchrn ’ < Emanu<) &hiLirtr^r< < >.
’La Principma d’ Amalfi’ (G^awu Beruv/.
Vienna, le Jao. 1 794 <ab« eiujUad ’ l-> C4 mi(om tli
Amalfi j.
* ( Mlluri ’ (I 797 J.
‘ L’ amor marSnaio ’ (Ctuvanni de GaoKttaj. peed*
Vienna, Cki. 1797 (puU. \ icMia. ’ tSoo). ali«
eribUed * Gli amori mariiuri ’ Ucr <kru#. ndc*
1>i« Lirb« untrrdrii 8e«kiitaa' 'pwbL B<i«wi, it^oi.
' l>a« ITerl im U«bucrve' <Ko<rcb>w , pegd. VViUhi.
Hurt *1 liralre. 17 Apr. 179A,
' L’ arcadeiikia del nxaeMni ’ 1 (Uxwifan*e^ ((798>.
’ I/' L'lilfoma ’ li’aipimi 'I7i>8': (*e«, itam., *IW
L’nilnim * (I'mixi liliei. prud. leii. l8i>^.
’VaaU'* ('ev«r’ tSrhiL»netk<i. p(r«. 7 , S'lrwi, lo A«e.
' II iwirn IM iiix ixiImIt ’ s 1B06 .
* Kji«er Ha«lrian prod. Vieriiia, i8«»7.
’Adrian v<>n Oti.xle * ^'I'niiukkr , prml. V«f«na, 7
<Xi. 1B07.
’Cleopatra’, pm<i, .MiUn, I'raU'i alia VaU. •• |lr<.
’ II tivair ill ta 'l.iiiei Ki>maiKll>. on a In
f. J. fitixl. Milan. Vala. *11 .\p«. iMI.
' l)a« N\ ai^nKani ' ( ? I rmv like * . p<«id. inina. 4 1 .
ikA ^|w«1il I.eiru 4 v, l)ll 7 .
* Ilk SilnaciierGriiilk* i(«iia< Caurlli . pnni. Sietm.!.
14 Atar. 1809 (|iMbl. Honn, J.npaic, iStoi, al»i
revised anil riiinlMl ’ I.MimrluK. mi l.a laimlk
kiiiw pnxl. Parii. Iheairr ib I’Odcon. k ttk
18/7
' Ikr l.iiikkiller aiif'kn Alpen ’ < ImiMbbe* i8m>;.
* IJk" VerHaniliMKKaii ' 'after V>«u«' uSioj.
’ l>r Drrvkiiiri (be> CnhUul ' »>'. Ke«l>, prod. Vimina
l» Ike, |R|«..
' I 'aMrube vnn b'oia ’ <('a«lrHii UAiau
’ Ihe JiiBeiid Peler dev<innxer> ’ u8i«t.
I.’ iihliMala*. prod. Milan. *l>air«i alia .Vala, R .\o«,
tn 9 \,
' I.' <>rlanii d* Intliilterra * nr ’ Martareihe kt*n .Nruou*
ItRibn
' N’a<liii 8 a 11 und Haalie * 1 rrritnhkr, tram. *4 *
lib. ’ l.e KokkiKnid’, Uwd on l^ifrMUiiiei. pend,
Vienna. Oo Apr. lAiA
' llaalx Siiiir. inler llanie) m der lameiM(rwl« ’. Mil.
Vienna, i) Apr. iHm.
‘ lalmiind nrMi KatrJinr ’ • freiiuMiei < iRar ^
‘ Kiaii« W’aldrmar, takr Ihe lUniwIien 1‘cvhri '
'CntielUi (iRaii.
* lljermrar I'ftrfle ’ ‘afler I,. .V, linffmann. <*R/i .
n.M.I.I.rS, »rt.
' Iku 'Simihild <ki menvIilKlMH Lrl»in
/httiUsumml. |>riaj. Virnne. *«• May 1594.
' Dm* Mulkr*. Ot/hH. prod. Vanma. ib In
• 704 *’
’ Die Keur det Pypnolinri *, laalkl. p«»-1. N'lenna. 1 An
Ow.
KnPard fa^enlier**, frem. Ve«ir«.p«Ma*aM*.Ji
I. "r"* .^'knie I, Mnd, Varema. » Feb. a 70 ',
(kr Rauli der lirkna’. Wni.>aariaiiani>b>i
. iv •*'»'»*. '8 >fav 170V
llir VcrbrenmiiiB uial /.er>lnn>n< «kr Stadi 1 'rota
ballM, newl. N>n»v<. » ^
^ Aln*i»» r f'.nra . balkr. pml. NVneia. v> Mar. rtob
Ak.^ , bailer, nn.l. Vieona. 97|afi. iTOB.
Die Spanier in Ikm, mkr Ki>Ua Ulki. moj. \ iewmt
• ikUr, J 7 'W.
’ Dai >rti der Barclianten ’, balki, prnd, VieiMka. 4 ]«
’ ‘^'11 M*’** Ikr /anber .ke bead.
UlMiiivie ItmtUH (nilb Wranilrkv
pitid. Vienna, 14 Mar. iHoo.
. ► V'l*'' ' kuna, b Awe. i8on.
. /uJima gnd ^m’. halki. hrnd, Wnna. 79 Nnv. ifn
Da* narnKhe Weien’. i?rd..»m.Dor/P».mMnr, pr»
V ►et.e.a. ep Nov. ikiv. ^
1 1^- fontrniot tb« aodionhi
l.oenenbenr, ’ Annali of Opreaa *, p. y^.
’ Dk Spaniee auftkr Imel CbriiiitM ’. iirnd. N'lenita, lO
Mae. iSua.
'Die AlhcnaefUiMlic lanirran’. naieAa/in Jfaf/.ff, prod,
Vieema. 31 Au$. (Bu7.
* I (inoch* i\i*nkt’. lulkt, prod. V'arnrva. id July iK«i<
* 1 quaiien eb inrMt *, ballei, prod. V'n iina, b Jiiin illiib'
OKMOKIO'y
* |.a pa«>aen« drl anoam biffnnrr (Irxu Cbrnio ’ (lMii«e|i|ie
C^rpanar <18041.
* 1.4 rmarrreioete dd iMnim Suiiiirr Gnu Olirbio '
I iA)|i.
(XASrAr.AS, lie.
* .Vinkto ’, arMtanna i ? > 791 ).
* I b ifa r M mm a * . 1 70 • j •
* lAaata eil Endimiimr ' ' 1 79a).
* V meee e«J Adoate * 1 1 797 ' .
’ l,rrb«(xu« Garb \Vnd< rkniifl ’ 1 1 7971 .
’ Ike l*elu4akdrr Dankli.irLvit ’ ‘17981.
’ I.’ aMwrNliate ’ < ? lUoui,
’ It ,*innw <1* r*4K iia ’ I ? I Ruj) .
’ 1 1 rniftiue diieao ’ l ? 1 Boa ' >
’ |.a paeeia inu>Hale * l f ifUu ,
’ IW Mn*n>’ i.* 18031,
‘ (I »a<«|luasi' (? 48 i»M.
’ II eiDMn 4 eU’ I nmpa * > i8iAk
* l.afritaiaeTli l.liM^ ?lRia'.
* Die fil(rreriie: deamati><l<n (irvlnbi ’ iiliji.
‘ Venea« e Marie’ iRia .
’Die KraJi «|er VVrdie* Vninb idinrr' dR< a iderilii al
nidi
’ Dk VV < ibn der /uk mifi * ' 1 M 1 4 ' .
’ II rin>eiM> d’ \yi«rj ' ifliB'.
’ ( .raf MadHMn .Vanirn .b M ’ .* 1 8 1 A > .
’ Jlr« Voiko NVnmrk ’ < * iHaO .
’ Ikr rule VV 4 k ’ ,nal.<.
XI\sM,'.
F* iHa. •earl* I,
1.7 iiM. rally .
I.iiia. i.Sfaeia l.tmdaneHi* >Ra 7 .
lima. 'Maria l.wliinioy, lAeR,
1.7 fiM. Maria V’rtkundiciint; . rAaO.
87014. Ma«ia IliinneeUabrti. iRju.
Il Ma, Marie (.rlniCli. iRsi.
|. Nkj. Maria Nameitdeyerj, |R) 3 .
ta Aka. Maraa .VaiHmikWr*, tR(V.
A ina. Maria Namrtnieteei. 1H74.
I. nw. Maria Nainmyb.ten, lA}?,
AIvu Muny Miyuuinrrnal aru| am a? piei ei.
U<NiiBi, Wtasia, ’JixrpH VVnel innl da\ ilriikilir
We^nd m ’.Wyater rur MuMk^nelinJin ’
• Ibiltrup, 0a|. (1978)1,
lh<«.*.|a«NO.«i, A ’<i,u.n«Pe WeicI : utia
b(<icraha >Ki\ , M«», li . VnJ. XI, \<>, 3, io.|ji
1 1 1 ri ■. I. • flr. ih<nrn uiid VSriyi ’ >>hHcu, MiiMk/td.,
•n. ofli.
’J‘"«|di Uriel* eine liotra(i)iie ’ (ikvri. |R7^^
*\/. ' MiidirduMsen aw VVirn** Y
rar
PHtX'iiM.. (nav/.
• 83 V
MiiMicir. AtMti. •Dmkdriiw’ ‘Vienna. lM>
Ut»3«aui. (emiavjiv aov. ’ Hmeraplnvlie* l.e:tiknn
d^eiyrnhwM Ckierren li ', Vol. XXXV '\iriin.v
diBDi.
/»<'**<’»'rrfanid.e ’ f<r pl... bonnleiilmer
rrfadiniiinia of
(?) TIuMiday* W^lgl (*. Vienna, i?7G;
d. Vienna. 10 Kr-b. i«44>, compoarr, conductor
and pubhilkT. brodwr of the preceding Hv
a number of operas and Iwllcu for iht‘
l^poWsudl TJiratre and the iwo court
ihratren, and wai at one tunc AafieUmeu/er and
•I •rector of the musk arcl»iv« of the coun
1 heat re. Hr produced the following ballcls,
one Of IWO of which have Ixtn wrongly
WEICL (J. B.)
WEILL
J38
aitribulcd to Joseph VVeig] :
'Die VemJihlusg im Keller*, hdirto Mru, prod.
Vienna, a Aug. *796.
* Die ttuMigung *. Dimtufraww. pro 4 , VieoM. 15 Od.
» 796 .
‘ Cyrus nnd Tomyns prod. Vienna, i) Tan. 1797.
*C>cr uachaamc Dorlrkbter Dmrtusem^ prod.
Vienna, at Sept. iboe.
’ Bacchus und Ariadne *, prod. Vkom, 14 Dee. 1B09.
Hi$ name lives, however, not as that of a
musician, but a music publisher. He see
up in business in 1801 and devoted himself
chiefly to supporting the Kunsi- und Industrie'
Comp loir in its endeavour to establish a home
trade in music, for which Haydn ga\'e him a
flattering testimonial (dated Eisensiadt, 1801).
After the production ofhU last ballet he with*
drew from the theatre and occupied himself
entirely with his business till 1896, when he
resigned it to his second son Peter. Later
it passed into Diabelli's hands. Thaddaus
WeigI published Schubert’s Opp. 57, 58, $3,
84, 88, 95 and 130. e. r. p., adds. j. s. w.
WEIGL, Jobana Bapciac (^. Hahncnbachi
Bavaria, Mar. 1783; i. ^).
German organist and composer. He
studied at Amherg and Preising near Ratisbon,
became organist at Amberg and in 1605
pastor and teacher at St. Ulrich, RalUbiMi.
Soon afler he returned to Amberg as professor
at the college {‘* Gymnasium His masses,
cantatas, ’ Te Drum *, offertories and other
sacred music, as \vell as his canons, songs,
etc., arc spoken of in terms of praise.
WEICL, Karl (k. Vienna, C Feb. i*»i ;
rf. New York, tt Aug. 1949).
Austrian composer. He studied under
A. von Zemlinsky and belonged (o the circle
of musicians who, as the Vercin schaflender
Tonkiinstler, grouped themselves around
Mahler and Schoenberg at the beginning of
the 20th century. He studied muskt^ogy ai
the University of Vienna, worked under
Mahler from 1904 to 1906 as rehearsal etm*
ductor to the Court Opera, joined the staff of
the Ncucs Wiener Konservatorium In 1918
and a few years later became lecturer in har*
mony to the University,
Wrigl did his best work as a composer of
^nngs and chamber music. He also wrote
several symphonies and concertos which were
succnsfully performed in Austria and Ger-
many. His first string Quartet (Op. 4) was
awarded a prize by the Gcsellschaft der
Musikfreundc. His other works include a
symphonic cantata, ‘ Wcldeier ', for ido
voices, chorus, organ and orchestra (Op* 17),
a Symphony in £ major (Op. 5), a Sonata
for cello and pianoforte (Op. 18), and os*er
1 00 songs with chamber-music or pianoforte
accompaniment. a. j. w.
WEIHE DES HAUSES, DIE (Beethoven).
Sf< CoNsacAATjoN or ths Housf.
WdLAND, Johann Julius {b. f ; d.
Brunswick, 3 Apr. 1663).
German conductor and composer. He
was appmnicd court musician at Brunswick
on 5 Mar. 1655, was vice KaptltmtisUr in
($55, but in 1681 he calls hirmelf simply
'* musician He wrote psalms and songs
in 4 to 10 parts, with and without instrumenU;
also * Uns isi ein Kind geboren ’ in 13 parts,
divided into 3 choirs (WoUenbUttel, 1 Jan.
1663). a. V, d-s-
WEILL, Kurt (i. Dessau, 2 Mar. 1900;
4 . New York, 3 Apr, J950).
German* American composer. He studied
music with Albert Bing and later on became
for a short iJmc 1 pupil of Humperdinck and
Kraseli at the Berlin High School for Music.
In 1919-20 he acquired some practical
tirade experience as a coach and conductor
at Dessau and Ludenscheid. In 1921 he
settled deflniicly in Berlin, whose most eloquent
musical represeniaiive he was to become In
the course of time. It was when studying
with Busoni (1921-44) that Weill first found
his bearings as a composer, starting with
instrumental works, at once expressionistic,
abstract and boldly experimental, which
focused on him the attention of musical
critica as early as 1923. His first mildly
successful opera, ' Der Protagonist ' (to a
libretto by the post*war expressionist Georg
Kaiser) indicated, however, a more realistic
approach, while the following operas headed
more and more towards the novel type of
(topical opera) so brilliantly cstab<
lished in his own ' Dreigroschenoper ’ {1926),
a clever transposition of * The Beggar’s Opera ’
of 1728 into a satiKcal farce of the Berlin
underworld of 1938. It was the collaborsiion
with Bert Brecht — a poet of great gifu and
fanatical convictions — which paved for Kurt
Weill the way to sensational success. The
political pungency of their later joint efforts
(the operas ‘ Mahag^wny ’ and ' Derjasager ’,
the cantata ’ Lindbe^hflug as well as the
challcr^ng attitude of ^ Vein’s jarzonspired
yet sirangHy harsh and often deeply nostalgic
music aroused a great deal of controversy in
Germany and beyond. Soon after the pro*
duciion of his opera * Die Burgschafi ’ (to ^
text by Caspar Nchcr) Weill — by that lime a
matk^ man on account of his Jewish descent
and hU past political record — had to leave a
Hiller-ridden Germany (J933)« an un-
easy interim period spent in Paris and Lotcoa,
and chiefly devoted to the production of
Sundry ballets and to some incidental mos'c
(or plays, ^Veill at last entered the U.S.A. in
1935 to settle there pcrmaoenily. During im
remaining fifteen years of his life he succeed^
once more in becoming one of the mos^otable
composers, for New York’s Broadway Thcairc-
Aft ironic twist of fate synchronized the spec*
WRIIX
tacular succes» of his Broadway opera 'Street
Seene ’ (1947) and of hb American folk opera
* Down in the V'alley ’ (1948) with ihe rignal
failure of his 'Jasager’ and ' Dreigroschen-
oper re\'ived in BerUn and NuremGcn;* He
was planning an opera on the subject of Mark
Twain’s ' HuckJeberry Finn ' (in collabora*
lion with the American poet Maxwell Ander*
tun, with whom he had already co-operated
in earlier works for the American stage',
when he succuml>rd quite suddenly to a lieart
attack,
Kurt W’eiU’s ereativT achievement is of
profound importance to the ntodern opera
Mage. AJone among his numerous contempo-
raries wJio, like hitnsrif, strove for a regenera*
lion of opera an<i for its releast* from rise
\V'agnerlan dominance, he w'orked on llw
lirm basis nf a novel (ipvratic conccpiiort and
succeeded in csiahlishing 8 new relationship
between siagc and ntuaic by viriue of a
6ingipitl ty|>e relying on dialogue with Inter*
9|Krsed orclicsiral commeniary, on cAaaiM*
like lyrical episodes, im vivacious rh>ihn\»
nriking a balance between lighi music ansi
ju 24 , and on simplilied harmonies of harsh
lorccfulneis rather than on the pyruiechnks
of the Sirauuian orchestra. Simulianrously
NV’i'ill endras'oured to create a musical style
ai once popular and characteristic, insptml
by ihc ixdiliral haranguings of ilsc modern
ir<»|n»lis, I'his new operatic type of his,
laiinchal so sucicMfully in the sw»rks Ua»e<l
UM libreitoa by Ikrt Ureciil, tlerply inlluencrd
j whole generation of composers. While
his own music was banned from Hitlerian
(/ermnny, Cerinan composers l>egan to reap
I be bcneliis of his stirring innwatioos.
NVagner-Hegrny’s successful * i>er <;unstling*
as well as his Licr operas (all of them com-
puscil to lllm'ltos by ^^VIlrs two chief Kbrel-
lists, Ben Brecht and Caspar Ncber>. the
Sc/iufoptrH (students’ operas) by Hintlemilh
and Fortner, the Bavarian " fdays with
iniislt " by Carl Orff and the operas of Fried
alirr, but no less the chamber and children's
operas by Benjamin Britten, as well as the
short " topical ” operas by the Americans
(»crshwin. Menoiti, Bliisslein and others,
leslify to Ihc lasting pcnelraiitm of Weill's
influence. Above all, WeilFs personal slyle of
economy In the use musical means (prosing
ihereby his spiritual allegiance to Busoni’s
artistic Ideals), his prcti dec turn for the chamber
orchetira and intimate elfecis tlrrived from
eabarn an<l Ubrrtrtui, have become a mucli-
emulated nio<h>| for many younger composers.
J be global fame of Weill’s ‘ Drclgroschen-
"pt'f , translated into eleven languages during
the first yean of its existence, ilse lively echo
V! u ««dcnu’ opera ‘ Down in the
V alley , and last Init nut least hb unmistak-
able iiiig< rprini, noticeable In many eonteiii-
539
porar>' opera SCMXS, clearly indicate that here
the chasm between the modern composer an<l
his audience had for once been successfully
bridged.
CVl'ALOGLM OK W'OKKS
Ol'I.R.N^
* Ikr Pra«aro«w(l *, l *<( ililirrtfo by Oiucti Kaitcij.
nro<l, Uvchicii. sy Msr. 19^11.
* uital f *, a a<ls
* Ku^'jI |* 4 l»<e', I iri iiiU,U' ptwJ, lh*tbi».
K(«ll Optra. 3 Mar. J 9 < 7 ,
' IVr /sr Um Hch ph(H<via|>}»ietcii *. I a<i liU U
Kaxrt, pml. t,tipnK. i& I tb. i^^i.
ftuWgMr a tt wtiirt lib. a
OMalenuMJ vtiMOii o| Jvtoi <> 4 V*» * I br
Optra*, 4 ,tn>un b> t.hMiNrih It.kupiinanM,
l>rM« try B<n IUmIuj. ptail. UtrJiii, Iticatrr am
MlitlFI»«vrrilsRUM. si .\u<t.
' Mapin LaJ ’ Jib. b>' U«r< iiT I
* ,\ul«(K« un*l (dll «itr Sid<lt Slaba«<MMi> *, optruiir
«magn in 3 acik •hb. b) nrrdii'. pruJ. 9
M 4 >. («tw.
* lk« IWrculufi*. pf« 4 u«ut a s ai o lib, by
Nrlitt/, prod. Brrliii, HtutHlirt ( >|H‘rnluM>. i<»
Mat. i 9 tr.
' l»iv * hb. bv Kaiktfl, prixl. Btiliii, 1931,
* .Vlaot talanit* hb, by l>t\al . proil. I'arh.
•OM.
’ .\ K^Mcd'HH j (ajH * ibb, by KuLtri Namhrrv .
pr*i<| LwviiM, Sa\.,v Ibtarrt. lOtS.
* KnMkrtbwIitt M<J>,lay t mH <hb. bv Mavs«dl
pt<«l. Uan^itil, t^n., vb ^•t|ll. iq 3 &,
' I. hU mi iht Itarii: niuxi al ium«s|v lib, lr> .Snaroiiii
' lis.«M Hi Iht V'JIti Wk (»ptta .|ib. bt ,\riifllil
S w i d caard pruj. IndiAha t liorrMlv, lO^b.
* la>»l Ml iW Maf» ipuHial drama hb. by .NiMlonuti),
pru.1. New Viifk, lltpa<l»av I Stairt,
oriii.R sr.N{;i: tvoHKs
* /.Aubttmarlit ' paiitmnmit, pf'at. btrhii. lOaj.
* .\yluitc wpd f'atl dcr \i.hU Maliacmiiiy *, ui ittiiiMk
4 Siari^Hf {lib. by UrnlitK imikI. Ba<lrii*tl 4 ilrM,
• 037 .
* Oef Ja«Mtt ’. MwdtMU' «i|irij hb. by BreiJili. pruj.
BtrSin. loS*!.
'Ihe Mtln I <kI«wm<I<*m *, bilh'i iM«n. by Brtiht).
ptrf. laMHiMi 4i ' .\ims*AM)i« 1433,
INtriIM.M .tt. MVMC
* Ji-lHHiy iiJiiivBi ' Iry Jwlun tirrtii (ipj*, .
’ 1 l*t Ka*J ‘ by (raiii NS'trfrI « 19371.
* sittti vtiw ' hs t.liMrr Kur '1947'.
.tU* imiHt fin hy .tuywM VrinJI«ti;. .\tiibh
•oaiiitH. Btti Brnhi. J.*un I tuihu-aiittr.
(ILM Ml SIC
* Otw 1 1MP h ef Vtiiut * And icvvril otiitr fihiM.
CilOKAL ttOKKS
* KtC^art * fcrt UMMIPMI*. ili«rv». <>11. I I.
l>t( jMiMlterehaHc ' Ihitilitl, ciniats (of 3 lohi vnirti
• IpiriD & Mrh, { I 9 a 8 ).
tmOHLMRAI. \Vt>KKS
(anuiy. yaiAsrafftts amI Hvnui (i 9 S 3 f.
Ibitfitfiienui '1933).
' QiMillibtl ’. 0^ 9 <(#>4).
VIOLIN A.Nl) \VI\J> BAND
CaPKtllP. Op. I3.
VOICt AXt» ORCIlLlyTRA
Samp (Rainer Maria Kilkr>. Sti (. On is
^ iKilke^ll. t>p. .4 ^ ^ ^
caiKJia hif iofwaiio, ^iih mlo
vn., tjp. 15.
' InrliMliAc wMpt baHadi bv
kudyanl KipliiM,
>'raMC<iii Villon amt
240
WErMAR
W'EINBERGER
* BalLa<le vom Tod isi Wolde ’ tbc aad wind iMO.,
Op, 16.
' Da» Berliocr Requiem ’ Cm ) men’s voket k wind isus.
CHAMBER MUSIC
Siring Quenei, Op. 6 (192$).
’ Frjuentant ’ Cor soprano & i inas. (1934).
LITERARY WORKS
* Duscnis " Fausi " und die Emeuerwig der OpemAsrm *
<’ Anbiueh \ IX. Nm. r-s, Jpa?).
'The Broadway Opera’ <inierN'ie»» E. Smith}
I' Musical Digen \ l>c. 194S).
Also numerous acikiM in Cemun pcsHidkaU bebre
> 933 .
H. F. A.
UiUL. Berksp, P.. ' Briefs an eeitfenoassKlie Msnikee *
(Berlin, 1930), p. ini (T.
Natalstti.C., * Kuri SN'eill aul SehaUplaiien ' (’ Muika
^ d'ogei .i»n, 1934J,
RiotiCM, H. P.. Obiiuarses, M. Rev., Vol. XI, No. 9.
1930 li * Music Sur>'ey \’el. IJJ, No. 1. 1950,
Set eh* Brccar's Opera. Hnnkmiih <collab. is
’ LindbrcglilUig >
WEIMAR. The “ German Athens “
under the patronage of iu art-lovtng Grand
Dukes of Saxc-\Veimar‘Kisenacli had a long
musical history, the record of iu court orches*
ira going back to the 16th century. J. S. Bach
was a violinist there in 1703 and director
of musie in 1706. Johann Gottfried Waliher
was organist at the great church of NVcimar
from 1707 to 1748, Hummel was
intisltr Crom 1819 to 1837.
Perhaps because greater attention was paid
to poetry and the drama in the period of
Weimar's greatness (the end of the 16th and
beginning of the 19th centuries) its most
brilUant era of music came later, This was
in the years between 1647 and 1661, w’hert
Liszt settled there as chief and
gathered round him the group w hich included
Hans von Bulow, Cornelius, Half and (for a
time) Joachim, IJszt’s productions of m^ern
operas (Wagner, Berlioz, etc.) gave an impetus
to the new German mus'cment of which
Cornelius became the leading spirit under
Liszt and BrendeVs ' Neue Zeitschrift fur
Musik ' its organ of oipression. Liszt pro*
duced Cornelius's ' Barbier von Bagdad ’ on
15 Dec. 1B38,
Liszt was succeeded by Eduard Lassen,
during whose term of ofRce Saint*Sacns's
' Samson et Delila ’ was first produced, before
it was allowed on the stage in France. In
more recent times the most noteworthy
production was Humperdinck’s ' Hansel und
Gretcl lirst given on 33 Dec. 1893.
The Dcuuches Nationalthcatcr, formerly
Hofi healer, was built in 1907 from plans by
M. Litimann, and was opened in the followring
year. The theatre, which cultivates both opera
and drama, receives a subsidy from the
Thuringian slate. The principal orchestra,
(he Weimarer Slaatskapellc, serves the double
purpose of opera and symphony orchestra.
Before the second world war there were two
other orchestras at Weimar — the Professional
Orchestra and the Orchesterverein. The
Gesellschafi fur Musikfreunde organized
regular concerts during the season.
Weimar has frequently been the scene of
musical festivals, one of the more important
of late years beii^ the Tonkimstlerfest of 1921,
when Schoenberg’s ‘ Four Pieces for Orchestra ’
were produced. The Deutsche Pestsptele, the
purpose of which was to promote the per-
formance of German operas, took place
at \N’eimar in July (938.
The Staatliche Musikschule 2u Weimar
(with its renowned orchestral school) is under
the control of the I'huringian Ministry of
EducatiMi. It was founded in 1672 and is
intended to form an educational background
to the Nationaltheaier. It has a staif of
about thirty teachers. The associations of
Uszt >vlch W'eimar are preserved in the
Liszt Museum. K. 0, 0.
WEIMAR, Georg Peter (A. Slotlemheim,
Saxe* W*ei mar, t6 Dec. t734: Erfurt, 19
Dee. 1800).
German composer. He was a pupil of
Ad lung, Fasch and Hdek (violin), and became
chamber musician and court cantor at Zerbst
in 1758. In 1763 he removed to Erfurt,
where he w’as appointed cantor of the Kauf*
mannskirehe and in addition became, in
1774, director of the "Gymnasium". In I 77 l>
he also assumed the direetorship of the
Catholic " Gymnasium
\Veimar wrote two operettas for children
with pianoforte, * Die kindliche Liebe ’ and
' Die behadenfreude ' ; cantatas, motets, vocal
exercises for schools, etc. A book of chorales
for the Protestant church was edited by J.
Kittd in 1603. A number of church com*
positions, including a Passion, remained in
manuscript. b. v. d. s., adds,
WEINBERGER, Jaromlr (». Prague, 8
Jan. 1896).
Czech composer. He studied in Prague
under Kridka and Hofmeisier, and in Germany
as a pupil of Max Reger in the year of the
latter's death (1916). In 1922 he taught for
a short time at the Conservatory of Ithaca
(U.S.A.), only to return to his native country,
where he occupied from j 923 onwards several
minor musical posts at Bratislava, Cheb and
Prague. Though not very distinguished m
his early creative attempts, be suddenly made
his mark as composer of a picturesque fola
opera " following in the footsteps of Smet^a s
lighter operas, when his * Svanda Dudak
(produced Prague, 1927) won for him a
tiooal success at home and abroad, ihw
opera, the clever product of a faede and
rather shallow talent with a peculiar gift [or
utilizing Czech and Slovak folk tunes and lor
decking them out in the glitter of a
caied orcbestracion, succeeded wiib the help
of MIW Karri’s picturesque and effective
WEINBERGER
WEINER
Jibreito (based on a Bohemian legend which
had already Mrved for three earlier Czech
operas on the same subject) and by virtue of
a musical style skilfully avoiding the scnti'
mental pitfalls ci contemporary Viennese
operetta. ^Vcinbcrge^'s music is most enjoy*
able in its romping polka tunes aetd in its
ballci*rugue Anale. 'ovanda the BagfMpcr\
iranslaieci into seventeen languages and per*
formed on more than ijo uperaiie stages
during the vrry first years of its run, remains,
apart from Snu’t ana's ' Bartered Bride \ tlw
only Czech <)])cra to enjoy world fame. .As in
(liv someuhat similar case of Mascagni’s
popular * Ca\allcria’, 'Svanda* is m ereatur’s
one and only claim to distinction.
Weinberger's later ofieras, perhaps for the
vcr>' reason that they tried to use dilferent
techniques and Uss p<jpular subjects (among
them Schiller’s ' Wallcmtein'^ never achieved
more than a lentporary imtts WVjfjMc. Among
Ills r<’W compositions not wKticn for the stage,
a * lUsiacaRlia for orchi'sera ami organ « i<i3Si
may be inenlioncti, which shows Krg<T's
last pupil handling forms and sul<^is of
traditional poiypliony ultlmut originality but
with remarkable tec hnical skill. Hh orchestral
variations in *’lhe Chestnut ’free’ achieved
an easy (mpularity in England for a short
litnc in t>ie x^ns because it was based Mt a
spurious **fulb«ing " which just then had
taken a temporary hold on tlie general public i
but it was a work of no distinction, crudely
stored, and not one of the variations eanse
anywhere near achieving the styles suggested
by their pirturesque litU^.
Weinberger left C:reehoslovakia for good in
M illing eveniuaJiy in the U.b.A., where
he found a iHTinanem home at $t. f*rlerslMre
Horkla.
CAl'ALOfiVt; Ol-' >VORKS
tH*LRAV
' DuCdk* i'S»anUa llip kriNpef ihbfeiut
A|e^*i9 ^^*^ Brodl. peoU. *7
• Miluvanv JiUt' iKiwbw iMb. by
hji^ iMi » Hviel bv K. ShtM). md.
MvamK. jZ let) inji.
' *»
• os’* iVfcerlUl proO, BtM. .\„v.
^ heil ut Ru«e«*. Kra««t^,
Wal|rn«l«iA’ (hU b» Kar«. aRee dranw]
pfod. VxhMa, l8.\i>». 1917.
I’ANTOMIMt.
• Kwlyn’t l.lotwfiiriii • , prgd. Prafue. >917.
<;tK>RAL WORK
• t5.>tii)..n Kliap«»lv' (or tnptann. k
ORCnuSTRAI. WORKS
• I'upiwi • OvcRure.
Wifiniai. Sonm and
^Owriyre lo a KiMchily Hav.’
y-naii®M «A • The tUmniM Tree *.
I)i^ QiiiMie liehetao necow)’.
VOL. \K
S4I
SOLO INhIRLMLNr A.MI ORCHLSIRA
Rjthw.aalu Tor 1 193^1.
* Odieque »enn«n«(Ual ' Tor vii.
Alio aeveial wiuU • omjx'saM.xit lor and {,r„
’Uraviirei’ (y preludes aixl TiHiiiei t<jr
S«Aaia. L<.
II. I. K.
WEINER, Led sfr, Budapest, lU Apr.
<885).
Hungarian composer, lie ahowed talent
for music at an early age: his eldt'r bmiher
instructed him in rtading musk and he dis*
covvrexi the secrets of the keyU/ard larg<’lv by
hiinK’lf. In 1901 he iKtanic a '.tudrm at l]ie
BiHla|icit .Veademy ol Musii , study tug < ompu*
si lion with Hans KckivIct. He hn idled his
siudii*s in lOob* Huring his .\radeiny years
lie wvsn various pri/< » and sii|Ven<<s. among
ilwm tlw i.rkel I'rur fur cumjiosiuon; hk
lirst 4|>|K'arance lirlun; the public as tompoaer
took place m conmrtiim with a siiKienis’
concert on ao June lyoj, when a moveineni
Iruin a string L^uintet and piaiinjorie pieces
were p>*r1orm<xl. He then joined the musical
stall of the Budapest Gutiik O^xra ^Vigoperai
av coach: liut having been awartied the
^rancisjow’phjuhilee I'nrejievikiicd Vienna,
Berlin, Lei|>clg and I'ans lor the neat years.
In KjoB he was ap|x>int<<J imifi'ssor at the
UudaiH-st Academy ol Music, taking over ihe
theory ela<»vrs of S'lktor Ih rcfeiil ; kuhse*
((uenily lie was ap|>ointed prolessor ol eompo*
siiton (191 i> anti, i;i 19411. of charnlKT iinnic.
In 194a \Neinrr won the Cloolhlgi- I'rice
with hn siting (ioariel .Vo. a; in lyaU ho
organised a rondueiorlesi rirclKstra aiming
the insirumentai siudcnu of the .Veadetny.
In 1933 his .Vuiic Op. lU was awarded a
•Mate I •rice. In 1949 he uas peiidon<*d and
in tlic following year hr was given the State
Kostulh I'rizr.
/\s a treativr miisidan Weiner is u aoih*
century oilspring of those late lyih-ccatory
Hungarian cotn|xiscrs — often n lera-d lo ns
the rornaniic school— who held that the
acquisition of a perfect eominand over the
technical procedures Europt an music is the
first step towards the development <.f a dii*
Imctly natitmaJ style. t)n the other hanti he
attached rather less tm|Miriancc t(» the assertion
trf characteristically Hungarian features than
the romantic nationalists did. Yet vvlunev*cr
he resorted to national mrlotll.'s lie lalleti to
dttcnmtnale between genuine folk uines and
melodtes of l«s authentic origin such as the
tunes, and apart from a peculiar
lUvour of eapresslon his idiom did not dillcr
frw the current European musical language,
rhat he did not adopt folk music as a basis
lor his prnonal idiom as Bartdk, Kodaly and
liicjr MIowen did should be ascribed to the
fact that he viewed folk music as an instinctive
mamfesiaiion <rf relatively primitive artistic
impulse, quite distinct from " art ” music, the
<5
242
WEINER
conscious* inccUeciual o^anizatton of a par*
cicular kincl of inspiration. SifniAcantly, be
did not participate in foik-music coUeciing;
the basis of his music U urban civilization,
and the fact thathis attention vas devoted alt
but exclusively to instrumental music seems
to confirm this suiement. Where he does
use folk music, he treats it as raw material
that has to be subjected to conscious crafts*
manship and creative inspiration. This
applies especially to his orchestral music, for
iiis chamber music altogether excludes folk
material, save perhaps an occasional harmonic
progression or melodic turn, which however
may be regarded as modal influences rather
than Hungarian allusions.
The German strain in Weiner's musical
ancestry is manifested in his thorough tcchnU
cal discipline, and his pensive lyricism reveals
a fundamental affinity with (he Mendelssohn
and Brahms group. On the other hand, his
lightness of touch — his most inspired move-
ments are scherzos transparency of lex*
ture and plasticity of designs, no less than his
particular concern to avoid extremes and
to balance formal and colour values, betray
a Latin — particularly French — sensibiliry.
This interesting ambivalence of his style is
well symbolizetl by his veneration of both
Beethoven and Bizet.
Weiner’s development was singularly
St ratghtforwa rd . H is humoresc^ue ' Cam I val \
written when he was twenty*(hrce, already
shows the hand of a mature master. In hb
subsequent chamber music hts leaning towards
rigorous formal control isdlKcmible, together
tvith facility and fluency of invention. The
appearance of certain syncopated rhythms
usually associated with Hungarian dances
lends an unexpected spontaneity and drive
to some of his movements. Hb music for
VOrdsmariy's * Csongor H Tunde ’ — a fairy
play, which has much in common with ' A
Midsummer Night's Dream ’ — is considered
his masterpiece. Here every aspect of hb art
appears at Its best ; the sparkling gaiety and
wit of his orchestration, the broad sweep of
his melodic invention and hb imaginative
harmonic designs.
That Weiner had barely thirty works (o hb
credit at the age of slxty'live is due (0 hb
severe selfcriticism. Yet his music makes an
immediate appeal ; problems of technique
and recondite emotional experiences never
intrude, for Weiner believes In enjoyableness
as a supremely important aesthetic principle.
Of hardly less Importance than hb creative
work b hb educational activity : to his compo*
sit ion students he taught respect for the great
masters of the past, and he insuied on a
thorough technical knowledge of the classicaJ
and romantic methods before embarking on
” experiments It b significant that hb
text-books, written on the basb of his many
yean’ practical experience, deal with harmony
and form; hb * Analytical Harmony’, be*
sides being Intertded for advanced students,
constitutes an exposition of his harmonic
sryle. But hb reputation rests mainly on hb
teaching of chamber music: several of the
most dbtinguished sunng'quartet teams have
profited by hb guidance at some time of (heir
careen.
Diu.— HAMMcascMLAu. Janq). *G»onsor ^ Tuixle *
Pcsicr Budaoeti, 7 Dm, 1916).
SCoLNAir. Antaa. ‘WdoM " Csengor it TundAk''*
<* Nyu««( V aI. XIX. Bvd»p«>t. 1916).
* Leo Weiner *, ' Corvina No. 6 agtumo
*« 49 >.
XVemwAMM, JmiH ‘ The Contemporary Movemeni Ih
Hubfsry * (* To. 4 lay'. Londee, 1949).
CATALOGUE OF WORKS
INCIDENTAL MUSIC
Oh
10. Mum tee MihSly VorOtmartr’a * Cionfcr Si
TunOe’ U90)).
CIIOKAL VkX>RK
— * Afnua Dei * (1907}.
ORCHESTRAL WORKS
i. SeherM (i»es>.
3. Serenade for itmII orch. (tpoS).
S. ’ Faruna. humoeeitk ki> eenekarra * (* Carnival.
KuBwmeve for amalJ oxeh,’> (tpoSh
16. * KaiOASadi' T at SoMkra') {1930^1}.
11. Suite. HuAsarian r^k Daaeea (lOSSI
90. Divenimenio .No. 1. on old Hunfarlan daneea
foeiMn. (i 9 S 4 )<
* fMorale. pliantaiiie ei fufue * for 1(91, (i94il<
#4. DiveRimenio No. a. Hwnftrian fi>lk melodiei for
lift. (1939).
aa. CKveetimenio No. 3 . * Impretpo n i unrhereii ' (I 939 l<
— 'Oane^i haocok ’ (* Feeiive Soundi *), overture
AIm trr^riptioQi of worb bv Ba<h, Schubert. Li»i
aadiartdb
SOLO INSTRUMENTS AND ORCHESTRA
1 3. CoacertiDO fee pf. (i 9 « 9 >.
ei. * BaUadc ' for clat. per olb Op. 0 Srfw).
CHAMBER MUSIC
— Duel Coe lirofAiS 4 cimbalom 0903-0).
f Sirini Quartei No. 1. Eb nu.
Sirutff Trio C mi. ( 1909 ).
4 * Ballade ’ for elar. 4 rf. Oats).
(}. Striae Quartet No. t.T| m>. (ipea).
tA. * Romaaee * (or ceUe 4 pf. (? i9*3)*
so. Sirin* Qoartel No. 3. G ma. <<949)*
ONE INSTRUMENT AND PIANOFORTE
9. Sonata No. i. D ma. (>r vb. 4 p(^ (t9tt).
It. Sonata No. a. Ff mi., vb. 4 pf. (19*0)*
J4. • Romante * for cello 4 pt *983); ^
aiS.'LakodaJmas * V Hunfariao Woddinc Dance >
VA. & pf. 0937).
PIANOFORTE MUSIC
• Vbioeatok* I Variations) (1905)-
• Taraoiella ’ for a pft, « hasds 0903)' . ... .
• Caprke • 0 908) in * Mimiiuo modciBC hoflftoiie f
ed. Aurel Keen (? 19'*); . ^ ,
B iifi.iVu. (190)) iBCompbie {«rc Op. *M
• DmiOa'WrWueke* (? •9'«). ,
• Miniarofbildef *. 0 Utile pc piece*. « voU. (ipf*.
.%?*JiiS2i Ba«emlieder'. t 4
‘ Lakodalma* ’ V Mur»i»rian Weddin* Da«o I
0937).
WBINERT
\VBlNGAR'rNKR
^43
ii. ' Un0iiAS<heB«umilicd«r', 3 »me« (193S).
S7. * Hu^ konnv^J ku d&nb • zou^maiA ifjwiAc
uimira* Pi«c«s (or Yova<
Pla^-rn *)
LI'I ER.\Ry ^^'ORKS
*A sriiei formak vaiUiot icmrneirw * i'OwlMtr <4
Muikal Fui^ *) I Budapni, >91 1).
’ <>uxh4n«iAtt«nr4 irr>sr«<li* 1 ’ Pr»9araior>
Noiri to XafAionv 19(1 j.
'As oa>shanBuit«(» <l6Uisi(6 itkobjj * <* Piep«raior>'
<Jour«r of Harmony') 'Rudapetc» iai?K
' £temx4 ourhonirtatian, tunkrt^aii* I’ArtahiMal
Ilarrnoay, Pundiont^ (dudapryl, I 94 «K
j. s. vv.
WEINERT. Poliih family of musiciaitt.
(1) Anlooi Weiaert th. Lwdorf, 2 Junr-
1751 ; fi. Warsaw, iftjunr i85n^. nauiisl and
criinpotcr of Gicch orifin. Kducaird in
Bf>l)«*tnia, hr went 10 Poland as court flautisi
i<> J*rin<t* Anioni t.uhonurski in 1771. 'I'hrrr
years latrr he IxTanir a mrmtwr of (hr
Warsaw Opera ‘)rchrstra and in 177B couri
llaiiliil t«i KiuR .Stanislas Au|»usius. In this
|M)st he mnainrd lill i7cr*„ when hr Ixitan in
irar>i at ihr W arsaw C.’onsrr>'aiitf>'. H^itlrs
hr taiii;hi prlvatrly, not only (hr Ituir hut
sin (fins and pianoforir. aj wrll as uind and
string instruinrnu, Hr married a Polish
woman, hy wliom he had two sons who lir*
<amr pmfrtiional musieians, although out*
lived l>y ihrir fatlirr, who rratUrtI (he age of
ninciy.ninr.
Hr wrote three *fi^reH 4 %-ha 9 fes whirh (hanks
to their simplkily and naivrty enjr^ed great
(>opidarliy. 'I'hey arr as follows :
• nkrnr>i*t MiefM^o/rtxir • {' A Nwdkw Vrvulr ’t.
VSjn«w, lyAr.
' l><Min»rwrii«r riyli K*prAl n« %»rrbunbw’ <'l>Mar«.
writer, or Tt.^ Keerwiint (Wnarxl't hhteiio Iw
P»ero«yA«liir. |wml. VV.irMW. i?}!).
'C;iMniot4 ix»Ji mnirmsAv «luM * I'A m A
Wrxnrl l>rsil') >|ik hy l)|i*«4wwtkM. imu.!.
NS'*ruw, ithJ),
When in iHi', a Ghurih Musk Sortriy was
organ irc<l hy Klsnrr in Warsaw, Wrinrrt
hecanie onr of ks most actisT members and
<<nj||xwetl a gr<al dral of ehureh music, of
w)n< h a cantata for soloisis, chorus and organ
tsA* ;>rrformed in ihr Ihangclkal Oiureh in
Warsaw rlurlng i:a3ief i8aB. In addition hr
uroln very many songs and pr>*onais<-»,
(a) Plo«T WeiACrt (*. ?; / Warsaw.
riJa;), pianist and iraehcr, son of (he pre-
ceding. Hr taught at ihr NVarsaw Omsersa*
tory, but died siidtlenly at what w*s proltaMy
a very early age.
(3> Filip Weinert (*. Kngalin. 1798; 4 .
Warsaw. 18431, tenor singer. l>foihrT of (hr
prrerding. He aintlicd under Jan Gommarl
uJieofy^ and Brier, a Frenchman {singing).
He matlr his drhui as Lindoro 1 / haliana
•n Alger. ') at the Warsaw Opera in (819 and
soon esiablishrd his posiiicm in the Polish
operatic world. To keep hb large family he
was forced to give many private lessons which
norther with his thratrkaJ duties, rehearsals
and performaneo. weakened his health, so
(hat hr died in the prime <rr his arii>ii<' l arrer,
c:. ft. II.
WElNGARTEN, Joaeph (^, Buda|K’si. 14
June 191 1 >.
Hungarian pianist. He sliidied at ilie
Royal Franz l.isai Aiademv of Music in
Budaprsc from icy^r, tn 1934. Ins masters 1 x 4 ng
Dohrianyi fur (hr pianolortr. Kod.dy fur
composiiiMs and Leu Weiner fur chanihir
musk. In 1931 he took the Arikis’ Diplomn
with dUiinction. but had already Ixrn
awarded special prizes and medals before
that dair. His awards, tlating from hr*
(wren 1033 were Ix’siuwed al Ihr
Inirmatkmal Kranz Liszt (InmiH’iition In
BiHlapeii, ihr Inlemacitmal Mmk Gompt'd-
(iuA in \irnna. the Internal ional Clo^pin
Gon.iirtiiion in W arsaw and the Intrrn.ilional
Musk OHnp»ii(i<>« at (ienrva. WVmi'Jirtcn
has played in Great Rrilain. Ireland. Iklgium.
llollaiMl, llungaiv, liilv. Poland. Swiizerl.md
anti (hr V.S. and among hi< spei lal merits
IS a keen inter'll in iiMHirro iniuic. 1 1<*
nsarned in Kngland and iv veldt'll in ]>>nd(»n.
WEINGARTNER, (Paul) PelU (Edier
von Mucuberg) /ara. Haim.itia, z June
iUb3 ; J. Winierihur, 7 M.iv 194^1.
Austrian rontlsKtor, com{>o««'r and itriter
on musk. Hr studirti ram|MKiiion at Grax
under W*. .V Rrmy and rnlrretl the I'niversily
of l^ip/ig in 1881 as a student in philosophy,
lie very soon passrti on to the (i<»hNer\atory.
went to l.is*( at Weimar in i««3 and there
Iwought oui his first opera, ' Sakimiala \ in
1884. ((k which year he undertook the post
of A>prif«c/i(cr at Kunigsl)rrg, In >083-87 he
wasinlhrsamecaparityat Dan/ig.in 1887-81)
at Hamburg and in 1889.91 «“ Mannheim.
In the latter >Tar lie was appnihied court
ka^UmfiH/t of the <)|>cra in BerJm. as w el) as
direettb tif symphony concerts of tl.e rosal
orrhrsira. ‘llsere hr rrmainc’d until 1898.
when the <^fx>sjtion < 4 oUbfaddoned musicians
«» hb operatic conducting induced him to
gise up the theatrical ap|>omim<'nb though
he kept that nf the orchestral conce rts. He
went to lisT at Munich in that year and
became conductor of Che Kaim concerts
there. In 1907 he was appointed to succeed
Mahler as conductor of the Clourl Opera in
Vienna, and was thus comjMlIed to Rise up
the Berlin ccmcerls. He entcretl on lii<, duli<*.s
m Jan. 1908, hut mired from the (>|»er.i in
|Q(0, reuining the conductorship of the
symphony concerts of the Opera orchestra.
* 9 ' 9-20 be was director of the Vienna
Volksoper. Other appointments which lu-
occupied in these years were those of Kitpt/I-
meiutf of the Hamburg Municipal Theatre
(i 9 *«-J 4 ) aod general Mt/sikJtre/shr of the
grand ducal coiKcrls at Darmstadt (19:4).
Meantime his international reputation as a
^44
WEINGARTNER
conductor was built up by innuioerable >*isiu
to other countries of Europe and to the U^.A.
He itrst visited London in May id98» when
his quiet mastery of the orchestra and his
sane readings of the classics made a profouiKl
impression. After that he was a frequeni
visitor, and hb performances with the Royal
Philharmonic Society, the London Symphony
Orchestra and the Scottish Orchestra con^
hrmed the impression, especially as regards
the symphonies of Beethoven. In 1905 he
conducted four concerts of the New York
Philharmonic Society, made a tour with the
Symphony Society in 1906, and in 1910-13
conducted opera at Boston.
VVeingartner’s literary t>'Orks, beginning
with the famous pamphlet ' Uber das Dlri*
gicren ' are largely concerned with
matters of performance and arlUtie inierpreta'
tion. His power of applying an intellectual
analysis to the processes of artistic intuition
gave him his commanding position among the
musical inierpieiers of his generation. Despite
die preoccupations of his busy executive life,
which included much musical editing, not*
ably of the collected edition of Dcrlioa, he
continued to compose and produced tvorks
on a large scale l^th for the stage and the
conccrt-room, such as the dramatic trilog>’
from Aeschylus on the one hand and sev'tn
symplionies for orchestra on the other. He
has been described as an eclectic among
composers, which means that a mind steeped
in the U'ork of all the great masters commands
too many tools for its own individual work.
\Veingartner's compositions have every virtue
comprised In the word " musicianship" and
sometimes rise to the distinction which lies
Ixyond technical accomplishment.
Wcingarinrr's exceedingly varied career as
a conductor is fully described in his book
* Buffets and Rewards ’ (1937). The Austrian
capital may be considered to have b e en the
centre of his work, though by no means hb
permanent home. He travelled widely not
only through Europe, but in the U.S.A. and
in South America, which he hrst vbiled in
1920. In England he was known only as a
symplionic conductor until the year t939.
when he conducted some of the \Vagner reper*
lory, including * Parsifal In London, at
Co\'cnt Garden. j. a. f.*h. d: m. c. c.
UrsL. — MsBiAK, Wit.KCLV & olhen. * FoOchrill r«r Fdii
Weingsttiiet * tOSS).
WziNOADiBra. FeLn, * Lcbff^inomiotvQ ’ ed.
1 990). Cnc. (rsn*. ’ Buffeu sad Revafds’ by
Mar(u«riic W'ollT iLeodoo. lOSSl*
CATALOGUE Of WORKS
OPBItAS
' Sabuniala * Oibrelto by cooirwser, b49vd m* KAltdaaB’t
<lMmA), n^. WeifTwr, 93 M«i. 1M4.
* Cermlus * (lib. by Hans Herrif). prod. Royal
0|xra, IS Nov. i6o«.
* Oroin *. uilegy (* AraB«nvwn * Du TotenepCrr ’,
' Die Cdoyoi (lib. by composer, based on
Aesebylus), prod. Leipais, 15 Feb- :90s.
Kaio uDd Abel ’ (lib. by composer), piod. DarriBiadl.
17 May (014.
* Kpbold ’ (lib. by composer, based on Caldera's
* La damj duohSe O.prcd. Darnutadi as Feb. 1916.
Die Dorlkhule * (lib. by compMer. basW oa
Japanese pUy 'Terakoya'), prod. Vieona, State
Opera. 13 May 1920.
* aieiuw Andrea * (lib. by composer, based 00 Eraanuel
_ Oeibefs play), rmd. Vienna, 13 May 1990.
* Der Aposut * (lib. by compoeer), not pM.
I.SCIDENTAL MUSIC
Op.
S ). CoeiKe's * Feust *. pu. i & ii ( ipoB).
y Shakespeare's * Tempeti ' (igiB).
CHORAL WORKS
pB. 3 Seofs Cot B-pari chorus & oreh,
i. Traumnachl.
9. Scurmbymnu*.
S 3 Chemsei tor men's votcci.
* Autrniehuftf ' Tor ehonu R onh.
B?. Symphony .No, 7. C ma.. wiih »olo voices & chorus.
ORCHESTRAL WORKS
7. .Serenade fbc sin.
90 . Symph. poem 'Kint Lear ' (after Shakespearel.
91. Svm^. poem * D*e Gefilde der Selif an * (after
BoetJin's ^ture).
*3. Symphoey No. i, C ma.
ap. Symphony No. e, ma.
49. Symphony No. 3, E ma.
i s. * LuMife Ouverture.*
I. Symphany No, «, F ma.
71. Symphoey No, a, C mi.
94. Sywiphonv No. 6. B ani.
yi StMie * U burU '.
E * An die Schweis '. (eatival music.
. Symph, poem * Fruhlinc *.
SOLO INSTRUMENTS AND ORCHESTRA
J ). Vn. Caneena.
». Cello Creveerso.
B 3 . * Sinibftieiia ' ibr vn., viola, rella It smalt oreh,
VOICE AND ORCHESTRA
77. ' An de« Schmert ' (Carmen Sluder). 4 seniU' ,
$8. ' Dev Weg * (Sluder}, 1 3 sonp for sopriiie and
banlooe.
CHAMBER MUSIC
a . String Quariei No. 1, D mi.
. Sirmg Quanct No. 8, F mi. . « «
33. Seatci (or • van., vida. cello, double baia R pft. E
34, Siring Quutci No. 3. F ma.
40. Siring Quinice. G ma.
w, Oumiei lor riar.. vn., vMla. eeUo 4 pf» C mi.
be. Siraag Quartci No. 4. D ma. . . ,.
73, Octet for elar,, horn, baraoon, t va., viola, cello
ft pf.
Bt. Suing Quaaiei No. 3, Eg na,
VIOLIN AND PIANOFORTE
4t. 9 Sonatas
1. D ma.
9. Fg mi.
SONGS
n. * HaaoM 9 s«*^
39. * Aui (rmea Weltm 4 Mnti.
VOCAL DUETS
$3. • Bhiceo aua dem Oiieo love duett foe loprana ft
Abo numrroMS teparaie songs, pft piee««
ARRANGEMENTS FOR ORCHESTRA
Bcelhovve. '* Hammerriavier ” SonaU, Op. lOft
BiMi. * VafiaUeoi ebrenauque .
Loe*<«. 9 Ballads
I. Der MohreoRirsa
WEINLIG
WEIS
245
Weber^ * AutTordtruag men T*d 2 *.
Abo by Haydn. Beotbovoo. Schubert old
llalLao 10099.
LITERARY NNORKS
' I Jit Lelue von <lcr W»e<fer<cbutt wnJ muubaliHi»r
Dranka.’
' Ober das Lhrirwrm.’
’ Die Sympbotuc oacb BeeU»oken.'
' Rauchlait (or Aulfubruofto klaswMher ^i»pho<iie*».’
And ulAen.
WEINL 10 > CbHstisn Ehrv^occ Ores'
Ucn. 30 Scpl. 1743; d. Dresden. 14 Mar.
1H13J.
Oennan organist and composer. He waa u
pu()il of Hoinilius ai the Krs'Uikchule of
l^re»<ien. Alter holding po^ls at Leip2ig,
'J'horn and Our Lady's Church at Omdsn,
he Aucceeded his old master as cantor oT the
Kreu/schule. He ssrolc music Tor a drama,
' |[ahsh\)rg» Meisiersangt'r *, perftsrmcd in
IVaKuc in Sept. 1791, and Tor a prohsftur,
' Krinna |>errorined at I.ci|>aiK on jo May
i79'a. He alto composed I’iLssion mude,
oraiorioit, cantaiav» etc., but only tonu* clavier
pieces and llute m>Ios were puldislMd ilurNiR
his life tune. <. , adds.
WEINLIG, CbrlatUa Tkeodor i 4 . Dres-
den, July 17U0: d. Lripclg. U Mar.
German orunnist and (iMn|>u«cr. neidsevs
of the pn’ceding. He vvus instructed lirst Us
his uncle and then by Martini at Bologna.
In 1H14-17 hr was cantor of the Kreu^schule
at Dresden and in lUas he succreded Schiiht
aa cantor of St. Thvnnas's School at laripcig,
wher<’ hr rrinairtrd ttll his death. He pul>*
lished a German Magnllicai for solo vokrs,
ckiorus an<l orchnira, some unging-rxercisrs
and wru1<> .x tn’atbr lA some value, '.\nlriiung
xiir Kiige fur deti Srll>siunt« rrKht* (rnd id..
lO.V^L Hut it IS as a teacher r>r theory and
as the mailer of Wagner for six tiionths in 1 830
that Ills name vs ill |>e remembered. NVagner
left his recollections of NVeinhgh ii at lima
on reconl in ts arils vshkh deserxe to Im*
(MMidered by all leathers of tltcvr>'.
1... ailds.
WEIS, FJcmmlfig (*. Copenhagen, 13 A|>r-
189a).
Danish com|>oser. He came of a family lltal
hud cultivated musk for several grneraciom,
and his home at Valby, a suburb of Coprn*
hagi n, was a meeting-place f<»r the musical
enthusiasts of the day. Hr began to compose
as a child, and in iqiC he matriculated from
school and entered the Royal Dajskh Con-
^rvatory, where lie took an organist's exanw
in at ion in ijyao- 'Ihcreaftcr he folloveed the
Danish tradition of the lime by going to
l.ciprig for further study. hU sub/ecis being
organ and composition. His earlier works
were inHucnced l»y the late German rcMnanlic
tradition, but he later came under the influmre
of the French school, and tete impressionism
and early nro-claasicisin greatly clarified bn
style. His writing to-day is structurally liasnl
on neoclassicuin, which also affects the linear
texture and the humour found In his music;
but certain harmonic and chromatic details
remain romantk, deriving probably from the
Danish romantk tradition and fn*m the influ-
ence of Carl .Nielsen.
U'eis is an active musical (liircn In the
executive sense as a member of the Ck>uncil of
Music, the Young Composers' Society and as
president of the 1 >anivh sec t ion of 1 hr I . S. N t .
T 1 »C Ibllnwing jrr an>ong hlx ninvi iiM|iMria/)i
workv:
(,H(»R.M. Ml M<.
‘ I !,« < lM,rui & ••r« l«.
>llt.\r Ml. xK.
Xymtiheiin tJvexiurr
Xymabwiv ,Sa. 1,
’ In •em^nri* \rrMh«/
V)|(> .ysii riRt ltl sIK \
* Inm-bHlKM ’ f«>t (if. a ><.v.
4.11 VMUI K MV VIC
^ atMNC (JtojrirSs.
1.4 Ikxe \n. A <rUi>
* iJiiminv Mu-H ‘ l«4 Itor, VII., \n*U & cella,
VrrMJttr A VjlidiHUiv Ar MMni *.lfl.
.VImi t«r Ml. «4<*. Mi. a |ri., lUi. ft |»f., iilxii'
a p4, . Smiw a VM1411114 kx |>(. • ktKiKv lo iJriiii^i.
4iHt <«ptm.ii» w<>r<l>.
IV < 1 .- 11 .
WEIS (Wei«ft), Karel t4. Pragur. 13 kVb.
idljj ; A. Prague, 4 .\|>r. 1944).
Ccech coiwlucior. (oinposer and folk-niuvic
ex|H’ri. Krocn 1 873 Ih* studied the horn and
viidin at (Im* Prague (ajnserv'.*)tory an<l in
he isassed on to the Sihool for Organists,
where hr worked with Skuhrrsky up to 1881.
{.ater he occupknl a variety ufiHjvtv in Prague,
taught at tise music u IumiI of Krom^fli ( ifm3*
JBH4) and worked as a coimIucIuc at the
National Theatre uf Urno (iB8G*87). He
also urKlcriiH>k w’veral tours with P. Onillifrk
as his aecoinpanjvi. Protn 1U88 h<> concen-
trated on his ailivity as a cuinpuwT. and his
further development was inllucnci’d in a dc-
cimr way hy his contact with D\of;ik. After
some early attempts in vniullvr forms hU
choral scene * Triumfator ' at tract erl consider-
able attention at Olomuuc (1GB9), In ilkjir
his first opera, ‘ Viola was producc'd and
received with appreciation In iVague, and in
IJOt the opera ‘ Dcr polmsche Jude ' became
a great success. Hr ncx 1 1 timed to I ight musk,
composing several (ierman opcjrilas. e.g.
' Die Dorfmvisikanten produced Prague, 1
Jan. 1905 *, ' Der RevIsor ’ (after Gogol,
1907), etc. In 1913 he lurm'd luick to Cm h
music with the opera ‘ Utok na nil^n ’ and
for his last w'ork of this kin<l * Li'ietlnsky kuvAf '
(i<^) he chose a popular patriotic theme.
He abo showed his unproblematic musician-
ship and technical versatility In numerous
compositions of other kinds. In hu advanced
, ' Tbe wibi«<( it IV s^mc as thal of Wriiilirre^r's
S«*w 4 a As Bacpiper
^V'EISBACri
246
age he did much for Czech folk mi^ic by his
large publication * Ceslt^ jih a Sumava v
lidov^ pisni * (‘ South Bohemia and the Bo-
hemian Forest jn Folbong 15 vob. (190B-
104 •)• The following are his principal com-
positions :
Op«ra ' Viola * {libretto by B. Adler. R. Subft and V.
Novohradikv. afier Sbakerpeaee s * T«eVth Ni(bi *).
3 oci«. prod. Prague. National Tbeaire. 17 Ja».
(Later tiller ' Oi« Zwillioce * in German
aiul ' BMenci ' TheTwiiu ‘\ ia Gwh.>
Opera *D*r polnixlir Jwje ’ (lib. by V. L««fi and
R Datka. after Erckmanit'Chairaan’s norel). • aeU
prod Pracue. German Theatre, s klar. ipor.
Opera * Uiek na mUn * (* The Attack on Ute kliU
(lib. bv R. fiaika attd eontpoaer. aRer Zola’s oove)).
3 acu, proil. Prague. National Theatre, to Mar.
>919.
Opera 'Uiriiruky kov 4 f * (’The Blacksmith of Ufetts’)
(lib. by L&da Norik, aA«r Svatopink Oeeh’tpoem).
Sae«, prod. Prafue. Naironal Theatre, d June 1900,
Gheral Kerto ’Ttiumratac* (Cseeb rerwoo oT A. F.
b(haek*( poenu (rMS),
Choral Ker»* ^ Pfattky * (‘ At the Spinnint *) fF. S.
Prochi eka).
hvmphony, C mi.
Symphonic poem ’Helios and .Selene
birinz Quartet.
Suite Tot vn. ft pf.
Pianoforie pieces.
SortKt ft purtsoncs.
PwlkjioMi arrangemeuia.
O. C.
WEISBACH» Hmnp (^. Glogpu, 19 July
t B85).
German conducior. He studied music al
the High School for Music in Berlin (wish
.\. Moser) and at the University. Hu career
(IS a conductor began in 1906 as a coach at the
Munich Opera under Felix Mottl. In 191 1 he
became conductor of the Ruhrscher G^ng-
vercin of Frankfort o/M. This waa followed
by conduelunhipA at Worms, VMesbaden.
Hagvn and Barmen. In 1936 he was ap*
pointed Cfnrra/mujikdirekt^ at DusmIcIo^,
where he directed concerts and opera, arid was
also the head of ihe Butz-Neltzel Conserva-
tory. In 1933 he removed to Leipzig 10
assume the musiral direction of the broad*
casting station, which he completely re-
organized.
In Great Britain Welsbach made his first
appearance in 193a, when he was responsible
for the first performance of ^Volfgang Graeser's
arrang(*men( of Bach’s ’Kumt der Fuge*. In
each of the folloiving six years he conducted
the London Symphony Orchestra in this work.
In Germany Welsbach made it his par-
ticular task to promote in understanding of
Anton Bruckner’s compositions. He has three
limes conducted the complete cycle of thu
Composer's symphonies, and has been awarded
the medal of the International Bruckner
Sociciy, K, o.
tV^lakcra, FrledrScb Wllh^fB. Sr* Basiimi ua 4
Dsilieiinr (bfuuri). Miisafi (' Suuen und BasiKim ’,
Sdvto (do.),
WCISMANN> Juliua (6. Freiburg i/B., 36
Dec. 1879; SIngen, aa Dec. 1950).
German composer. He was a pupal of
SrylTart, Rheinbcrger and Bussma^'cr at
Weiss (Amalie)
Munich, then of Herzogeaberg in Berlia and
finally, back at Munich, of ThuilJe. Inspired
by the romance of poetry and possessed of
a pronounced inclination towards absolute
music, be wrote music characterized by a
gracioudy subtle rhythm. But he was also
capable of large-scale construction and, in his
operas, of dramatic expression. The latter
are interesting also for their literary subjccu,
mainly deriv^ from Scandinavian sources,
and one from a play by Georg Bitchner
(1813-37), ‘fi* author of ‘ Woaseck Berg’s
opera on that play being produced later in the
same year than Weismann*s * Lconce und
Lena '.
The following are the most important
among >Veismann'$ very numerous works :
OP&ftAS
* Schwanroweiu * (ahcf Suiodberf't ' SvsnehvU ') ,
prod. Dui>burf, loas.
*Troum^«(«r (after Slrindberf'* ' Drdmsp«r), prod.
Ounbujf. 1993.
* Lconce uad Lena * (after Buchner's ptay), prod.
Frotbwrt i/t.. 9 i June loas.
’ Cwpci wwi ooaie ’ taller Struidberi’f ’ Spook Sonata
prod. MuBteh, 1930.
’ LandikneeMe ', prod. Emch, 1976.
* Die pftAce Mapd * (after Holberz), 1979.
ORCHESTRAL WORKS
Symphony, B mi.
90. Rondo.
SOLO INSTRUhlENT AND ORCHESTRA
3 }. Ff. CoMeno, B» nU.
30 . N'n. CooKvrso, D mi.
37. Vahaiioft* and Fufuo on art old ' Ave Maria * for pi.
97. Suite for pf.
CKAhtBCR kfUSlC
to. Siriof Quanci. F na.
td. Trio No. i Ibe «n., eelle ft pf., D cnl.
77. Trio No. 9 for vn., cello ft pf.
SOLO VIOLIN
30 . SonoU. D mL
VIOLIN AND PIANOFORTE
aft. Sonata No. r, F ma.
e Sonata No. t, F| mi.
Sonatina. A mi.
TWO PIANOFORTES
64. Variaiaem. A na.
Ahe rfaoraJ works, numerous pf. pieecs ft (onp*. ft^'
A. L.
WEISS (ictually ScbAenweiif), AmsUe
( 4 . Marburg, Styria, 10 May 1839 ; d. Berlin,
3 Feb. .898).
Austrian mezzo-soprano singer. She maac
her stage ddbut at Troppau in 1853, in tvM
was engaged at Hermannstadt and in the
mroe year appeared at the Karninertor
Theatre in Vienna, where she assumM
name by which she was known until her
marriage with Joachim. She was engaged
at the Opera at Hanover in 1862, and her
betrothal to Joachim, early in the following
year, was artistically celebrated by a remark-
able performanee of Cluck’s ' Orpheus , m
which she sang the title-pan. Joachim con*
ducting. Her famvcll of the stage took pUce
WEISS (Franz)
WEISS (W.
on 30 Kiay 1863, in the pari of Fidclio, and
on 10 June the tts'o artUu were married.
After her marriage she had a career of live
utmost brilliance and usefulness as a concert
singer and teacher, obtaining world' wide
fame as a singer of Schumann's songs and
laier on of ihose of Brahms.
The tragic misunderstandings v\hich re-
sulted in a scparaiion o( chc husband and wife
in 1884 may have been the cause of her not
visiting England afier her surressful appear-
ances iherc in 1870 and 1878. She tsvnt to
ihe U.S..V fur a short time al>out 1890 and
taught ihcre, hut never left (krmany as a
residence. She accepted the post of pressor
of singing in the KUndworih -Scharvenka
(:un>crvau>ry in Berlin. j. a. r.-u.
WEISS, Frtoa {fr. Aiuirian Silesia, 16 Jan.
1778; 6. Vienna, as Jan. 1830).
.Austrian vl(4nt and comp<ncr. He t%as
long a memlMT of the tcring'^uartei parts*
mainiainid l>y l*rince Ka^umwsky in Vienna
(fuundtxl in 1808;. Hy these dUlinguishrd
platen mou of Beethoven's quartets sserr
studied for ihe first time, Schuppansigh taking
l>ir finil violin, the prince hinisrlf clw second
and l.inke the rcllo. \VViHs was also a com*
poser of merit and jniMished, among uiher
ss’orki, * Variatoms Irrilhnte^ * fur violin and
orchestra. Op, 13 (Vienna, Artaria), Quartet
(Vienna. lUslmger, and OflenWh, Andre;,
ducts for llutrs and for violins, an<l pianoforic
sonatas. A Symphony of his fur flute, bassosm
and trumpet e^KttunU Mith orchestra was
played with great success hy the brothers
Aloi«, Joseph and Anton Khasll. n. r, r.
WEISS, Georglim (Aoaell) (liorn Bar-
rett) 'b. Gloucester, i8v$; 4 . Brighton, 6
N'oe. ilUki).
English soprano singer. She s«as the
daughter of a mujikian nf Gloucester, was a
pupil at the R.A.M. in London (i^2>45)
and first attracted notice at the Gloucester
Fistival of iftj4. On 13 Sept, 1845 she
marrie<l the bass W'illoughhy Hunter Weiss.
On 20 Dec. 1847 she made her first appearance
on the Ix^ndon stage at Drury Lane Theatre
as Queen Eliaalieth in Dalfe & * Maid of
Honour', and later she sang with her husband
at the iVince's and Covent Gardrn Theatres.
In 1II3G she sang at the Philharmonic in the
produciioR of Schumann s ' Paradise and
I he Pert '. Accoriling to Cborley. who was
not prejudiced in her favour, “she had the
honours of the rsmlng “ (' Athenaeum •).
She was married again, on 13 Feb. 187a, to
C. Davis of New Malden, Surrey. a. c.
WEISS, Sylviaa Leopold (fr. Breslau, i»
Oct. c686; d. Dresden, 15 Oct. 1730).
German lutenisi and composer. He was
Ihr eldest son of Johann Jacob Webs, an
rxcellent musician. luienHt and iheocbo
player, who taught him the lute. In 170$
247
he obtained hts first appointment a.t court
lutenisi at Dussiklorf. He w*cnt to Kojik* in
1708 in the retinue of the Polish Prince
.’Mcaander bobieski, and remained there until
the prince's death in 1714, In 1713 hr was at
the court of Hrssr-Cassel for a while, leaving
there lor Dusseldorf, Early in 1717 hr went to
Diesden on a visit ami cv< ittnally t<K»k a po'i
as lutenisi to the rlecior. He was one of .1
band of twelve of the b^t niusiciiins of the
court (including Pisendcl, Hchrnsireit and
/alcnka; sent to Vienna in Sept. 17 id; when
Handel visited Dresden in 1719, Weiss \\a«
there again. Ivarlv in 1 an enraged rrcneh
vitdiiiist Ikl Weisv’s right thumb, nrarl\
sesering the top joint, and it was not until lh«
end of the year (hat he uas able i<> play again
when visiting Munich. In 17^3 he played
w'iih Quants and Grann in Tux's opern
'Ooianue forlezra’ for the emperor’s corona*
lion as Kingofllohrtnia at Prague ; NN'ciss lunl
alreatly paid two visits to this ciiv !<c»mc y<’ais
rarlier. In 17^8 hr M irral month'' at
chr court of IkTlm. His r\'rr*inrr<*asing Ginr
Ird the elector to aiigrnein hu ‘alary uih-
siaiitially from time to limr, uiild in I7|| lir
was the higkle^l {laid instrurnenialht at iln*
I>rrulen court.
By many of his eonlrin|M)rarirs \N'ej‘s was
ronsiderrd 10 lie the finest lutriiist of all time.
Baron, the we 11* known lute cunnoissetir, s{>ok<’
with great admiraiion of his masterly tone and
technique (in his ireaiiw on the lute, published
in 1728). He was famous for hk abiiity ai
improvising, and he is supposeci 10 have com-
peted with J. S. Baeh, a personal friend, at
Dresden on one occasion. Nearly all his
compositions survive in rnamiscript only. A
complete list of sources, together with a re-
print of sia long scmaias fre.illy suiirA and
some shorter pieces Is to be ftnind in ' l)n>
Ikbc deutwlsef Musik', Reirhwlenkmalr. \'r.|,
Xn (' l-auienmudk dcs 17. ' lO. Jalirhurdm*:
Brunswick, 1939), g, n.
Bi»i, >'N>rw*\«<. 'VSirk-n wtvI tic
Menieftawi»iM«tpn SiUiw« Wem uml
winpr *, A.M.W., IN' dOiOJ.
WEISS, Willoughby Hunter (^. I.bt'r-
pool, 3 Apr. i8ao; / l.ondon, ^4 Oet. tflfi?).
English bass singer. He was the son of
NVilloughby Gaspa^ \Veiss, profc'ssor of the
flute and music publisher. He learnt singing
from Sir George Smart and Balfr. and on 5
May 1643 made his first a])pca ranee in public
al a concert of his own at Liverpool. H<* next
sang in London at ihe concerts of Balfe, Thal-
berg, etc., and then jenned the farewell tour of
Adelaide Kemble and made a suceewful debut
on the stage at Dublin on 3 July as Oroveso
in • .Vorma '. On 36 Dec, he made his first
Lood<« appearance in opera at tlie Prince'x
Theatre as the Count in an English version of
* Sonnambula
248
\^'EISSBERC
WEISSMANK
VVeiv established a reputation both as an
operatic and concert singer. In the former
capacity he sang in the various English opera-
tic enterprises of Bunn, Maddox, Jullien,
Pyne and Harrison, and the English Opera
Company, Ltd., and in various operas by
Auber, Balfe, Benedict, Hatton, Macfarren,
etc. Bui he was best in oratorio, in which his
rich voice and music ianly feeling showed lo
advantage. He made his hrsi appearance in
oratorio In 1^4 at the Gloucester Festival,
and was continually engaged at the London
oratorio concerts and provincial festivals until
dose upon his death. Weiss also composed
tongs and ballads, of which ' The VilL^e
Blacksmith * became very popular. He also
arranged a pianoforte edition of VN'eber's Mass
in G major. On 15 Sept. 1B45 he married
the soprano Georgina Barrett.
A. c.
WEISS8BRG, Julia Lazarevna Oren-
burg, 23 Dec. 187!!^
Russian composer. She was educated at
ihr St. Petersburg Conservatory, studying
harmony under Krlshanovsky and composi-
tion under Rimsky* Korsakov and Glazunov.
Having taken an active part In the 1905
demonstration against Bernard, the director
of this institution, and the Russian Mu^ic
Society, which exercised control over it. she
was expelled. She spent the years I907>i2
in Oerinany, aBrr which she settled In
St. Petersburg, where she married Andrcy
Rimxk y* Korsakov.
Her earliest compositions ineludc songs —
notably the sets ‘ Rauiendelcin ' (Op. 3), with
orchestral accompaniment, texts from Ger-
hart Hauptmann's play ‘ The Sunken Bell *,
and 'Chinese Songs' (Op. 7) — but consist
chiefly of symphonic music: Symphony
(Op. 4), Fantasy (Op. 6), ionc*poem ‘ In the
Night' (Op, 10), Ballad (Op- 12), ‘A Talc’
(Op. 13). Later her interest came to centre
in vocal and dramatic music. She has a Anc
sense of lyrical expression, and a strong strain
of exoticism (due in the hrst place to memories
of her youth at Orenburg, at the time a semi*
Asiatic town) is noticeable in many of her
works, especially the bright and picturesque
opera ' Gulnara ' (Op. 39, 1936! on a suli^t
from the ’ Arabian Nights ^ SIm c<Mnpc«cd a
large quantity of music for children — operas,
songs and parlsongs; a cantata, * Thr
Twelve in memory of Kirov’s death, and
arrangements of folksongs with accompani-
ments for various instrumental combinations.
M. D. c.
Cbrivriu F«Ua. Sr4 (a. * Fjpdrt
kind’). Hrttf) <1. W.. ’Richard 111*, mid. m.).
Hi1kr <J. A., la libs,). X/wfet (a, ««q|s). Mocan
(4 songs).
WEISSENBURG. Heins (Halas).
Albicastro.
WEISSENSEE, Fsdedricit ( 5 . Schwer-
sledl, Thuringia, c. 1560 ; d. Alimweddingcn,
1622).
German composer. He was rector of the
Latin college at Gebesee e. 1590 and at
Magdeburg town school in 1596. About
1601-2 he became pastor at AJtenwcddingen.
He is one oS the bot German masters of his
time and a disciple of the great Venetians.
He wrote a large number of motets.
£. V. d. s.
WEISSHAN (Wiaaheim). Abraham
(*, >; d. ?).
German i6lh-i7th-ccnlury Jutenist and
composer. He was at first at the court of Duke
Frederic the Grimmensiein near Gotha,
In a letter of 9 Apr. 1 368 the Elector Augustus
of Saxony asks for his transference to his
court at Dresden, where he still \vas in Aug.
ifirr. He wrote * Silvac musicalis Ubri VII
preludes, fantasies, ballets, etc. (Cologne, 1603).
a. v. d. s.
WEISSMANN, Adolf (L Rosenberg,
Silesia, 15 Aug. 1873 ; d. Haifa, 23 Apr. 1929).
German music critic and author, He
studied in Czechoslovakia, Germany, Austria
and Switzerland. I .a ter he settled in Berlin,
where he became music critic to several
nevi^pers and a contributor to various
periodicals. He died in PaJestlne during a
lecture tour. He published a number of
books distinguished by lively writing and a
good deal of originality in outlook, if some*
times a liiUe fiashy In manner. They include
studies of Chopin, Bizet. Verdi and Puccini,
the prima donna and the conductor, the
history cd* music in Berlin, modem musical
life, etc. Two were translated into English:
' The Problems of Modem Music ’ (London,
1925} and 'Die Entgoitcrung der Musik '
<1936) as * Music Come to Earth ' (London,
[930). E. a.
WEISSMANN, John (orig. JAoos) S.
(Schiilzer) (k. Budapest, jo July 1910).
British musicologist, conductor and com-
poser of Hungarian birth. He was educated
at a State secondary Khool (1919-2$) and,
In spite of parental opposiuon, studied music
at (he National Conservatory of Budapest in
i92B*-3«. He organized a musical debating
society among the students and perfom^cw
of numerous modem works not previously
heard in Hungary. For a short time he aci^
as coach at the Royal Opera House m
1932 and then at the Municipal Theatre m
1932-34, where he became assisunt
jn 1935, a post he retained until he lett
Hungary in 1937, having already spent some
time in Paris in i 934 -$ 5 « Settling in London,
be made further studies at the R.A.M. beewem
t037 and 1940, attending Sir Henry W^s
conducting classes and obtaining the Manns
Prize for conducting in 193®-
WEIST-HILL
^Vl:LCKI•:R
time he was a student at London Univenir)*.
He was editor for some months of * London
Musical Events * from its beginning, kettle*
drum player in various I<oodon orchestras
and instructor at L.C.C. evening classes in
1 050-51. During the second world war he did
national scr>’iee as a laboratory assistant in the
bacteriological department ol'a post-graduate
hospital.
^Vcisslnann rensiced Budapest in 1948,
after an absent e of some eles'en )ears an<l
gave some bruatJtasc talks on Englisit music
I he re. He found that his tsritings on Bart<**k
and other Hungarian composers had been
mucli appreciated an<l was more or less
vaguely promised some excel lent appoint ments.
Hut he had already sulfered unfair treat inrnt
an<{ preft rred to slay in Ivngland,
His con)$xrtiti<in«, all in manusrript, he
regards as uniinporlanl, but they imhule
some sizable tsDrlcs. surli as two nw'teu, two
siring cjuartei movements, a Doo U>r two
violins, a Sonata for unatroitipanicd visJa, a
higtic for organ, two s<,ng eyries and wmie
pianolonr piece*. His wrilings on llariok
appeared in • Keynote * (iO|bj, M. Rev.
Halle * ^1048).' ThrLisiener ’ 11048!
and ‘ Tempo’ ( :94‘i-5o>. This last paj>er also
pti I A ishf <1 St ud iei ol K fnlal y l>y hi m ( 1 q 50 • 5 1 ) .
and he has written essay's on IVirassi^ Sri I ter,
Harstlnyi, on tncKlern Hungarian and Italian
mode In general, etc. r a.
WCIST-HILL, Tbomaa Heory <k.
London, 8 Jan. 18^3; d. I^.ndon, ah Der.
I.nglivh violinist, comlurtor and teaclier.
Me uav taught violin plaving by Sainton a I
the K.A.M. in ]^>ndon and in 1845 wav
eUrterl King’s Scholar. He lirsl apf>eared at
an Academy Concert In and subse-
quently went to .\mefica, where he iniroduerd
M<'ndeKsohn‘v vii)|jn (kmcerto. Me afier-
wardv unejertook a prtdessional tour in
Lurope an<l in lB4<> l>rcame a tnemlxr of
(Jiwta’s orchestra at the Royal Italian Opera
and ehe where. In 1871 he followed hiv old
conductor to Drury l.anr I'heaire. where he
filled the post of director of the ballet music,
and then to Her Majesty’s Tlieatre till ifi?*).*
In 11174-76 he was conductor at the Alexandra
Palace and displayed great energy in that
<b*parlment, giving ik'rf«»rma nres nf Handers
‘ Ivvther ’ and • Susanna (lade's * Spring
Fantasy com|tositions liy llerlios, Bizet,
Mawnet, Saini-Saens, etc. British composers
were invited by the Alexandra Palace Com-
pany to compete for the composition of the
two l>e%i symphonls's. and the prices were
awarded to F. W.^avenport and C. \'. Stan-
ford by Joachim and C- A. Macfarren as
Judges.
* lev J B7B Ivr wu *1 I In Hinwr
tiiion orbnz1i«h open.
Ift 1878-7^ \Vrist-HIII was conductor of
Mmc N’iard* Louis's orchi'siral concerts and
gained much r<*puiauun for himself and Ids
orchestra during the short life of the unrler-
taking. In 1880 he was appoinird Principal
of the G.S.M, L’ndcr his energetic direction
the numlirr of pupils rose let upwards ol
^500.
Two tons of Wrist -Hill, Ferdinand, o
v'iolinitt, pupil at il»e Rrus^Js Conservatoire,
and Thomas, a ccllbi. scholar at the R.C .M.,
wvn success in I^ndon. Thecrliic Ualph Mill
was his grandson a, v;.
WETTZMANN, Karl Friedrich >T, |l(*r)iii,
10 Aug. 180U; W, Ib rhri, 7 Nov, iKdok.
(ieriuan writer on music and composer.
He wav a pupil of Hrnmng Klein, fi^xihr and
Hauptmann. He rose by various j>osis and
lalarurs, till tn 184A he <’vtablisli<*<l himself as a
teacher aiul writer in Berlin, where he tivrri
till his death. Ihrce ojXTas, ' K.iuhcrlichr
* NValpurgUnaclit ’ and ' l^irlvrcr iiiul Uetle]-
sub', wvre perfornwd at Reval. He pub*
lislisd a volume of ilhxi preUidrs ,iml rmHkda*
iHmv. His liter, iry works jtiilode 'Ihr
ul>rr»iassige Drejklang' ti8;>3L ’Dor ver*
minslerle SeiHitiv narionl * and ' (ieschirlite
cU*s -Sq« j menas t or< K ’ ' J 8,*> 4 ! » ' ( icsch lel 1 u
ties griec hiss hen Mvidk ’ MU;, 5;. •(ickclnchlc
der Harmonic’ (iBpji; * HartiKmimMem ’
f 1 8G0 1 , • Dm* nene Harnioniclrhrc *.* (Irsclilr hit*
des Klaviers|Hi|s . . .’ ’Der Iriztc tier
Virtuosen • u8<»8,. A pupil, K. M, Bowman,
published In 1H77 in New York a work
entitled • C. F. Weurmann’s Manual nf
Musical Tlnwy Hi* contfilmicd tiu* fourth
variation, in camrn. to Liszt’s ‘ 'I'mltcnianr
<1.
WELCH, John <Baeofi) ik. Nortlianipion,
jG Dec, t83<K Umdon. 1 July iJUl7),
English singing-rnastir. He Ik'gan hiv
musical eslucatiori in London ami in i8l>i
Went to Milart to study for thrsc years under
Nava. Lliimalrly In s<*uI<h 1 in London,
where he had a large nu miser of private
pupiN and was prufs*ssor s>f singing at the
O-S.M. Among his most successful pupils
were Anna NVilliains, Miss A, Marriott, Miss
Jiantley iHon. Mrs, R, Lyttelton), H. Hluwer,
BfMJson, Brereton and H, J*j<>rcy, o.
WELCKER. English family of music pub-
lishers, printers and music sellers working in
London,
(f) Peter WeUker ri. ?: rf. l^nrlon,
» 775 )- He was the first to be established, and
bts ihqi wai in (;rfrdrd -Street, St, Anne’s,
•Soho, afu*rw*ards No. t;. He had vet up
iHisinew by 1762 and published much of the
instrumental music of the day.
Mary Welcker (k. ?; J. London,
•778). wife of the preceding, who left her to
continue the business at his death in 1775
which she did uniil j 778, when it was acquired
2 50 WELCK ER V. G ONTERSHAUSEEN
WELDON (Georgina)
by her son-in-Uw, Jam« B]undell> of iiO Si.
Marlin's Lane.
(3) John Welcitar {h. P; d. ?)^ son o( ihe
preceding. Leaving hb mother's business,
probably under the management of his
brolher*in*iaw James Blundell, he set up in
1775 as music seller and publisher at 9 (aAer'
wards 10) Haymariiet, where he remained
until July 1780, when he became bankrupt
and the premises were taken os'cr by Blundell.
M’elcker began business again in Aug. 1760
at 80 Haymarkrt (four doors below the opera-
house), but at the end of 1784 he removed
to 18 Coventry Street, where he continued
business for a year or so.
Besides the class of music which came from
the GerrarO Street house. John Weicker issued
the opera dances and ballets performed at the
Haymarket Theatre. He also reissued, with
an added volume, *Clio and Euterpe', about
1778,
As the imprinu of the Weicker publications
frequently give merely the surname, it is some*
times difficult to place their period of issue.
r. K., adds. w. c. s.
WELCKER VON GONTERSHAUSEN,
Heinrich {b. GoniershauKn, Grand Duchy
of Hcssc-Darmstadi, iBii ; d. Gonienhausen.
15 June 1873).
German pianoforte maker and writer on
the construciion and history of musical
insirumenu, particularly the pianoforte. He
was appointed maker to the Grand Duke of
Hesse at Darmstadt and published the follow-
ing works ;
* I>rr F]iikI Oder DftchsflrnHtit ?f«nm in sllen
Fnnn«n. F.iiie umra«««rKlc i>«fftirilun€ Orr Pnrtc*
Pian^Hsukunii vom Enuichen Om tu den MuettMt
V«rhcw(niA«rrt mit ifirckiWr Hrftw«m*nc
die rsdonrlk IVs«i« fur BcttbeiiuA( und Zgsaot*
ntenKlsum drr SWhsniMMn. new gni n dl KW
Anweitunjt tur Ini^Airunc, Stimmufis, find
Siilenb«cnrwunK. Mil 7 S Zriehnunftn. Fvnnk*
lurt am Main, if S 3 (nru« ve«mehri« Auiesbe.
t6i6h'
' Die mkUikaliwhen Tonweekaewee m leennawnen
Zei<hAMntM tiler Stiien*. Slav, $cMaa>, und
Priciion**riu*rum*nu, mil »ae<>et)«r Besekwetbunc
ihre> ^m«s. Temymtanfv. und laailieher Anctbe
ihrei fchsndlunt und Erhallwe>c. Ntd ifo Aiibil.
dunmn. F'tAhfufl am Main, (kss.*
* Ikr Raieeber fur Ankaul*. Bchandlune vnd Crhaliunc
rmnofotw <tBs7).'
‘ Der Qavieibau in Miner Tbeocie. Teeitmk und
Cexhkhte, unier Hmweminit seine* BetMhoncen
9u dert Geteicen der AkuMik. MU ai AbMdi*ri«ea.
Frthkrun am Mam <«ier(e mit einem Nachiraa
vermehrtr Auafabe. 1670).*
* Uber dm Bau der Saiienimtrumcnte uod deren
Akuslik, r>rbft CbenUbi der En0lchwn« imkI
Verbrurruni dei Orael. Em Ar>han« nm Clavier*
l>au in Miner TNeerie. Teehnik und CeerlwchM.
Frankfurt am Main. 1676.’
These very meritorious works bear witness
10 Wcickcr's great industry. They are not,
however, to be alwa>'s accepted as authorities,
and a comparison of the fourth with the first
shows that the earlier works, for which he had
presumably his note-books at hand, are more
trustworthy than the later ones. a. j. h.
WELCOhS-SONGS. Odes for solo voices,
chorus and orchestra by Purcell written for
the return to London of the king (Charles II
and later James 11 } on various occasions.
One, dated (682, is by way of exception
addressed to James before his accession, when
he was Duke of York. The others date from
1680, j6Si, 1662, 1663, 1684 (for Charles),
1685, 1686 and 1687 (for James).
WELDER, Philippe van. Stf Wilder.
WELDON, George (L Chichester, 1908).
English conductor. He was educat^ at
Sheri»me School and studied music at (he
R.C,M. in London. He gained much pracli*
cal experience in conducting at Newbury and
Tunbridge Wells, where he had excellent semi-
professional orchestras at his disposal and was
able (o accumulate a comprehensive repertory
of standard works. When a successor to
Leslie He ward had to be found is conductor
and musical director of the Cicy of Birmingham
Orchestra (now C.B. Symphony Orchestra)
in 1943, WHdon at once made his mark as a
brilliant candidate and secured the appoint*
ment without difficulty. Empowered to re-
constitute (he orchestra to a great extent, he
maintained iu quality remarkably well. He
excels particularly in Brahms and Elgar, and
makes great effect with Tchaikovsky, but has
been criticised for being rather too ready to
respond to the excessive popular demand for
this last composer, as also for showing Hide
interest in m^em music and next to none in
presenting the most representative works
of the more adventurous new composers of
various nationalities. It was, however, diffi*
cult to tell whether he was obeying his own
taste or the behest of a committee whose
business it is not only to give orchestral con*
certs in Birmingham, but to make them, as
far as possible, financially successful. At any
rate, in 1951 he leR Birmingitam, to be
succeeded by Geoige Sehwarx from ^me-
mouth, and decided, at least for a time, to
devote himself to free*Jance work. But in
1952 he accepted the post of second conducior
of the Halle Orchestra at Manchester.
\Veldon had already done a good deal of
conducting outside Birmingham, appeanng
occasionally with the great orch«tras m
London, broadcasting and recording, and
making a special reputation for himself as a
qukk-witted deputy conductor in an emer
gcncy, showing himself remarkably apt at
giving a good performance at very short
notice. He has abo appeared with
abroad, in Belgium, Gemuny, North Africa,
etc
WELDON, Oeorgina (L London, 24 May
1837; d. Brighton, 1 1 Jan .*1914) • ^
English soprano singer and composer, ntr
maiden name was Thomas, which was ait^
wards changed to Trchcme. On 21 Apr, 1 Wh>
WELDON (Jotin)
WELITSCH
25'
she married Captain Weldon, the i8th
Hussars. For many years she was knovii) in
society as the possessor of a lovely s’oice and
she afterwards adopted music as a proTessioA
on chariiabte grounds , making her first appear*
ance in public in 1870. Site undertook a lour
in \N'alcs with her pupil, 0^xendoline Jones,
and became a member of Leslie's choir, in
which she sang the solo in Mendelssohn's
'Hear my prayer' on 9 Mar. 1671. She
afierwards sang at the Popular Concerts, the
Cr)sial Palace, the I'hilhannonir and else*
where. In 1$7U she took tite solo soprano part
in Gounod's ' Gallia ’ at N*o4re*Uan>e. tin*
Op6ra*C!omic|ue un<i the Ctonser>*iioire in
Paris. Her romantic friendship with Gounod
is well knowi), ^hrr assisted in training his
choir in l^ndon and established an orphanage
at her residence, in nrder to give musical
insiruciiun tu {>oor children, sxith olijeets and
on principles whirh she fully described in a
letter to the * Mcnesirel*. and with a <val ami
cnerfiy rarely ecjualletl. Slie also puhlished
songs by Gounocl and other conijNm’rs in ahl
of her orphanage, among which was CLay’i
IKipular se tting of ‘ The bands o' iVe She
also eutnposeJ songs transUinl from die
French by herself, such as * (^hosrv <lu soir\
' I.e Chant du passereau \ ‘ Lt Petit gar^on
<’t k nid du rouge*gorgr ' ; ului "llie Brook*
(iwclry by Tenn>son), etc. In 1H79 she sang
at Kivierc’s Promenade Cksneeris, with a
women's rlioir trained and directed by herself.
This gave rise to a protracted law'suit. which
wa.< a matter of cnnxi<|erable notoriety. Her
laxl profiAxioflal <’ngafrinrnt was at a popular
niusir'IialMn A.t*.
WELDON, Joko (1. Chichester, 19 Jan.
iO?h; il, J^ndon, 7 May 1796).
English organist and compote/. He was
i‘<iu<'aled at Eton (Allege, and while there he
sliidietl music under the college organist, John
Walton. He aflerwards became a pupil of
Henry Purrrll. In i(>94 he was appointed
organist of New Ddlcfe, Chiford. In 1700 he
gained the first of four priaes offered ^ the
best musical setting of Congreve's masque
'The Judgment of Paris’, the others being
awarded to John F.Lrles, Daniel Purtell and
Codfrey Finger- \Veldon'8 musk was ntA
printed', with the vaception of Juno’s song,
*' 1^1 ambition fire thy miitd ”, the air of
which was adapted by Arne to the opening
duct of* I.<Mc in a Village '.
On 6 June 1701 \Veldon was ssvorn in as a
Gentleman of the Chapel Royal, and in 1702
!»• resigned his appointment at New CoJlege-
Oii the death of Blow i n 1 708 he was appointed
his successor as neganisi of the Chapel Royal,
and on 8 Aug. 1 7 1 upon the establishment of
a second composer’s place there, he was sworn
I I esiani in itis 'Rev
JolMi verier , -tm Ch>'» mJt.. »|>t,cdn b, lie hM.
into it. He was also organist of St. Bride's
Oiuixh, Fleet Street, and in 1 726 he was
appouiied 10 the same office at .St. Mariin's-tn*
ih^Pields. He was buried in the ciiurchyard
of St. Paul's, Covent Carden.
Weldon's principal compositions are for the
church : he published, under the title of
* Divine Harmony 6 solo anthems composed
for Richard Elibrd ; other anthems are
printed in the collections of Boyce, Arnold and
Page, and many are still m manual ript in the
books of the (Chapel Royal and some of the
cathedrals. *1he two anthems printed by
Boyee, ‘ In 'Hire, O la>rd ' and ’ Hear my
cry ing are admirabJ<* c<>m{>o>iiions, com*
Inning pure melody, fuw Itannony and just
expression.
WeldoM publolied 3 b<M>ks tif songs, and
many otlier tongs are contained in the rol*
lections of the period. song of his, ‘ From
grave h-soms ', U printed in Hawkins's History.
Ilesido the mastjue alirady inenlioneJ he
wrote songs for llte following plays :
’ (kphriiJ 4u»d l.wndiic'. dll uAHlr/infiisI ii
pwUnIwd ITsOJ.
* Sh« axMi’fl dtnj she not, or I hr Kirul lii,|iMl«ir
(«MMds Ia iwBrs (dUbrr
'Lose betras’d. vt *1 lie Air«rrihk t>iS4pf>iMiUjwn( \
<owwdy hy ISwolo IToji.
* kfiusn’i HapiNfKM iutprli.Klr, icki b>
Motwii* t«iUi l.rsetHl<r, I'otJ.
* Irrne. w 7)w Fair toerk ifivcdv Li (iorinr 1 17«6 ,
<Hi die wi>w*hf«i Ok pl.i> 0 callcii * ilie haii
biifiKtunaic '}.
'I>tere Is a jiorirAit of NNcldon aiming the
Music School porirail« in (hr Bodleian
Library, Oxford. tv. ir. 11.. adds. a. l.
St4 til* la«k* naiali.j, 1 incpr '<ul(jt».).
wnt •/ Kaci« itw imcr
L 8. C. Wr iK'hut ' ' N>aliiiii|tal<> *, iwiig),
r MaFkC *
WELITSCH, Ljuba ff. Borlssovo, lu July
1913..
Bulgarian viprano singer. She showed
remarkable musical gtfu, imlgding a sense of
alisolutc piieh, in early rhildlutod, Having
taken up else violin at first, she began tu
det elop her vocal talent for herself at the agr
of sixteen and had nu systemaiic lessons in
singing until site became a student of philo*
sophy and theology at the University of Sofia,
where she soon became solo soprano at the
Alexander .Nevsky Cathedral. In 1931 she
became a pupil of Tht'O Lierhaminrr at the
Musical Academy in Vienna, and in 1936,
when she had completed her studies, she
was engaged by the Opera at Gra/. From
1941 she was by turns at Hamburg, Dresden
and Munich, at else same time appearing as
guest arcUt at Belgrade, Sofia and Virtma. In
*946 she was engaged by the Vienna State
Opera and appeared at the Sal /.burg F«tival,
being about that time appointed A'ammfr^
in 1947 John Barbirolli Invited Imt
to England to sing in Ih vilKiven’x itimh Syin-
25 *
\VELL-T£MPERED CLAVIER
phony and Verdi’s Requiem under hb direc*
lion, and in Sept, of the same year she was
in London, appearing at Govern Garden as
Donna Anna and Salome with the Vienna
Slate Opera. Other imporunc paru of hers
are Aida, Desdemona, Mimi, Eutterl^Y, Tosca,
Manon Lescaut (Puccini), Nedda, Malenka
Bartered Bride Lisa (Tchaikovsky’s
' Queen of Spades ’) and JenuJa (Jani^ek).
AJ though a temperamental dramatic singer by
nature, she u also an excellent interpreter of
songs by Schumann, Strauss, Josef Marx and
others, and she sings in German, English,
Italian, Russian, Bulgarian and Serbian. In
1948-50 she look part in the seasons of opera in
English at Coveni Carden. h. n.
WELL-TEMPERED CLAVIER, THE.
Bach’s 48 Preludes and Fugues entitled * Das
wohllemperirte Clavier \ published in two
parts, each containing tsvency-four preludes
and twenty-four fugues. The Arst part was
completed at Cothen In 1722 when Baeh was
in hK thirty-eighth year, and to (his alone he
gave the above name. Subsequently (1744)
he finished twenty* four more preludes and
fugues " through all the major and minor
keys”; and so like in design (o the former
serict are these that they have come to be
regarded as the second part, the entire collec-
tion being now universally krsown under the
one title.
His own full title, very like that of an earlier
work on .similar lines by Bernhard Christian
WVbcr, is as follows :
|)«s wnhl irmpetirtr Olasier o«lc* gnd Am
ilunh all? 7 **» und j ww rt wia >o maim m oda?
tU Ri Ml aiilansfrvil, ah aiKh U/ltan aHMf/at adrr Re A4i
Re brirerTefvrl. /um NuUan und Gabrauth dat l.aha»
Itaciariean Mvtifs/iKhan jutand ah auah darat in dia s am
.Vni^ra Khun hihl Kvandan baaondarn V'atsraib
aufiavuai unU krrtrniert sen MmiMnafta* 9 erb p. t.
Hechruntl. Anhah. GuihrniKnan CaefN*Mah(am und
Difteitft daaar Caminar*AfaufiKa. Amtt 179s.*
It was Bach’s Intention by this work to test
the system of equal temperament in tuning.
To this end he furnishes a prelude and fugue in
each key, the keys following one another not
according to their relationship, but simply in
the order of chromatic ascent, one only of
two possible enharmonic keys being used
in the extreme sharp and flat tonalities (t.g.
Ff major, not G9 major ; Eb minor, not Df
minor).
A cred I blc tradlt Ion says that most of the Arst
part was written rapidly, in a |dace where
Bach had no regular musical occupation, and
where he was deprived of any musical instru-
’ * I'h? W^K'Kmperrd CIavi«r. or preKido mmI ItHraa
III all die tOairs and (cmitonrs. both widi the fiu|or third
or Gt, Ke, M> and with th« minor ihini or Rr, Mi,
For (he lue and practice of yovni muSKiaea who d^re
10 ham. as well os for ihc»« who are alreadv afalkd in
iJ\ia study, by way wf smuse'nmt ; made SAd composed
by Johann bebasdan Dach. Kapdimcisler for the isnr
beiiif; to the Grand Duke oT Anhslt-Colhm and darector
ofhisrhamber*musie. 179a,'
mest probably when accompanying his
prince. This traction is supported by G^ber,
whose father, Heinrich Gerber, was a pupil of
Bach’s at Leipzig soon after 1722. Forkel, how-
ever, who probably possessed some general in-
fernal ion on (he subject from Bach’s sons, says
that earlier compositions were used in com-
piling the first part. Many of the preludes had
certairdy already appeared as independent
compositi^. In re-writing these Bach often
considerably lengthened them, the one In Cf
major to the extent of nearly forty bars.
Eleven of (hem were given in a short form in
the * Clavierbuchlein ’ ((720), written for his
son FrIedemann. When us^ for the later
wexk they were, however, more fully devel-
oped, especially (hose in G major, C minor,
D minor and E minor. The A minor fugue,
too, is without doubt an earlier composition.
Spitta says it belongs to 1 707 or 1 708. It is an
open copy of one in the same key by Buxte-
hude, and judging from the pedal at its con-
clusion, it was not at fust intended for the
clavier. Perhaps it Is therefore somewhat out
of keeping with the rest of the work — written
so manifesOy for this instrument ; witness for
imianee the beginning of the t6ih bar of (he
Eb minor fugue, where the upper part stops
short on Ob. evidently because Db was not
available on moat stringed keyboard instru-
ments. Again, in the 30ih bar of the A mijor
fugue it is apparent that the imiutlon in the
right hand is accommodated to a limited key-
burd. In the second part of the work Db
(Gf) abo>« the line occurs but twice in the
25th bar of the fugue in Cf, and In the 68th
bar of the prelude in Ab. In compiling this,
Bach ^ain availed himself of earlier com-
positions, though not to such an extent m in
(he first part. The (xxlude in C major is given,
however, as a piece of 17 bars’ length in a
• Clavkrbuch ' of J. P. Kellner, with the date
“ sJull 1726 The fugue in Cl major exists
also in C major, and the prelude in D
exists in another version (serB.-O., XXXVI,
224-26). The fugue in C msjor had twice
before been asaociated with other preludes (set
B.-G., XXXVI. 114 ff- and 220). The Ab
inajc* fugue first stood in F ; it was shorter by
more than one half, and it had another prelude
(ser B.-G., XXXVI, t [3). Other instances of a
rimiiar kind could be adduced.
Notwithstanding the many revisions
Bach
made of the first part, there is perhaps, as Carl
von Bruyck says ('Technische und asihetuene
Analysen *, p- 68), on the whole a richer a^
broader dispUy of conirapunul art m tnc
fugues of the second part. (Set also Parry s
•Johann Sebastian Bach chap, xo*.)
The three oldest printed editions appeared
in 1800-1. One was issued by Na^h o1
Zurkh, another by Simiock of Bonn and Far^
and the third by Kiihnel (now Peters) oi
WELL-TEMPERED CLAVIER
WELLESZ
^53
Leipzig. The lirst was dedicated co the Paris
CoDscrt'aloire de Musique» the matter being
supplied by Sehwencke. In it the secortd pan
is placed first ; many of the older readings arc
given, and it has the long versions of the pre*
iudes which most editions since have copied.
'Ihe third was revised by Forbel, and il is tu
that he refers in his well* known treatise. The
first English edition was that edited by S.
Wesley and C. Horn, and publUlicd 18(0-13.'
The XIV (1863), by Franz KroJI, wth
an appendix of various readings, was issued
without reference to the British Muwum autev
graph of l*art II {stt below;. Its readings wrre
incorporated in a subn'quent ^otulnc of the
U.*G. edition, XLV (i), which also contains
the readings of the Zurich autograph.
Editurs have tiot been slow in make altera*
tions in Bach's tcxi. One i»f the moat glariiui
of iliesr K the bar inlrodiiced by Sehwencke in
the middle of the first prelude.' Yet thh bar
has been rcialmd by (^<tcrny, by Wedey and
Horn, and liy many irtlters. It is even uwd by
Gounod In hU * Meditation *.
Of the first part three autographs are
knriwn ; one fortnerly lielonging to NagcH,
now at Zurich, another ft>rRierlv iVofessor
\N'ageticr's, now ut Brussels, and a third in the
State l.ibrary at Bc'Hiri.* Of the second part
hi) ( omplele autograph is kru»wn to exist. *1 lie
Hutlteniiciiy of the aut«>grap 1 u of certain
iiumliers in the Berlin Slate ^formerly Ko^al;
library is examined by A. IXirnrl in die
prcTarr in B.-f*., Xl.V. Fi>r many years there
remained in t'omparatise oliscurity original
uulograpks, now in the British Museum, of
iK Afly all * the preludes and fugues nf the
second part. They were bought at Cleinenu's
sale by S^mett. During one of MeiHJcbo*hn*s
visits tu l.nglaiid {June ilkja) Lmctt slwwed
them to him. and hr at once retugnDed ilwni
as iK’ing in B.kU*s handwriting.^ l.airr on,
In or about tU55, Sicrndulc Bennett saw them
and lie t<Hi pronounced them to be In the hand*
writing of Bach. From Erne it’s daughter they
pawed 10 F.ll^a Wesley, who bequeatlird them
to the British Museum.
r. w. ; adds. j. a. r.*M. ; rev. h. c. c.
Tiru. Awt> M».on «. -h must be made
(|uile clear that the original tide * l)aa wohl*
leiMpcrirte Llasier' slicnild never have been
trari'laicd as ‘ The >Vcll*iempered Cllavi-
chorri '. That instrument has the same name
In Orman as in English; UetiVr in the
eiglMeenih century meant stm|dy a stringed
' C;MM>nMhi:th«» Ma,. igg. ». i«ij
Uiai il<« nlKiM, pcojecieU by K»llntann im isg* wm
udpt puUi«hr<l.
• .Wf S(MWf«rK> a.miauor. m m«MC »»pf.
» Vpau'. ' u*. h ' Novdlu,, 1 1 . , xi V.
pr^Uir.
• S<n. 4 ^ »Jiil 13 are An maIvim at «hc
rradkhn iJirFcrihK frgm ih«a« 0* Kroll *!!.•<;.. XIVi mm
by Ih^ uri«r tf. \V.) mmJ |Mbl.M •• th« f,ni
rCMion uf ihn JAtinnAfv
• .Vrr Rockoro'* • I rfe pp. $5. #4.
keyboard instrument of any kind then in
existence. It follows that the preludes and
fugues were not ssrittcn expressly for the clavi-
chord, as is still too generally supposed. On
the other hand tisere is not sufilriciit evidence
for the assertion made, for instance by Wanda
Landowska, that the two sets were intended
for the harp&ichofd in particular. I'he
reasonable view to take U that Bach wished to
make them available for study to all those who
possessed and played any keyboard instrument.
i . II.
fliM,-' i;«okv. WAiirx, ' *r}tc LoCMkiti Au'ucrjpb uf
f«Miy.bi«la " ' 'M. & f,., XXXI\', •OJJ, |>.
J. A., •The "48"; Rjrhe Wohl*
irmfMtirui (a«\*er*. t \<Aa. f Muucal Piliinm *
Mm* I916V
Wm ( Isviee.
Wellet. Oetea. S44 RhuOfiii 'Pro<i. of operx).
'(fMid. «. 4^>plaa«l roe Kine» da.).
WELLESZ, Egon ri. Vienna, ui On,
18631.
.\ustnan composer and musirologist. He
graduAud at Vienna University, studying
harimmy with Carl Fruldlng and musical
science and liistory with Ouidu Adler. Between
1904 and 1906 he studied counterpoint, fugue
and compovitiim with Schoenberg, at the lamc
time as Berg and Webern were St iKKiilx’rg's
pupik In i9)iC Wclleir began to work at
compoutiun on liik own, folbiwlng ihr adviee
of Bruno Walter, wlio felt that SVelhs^S music
wat mt^ in act tied with the Vienrioe cluMjeal
tradition than with the romantic trend upon
which Sth<*ci»l)efg*5 work wax at that time
based. VV'ellest remained in I ouch vviili
Schoenberg, Imwct er. during the whole of his
career in Vientta. He gratluated as Fh.U. a I
VieiiiM III 1908, with a ihcsit on Gttlscppt'
bonnn, which was jiublUhed In 191a by the
I. M.S. In 1910 he edited, for the D.T.O,,
J. J. Fux's opera ‘ Cosianza e forte^xa ’ ; in
1913 l»e was apixiinud lecturer on musical
history at Vienna Univ'crsity.
Wellesa’s early mude — for instance the
first siring Quartet — is powerfully influenced
by Mahler's music and implicitly by the
V'knnese classical tradition. I'he influence of
Debussy and of exotic music is also discernible,
especially in the pianoforte music and songs ;
but the lentlency of Wellesz's work is always
towards clyiiy and definition of outline, and
the use whkh he makes of Drl>ussyan elements
may be said to correspond with Schoenberg’s
experiments in a ^niillisie lechoique.
During the first world war Welles* devoted
most of his time 10 njusical research and pro-
duced some important studies of baroque
opera and Byranlinc music. These iwo main
»bj*^ts of he research hav< a bearing on his
interosu as a cunlempurary composer. The
sevenlcenih cmisiry being a critical period in
Europe's muskal and social hisiory, he fell
^54
WELLES 2
that many of llir problems wiih whkh tlw
baroque opera composers were preoccupied
are sliU relevant lo-day. Through Byzawinc
music Wellesz was able lo see the European
tradition against a non- European bacl^round ;
it interested him also as one of the most funda-
mcnul examples of the relation between
music and religious liturgy.
It is ceruinly interesting that after the
I9i4-r8 war the richest period of Wellen's
creative work opens and that in this work he
tends to write increasingly for the theatre and
to give his operas and ballets an ethical and
religious significance. \Vellesz resembles Berg
and Schoenbe^ in attempting to exiemalize
nervous sensation in the presentation of a
human drama on a stage; but whereas they
try to achieve a balanced and satisfying
structure through the me of a musical formal-
ism such as the twelve-note technique, Wellesz
revives the music^theatrical stylization of
baroque opera, with its chorus, dance-
pantomime and coloratura song. In 1995 he
defined his alms in these words :
It (1 not for ihe drtmstk muikiAfi 10 ipesk of Mnwrlf
and of hi* dntiny. but of thoae ihww whkh
betoken the hnk bciwocn ihc maienal and ihr tpkitual
I have in mind the idea of a dramatie work
of an in Mhich •«»< ihall eollaborate wkh (he dante
in arciitic eaprrttiAn. Such a fern* can be realist
enV from maleriah whkh are at once tlmelesa inH
bounded by time, and throueh wh»eh » aflarded a
vrtion of a hirher world.
Kive operas and four ballets belong to the
period between (91 8 and 1930. Most of these
works are modern reinterpretations of ancient
myths, Greek, Indian and Aztec.
The tonal conception of these pieces, though
superficially influenced by aspects of Sehocn-
berg’s music, is traditional, diatonic and
modal. Hie structural principles are derived
from the baroque opera and cantata, and the
influence of the dance leads to a powerful
inslsirnec on motor rhythms. On the other
hand the vocal line is related not only to
Schoenberg and lo baroque coloratura, but to
medieval monody. Here ibe theatrical and
religious impulses In Welleu’s work are mated.
The composer is interested in stylization as a
means of "objectifying" a moral truth. Thus
his work grows increasingly remote from the
subjective, self-dramatizing tendencies of post-
Wagnerian opera.
The implicitly religious * Die Bakchantin-
nen ’ and ' AJkestU ’ were followed by a series
of explicitly liturgical works designed for the
Roman Catholic ritual. Two masses, a sacred
cantata and a number of motets look back, by
way of Bruckner, to the predecessors of Bach,
and behind them to some aspects of late
medieval polyphony. In every technical
feature they are a contemporary re-creation
of tradition and have no points of contact with
Sehoenberg. A considerable number of
orchestral and chamber works written during
the 1 930s carry on from the baroque technique
of iIk operas. The most noublc of these
pieces are the settings of sonnets by Elizabeth
Barren Browning for soprano and string
quartet and the large-scale orchestral work
based on Shakespeare's ' "nic Tempest
In 193a Wellesz was a deltaic to the con-
gress on Arabian music held at Cairo. In 1936
he visited England to lecture on opera at the
R.G.M. ar>d at the University of Cambridge,
at the invitation of H. G. Collea and Edward
J. Dent. In 1939 he was offered a Fellowship
at Lincoln College, Oxford, and settled per-
manently in England. During the early years
of the second world war he again relinquished
composition and devoted his attention mainly
to research, the results of which were pubibhed
in two volumes, ' Eastern Elements in Western
Chant ' {1947) and ' A Hbtory of Byzantine
Music and Hymnography ' ( 1 946) .
In the spring of t943 up compost-
iiMi again, partly under the stimulation of
English poetry of the seventeenth century and
the middle ages. In England he hai produced
two string Quartets, a cantata (a baroque
setting of a poem by Hopkins), some small
clsoral pieces and songs, arid two symphonies.
These symphonies are hb hrsl worb in this
form, and are in the main line ofhb develop-
ment, combining hU early interest in the
Viennese classic^ tradition with his later
preoccupation with baroque stylization and
liturgical polyphony. As a symphonbi he
may be regarded as the legitimate successor to
Mahler, although his attitude to the form b
more classically impersonal and less intro-
speettve.
In 1943 Wellesz was appointed Universiry
Lecturer in the Hbtory of Music and member
of the Board of the Faculty of Music at Oxford.
In (946 he was elected a member of the Royal
Danish Academy of Science and Letters and
appointed a member of the editorial board of
the ‘New Oxford Hbtory of Music ’and
editor of Vols. I and II. In 1947 he
invited by Princeton University to the Bi-
centennial Conference on Scholarship and the
Arts at Princeton and Dumbarton Oaks, and
he also leelured to the New York Chapter of
(he American Musicological Society. In i 94 ^
he was elected University Reader in Byzantine
music at Oxford.
On rs Mar. 1933 his Mass, and a ‘ Pro-
prium' espeeially composed for the occasion,
were sung at the Linz church where Bruckner
was organ ist, on the occasion of the insul lation
of a new organ. “*
t__Howe*. tuA'iK. • Profr*»or VNellos Ope<*
(M. a U, XV, I9U- P* r*o). _
lUcMALb, • Aeeordine to D*iW : *0 ^
in SpMUl Pkadinz’ (M. Rev,, Vd. XII, '« *
F ‘Efoo Wellm: •«
R*v.. VII. m6. P.
WELLESZ
CATALOGUE OF SVORKS
0 ?lRA^
WELSH
*55
Oh ,
7Ulf
LiHrO#
1 Prsotn/Ma
s?‘ 1
' Die PriAMUie GicnarA.' |
Jacob Woimmaan Wclupicl
Hanotcr, 19 Mav tost; new
und LcaeAdc *|.
e«nioA, Matin Krini, a Srpt.
95 ,
'AIbcsiy.'
Hufo von HofmaMuthal. bMcd
uet Eunpadm,
>9(0.
MuMihom, ao Mar. lyaa.
40 1
‘ Opferunf tics Ccraafccwn.*
C 4 tM*d biiMhcQ, «n an oU AiMc '
deama.
Cologne, 1930 .
1
' .Stlicr/. Liu urvd Ruch*.*
Gncihe.
Siuugjri. 1 tkCar. > 930 .
Virnna, Ntate <)|wra. On June
** 1
1
* Die ILihrharuiiMtcn.*
(wnpocer, based on l!uripi>ki.
1
' Incoaaiij ’
Lliiabcih Mackmiw. bawd «n
<‘imern >‘» vluci*.
1931 .
Oslord, )L<, iM'.i.
BAIXCTS
Oh
1 /ult
.Wro^M
httAtitt
iB
’ J)ui VViMMler der ]>ui»a.*
lIcCa RjLue.
NCafmlicim, 40 Liar. <934.
3 ^
, * IVnion Bulkt.’
r.llcn Irk.
Oonaunt hitigcii, 10^4.
3i
37
[ * .Nchitin Auf Shvroi.*
1 * Die Naclulichen.'
1 InfmaMMihaJ.
Mas '1 crptt
SiMiicart, a Mar. 1937.
Berlin, 30 Nue, 1934.
CUiOKAL WOHKS
Oh
fk. *C<«h«tr rifr M4Mlth«A aur Mjri* * 'Kmam M 4rM
Kikk»i fur cwprw>«, ihoviif 4 erclt. ii909>.
43 < Molcu f«r uiiMcomp, «h»riM
4S> ('luiUU * Mmu dn * tit M3rtn», ihwm 4
•irih. (I 03 <r,
1 M«kt» (of uAMComp. <h»rt« I if))!.
'1 f ^ • w»*" fi«4>.
ii. Mi«r( Mau. C m*.. ft chorw 4
M. iwr uhariWnD, chvrM
2 CbA'ifw fur {rmale vokn (IMI*
' I'MKiym * < 19)9).
(>K(:Hr.«TRAl. WORKS
<<. SmpliwAic BMai * WrruKlini ' (ttl 9 J.
* Knlla MaftK ' M^tf).
99. DncKtvtjrunccA *, jittt SlMk««varr%
_ » ‘ ^ V
69. Srmphonv Ne. 1. O ma. (19491
u). S>in 9 honv No. ». !-:» tns. M94B),
SOU) tN.VlKUMmS AM> ORCHtAfRA
96. Suite fnr \a. 4 ehamber eeth. (1494I.
49. IT. CoAcertH (1999).
VOICn AN Cl OKC-HtSTRA
90. Ciajktoto * Amue t«m>do' (Mcimcwm) far MpcaM
4 iniall orrh. ti 034 ).
94. *).ie<l der W«ti (HorttaMnUhsI) Um Mpcaa#
^' 939 >.
99. Ubm. TruMfn uaiI TwI * CHoTAianiwtlkah ft
eonitjltu < 1097 ).
CXANCSER .SCt’SlC:
• 4 . String (Jiiartet No. t {»9J»>.
VO. String Quatiel No. a <1917).
a. Oeoliget Lied * for «n.. vtoU & pf. fiOiS).
a) Siting Q«»em No. 3 (191 B).
<d. Siruig Qyafwt No. 4 <1940).
(w. Siring Quartet No. *, (19441.
O4, Siring Quariei No. 6 (19471.
Irt. Siring Qyarrei Nn, 7 {c94St.
V(k:al <;uamdf.r sjusic
99 . 3 Sonneu by Eliubeth Borreti Brotming. for
c . .* *!«• 4 *«‘ < •99>l .
” iM4t> Egbo • {Cerord
ManVv Hopkiro). for jopraao. vn.. tit., teMo 4
^ ONK IN>1 RI MI:NT w ith mNOlCIKlI'.
. i rierei foe <l*e, 4 t>f. (ipaa).
. Suite fee «>«, 4 pf, '19371.
LNAtK:<)MPAVH;i> I.SSCRL'MLNCS
31. SM414 for cello 1 19(1 j.
36. Aonou ft m. 0924).
97. * lattk Suite ’ fur Hole (1937).
riANOFOKTr. set su:
4, * IVr Abeitd * {I909>io).
9 . * Orei KC«v*re*W(ke* (igig).
• t. * HlBg t n * (( 9 l 3 >.
4a. * 9 TauaitiKte 'i9>7],
SONGS
t Wie eu) Bdd tlViee Altenberg) (1909).
Kmchblulenireder ilCetn Bethve) (ion7}.
*2. 9 Ci«er«diedee •SteCafi Cimrie) (ipi?).
43. 3 Soitc* luf baeitorte ( 194C 46)
t. Ah. fodieg ioT (ilrvtlen).
9. On Time Xilion (iCilion),
3- W'hv weep ILiKobeth Macken<ie].
WELLINGTON’S VICTORY {\ivei-
hoven*. Set Hattlb SyMAttoNV.
Welle. EL C. (Herbert Goor«*). Crr Blits r Tilings
lo<.ome . Iiimt. Knerhhn 'ded. oTsymnli. i>oem).
WELSH HARP. $cc Harp.
WELSH MUSIC. iSrcFoi.K Music : Wp.lsii.
Wales, Musical. History or.
WELSH, Tbomat (ft. WvlU. e. 17B0; r/.
Bnghlon, 31 Jan. 1848).
Engliih ba*s singer an<I rompwr. At iht*
pfc oT sex he became a chorister in \\Vll8
Cathedral. He made such rapid progress ihai
in the course of a fov >‘car* \N'clls U camc ihc
resort of lovers of music attracted Ijy chc
kvauty of hU voice and excellence of his
singing. His fame drew the alien tion of
Sheridan and Unicy, and lie appeared in
* 79 * ** *he Bath concerts, tn thr concerts
gi%'m in London at the King's Theatre during
25^ WELSH TRIPLE HARP
WENNERBERG-REUTER
die rebuilding of Drury Lane, and abo on the
stage in Atrwood's ' Prisoner \ He subse<
quently performed at Drury Lane Theatre in
Att wood’s ‘ Adopted Child Slorace’s ‘ Lo*
doUka ’ and other pieces. John Kemble
thought highly of bis abiUdes as an actor and
taught him to perform the part of Prince
Arthur in Shakespeare’s * King John
After the breaking of his boyish vmce Welsh
pursued his studies under C. F. Horn, jedin
Cramer and Baumgarten. In 1802, his voice
having become a deep and powerful bass, he
was admitted a Gentleman of the Chapel
Royal. A few years later he essayed dramatic
composition and produced ' Twenty Years
Ago a melodramatic entertainment {1810),
' 'Fhc Green* Eyed Monster, or How to
Get your Money ’, musical farce, and * Kam*
tehatka, or ’I’he Slave’s Tribute musical
drama, after Kotaebue (both i 8 ji); 'For
England, ho* (with Bishop, 181$). But his
greatest reputation was gained as a singing*
master and instructor of pupils for the stage.
Foremost among those whom he taught were
John Sinclair, C. E. Horn. Catherine Stephens
and Mary Ann Wilson. He joined Hawes in
carrying on the Royal Harmonic Institution.’
He published some glees and pianoforte
pieces and a * Vocal Instructor On 9 June
1827 he married Mary Ann Wilson ai^ had
issue an only child, who became the wife of
Alfredo Pialti, the eminent eelhst.
w H. H.
WELSH TRIPLE HARP. Sfr Hak?.
WELTER, PkUIppe van. Sn WiLDsa.
WENDLING. German family of musicians.
(1) Johaaa BaptUi Weadllag (^. Alsace,
c, 1720; d. Munich, 27 Nov. 1797), flautist
and composer. He was first In the court
chapel at Zweibruekcn and from 1754 in that
of Mannheim, where in 1777 he met the
youthful Mosari, who during his visit scored
one of Wend ling’s flute concertos. He and the
oboist Ramm accompanied Mozart and his
mother to Paris the following year, when the
Mannheim court removed to Munich, where
Wrndling spent the rest of his life. He had
loured western Europe and visited London in
1771, and appeared in Paris at the Concert
Spiritucl in 1731*52, 1776 and t78o. He
composed concertos and other music for his
instrument.
(a) Dorothea WendUng (bom Spoorni)
(y Stuttgart, t737 ; d. Munich, 20 Aug. i8t i),
soprano singer and teacher, wife of the preced-
ing. She had a great reputation as an operatic
singer.
SWa/st Bull tj. C., $21. aioiatt (ceocrrl araswnuen
for).
(9) AuguaCn Eliaabeih Waodling (born
SaraeUi) (^. ?, 174C: d. Munich, 1794),
soprano singer, sister*in4aw of (i) and (9) and
* Srr Argyll Koom&.
wife of the violimst Karl Wendling. She was
abo an excellent singer and appeared at the
Mannheim court opera, later at that of
Munich.
A daughter of ()} and (2), Auguste, became
one of the elector's numerous mistresses and
died early of consumption. She has sometimes
been c onfus e d with her aunt.
Karl remained at Mannheim when the
electoral chapel was transferred to Munich in
1778, but Johann Franz, another brother of
(1), vioUniii in the chapel since 1747, went
with it on its removal. o., rev.
Sff aft* Mei«ri (? conecri «rit wriuen for).
WENDT. Sn Hflubuckt.
ClMseiaa G*eiJi*b. Sff T«leeuinB (G. P.,
* PlA^iut jifttaridut *. lib,).
Ad*U. Sr/ Drvil And Kste (!>vorik).
l>v«rsk CDcvJ and Kjte', lib.), VomkCki (*V«dnlkS
bb.).
WENNERBERG, Ciusaar (i. Linkoping,
2 Oct. 1817; d. Leckd, 29 Aug. i90i)<
Swedish poet and composer. He was edu-
cated at Uppsala University. For many yean
he was a member of the Swedish legislature.
As a musician he was entirely seir*iaughl, and
he published his fint composition, ' Prihets*
singer ' (' Songs of Freedom in 1847. This
was followed by several worlu, of which the
besi'known is ' Gluntarne ' (ducts for male
voices descriptive of the student life of Upp*
sail). He subsequently wrote an oratorio
entitled ' The Birth of (Christ * and a * Stabat
Mater and aet the Psalms of David In a
simple and melodious form for solo voices and
ciwui with accompaniment. These are uni*
vmally popular in Sweden, and they are sung
both in northern Germany and in Scotland.
In 1867 he became a member of the Swedi^
Academy. His collected writings appeared in
4 volumes in 1881-83. manuscnpis <if
many of hU compositions are preserved m a
separate room in the Museum of Musical
History, Stockholm. a. h, w., adds.
BIBLtoaKA(»Hy
AbMOenr, S.. ‘ On CuAftAt Wmnerberc : haru ud eeb
hjiw ’ (SierUMlm, 1917). . _
Hamkfuko. C. F., * F»r(eekAin| C W«ao<rb*r9
Mnv««k * (glMkhelm. ipid). . ,
JiAmoK. GvKNAH. * G. 1V«aD«tbertt oraMrisaa v«r«
‘ C. W^nneiVrff m«i mitflber' {aieckhnls). i 229 )>
KAtLs>eKii.x G., * £n Akiod mAiuirio av G. IVeoevr*
bert MS.T.M., 1931).
Tai.'m, SicHr, 'C. tv’cnnrrbere : beef oeh nunnfn ,
S (SMckbnkn,
S/f Sibriius (« »rds for a ton gt for blar).
WWNERBERG^UTER, Sara (Ma^
garott Engenin Eofroayne) (f. Oncrsicd.
Skarabevgs Un, 11 Feb. 1875)
Swedish organist and composer. She was
the daughter of Cunnar Wennerberg’s brother,
Brynolf. She studied organ and harmony
with Elfrida AndrCe. and at the Stockholm
Conservatory in 1893-95, and after quaWymg
as organist and choir-trainer she studied at
Leipzig Conservatory in 1896-98 as a pupd «
WENSLEY
WERCKMEISTER
257
Rt^ecke, Jadassohn and Ewald. In 1901^
she sludled with Max Bruch at (he Berlin
Hochschule. She married Hugo Reuter in
1 907 and was organist of St. Sophia’s Church,
Stockholm, from igi6 to 1945. Her compost*
tions include :
* Skoe(rS«i * ( 0 . Wriio«{b«rc? lor *olo «ok«, clMns Si
orch. (1915J.
*Nackea* (U. W«Mwrb«(a^ ^ «otm, choriu k
orch.
CmUua and met«u.
SoAou Tor vn. k pf. (19011,
l>*o* for vn. & |H. oikI «r 1 lo 4 pf.
yf. pierei, loiiai, nuk'^oHC 4 ieu, ftc.
X. D,
Biai — Sri’Aar. ?. M., * Erv kvino* i Fru Mu«h««
ijAiist ' rhori bK>KrAph>j t’MutiberM*. 1917,
N«. 9}.
WoaoJor, Sbop«ot(. Sf 4 l 4 <Ar t'&imwt of S«.
OrwiK' clioru\ \ O'ch. ; .
WOMjf, joooah. .S-t BtjhllO 41 pWU(M<. S •oofi,
1 .Sfiieuiij j iibi i.
WENZIKGER, Auguai > 4 . Bas« |, 14 Xos ,
• yoji.
Swiss v'iolonceUiit and viola dis garnba
player. Hr studied at Bawl, where he lo<>k
the teacher’s an<l sriloist’s shpintnas. and at
Cologne unds'r Orumnur. In 10^*34 he
was leading celhsi in the Municipal Orchestra
of Bremen, (n 193H he Ireeame solo cellist
to the .MIgetneine MutikigeseUichafi of Basel,
where he ii also o memUr of the Basi>l String
Quartet. Hr is, howesrr, most fasourably
known us a sfiecialist on the viola da gamba,
on which he is highly a«omplishe<l both
Stylistically and technically. He is a icacher
at the Sehola Cantoruni Basiliensis, where he
is in charge of a viola da gamba quartet.
Apart from varinus rviay^ on his insi rumen 1
and on the praetke of the performance of
old music he published a * Oaml>enul>ung ’
(Casscl, 1933 & I93<)>. He was alto eittrustr<l
with new editions of Bach’s solo Suites fi>r
cello and of Haydn's I) major cello Cksneerio,
|r y p
S*o 4 «r. Sit K««lilv <» eboctMs],
WERCKMEISTER, Aadreaa 4 . Ben.
cckensiein, 30 Nor. 1645; / HalUmadt,
■id Oct. 1706).
German organist, eomposer. acoustician
and wrinr, lie was the son of Joachim
\N<'rtkincister, In 1638 be went to school at
Bcnningrn, his uncle Cliristian, the organist
there, teaching him music. On 15 Aug, 16S0
hr joined the school at \i>fd hausen under the
rector. HilHehrand, and at the end of two
years entered the ” Gymnasium ” at Quodlin-
burg, where another ursele, Victor Werck-
inriiter, oceupird ihr jsost of ranlor. On 94
Jec, i«4 he became organist at Hassellelde,
Bruruwick, where he remained for ten years
He refused posts oHcred to him at Ellrieh in
1 670 and at EUungerode in 1674, but accepted
one as court organist at Quedlinburg in 1675
He was twice married, first on tG July tCG?
to a Wife who died in c68o. and again on 14
VOV, IX
Feb. 1609; he had a family of two sons and
four daughters. It was not until 169G iliat hi;
rcceivcxi hU most important appointment, as
organist at $t. Martin’s Church at HallxT*
stadtand as inspector of all organs construe led
in the principality of Halliersiodt.
A detailed account of his life is to be found
in the funeral oraoon given by Joliann
Melchior Goctacn, published in <707 under the
title * Der westberuhmte Mu»icus und Orga*
nista *.
H aw ki ns sa)'s of Were k mei ster in h is ’ K i « 1 ory
oTMiisk '!
)klr. MaihIH. who weD acAiiAiAlrtl tuih him,
«wd io sptjk of him in irrmt of erc.i( and
he MAt JoubilrM a ks7it<«l siiJ ibilfiil muiuian.
And Buxiehude, a frienil of his, greatly
esteemed his ’ Harmonoltigia mtisicaV* His
'Muskac mathrmaiicae Hodrgus ( uriusus ' in
iGGC deals tnatUemailcally with every thing
Used in I hr construct ion of imisic, with intervals
beats and t<’inprramrni. This was followed
by another mathematical work, ' Muvikalisrlir
Tem]ieratur *, in 1G91. The coiiiprelu luive
survey of \N'erektnrjsier’# ih<‘<>iies given in
Ma It heson 'i ‘ Das forschende Orthesir e ’(17/11
shows the iisfluetsee tlwy exert ised on Ids eon*
temporaries.
M a composer XN’erekmeistvr is (sraeticaliy
unkmnvA. for although in the ealalogues
of new boolts published at Lcip/ig b) Gross
and at Frankfurt o M. by l.aiumi in ibBG,
a volume of his compositions is announced :
* .Andrea Werckmeuirr’s musikalischc I'rivat.
kunu, besteheisd in Sonaiinen, Alirmanden,
Cour, . . , Qucdlinlsurg, Th. Fh. Galvisius’,
no copy of it seems to be now- in existence.
Wvrekmeister published In 1699-1700, at
Quedlinburg, a German translation of Ago*
Mino StefTani’s ' Quanta ccriraza hnbbiii da
suvs prineipii la musiea, cl m quat pregio
finsc percl6 press© gli amitlii ’ (.Amsterdam,
1695). Under the title of ’ I). A. Sielfani . . ,
Scndfcchreiben ’ it was reissued vsith additions
byj. L. Allsrecht at Muhihausen in 17G0.
ITk list of Werckmeistcr's published works
opens with the wclhknown ' Orgelprobe on
the coostruclioo, testing and tuning of organs,
which there were several editions.
\ ^
tjwuJi man Uie Or«el-VV>rik« von Ovn
ViriMlmMmm afwhfnrn. p«nLir«n, uni^nuchrn.
»n 4 dcr Kwrlmi (.efem hoone umj mIIc. Wf^Urmi
♦inem kunim )rdoch arrundlKh^n b'nwiricia wif
^reh An«Wf« und J(ul(f« dn MuAochmdi. rni
*'* •emtwrjrm uml tv stimin«n k. . .
cFtMkIon ft UiwiK. iM«. umo.)
'Andreae Wtrtkmrhtfn Crmc,
^^1. p.i, Miaivi und Of^an. «u S. M-rUni m
^l^madi. rnvnlm* uimI srth«««n« OiwJ.
Frob*. «de«: EicniilKhe BMchr«ibun« . .
In V*rt«ruft* TS. 11 .,
{410, j» tKapsrn. M. fta.)
?****“" • ~ <^Uiniaig und Awl.f^Jelwr.,
m V«rt«twnr. C- b. SirunU. »7:6. 440, O^rucbi
‘ V.M.W,, V. J 75 .
WERCKMEISTER
WERNER (G. J.)
25S
bey J. Th. Heinslo. Ka]d*«)btirf.’ (m cJiapten,
PP «).
Founh edition; Leipei^. J. M. Teubocr. I 7 M*
|BV9. a chapten, pp. 1 to.)
Another odition: Au|sbur0. J. J. Lc«t<r. 170 $. (j*
cliapiee*. pp. tta.)
A DuicK tramUiion uas alto publi«lw 4 ; 'OiRd*
Proei* of naauwkeueifM b««d>rtjvinf . . . . uit
Hoo^uiuche veciaald door Jnco^ WiIfKlm
Lusiir. T’AmfieMarn. a. ^o 6 rn. 17$$.’
pp. <$i ; anoth«rcii. 177$.}
(t) * Mwsicac nuth«feiaiiea« Hodeiius cueicoui. oder
riciiiipor muukalixher We«<W«i*e«. d«« ix, w-w
man niehi alleine Ji« natutikhen CafmckaffieA
<ier musibalixhen Propori*oe»en. dvrch das
Stonoclkordwm, uimI Au«re«hnwB( erianrm. «on>
(lem auch vermiiiel* <lerwlben. rvaiurltcko und
richiiire Kaiionn ubcr «ine mu«kalHeh« CompoM
(ion vatbrinpen hoone. . , . Von A. W. tuiacr
Zrii HofT-OrfanikKn «u Quodlinburp. Franc k^rt
und I.eip<i(. In Veric«unc Th. Ph, Calvnit.
Meraobun. pedruckc bey Ch/iMian Oecuclueken,
| 60 C.* (eta. pp. (do; another ed. I 0 p 0 .)
(9) * Dcr edien h 1 ujje>Kumi Wurdr, Gebeaueh uod
hliwbraueh. to wehk mus der Kohcen S<hr»fli. ah
a%><h aus eil«hen alien und neubewabrien cemen
Kirrhen>Lelir«r 9 t. und dann aut den Musk*
(irunden selUt erafTnei und veetetiellei von A. W,
.SiifTtS'Hof-OrKanitten in Que^mbvrt. Franck*
furl urtd l.eipii(. Th. Fh, Calvniua rdpi,* { 4 «o,
la ehapien, pp. 41.)
‘ Mutikalixhe Temperiiur. oder deudkher und
warar maihrmatiKher Unteeekhi. wic iMitdueeh
Anweitunr dei Monochonli ein CXtvter, aanderlich
die OrteUWereke, Paaitive. Rerale. ^neiien.
und dertkichen vr»l tempenrc ximmen konne, . . .
frarvckfuri urtd Leiptic. Th. Ph. CaKitii. idpr.*
(410. $4 chapten. pp. pt.)
(4I * H^pomnernaia mudea Oder mvtikalmhea Mem^
rial, weirhn beiteltei in kuriaee Rrmneeunf deuen,
M bithero untce futen Frewnden diwurvwene,
inianderheit von der Campaciiton Temperaiur
mwchie vorranien teyn, , , . Vert A. W. Beni*
cotieiiiemi Cheruae, ; Jecnper Zeii bey der Kaupc*
Pfarr Kirehe St. Manim in Halbeniat, beMallten
Mutire. unti Orpanitien, Quedlink^rf. Th. Ph.
Calvitiut. i 6 p 7 >' < 4 ( 0 . 19 chapcen. pp. 44,]
* Die nuiliHrn«li(iien Anmerekunpen. und Re«eln
uie der Ruuut cenimuvt. oiSee General*B«a wid
konne iraciirei nerden, und ein kdee. to nue em
tvenii SVisAcrtKhah von der hfutic und Clavier hat.
deiiselbeii vnn tieh lelbti erkmen konne. . .
( Atthertkhen. i6f0. 410.)
Anadier e<li(ion: * AKhenWben. C. F. 5 irwi(a,
Duchliandkr. Waldenbun dewektc Job.
Heinuu*. I 7 l»’ (pp. 7 J). , The 'Calalont umvee*
raliv*, publithra at Leiptif. i 7 i 4 *i V <all» ikn the
lecortd edition.
An undatrd etliiion : ‘ anieteo meecblich vermeh/et
...dureh Andrea* Werckmentero, hl.u.O.t,
S.hl i.H. Atehcrrkben, Verlecu C. E. Sieuntt.*
{$} * A. \V, Berue. Chennci. p.t. Mutki und Ortan.
ru S. Mariini m Halbenudt CIrtbrvni rmukuen
mke muiikaliteha* Steb, darinnen eitufe hUopel
eine* halb peleheten Componitten vorRotellet. ui^
d.it Bute von deni Guien pkkhsacn auteeMehei
und abte*ondeft u-orden, . . . Durch Johann
GettrR Carl, bcstalten Stadt'Mutkuni in naJbee-
ttadi. Quedlinburp und Leipaip. Th. ni.
(Talvitiu*. t 700 . Jena, redruckl bey Pau] Utfirb^.'
teto. )6 chaplen, pp. ed.)
’ Hartnonolofia mutiet odec kuilaa Asikiiunc tw
muttkiliKhen Compeeitian. wic man vertMiieh
der Regain urd Anmceekungeo bay den Cenerol*
Bau einen CorUrapuneium cicnplieeen mil aonidar*
baheeen Vonhe>l dueeb drey Satte Oder Ciifle
componiren. und eaiempore ipielen. wit
man eincn gcdoppelien Conirapunki ut^ man*
eberley Canoeie* oder Puga* (jgalaa, durrli
tonderbaitre Crifle und Vorthede saiaten und
einekhien md^. au* denen cnathe«naik^»en uod
mutikalnehcn Ceunden aufieeMtaat. . . . Dureb
A. W. Benicosieinemem Chenneunt. p.u Orga-
nitten in der Kaupi^rtarr Kiechc m S. Manmi in
Halbeniadi. Francklunh und Leipeig. lli, Ph.
CalviaJua, 170a. Jena, gedrucki bey Paul Ebxkheo.'
3 (0. pp. t 4 ».‘
tganum Oruningente rednivum. odee kurtu
Beaehreibung dei in dee OruAin^acheo Scbloa**
Kirchea beruhmicA OrgeUWercu, wi« daxclbe
an^utg* erbauei und b^haffea geweeen: und
wie ei aniizo at^ allerfnadigiien Be&hl Sr. Kdn.
Peeusaii. Mttfitut, is( rcnoviri und mercklich
ve ib q ie rt wordeo . . . \‘on A. W. Quedlinburg
urtd Aachertkben. G. E. Siruniz.’ {4(0.) The
dcdkaiion k dated; ** Halbenradw den iS.
Auguwi. 1703”.
(7) * Muiikajiiche Paradoaal-DiKource. oder ungemeiae
Vometlungen. wie die Muaka einea hohen und
Milkben Ghreprung hate, und wie hisgegeo
OMaelbe $0 tehr gemkibraucht wird. . . .: von. A
W. muuco und organ, au S. Martini io Halben
sud(, Quedlinburg. Th. Ph. Calvitiui, 1 707.*
(410, pp. lao.) Publiibed aRer U'erekmeiMer*!
dcadi.
G. S.
Biot.. — SiOAVKV. WALten, * A. Werekmeiner alt
Muukcheoreiiker * (*Fe»iKhnfk Maa Schneider’.
Halle. ig$s).
Werfcl, Fmaa. Sft Bowie* (’Jacebowiky and the
Coloael ’• incid. m.). Crori (* SpiegelmcaKh do.).
Heoic (* VorwMrf aria). Klenek {* Zwingburv lib.;
loeeci). Maumilkn (hLlhaud, opera). Kocca Monte
IvAoe '• opera). Weill (* Eternal Road inetd. m.).
WERNER, Erie (i. Vienna, t Aug. 1901).
American muiicologisi and compoier of
Ausirian birth. He war educated at the
Gymnasium ’* in Vienna and at the Cen-
servatetriea of Vienna, Graz and Berlin, from
the last of which he graduated in 1974. He
also studied at Vienna University and at
the Universities of Grax, Prague, ^rlin and
Strasbourg, and he took the Ph.O. in 192^.
Prom 191$ to 1999 he was a St 4 i^ifn-An<Mr
at Saarbrucken and in 1994-36 he acted as
^radiorarat at Breslau, at the same time teach*
ing in the theological seminary there. In
1938 he emigrated to the U.S.A. and was
appointed Pr^essor of Liturgical Music at the
Hebrew Union College of Cincinnati. Since
1936 he has been executive chairman of the
Hebrew Union School of Sacred Music, New
York, and he is a member of the Council of
the American Muslc^ogical Society and the
American Academy of Jewish Research. He
has written articles and reviews for a number
of journals, such as ‘The Musical Quarterly ,
‘ .Votes ’ and the ‘Journal of Biblical Litera-
ture’. His coreposicioni include, among
other works, a * Symphony-Requiem which
was performed by Goossens and Mitropoulos*
a string Quartet and an orchestral arrange-
ment of one of Mozart’s ‘Fantasies’ for a
mechanical organ in F minor. He also con-
tributed to • The Sacred Bridge’, studies on
the liturgical and musical interdependence of
the Church and Synagogue during the hr?i
millennium. H, K* w.
WERNER, Gregor Joseph (L ?, ib95i
/- Eisenstadi, 3 Mar. 1766 ').
Austrian or German conductor and com-
poser. He was Haydo’s immediate pre-
decessor as to Prince Esierh 4 ay>
his appointment at Eixnsudi dating from
to May 1728. In 1761 Haydn became vice
but Werner retained his place
> A( (be age eeceiding » i©e»b»iooe,
bui totaty-onc aecording (o (be paeuh r«$>«trr.
WERNER (J- 0 .)
^VERT
«59
(o tht time of his death. He was a prr 4 ihc
and taJenied composer, who wrote 1 6 oratorios,
over 40 masses, 9 Requiems and a large
quantity of other church music, symphonies
and sonatas for 2 sHoUns and bass, a string
Quartet, s * Pastorelle * for a harpsi*
chord and o^an, etc. Haydn arranged
of his fugues for string quartet, adding an
introduction to each, and published them
through Arlaria of Vienna.
I V, d. 8., rev.
WERNER, Johaoa Gottlob (i. Ha)n nr.
Leipzig, 1777: d. Chemnitz, 19. July ifiazi.
(German organist and composer. He was
organist at Erohburg near Iz’iprig in 1798,
deputy to Cantor 'I'ag at Hotienstrin m’ar
Chemnitz in 1G04 and from alioul 1819
cathedral organist and musiral director at
Merst hurg. On account of the g«>ut he rt*iife<l
with a pension and liicd the la>( ^Tars ufhis
life with a married daughter at (^emnitr.
He wrote a number of successful tutors (at
the organ an<l the pianoforte, harmony anti aC'
companimt nt. and comjioscd several boohs of
urg^n fiicfe'. » d s
WERNER, Theodor WUbcIm ». Hano-
ver. 8 June 1874).
German singer, comp<»ser aitd musMologist.
He sludietl at the Universities of Heidelberg,
Hcrlin and Munich, and took the rit.D.
degree at the last in 1917. In 1919 he returned
to Hanover as critic to the ' Hannoversc he
Kurier * and in J 93 7 was appointed professor
at the University. In 1943 he lost hU valuable
library in an air*raid and removed to Salzburg
as teacher at the Mozarteum. His literary
works include :
* ,^|luik in ('VankrcKh * (htrslsu, 1997).
’ Klplihir.r ScImM uihl •eM»r ;A.MXV,, It, A
’ Krn>fr VnlKhrin
* Mrkhi«v Vhibk TnUment ' 'A..M.F., II, 1997).
' AnHreu (k«prMw« * lA.VI.NS'., \ '.
hill DONS
(i. DtiKla, * IVr J.ihrin.trkl ’ <l>,l>. r , I.XIV, inv»).
A. tv Mbs rUn^hsltMirabtelc
*«(hMn ', II. I'Ms).
P. ti. IVt«fntnn, * ?in>pinon«’ C Rrklwknbnuk *, V|,
Sm DniMckcs ?F.** 5 ..
Waiiil* , ifKid. fr>.). ^rhwberl tj senffU.
^RNIK, Kaa 4 ml«r« ( 4 . Wareaw, 1836;
d. .St. f'etershurg, 1639).
I*olish pianist and composer. He was a pupil
of Nowakowsiti in Warsaw and went to Paris
in 1A43 and l>egan his studies in harmony
under N. H. Keber, He then became a pu(nl
of Chopin (1846-48).' After an extended
lour in France, Spain, Germany, Italy and
Austria he rciumed to Warsaw in 1848. The
next year he moved to St, Petersburg, where
he remained until his premature death,
J.",!*,**"'* '* •*'* wtitm h«n Pam fii Fek.
.. ep*" m«n«MHn \VV»nik •« ihc -OfO» :
W«fnik work, Mtr well; pkm t«U Omi to hi*
teaching the pianoforte and <'<»mposlng music.
He wrote many miniature pieces for that
instrument, including w'altrcs, polonaises and
marurkas. o. ft. 11.
WERT (Vnert), GUehea (Jaebei) de {i>.
\N*<rrt, between 6 May and 18 Aug- tjs^; rf.
Mantua, 6 May 1596).
Netherlands composer. H<’ was sent to
Italy at a very early age as a chc»riNier In the
household of Maria di Cardona, Marehe«a
della i'adulla. Later he went to I lie court of
the junior county of the Duchy of Mantua at
Noveiiara, where he served successively the
C<>uftls Francesco (ll'i, Camillo ( 1 ^ and
Alfonso <if <*onraga. He married there*, and
his wife owned a property at whuh she appears
t<» ha\e remaim'd, at any rate int<*rmiitenily,
even after l>e had been ap|>oiiue(l to ih<* court
of Mantua iiw*ir. He composed tmisir for a
cliursh feuiv^l there in <>(t i,'’,f>4 .ind under
fiugiielmo (jonraga became tnatiitn di fopitflfa
of the chapel of Santa R-rhara in liOj.
Canal ‘ throws a good deal of light on the
details of Wert's life at Mantua and on the
various tm.vll iourm*)* he in.ido. He obi.vitied
leave of alisrmr (rotn 3 July to 19 Sept,
if> visit " la rasa su a " m .Novel Ian.' In the
spring <if tjGG he acsoinpanied the duke to
.Nugsburg, where the Italian and (ierinan
priricrt had lieen conv'okml by the Lmperor
Maximilian 11 to deeide on defensive measures
ag.nnst Ssdiman and the I'urks. Wert's
lnusi< al gifts received general recognition, and
the emprrsfr wished him to remain in his
Kfsice. hut Wert derlinetl the oiler and
returned to Mantua In the autumn.*
That same year NVert i«>ok pan in the cere*
monies of the marriage of Count .Mfonso at
Noveiiara. Cn 3 Krb, t^Gy another journey
was undertaken m the duke's company and
that of other pervuiagcs, to Venice. letter
of hb, written from Novrilara on 37 Aug. of
that year, conuitu bitter complaints of the
intrigues and annoyanec t<> which he was
subjected by Italian musicians owing to his
being a f<>reignort bur not all were of that
mind, fur Falcsirina, writing to the dukv in
Feb. 1368, referred to >\'cti as un virtuoso
veramentc raru”. (It is possible that Wert
may have come Into personal touch with
Palestrina when the duke met that master in
Rome four yeara later.) A letter written by
Alfonao of Noveiiara on 3 Jan. 1566 asked for
the loan of Wert for a few day's to prepare
singers and players for the peribrniance of the
inkrmtdx in a comedy he had just written.
In another letter of complaint to the duke,
* ScTUhi.
* The MfTiion ih«t h« tw<«S a viak lo liu rutivr
swanlty a«rinc thai >rar treim lornl dn a 11111(14111; of
(hcaceouni •rkHateene* ai Sov« 1 Ura <Vannn&
[>icu«MMire An mwaktens ').
* VaifKt A Souris, tp. ru.. mv it was from the
NethTfliais ihai hr returaeO m ihe autumn of 15M.
26o
WERT
dated 27 Mar. (570, Wert accuMS his wife of
adultery with a member of the ducal chapel,
one Agostino Bonvicino, who was eventually
dismissed from his post. Moreover, it is said
that, then or later, Wen's wife had been guilty
of some conspiracy against the duke ; that her
property was confiscated and that she was
thrown into prison, where she was held until
her death in r5do. It seems more probable
that she was kept under some kind restraint
which did not mean actual imprisonment.
In 1574 Wert was busy o^anising the
musical celebrations for the reception of Henri
III of France on his nsit to Mantua.
On t July [580 Wen's long and faithful
services were recognized by the presentation
of the freedom of the city of Mantua 10 him
and his heirs for es'er, and by the gift of a large
sum of money. If he still had envious rivals at
that lime, their objections to him as a foreigner
must have been silenced by his becoming a
citizen of Mantua. About 1581 he resigned
his post at the chapel to Gastoldi. He was
given a handsome pension, with lodgings, food
and medicine as gratuities, and in 1584 the
duke olTered him hU wife’s former property
at Novellara, which had remained under
sequestration after her death.
He passed some time at the court of Ferrara,
as is shown by a reference in the dedication of
the eighth volume of hU madrigals (1586) to
Alfonso (II), Duke of Ferrara. VN’hile there
he wished to marry as his second wife the
portess and musician Tarquinla Molza, but
her family refused point*blank to countenance
such a union, and his presumption earned Kim
a severe reprimand from the Duke of Mantua.
As a composer Wert was very prolifie and
greatly honoured in his own time by all who
were not biased by personal rivalries. Apart
from l*alestrina's praise of him, already
referred to, he was commended by such men as
Vincenzo Galilei, Monteverdi and Artus*.
Theoretical writers contemporary with him,
and those writing early In the following cen*
tury, find nothing but praise for his musician'
ship and especially for his skill in counterpoint.
Under the name ofjacques de Vert he appears
in Thomas Morlcy’s ' Plaine aetd Eask Intro*
duction ’ (1597) among the "Practitioners,
the moste parte of whose works we have
diligently perused, for finding the true use of
the Moi^s ". Ariusi mentions Wert in his
treatise ' Dclle imperfettioni della modema
musiea ’ {1600, p. 42) ; and Zacconi (* Prat'
tica dl musica ' (ifiaa, p. tgo]) writes:
to ho cofnOKiulo ^uatro ntuski hnfolArB^i n«
eoDifapunil, CosUAza Ports. J*«ho« Vuen. , , .
Jorhos Vuort vrnn« «neh’ o^i in dciu proTaMone
ftitro tonto singolarr ; perehe osendo eeli otoairt di
cappclla di Guelielmo. s«r»niisiBM dues di Mooiova,
fa<«ndo detio dues pcftfipwfoo di mustoo. e eoo).
ponendo molte cose. lo Ceiwa sueyfUaio u. o«Oe com
d« ludeiii eeniraiMinli. ch« be«c spftto come dire U
prevorhio li fseea ludar il fronie. . . .
^ain C. B. Doni (‘ Annotaziom ’ [1640, p.
141 J) refen to Wert’s madrigal for three voices,
‘ Qjsal dair usato ’, " il quale i mirabilmenie
soave Another interesting reference to
Wert b to be found in the preface to the fine
volume of sacred music by Francisco Sale, of
which a copy b in the B.M., the ‘Tomus I.
Mbsanim solenniorum ’, pubibhed by Adam
Bei^ at Munich in 1589. Hie passage b as
follows:
Aut aliQuo HitcrvoUo, ad guinum pou, vel oitiore
v«l d«aisMor«, qia in re doeikuntuffl iwsu* aeUle
mustcum D. Jocobum Wcrihivm. ficiram. uuumque
•iiMlsri hbuil, qiii jona otim in coenuiis AuruMinii,
cocom dm hJoximiliaai Caesvo, «i ahorum principum
mwicu. CMin »wfnm« omnium •dmirationc artu
«P*cim«n ex tomport d«du.
Nearly every collection of either sacred or
secular music from 1364 up to the middle of
the 17th century contaired compositions by
^Vert. Although the earliest known edition of
Wert's madrigals for four voices, of which
there is a copy In the Munich Library, is dated
1561, one of the most popular madrigals in it
had already been included in the ‘Secondo
librodelle museaquaitro voei* (Rome, 1558),
‘Chi lalira’.* In the same way, although
Wert did not publish his first book of motets
for five voices till 1566, the ' Motet la de
Cipriani de Rweei aliorum auctorum quatuor
vocibus ' (Venice, t^6g} contained ' Diligiie
justiciam ' by Jaches de Vuerth. The line
moteu ‘ Egressus Jesus ' for seven voices, and
* Transeunte Domino ' for fi^e voices, were
published in Joannellus's * Novi thesauri
muski ’ (1568): these have been reprinted
by Commer (' O^leciio operum mus.', Vols.
II and IV), but with the composer's name
given as jaehes Vaet. In Stafford Smith's
' Musica amiqut' ( 1 , 9a) will be found 'Virgo
Maria hodie’, acor^ from Wert's first book of
motets for six v^ces (1581), and in S. W.
Dehn’s ' Sammiung alterer Musik ’ (fasC' vi,
i8g6), the six'pari motet ' Qulescat vox tua a
ploraiu '. c. s., rev.
gAVTien.Reoxp.a, A. M.. J«equ« W^rl'
(Rev, Be)f«4e MuikoI.. IV, 49.70). , . ,
Bo«ArRr. iReNt, Ariick \tt * VkvnKh jaerboek
<1949 40 . ,
Caval. r.. * klwk* in Manlov« * {Venira.
Eixtrtm. Alrmo. ’The lulUn Madricar (PnnMion
4 Oafoed. 194O) pauu*.
C.ATALOGUE OF WORKS
155!. II pHmo libro d« madrirali a tiMMt
\Wiia.S<9(i9. Oed«eaiedi9Alfon»Cofl8»«a*
Oihrr edUKMtf were pubJkart by Oaedano a»
Ventec in ts64. 1971 aod 15^3. . ..
1961, 11 peime libeo ^ madrifali a
dk3»de Weri, Venaiia. Seo.j*.^
M (h« Marrhew di H««ara. 0»her edni^*
were pgWalMd by Cardano m 1999. iSM.
1941. II ‘^«So 1^* de madriyali a
VeMba. S<o<u>. Dedicawd » 0«a''®
• JUfMblblwd hr W. Barrlav Squjre ai
eantoeKUe * <i»49)-
WERT: Work*
WERTHER
361
Farnoc, Dsk« di c Puceo*^ Re*
ivued bv Gvd«i>e in 1464. is)i» 1S7S And
iMd. S<«ct« tbe pwbl^fctd boUt 4K« amd ihe
fini boeb «itb dw uOr <d* M«dr««li M
wi 1361.
• 563. SI i«r?o libr«. PuUdked bv Card»o,*»d •••«>
•A lS 7 tU(d 1593. ThededKalion
F«fn&Ada di Cordon a, Uuo d* 'Simi,
** liavenddtfki V. E. de^nau del tA^veno di MU
cappellj e del di mo <rrau> ", rte.
1 367. II Quarie bbre. Cardano^ ukI m tjM ijd).
l>edka<e'J w CufItcliM C«ofti«ga, Ouca di
MaiMava.
i) 7 >. II quutio libto dc madrijrali a cioqwe. tei ei telie
«eci. Oardano. omI w ijdo. licdirated 10
(he " acadetnki di Ve<o«u <lei(i
Kilhamiotiui , , . pce<«(»ki el astnlu della
Miiutea *'.
1577. U wto libeo. S<uf(o, and in «',bt and 139^.
DedKdied M the “Prineipc di 3 lanio«a et
MwiderralA. mv> M(notc ",
II teCdino libio. Oardano. DeiiMaml lo
Ma'ihefiu Famne Oon/aiia. Pr^ipeM di
Maniova, w.ih the date *' Ih Ntanio^a >1 ib
10 di AiMile, isti, Guthev V'wert."
ijSd, L* u(u\o hbfo. Gardam*, aixl in 1396. Yk«
dedicaiion lu ihe l>oca di ^enMa vtatrv that
many ef these madri^aK Here t<Nn^*^d al
lerrarai and menuonj ** le»u aMri etcelknti
A riMUKi ft <ai<Corii <he tofo nriU mj nuinenn
skiMfTia e perCeitMima <a|<^la’‘ and the
rare qitahia deHa ire nnUbttiine ifinvfiiil ifr>r
della sereoiM SiKAwra DMheMa d» rerrafa'’.
i^lb. II nniM libro. Cfa^ann, Oedx mH M N'lmefua
(vorwdKai r>oca lU MaMOka c Monfevrala.
I 3 VI< II ilerinio hbm. (•aedano. JTedHJied l)«mva
Inei d* Antoiti (larretia, Marcheu d» CraM.
dated fr<jtn Venne. lo .V|>«. 1391. a*C<^
l<»asliei V*u«ei
• v; 7 > V Mnilr(«nw^ lihnx <iardarM. and in idoo Tk*
dediraiKMi to IraAte^o Cjatuaga. Peinriftc d»
Maikiov.t, ha* die paaMte refermti
to Wert '1 a«e: “Vestkio |«t« tanto «hr om
ii|>eri d» poter coMaeraee a mo lemiio quafcke
nutno U>eeo anthe ad yn helm di IraiueMO,
<o<iM> ik ha ronaecratoalt' aso. al padee. e alia
inadre : xche ad acni mo>lo n«o daina
ewere pty |4 dot arwaal ann*. pee<h« al pem*
( i(Hnn non n« aiea (ke nwe
1766. Jailin Weft muaw* MainauM ac (hori iSWltna
«c ei<e1lentiaf. Maniyae macntei niMMei.
eel ui dKiHit ntolectenaen qyirutne votyoi kber
priinot. Venetin, 13M, apod CLMdiwn
laieet(Mt«m et Fayatum BelhaiiHaio Soeiov
Ihe dedieation to Gy<l>elfna, Ihica di Man*
tova. d WMhed (.Mckei de ViBeel. A Uiee
eihtton wat publnhed at *' \nrihe*cae apud
i lin-lo(Mum (krlateei>on~* t «ib 9 . Ihn nnek
Hull the too bowks hdlaHwif h« mchided Mi
the rulletted erljtion 0/ Ijl)
t*,Bt. MwdyUtionuni eum aei tacibitf liber pnmia
VenetiM apod haeeedem lltetaeivnu S<o(t,
tslt. I>e<lKated la ike Frince C^inal
AIntandro Faenrv.
t'^Ul. Ui Jaehet de Wert il *e<ondo kbeo de moteitl a
‘.'."AV* 2 ®*' •M»»«»ao I* keredc
ill heotiw. 1501.
)a(lin ^Vert muwei Mawelmi mndylaieonian
sas'ariim 9uir>qwe cl set eocum bbri uev m
ytiiifti s nlumeo r**la< ii. NatikerTae esewdebani
iutharina (xrlMhiH 4 haeeetke JohannH
^ a ]n MS Kpaeate parl-bieki.
1 309 . 11 priiiHi hbro delle eanaimette, Villanellp a < in«wc
eon. Venetia. (;ardaBo Itedieated to
iMonora Medtei Gorwara, Oothnu d* hiMi*
lAva.^ dated rroot'* Venetia il d> soOnaro.
1309 . This Hork inelwdei iKree Freoek. i«o
Spaeink compotiiiofM and one Greek,
I0‘>3. Vaiia tnufkdi beatkydo quam v«cik« Y*aM^
dn an tax it Giaekes d« Wcri. Tnm rcetfdit
jiiannet Reueneeus asad. iiTwcv.
anno <€$7, >$uot MfMno beats', in four
vibrate pan • books in the Kooicsbee*
l.ibrary.
MANUSCRIPTS
AuKihunr |,ibrae>*. - Seven ii>oie«
BMel J.iWarv, -' tsresMt Jcms*. in Orman organ
tahlsiure. written about tsnj ^
Utetlau -Muiik. Librarv. — Mo(<« tee 6ve, six and seven
x-oicca. iaebadind * Cfrewgs Jesiu ’ and * IVaascynie
Docnioo'.
Brief Libean*.— MS 49* dated ($ 79 . ' I'.greuut Jesus ' ;
MS vd. ’ Speremu* meliora ’ far five voitrs.
Dreoden State Ubraev, Angelus Jomiiii' Iwr Tixe
voice*.
FranUon Ci'nanas*um*BtblK>thek.»* CKrmui Inus.'
Crimma LdMary.-'Four motets.
I jefnite Rdteratadem ie*ikblHiihck , kjoieu for five and
seven x'Owes.
iMndoii, B M.^Add. MS ts.534, madriejlt for lixe and
six x-okc*. Add. MSS 3i,4n7 arid 71,412. * lo nos
sen peeo * (dr fixe xuHe*. Add. MS 3 >.992. f. b?!'*
m kite tablaiure. ' S|ierernut nieliora *.
Milao CenBe/vator>* Librarv. A Mali for four voieet,
and aneiker Ibr six voices, insrribrtl widi Wert's
name.
Modena Bibl. palatma • -Some of Weri'i (otixpetilions
arranged w oue er iho VMeet with lute aecom-
psnimenl.
MoftKh Slate Libra^. • MiHeu, some in organ
taWature, and two madiicatt.
New Ywk LibrarV' — 'Nude', madiigal for iSx voices,
bv G uwhes de V’uerl .
Nuremberg Loeetirkurlie BiUiothek. - In MSS daleil
1 >•}. three motels fur five vokaS.
Pteike Library — FdteeA moiect.
Vwntm -Sauunal Ltbrarr. MS tfi.To;, 'Tranteunt*'
Oomme'. and ki MS 16.703, 'O larruin com*
xitMam *. motels for (Ixe toirn.
ZhkIijw Lihran. — kite moteu for lixe x*oitei.
WERTCR.RUTKOWSKA, lUroliAft (i.
I’uJAritl, / Ltsuw. 1&43 dr 1&34).
J^uliUi toprant) singrr. Shr Ixtsaii her
tartrr at I.ubUh In 17K0, laior appdurinR in
\N'anaw, at ^Vilnu and ai NivswirJ, txhcrc
Prince RadiiuiH krpi an opiTaoc titrairr on
111* male. She aricrtt’ardt rciurnrvi lu ilt<*
\Vanaw Opera, whrrc the sanf( l< atliitff |>aru
liar many ypirs. Shr tnarrivd Rutkoix'skf,
liiintrir an (»(>rra(ic singer, managrr anti im*
pcp^ario. C. R. ii.
WERTH£IM» JuUuat (^. Waraavx, iQQi ;
d. War»avr. C May |t|d&i.
Polnh pianUi, rontiurior and compuKT.
Hr siudicU com|M4iiion under NttKkoNsski at
tlie SVar*aw Consmaior^*, where he a tier*
vi’arth became a icachcr. He wrote Tour
syin phonic*, * S) mphimic Va ri a 1 i c ms * ( ( )p,
19I, a Sonata for violin and piantirorie (Op.
i$l asvd very many songs to words hy Kosc Kticr.
Hrtnr, Sticicr, etc. His comiKtsiiirms are
distinguitHcd Iry diligent and careful clalxrra-
tion of details and foliow ncr)*classical trends.
He also appeared frequently on the conccri
idatform both as pianist and conductor. On
I) May 1998, w'hilc conducting the overture
lo \Vafncr’s ' StrUicrsinger '» he collapsed on
ihc rosimm and died of a heart attack.
0. R. H.
WERTHER. Opera in 4 acis by Mauetiet.
libretio by Edouard DIau, Raul Milliei and
George* Hartmann, based on Goethe’s novel
‘ IMe Lesden d« jutigm Werther Produced
Vienna, GouriO^ra (irans. by Max Kaibcek),
16 Feb. 1 8^. ut perf. In Franco. Paris,
Opira-Comique, 1 6 Jan. 1893.' isiin U.8.A.,
Chicago (in French), 29 Ntar. 1S94. 1st in
England. Lemdon, Covent Garden Theatre
(in French), ii June 1B94.
* The originat Freiwh vmian h»d already been per*
iBcmi J at Geneva «n 27 Dec . z Bgi.
263
VVESENDONK
WESLEY (Samuel)
W*«M 4 «Ak, Stt ($ M(i).
WESLEY, Chjtf le* (A. Biasiol, 1 1 Dec.
17571 LoTxdon, 23 May 1834).
English musiciao. He was ihc son of the
Rev. Charles Wesley and nephew of the cele>
bralcd Rev. John Wesley. His musical inalinct
displayed itself in early infancy, and before he
was three yean old he could ^ay " a lune on
the harpsichord readily and in just lime ” and
** alway's put a true bass 10 ii He was taken
10 London, and Beard offered to get him ad*
mitted as a child of ihe Chapel Royal, but his
father declined this, having then no inieniion
of educating him as a musician. He was aho
introduced to Stanley and \Vorgan, who
expressed themselves very strongly as 10 hb
a bilities . After receiving i nst ruci ion from KeU
way and Bo>'ce, to the latter of w’hom he
dedicated a set of string quartets and upon
whose death he wrote a hymn beginning
** Father of heroes ", he embraced musk as
his profession and became an excellent per*
former on both organ and harpsichord. He
held at various times the appointment of
organist at South Street Chapel, Welbcck
Chapel, CheUea Hospital and St. Mar^lebone
Church. Having attained to a certain degree
of excellence as a performer he made no
further progress. He compoved a set of ' Six
Concertos for the Organ or Harpsichord', Op.
I. a set of * Eight Songs a Ctmeerto grosso.
J764, some anthems (one printed in Page's
' Harmonia Sacra mu%ic for the drama
' Caractacus * * and other pieces, w. h. k.
UtBL. . Sirv’LxvflK. Gcoaev J. .* ai«in«nab «l
SN'ntrv Family * (L^nilan, iftfg),
WiNtsai, WiLLiA^i. ' An Account of iRc ReautkaWo
^ I yiicai 1' j kn u of ties rral M wnben of 1 he Wr»k)
Family * Uromlon. iBra).
Sft ali4 IIiikJcI (vronk tor 3 hymm). Lampc (limm
oM (Jralh i»f>.
WESLEY, Samuel (6. Bristol, 24 Feb.
17C6; d. London, it Oct. t$37).
English organist and composer, brother of
the preceding. Although he showed similar
gifts at an early age, he did not develop his
faculties quite so soon, for he was three yean
okl before he played a tune, artd did not
attempt to pul a bass to one until he had learrted
his notes. Yet he proved to be the more gifted
of the two brothers.’ From has cradle he had
the advantage of hearing his brother's perform*
ances on the o^an, to which, perhaps, hit
superiority may be partly ascribed. Before
he was hve years old he learned to read words
by poring over Handel's * Samson *, and soon
afterwards he learned, without instruction, to
write. When between six and seven yean of
age he was taught to play by note by David
Williams, a young organbt at the Bristol
Church of $1. James Barton. Before then
(Sept, and Oct. 1774) he had composed some
' Probably a revlvot e( William Masoa's play of tsso.
* &*p Mus. T.. igo7~ i>. ^ 34 .
parts of an oratorio, ‘ Ruth * which he com*
pitted and penned when about eight years old,
and which was highly commended by Boyce.
About the same time he learned to play the
violin, of which be became a master, but bis
chief delight was in the organ. He was now
introduced into company as a prodigy and
excited general admiration.* brothers
gav« concerts at their house in London from
1779.^ In (777 he published * Eight Lessons
for the Harpsichord and about the same time
appeared an engraved portrait of him when
eight yean old. Before he attained his major-
ity he had become a good classical scholar,
acquired some knowledge of modern lan-
guages, successfully cultivated a taste for
literature and obtained distinction as an
extemporaneous performer on the organ and
pianoforte.
In 1784 he joined the Roman Catholic
church. In 1767 an accident befell him, the
consequences of which more or less affected
him during ihe remainder of his life, and from
which undoubtedly sprang those erratic and
eccentric habits for which he became remark-
able. Passing alotsg Snow HUI one evening, he
fell into a deep excavation prepared for the
foundation of a new building and severely
injured his skull. He refused to undergo the
operation of trepanning and sulTered for seven
years from despondency and nervous irrita-
bility, which occasioned him to lay aside all
his pursuits, even his favourite music. On his
recovery he resumed his usual avocations, and
became acquainted with the works of John
Sebastian Bach, the study of which he pursued
vviiK enthusiasm, and 10 propagate a know-
ledge of which among English musicians he
laboured assiduously. During 1606 and 1609
he addressed a remarkable series of leiien to
Benjamin Jacob on the subject of the works w
his favourite author, which was edited by his
daughter and published in 1873.* In 1810 he
put forward, in conjunction with C. F. Horn,
an arrangement ^Bach's organ trios, and m
j 9 1 3 an edition of the * \ Veil* tempered Clavier ,
and promoted the publication of an English
translation oTForkel's * Life of Bach ' (1820).
In t8ti he was engaged as conductor and
organist for the Birmbigham Festival and
lectured at the Royal Institution and els^
where. In t8t6 he suffered a relapse of hu
malady and was eompcUed to abandon the
excTcbc of his profession until 1823, when he
resumed hb pui^uiu until 1830, becoming >n
1824 organbt of Camden Chapel, Camden
Town; but a further attack again disabled
him, and he was aAerwards unable to do more
than make occasional appearances. One ol
» NowiflB,M. Add, MSSM.99?.
« ibe Hoo. D*in« Borrintia" • M****”"”** '
FtSS js.oir Mu'- T.. 190s. p. 5 «i.
• Stt Mttf. T., ipM. PP. TPB IT.
W^LEY (Samuel) : >Vorks
2O3
his last public performances was at (he cooceri
of the Sacred Harmonic Society on 7 Auf.
(834» wheri at the organ he accompanied liU
anthem * A 31 go unto one place *, w hich he
had composed on the death of his brother
Charles. His actual last ap^rance was at
Christ Church, Newgate Street, on 13 Sept.
1837. He had gone there 10 hear Messdelssohn
play the organ, and u*as Inmself prevailed upon
to perform. He dtrd w'ithin a month and was
buried on 1 7 Oct. in the >'ault in the grat'cyard
of Old St. htarylrlwrte Church, in wliieh the
remains of his father, mother, sister and
brother had been previously deposited.
Wesley was indisputably the greatest English
organist of his day, and both in hb extem]H*r’
ancous playing and in his performance of i|>e
fugues of bach .ind flaiidcl he was unrivalled.
Hit compositioiu were numerous and varied,
and some are of the highest excellence. His
instrumenial music shows that he was tv a
certain extent a piuneer of the sympliojiic si)lc
in England, hut it has sunk into old K km. He
Is remembered by a few of his clioral works,
notably the motets, of whkh one, the noble
eight •part Mn exiiu Israel*, still receives fairly
fret|tient iK-rformacKc in Englisli caihedrab
and elsewhere even In the 3oth century. S.
Wesley's religious lenets have l>een matter of
doubt. At a late |>erlod of his life liediicUiined
having ever U«'n a convert to Rome, olm.'r\-
tng that although the Gregorian musk had
seduced him to their chapels, the tenets of il»e
Ronianisti ha<l never obtairved any influence
over his niiiul. But the letter from I'ope lius
V 1 1 n at knowl edgment of a Mass ' is three 1 ev i-
denre that he Imd joined that church. He left
several children; hk eldest son. Kcv. Charles
Wesley, {A, I7ej3; d. 14 Srpt. 18591, was
sulwJean of the Chapel Royal and editor of a
collection of words of anihems. An obituary*
notice appeared in * The Gentleman's Nfaga*
tint' of Nov. 1637; rer D.N.R and
Mus. T,. 1902, pp. 5^4 ff. and ?tj8. There is a
memorial window* In Bristol ('.athcdral. A Ibt
of ihe MSS in the B.Kf. relating to him and
containing his works is given in U.N.B. ITsc
following list of his compositions svas compiled
with the asiisiance of his daughter t :
CHURCH mush:
NI*tMS
* M|\UI Mtlemnit' r(;rer6r.«H) fe*
Muu Kvrte tltnnn.*
* Miua (J« S. 'I'tihiutt.*
* |MO Anr«lu.'
MoiK-n
to e««iu JwMi ' (8 v«k«v).
*' r.aulcdiF !>«.»* (5 «.>.
** IN«»i J>MiMnw ' V.).
** Umni« vaniua * (4 «.).
* I'u n MCFrdiM* (4 V.),
* 1*« >»ymnu«‘ (4 «.).
' Now lA B.M, AJd. MSS
* Ttiow mvkcd • ut publalitd.
* HoojisM in eMebu ' (4 v.).
* DooMite sshsifn fac * ( 4 v.. w i ih ontrii K
* CoAtitebor * far wlo cliotui & ot<h.
*IV. * Ib .NaiiiMJW Domtni *.
V. VI. Vll. VIII. IX,
X. * In I'ptpliajiio *.
XI.
XII. * le Frwo Coefsc^K Clwivci
XI V% * Ib FfMriliAAia *.
XVt. * All IlmrUKiMDi’ f»r CJiritii).
XVII.
XVI tt. * In I'rMo Corpurii (Diritii *.
* IXxkl JXiBaMlIlS.*
'Solve iUfhL’
' Msen^^i.*
' Qujlm MAMruin.*
' .\enut I V» *. U IBS. 1 1 H 1 2 1.
' KvAMiwt in Fruo .SwrimniMt.*
' Vm«n ) dr !*•. CXXXV I.
' amrn wHIa * 1 178I* >,
* SaUv KeciAA.*
* l^latwA wprtA.*
* (liMT* rn«w».'
* l)m» Mak^Aln ' <h«iu» hkIi »iv*< k orraii
2* 'win. itvai.*
Si rvuis
*M«fAiiic jod Kwninc Vruce. V dia 4 1.'.
Ir ISnini, Saihiui. kirw. .Suii< DintiMk, .umI HufMl
Smirr 11 u
•JuImUicIW
* NAIHIHI I HM.
.\MUI Mt
*' .Vll mmm one faxe,*
FwArtAl .VhdwiH f«>r ( Kstki VS> 4 rv.
*' I Alte wdl f)faaw«l.*
* nrln 4 'l 1<MM ••nal ' wjlli nrvan vHI,-,
*' I Imhi, (> I,<al, Afl iiTdkird.'
* VMmi « an tHI / * « JmK iH/s^
'IlFAf. Olhoudwiilwid.'
' hr i>lrwnl. O (.• 4 .*
* I will lale liOT^I,*
Pmi Ti si 1
** pAnwI.iAl fmlin. l(M«r»* wiih mWilwiJri. book I.
AoQ or more ll>niht and fkalm. I'utiri,
( MOH.M. WOKKn
* Kutli *. ATAMm «f>m|MHn| Al ll»e Ale iifft'.
* '1 1^ 1 1e«ik «4 .Vliel ' 1*01 u 1 1 & 1 1 1 « 1 ^mplrie) .
* (Kte on M. Oolu'k Hoy * hukU by .s. VVeiley^ for
Milo tnain. ilmrv* A or<k,
* ()n ihr HeAtlr of W. Kmetiryr)* ^ kiiiar«m>ii, <l»(>rMi
‘r?a 4 i.
' U hv 'txarW we »hrmV? *. • luM* t orch. fMoy iHi 1).
' .Mr drtwlii*. «MtA<com|i. (lMitH< 111 Apt. |S)6^
* lliiu ihrwth MKcrvAiyo Afei *. unA«o«n|i. ehorui.
<iu;i.s
FoA ] V'orri t
' Ihese Are lif ferwl mAnu * ^ irsi).
** feOMkV, coosy. SATHlrr ’ f 1 76 1 1 .
' Hank and uniwnefal ’ <i 7 tv.
' VVlten kru iky coft lipi ' (1783).
* Say lAB power ‘ 1 1 J.
*(>A dtr wAve * 0749),
' Life*ft 4 ^ * «i 7 ]ao. lie?).
* Vs’kot bliti n lifa ' ( 1 807).
* Rn*e4 tbrir tWpiMWt * (189a).
* Theta happy wrruB.*
' Admi, ve
‘\S*hen OrphrtM went down.*
* VV*i»en fciefKfihffl.*
' The •••hu of mAh,*
' fwcete I n nwe rare,*
* How crond AA aar.'
** From Amcreon.'
* N'rOa rata.'
FoA 4 V'errer
* New dte iminpe<*i' (i8rs).
* VS kilc etory diori-hved ' 1 1 8at).
* Cwrle the bfm).*
• AtiloerAph in ih« W. H, Cumminei celleciion.
264
WESLEY (Samud) : Works
*' O ting unl» my ro'jn^elaie * (nudrifaJ).
' No more lo earth.*
** Father e( h«hi/
' Here ihall the mom.*
*iotA w\Oi thee.'
OftCHtSTRAL ^VORKS
Overture, D ma.
Overture. C< ma. (i7W>.
i^vmphenv. D ma. (J7a4>.
Symphony, £7 ma. (17^).
Symphony, ma. {idos).
Symphony, A ma.
Overture, P ma.
Overture '* to the Second Act ’* (unfiniihed).
Symphony, D ma. (unAnithed).
MUSIC FOR WIN'D BAND
March for oboei, baaioons, horm & •erpeni (1777).
ORC.AN AND ORCHESTRA
Conoeno, Cy ma. (177S).
Concerto. I) ma. (1781),
(^rcftn. 1; ma. (1789).
C/vneetto, ma.
Oerwrrto on ' Rule, Britannia *.
Concerto. C ma.
Concerto, B7 ma.
Conretto. E7 ma.
Conrerte, C ma.
Concerto, C ma,
CUtncerto, D ma. (with hornpipe).
CHAMBER MUSIC
Strinf Quartet (1760).
String Quartet (tm).
Fufue in B7 ma. for it|. }tet (iloe).
Sirint Qutntei. A ma.
THo (W oboe, vn. ft cello.
* Aria ' for •If, trr^.
Trte for 1 Autci ft pf«
t Sonata* for M. or harptkhord with vn,. Op. 9.
* Rondo on ' jaeky Hornrr * for pf. ft flute.
Duet for vn. ft ecHe.
Solo for V7I. ft ba**.
.Snio for uitaccemp. vn.
FIANOFORTB MUSIC
* Ei«ht Lefiona ' (1777)
Rornln, A ma. (i77^>,
i .Sonatat. Op. j.
) Sonata* ft 9 Duett, Op. 5.
onaia with Fusue ort a tuolect bv Saloenan.
* Sonatina ItleO. to Miai Meeking).
*Sonatina, O ma.. on an ate in * lekeli *,
Rnndo. D ma., ' OJT »he aoet *.
*Rnndo, D ma, (ded. to Lady Mary Douglai).
Rondo on ' Fly not vet
Rondo on ' Orphan Mary *.
Rondo on * Patty Kavannoh *.
Rondo on * The young hlay moon *.
*Rondo on * Killy alone and I *.
*Rendo on Pureej)’* * t attempt from fort’s skkncsa ’.
Rondo on * ^Vill Ihitty
• Rondo on * BrlMuima rignora ’.
•Rondo on * Pastorella p^acca *.
•Rondo on * Tlie Late of Rwhineod Hill
Rondo on * Old Towler *.
•Rondo from an organ Concerto.
•Rondo on a Polish Air,
•Rondo. G ma.
• Ror>do on * The Bay of Biscay
•Rondo on a Chrulmu Car^.
• Rondo on * Mel) Fately
•Rocvlo on * Widow Waddle*.
•Rondo on * Le hUiange*.
• Rondo on * Scot* wlui hae
•Rondo on * The Deserirr't Medliaiioc)
•Rondo on an air from ^VeWs ' Frewehuu *.
Adagin. Mareii and Walti.
•Duet to Martin** * Una e«aa rara
Divertimento Ided. le Mm Watler).
•Rondo nn ' ’The Siere of Badaiot with March.
Walts. * The Skyrocket *.
•Waits, * ’The Coburg *.
Inirodueiion and Air (ded. to Mn. SiiHiof).
* Sweet Emlever *. with variadom.
•lotrodtxiioQ aod Hornpipe with variatioiu.
•V’ana«*Otti op a favourite lialiao air.
•‘Grand Fugue with Marcb from Ode for St CcciEaV
Day.*
•‘ Graud Coronalfon March *. D ma.
* New hlarch aa Performed <m Parade.*
* Pretudes ihroufbout the Octave, both major and
minor.’
•Fugue (ded, to /. B. Lo^er).
Trio for $ pfs.
ORGAN MUSIC
Dvers
•* Oread Duet ’No. 1.
* Graad &Kt * No. 9.
•* Oread Duet ’ No. $ (ded. to F. Marshall).
VoUMtTAaigJ *
Coar eeio, D ma., for organ ft vn. (iBoo).
fl Voluntanca, Op. S.
5 Voiuateriea.
•a Voluntaries (ded, to W. Harding).
S VoluBcarm. Set It.
•* Six N’oluatarioi for Young Organiiu.’
•Voluntary (d«d. to Thomas Altwood),
•VeftiBtery, C nu. (ded. to W. Luiley).
•Votonurv, G mo. (ded. le H. J. Gaunlletl),
•« Volunuriee (ded. to W. Drummer).
•fl £a*v Voluateries.
•S Casv Voluntaries. Set II.
•* A Short and Familiar Voluntary,’
•* Twelve Short Pieeei with Full Voluntary added,
•* Twelve Short Piece* with Grand Fugue,'
•* A Book of Interlude*.*
•Fugue. D ma.
•* Freludci and Fugue*, or Exercisei.* . ,
•* Six Introductory Movement* and Fugue m D,
•* Okoracteristie Airs for the Serapliine?
SONGS
’ Yeft Daphne! Mi7fl0.
* Adieu, ye jovie] youths * (c?S3).
* When w« see a lover languish ‘ (I7fl)).
* Too late for redm* * (t7e5).
* PaniM to death * ( 178}).
* Tho w}ii«o<robed boun' (tTSS).
* nwii*rine spread ' (iTfti).
* Aroiin’i LementJiien' iitM)*
* The wurH. mv dear Mka ' (1764).
* Gentle warhiinff * (lypp).
' Might I in Thy light appear * (1807).
•• True blue.*
* Within the cowslip’*.'
* ErsglaBd. the tpcil.*
* What shah of rate’* relenticis power.*
* In gentle tlumben.*
* FoKweli, if ever fondoi prayer.*
* Think of mr.'
’ Behold w h ere Dryden,’
* Louise, view.*
•* Come an mv brave hoy*.*
* Qcecion Sniub *
•'The HoM that Jack built.'
’* Love aod Folly.*
* Pale Mirrcr of retplendeni piihi.'
* Love's but the frailly.*
' Oh, bow to bid.'
VOCAL DUETS
' Sweet coMtelbtioAi * (1789).
* Since p ow e r f ul love * <1783).
'Belle Gabrielle' (I7g»).
* Boeath a sleeping infant lies.* , .
tv, M. H.,
BIBUOGRAPHY
Hwes. lA«i. * Samuel Wesley: his Life,
iWuenec on Mu»ir * (Proc. Mu*. As*., VoJ, XA,
Uou’tS^. jAHts T.. 'Samud Wedey: Muskii" ’
• The Hymn, of W«lcy
Walts * (London, i pte). _
» M**r ***** reprinted, some adapitd
for pedal organ.
WESLEY <S. S.)
265
Sn all* AoUi«ni. Jacob {B.« kttcn 00 Buh 6 rofn
W, addrcscd to J.)>
WESLEY, Samu«] Sebvstua ( 4 . London,
14 Aug. 1610; J. GIouc«»ier, ig .\pf. 1676).
English organist and composer, nature! son
of the preceding. In his tenth year he was
elected chorister of the Chapel Ro>'al : in 1626
organist at St. James's, Hampstead Road ; in
ib29 organist of Si. Giles's, Camberwell, of
St. John's, \N’aicrloo Road, and in 1830 of
llantpton*on*l'ha(nes. holding three of the^e
appointments simultaneouUy. During these
early years he had •>4>nie exp«'rien(r as a
ihealrical conductor.*
In 1832 he isceasne organist of Hereford
(dihedral, conducting the 'three Choirs
Keslival there in 1834. year later he married
the sister of Dean Kfcrevielher, when hr
migrated to Exeter, remaining at that cathe-
dra! for six years, during which period his
reputation as the ftrst English dturrh com-
poser and organic of hU <<>untf> lircanK
citial>lish«d. In 1839 hr accumulaml Um*
{legreci of U.Mus. and D.Mus. at Oxfrird. In
1841 he was induced hy a giHid olTer from
Hook to accept the organist's p<>«t <*f ].eeds
Parish (Church. He had playej at the open-
ing of the organ In Oct. j8.p ; according in
the Parish Church records he was engagml in
1839, hut the * l,eeds IntclligerKer * of 16 Ori.
I I spea ks of 1 he (lost as then vacant . I )u ring
his tenure he delivered lectures at the Liver*
pool Qdlegiaie Insiicution. He wrote !m
famous Service in V, major and sold it in 1B45
to Martin Cawood, an Ironmaster, to whose
wife he detlicHietl a set of satirical 'Jrux
d'csprii : Qiiatirilles k Ja Hera ' in 1846, In
1844 Ivc was a cam! if late for the profevsorsliip
of music in the University of Etlmliurgh, then
vacant by the resignation of Ihshop. Amotrg
Wesley's t stlmnnlals on that oceasiim was the
folInvtiDg frtim .SjKihr ;
Hi< sliow, wichoui PK<ft>ti«i. that he i« tw*«iM
of tKtili *i>|p anO form <4 th« «|irTrr«nl tpntn of isni*
pAtiUoh ai)«l tiifnvrir rlo«H> l» llw
wliuh Mvrr.it hifMli <l«nvaiMl. not atli m s*<r^
art. I<wc ah« in Kl«ei atMt m ntuvx foo Uw pMnnfcrM,
Hu •acri’d rnmir 11 <liirni dnurvcianbed br a ooMe.
elwr> «irn an uniHiur. nyk. am! hv rich harpteows ai
sirtl a< li> «urp<i'in«lv be^utiM meiliilaiKtfM,
On leaving Leeds in 1849 he entered Into a
con tract with R, S. Burton, to bc!I the '* good*
will " of his Lectls practlee for 500 guineas.*
In 1849 he was appointed to ^Vlnch«1ef
Cathedral, where tlie svitool offered facilities
for the education of his sons. On 10 Aug. 1850
he was appointed pTofe&«or of the organ at the
R.A.M. After fiftreti years in cathedral and
school cliapci, Wesley, being consulted by the
Dean and Chapter of Gloucester as to the
claims of can<lidales for the onrenlsl's post
iIk'R', then (186^) vacant, lAtimairfl that he
I .Srr Mill. T., « 9 «>o. pp. 99II-04.
' vrr JMCil* Mercury* and * Leeds IntdliMce
• ? Juty iflSJ and * The Times *, 16 July, (br the reii
of the achnn ^«hl<h follown!.
w*ould himself accept it, an offer w'hicli w'as
naluraJly taken advantage of. This post
brought him mon* prominently forw'ard in the
musical tvorkl. as ccMtductor ex offido, once in
three >*ears. <rf the Three Choirs Festival, and
the change sccft»i*vl for a time to rtaniinate
energies and powers which had not rtccivcd
adequate public recognition. In Jan. 1873 he
received a Cml Livt iiensiun of ;^ioo per
annum.
But the lx's! jTars had been s|H’nt of a life
w'hich, to a le\s sensilivT nature, migltl have
been happier and more eventful : and long*
deferred hopes for restorations <>f loundco*
intcntiimv and for tliorough reforms in cathe-
dral matters generally — reforms W'hich, !>oih
with pen and s^iice, he warmly and constantly
advocated — combined with other disappoint*
mciits and cares, sltorten<'d his days, and after
some ten sears* tenure of his GU>iicesivrp<»«t he
died there, his last w’ords being : " Let me sec
the sky ”. .Vccording to his own w ish hr vs as
burietl at Kxrier m tlic old ccmt'iery hy ih<*
sale of an only tiaughicr who had di<*<l in 1840.
\ tablet 10 his memory wav placed on the nordi
vvall of the nave of the cathedral, on vshich
titrse words are ms<rilM*(l :
Ttin iwnnuirm l-as Wrii iMacciI Krre liy frirmts as
•A p«|ir^i»n of h*ch e>trrm Sk tus wurOi.
4 a>l aikniratiuu nf h<> ctr^i Beniiii.
'J’here is also a window to his ntemury in
GImtcesier (Cathedral.* Other memorials arc :
Hereford * a window in the easlern elcTcstory
of tiM* north transept: lixcter — a lancet
window' in the church uf Sc. Mieha<*l and All
Angels; lx*edv * a hronre tablet in the
Parish Church ; Winehevier — fa) a pla(|uc in
the north transept of the rathedral : a
pla<iue nn the front wail of No, 8 Ktiigsgate
I Wesley's resitlcncej.
As composer fur ilic Church of England
\>'rsJcy may fairly Im (daced in the highrvl
rank. In his elaborate Service in F major,
published with an interv*viing and caustic
preface in 1845 while he was at Leeds, ad van*
cage b taken of modern resources of harmony
and modubtinn, without departure from the
lines of titai true church school to which the
composer had been so long habituated. And
ihb judicious combinalion of ancient and
modem is characterbtic of all his church
music, in whkh he givn practical illustration
of ihe reform he was alway.s urging. {Set the
pamphlet, etc., on church music named at the
* Thr rniMMAfv of W>sk)*s ««s cdebrAUKl hi
VVMmM»irT ,yM>rv bv * rcHnnKmerdih? srtvicc (38
JufM 1910) M wHkh n«li< uf hh lin»vi »h<lir«ns y.«re
will. P^lHW LXXXIV ami <.L. tUr
aiM»M *» ami 1h« IXmiiiit t,om hh .Sfrvirc in i;,
»•»< hsniM, • Bc(K |,r<. M heff our iK>nw>n ’. $n lo
Awlia . «ihI al Rirv4i Vy J Uitr«^lAV
'I 4 *«€ Aua.j whkh iA<lu.M Um Smicct in
L ami i^ibrr wuli tjs of tlic mo»r tdfl>taie<l
Vilhvan. and ah« a -octui Mnil.sl <4 \V*«lrv*« orttati
musK ffRm by nn« of hh own inipita. I>f. I, Krndtkk
Pyfia, wh« Ato or^aniu wf hlancnesler C^jihnlral.
266
WESLEY (S. S.) : Works
end of (he list of his compostuons.) HU fame
will rest chiefly on hU N*oluine of twelve
anthems, pu billed in (853. Two of these,
composed at Hereford, ' Blessed be the God
and Father ' ' and ' The VVildemess ’ *, are now
universally recognized as standard works
excellence, Later in life Wesley soared even
higher — for instance, in his noble ' O Lord,
Thou art my Cod * for eight voices, in hU
* Ascribe unto the Lord composed in the
Winchester period, and also in the exquisite
little anthem ' Thou wilt keep him in perfect
peace wherein knowledge and the dignity of
the true church style are so conspicuous, and
which U one of the brightest gems in a coUcc*
lion of choral jewels. U should not be for-
gotten. too, that popular hymnody was much
enriched by his fine tunes, which combined the
dignity of the church style with a vocal ease
that made them attractive to the massa. That
known as ' Aurelia * Is the most famous.
As an organist \N’eslcy was for a considerable
period acknowledged the first in England.
His touch was eminently legate, his style alwaya
noble and elevated, and he was a master of
improvisation. At Winchester he was heard to
great advantage on Willis’s fine organ. His
extempore playing after the Psalms, before the
anthem or after the service was a thing to be
remembered, and various play ers, after lUaring
him, changed their style for the better. His
views, formed from early habit, on two impw*
tant points in the construction of organs were
curiously divergent from opinions widely held,
for he was an advocate both of mean*tone
temperament and ofa '' G ” or F ” compass.
But in supporting such exceptional views he
could give practical reasons for the belief that
was In him.
Those well acquainted with Wesley could
not fall, nolwlihsianding a manner at limes
reserved, retiring or even ecceniHc. to appreci-
ate his kindness and sympathy. To those he
liked and trusted he could be an agreeable and
interesting companion and friend, and these
will not forget their pleasant intercourse with
him, even on occasions when musk formed
little or no pari of conversation.* That he fell
deeply and aimed high is proved in the dev^
tional and masterly works with whkh, at a
period when English ecclesiastical musk was
at a low ebb, he enriched (he choral repertory
of the Anglican church.
The following is a list of Wesley's published
works :
CKVRCH
AKTitrus, ftc.
* A«crib« unto the Lord,'
* All fo unto oiM place * (Funcial) |g,A.T.B.).
* Sf< Mui. T.. 1900, p. sss.
' Sff Mia. T.. i^. p. 164, and tOoP. pp. 300. 301.
* Mui. T.. 1900. SP 9 , 360. 43 »: anerdoMs. et«. Hid..
* ^Q. 4 S 3 . 403 ; D.N.B.. «ic. Information Treat Herbert
TK(mpion arid ethers.
' Bloed be (he L»rd God of Israel ’ (ChciiUnss) (4
voices).
' Bloed be the Cod and Faiber ' (SS.A.T. 9 .).
' Case aw sot away from ihy pc^eoce * (SS.A.TT.B.).
* Give (be Kiaj Thy iudeotmu ' (S.AA.TT.B.).
' Clery be le CoA 00 hifb * (FutI) (4 v.}.
* Cod be owrciTol unco us * (Marriage) (4 v.).
* I an Tbictc. O Mve ne ’ (Full) (3 v.).
* I will arise ; and O remembef noc.*
* Let us bft up our beari ’ (B v.).
* Maa that u bom of a womaa * (S.A.T.B.).
* O nv« ihaniis uato the Lord ' {b.A.T.ft.>.
* O Cod. Whose nature aad properly * (Full) (4 v.).
' O how asiiable.'
' O Lord, my Cod ' (Solomon's Prayer) ( 5 .A.T.B.).
* O Lord. Thou arc my (>od ’ (B v.).
* Prabe che Lord, O my s^ ' (S.A.T.B,).
* The Face of ihc Lord ' <B v.).
* The Lord is ny shepherd.*
* The WildemeM * IS.A.T.B.).
* Thou wJi beep him ia perl«i peace * (S.A.TT.B.).
* Three CoUecu Tor the hnt cheee Sundays In Adveal',
iwe hr Treble, and oae for Bass.
* bt ash me chroughly * (S.A.T.B ).
* The Hundredih ^Ire '.arranged with venous har*
mony hr choirs {rouadatton-stone oT Netley
Ho*p*ial. I Bed).
* By the rivers oibbs'lon ' (Soprano solo).
Do. <AJlo sole).
Seavieas, Bec.
(la t ma.) T.D.. J., K., $. and C, M. and N.D.
(In F ma.) Chaac Service. T.D. aM in M. and N.D. ^
(le P Bia.) Chant Senice, Lciier B, T.D., J., ■>>*1
N.D.
(In C ma.) Chanc Service. T.O.. J.. M. and N.D.
(Ia C ma.) * Glory be to God on blfh * (early work)<
Pmlms. fto,
*Tbe Euro|)ean rsalmisi ' (cB7S).
* The Fuller poiacsd hr Chaneinp'
Numerous Chaats and Hvom Tuaei.
CHORAL WORKS
* Ode to Labour * (W. H. Bellamy) hr the openinl oT
the Imhuuul CahibiiiOA (17 Ori. iBoa),
* The Frauc of Musk * Tor Ceuaod*s choir (tB 7 $).
GLEBS
* I wish to lune my qulv'rinf Me ' (A.T.T.B.B.).
* Shall 1 tefl you wh^ 1 love f ’
* When heree eealtreiini pamions.'
PIANOFORTE WORKS
Air and Variaiterss. E ma.
blaech ia C mi. and Rersdo Jo C ma.
ORGAN WORKS
ft tt.
Holsworihy church
Quarterly
S Pieces fee chamber orf an. Seu 1
Introduciien aod Fufue, 0$ ml.
AndMtSe. C ma.
NaiMoaJ Anthem nith variaisers.
* An Air varied '. cu m( < o t e d hi
belh.
'Studio.*
Andante. A naa. (posth.).
Andante, E mi. (posth.). ^ ^ ,
Crave and Andante (fo ‘The Orfamti
Journal *).
Some contributions to collections.
SONGS
* Or^ian boura. the year ii dead.’
* The Butirrdy.’
* T>ere be norw oT beauty » daughter*.
* Wert thou like me.* , . . „ . , . «
* Hobee hlut uad suae M^ne * (wth cell*
* I >*oo whom I Iw ? (with ce)lo ar n*,).
PA hi PH LETS
* ImiuirM ^ ^ Cathedral Commi»tO"««
WESSEL
WEST (Bcnja/nm)
267
rriatinit <0 ]inp(o>efnmt So the Musk of E)iviM
\Vonh»p in CaU>«tl(aI * ( 16 ) 4 ).
H. s. o., adds.
Biu.. — S kkk, G. W., * BioffiphicAl Skcicb * (Mu& T.,
19)7, 44> >49< «39< )4)< 439< ))S)-
STKvrwuK, Otoa^t: J.. ' M«monjU o( Ihe \V«iky
Fajnilr ' (Lwnden.
WiKTLiu. WibkiAM. * An AccounC of the Rmackable
MusKal Takni* M«mhen of ihc \Vo»k>
Fomilv ’ (London, (B 74 ).
.SVr 4Ih Anthem.
WESSELi Christian Rudolph (f , Bremrii.
1797 ; d. Easibournc, Mar. i8d^i.
German pub)Kher. Hr wcni (o J^>ndun In
1625 and e»tablislted. with an amaicur named
Scodart, at 1 Soho Square, the firm nT music
puhlUhcrs ^Vc»^el & Scodari. Ttir (he popular*
i gallon o( Toreii^n muNic. In (838 Stodart
retired and VVesscI continued the butiite«s uniil
i 83<), when he took in .Stapleton as a pariner
and removed to C7 Frith Sirrrl, SoIm. AImmiI
that lime ihe hrm enlercJ Into a sonirad with
fihopin fur the rxclif.jvc ri}(hc tu publish his
wurks in l.ui'laiul, pay ins him ft^r each
frrth eom|Ke^jtion. In iflf', Scaj>jeton Irll ihe
Hnn, and Wrs»el a^ain rarried i>n bu>ine'U by
himsfir, from 1846 at 239 Kei^*rii Siri'ei and
from at 19 llatuner S<|uare. unid 16C0,
when he rctireti in favour r>i Kdwin ,\vhdown
and Henry John I'arry, ll•»ch them hwe in
bi< employ. In iBUr Parry retired, and from
tkial liinc the business was in the ban<is of
Ashdown alune. It Mliimatrly berame the
rumpany known as Edtt'in Ashdown, Ltd.
A. c.
WESSELY, Bernhard ih. Beilin, c Sept.
i;bd ; (/. l*oivi.im, 1 1 July 1G3G).
fiurman tonipner. The bouse of his
parents (a Je\vish family) was a meeting* plate
lor llic ureat piH*ti and phi)us«^h(’ri of the
time: Lewng, Moses MetideUvshn, Kanilcr
an<l others wore rr«'<|uci)t vbilors. ^^’e^»ely'
studied under. I. A. P. Schuir, and in 1787 he
went to Hamb\iri{ to conduri his r<ironatMm
canlai.i, lu I 788 he berame musie direc inr at
the Koyal National ’i'hcatre, BiTlin. In 179O
PriiKV Henry vtiRaged him as his KafxUmeiUtr
ai Uhrinsherg, and nn that patron's death in
(Hut he abandoned hu musical career, for
fuRiiiy reasons, and iK’came a fosernment
ofTieial at I'obdatn, wherein 1814 he Bninded,
with the secretary Mesdinger, a society for
classical music, which he conducted until his
death. His compositions were STr^’ popular.
MeyvHirer (m la clebur’s dictionary of Berlin
musicians) points him out. wrongly, as the real
author of the famems lullahy, * SchlaTe mein
Prill /c hen \ attrihuled w Mosart, whkh is
actually l)y Bernhard Fites. j. a. f.*si.
W’rcwly's w«irka for the stage were a ballet,
‘l)ic Wahl des Helden’ (Berlin, 1788); a
Singipitl, ' Psyxhe ’ (Berlin, 1789) ; a prologue,
Ifcodrii des Herbstes* (Berlin, 1789); a
i rcnch operas for Rheinsberg, ‘ Iamb XI '
^ 1707 ) and * I.'Ogre ’ (1709) ; and incidental
music for Kotzebue's ' Sonnenjungfrau ' (Bee*
lin, 1790), for Rambach’s ‘ Uer grosse Chur*
furst ' (Berlin, 1795) and for Tieck’s translaiioii
of * The Tempest ' ( 1 796, not performed 'i . He
also coinpused 3 mgurning cantatas dor the
philosopher Nfuses Mcndc’lssuhn, for Nfn/art
and fc« Prince Henry uf Prussiiii, songs,
chamber music, |>r. variations (on ' God save
the* King', etc.!, and p\il>lishcd an essay on
Gluck and Mozart in the* * .Nrdtiv dcT ^c'ii '
(Nov- 1 7 s 5 t. A. 1..
WESSELY, Haita <*, N'irnna, 33 D.c.
1863 ; d. Innsbruck. 29 Sept. (926^
Austrian viedinUt. He began to karn ihe
violin when nine yvAts uf age, later received
his mcnical training at the Vk’ima Cuiincr*
calory and competed hi« c(udic» there with
tlw leading professor, .) . M. (*run. His lir»l
im|>ortanl appearance in public was nidcic at
iIh* age of lwenty*unr. when he gave two
ordsestral concerts in Ins n.nivi* ciiy aiul w'as
siiliw’qurntls rng.tgiil to play S|><d)r's 71)1
(^•nccTto at iIh* Phdh.irnionir Sudety oil'
\'iennai under Richlrr. He cislivd various
iiHiniries in huro|>r and ec<*Miu:illy foiuicl Ins
way tn lamdon, nuking his debut ui the
(!rysial Palace concerts under Muiuis on 7
A|tr, 1888. In iHBct Iw beciime h prorrssi»r at
tite K,.V.M. His rr|M’riory included ,ill the
great siolin (oikeruK, but it was ns ,i cjnnrtcu
leader tital he was best known. The f^nariel
bearing hU name gave a scries of concerts
annually in latndori until ic^i.|. lb' bad a
good teclinkiue. much force and a serious
ctuHepiion of the masterpieces of chamber
inusU which he was inamly engaged in ihiiT*
preting. Me playcKJ cm a Stradivari siolin of
the Ih*si ix'iiiMl, w*. wv c.
WESSTROM (WetCrbm), Anders irl. ^
r. 1730; d. I'pfnaln, 7 May 17B1;.
.Swedish musician. He wav condurior of
the Royal Orclw’slra from J, in. 1748 to Feb.
I773> In 1737, during a visit lu Dresden, he
became acquainted with J. G. Naumaun,
whcMn Ite took wiili him to Italy, W’here he
hinnelf sludied violin with Fart Ini hI Padua
in 1 758. On lus return to Sw*ccicn he tc>ok pari
in musiral activities in various parts of ihv
riHintry as well as in the capita). On his re*
lirement from the Royal Orclicsira In 1 773 he:
liecam onanist at (in lie. ,\ string Quarici
in F major by him was c'diicd by Sve n
Kjc'IIstrcmi in 1941. k. d.
biM, - 0*111 <.RkN. L. 'AnmbikACAr 0111 SiwcSIioIim*
lesirar ’. p. 49.
HesMMCng, C. F„ • Kyi«n«» A, U>»-
tCfoM i7»«-i7»irc&. l .M., 19/8 k 1989),
^ WEST, Benjamin (F Northampton, ?;
Engibh 18th-century orgams I and composer.
He wrote ' Sacra concetto or die wlcc of
melody, csmlaining an tniroduclion to the
grounds of music ; also 4: psalm tunes and 10
268
WEST (J. E.)
WESTBROOK
anthems (London, 1760; second ed., with 12
anthems, 1 769)- E- v. d. S-
WEST, John Ebenezer (^. London, 7
Dec. 1663 ; d. London, 08 Feb. 1929^
English organist and composer. He studied
at the R.A.M. under hU uncle, Ebenezer
Prout and others, held successively several
organist's posts in London, resigning that of
$t. Augustine’s, Queen’s Gate, in 1903 in
order to devote himself to composition arKl
editorial work. He joined the sialT of Novello
& Co. in 1884 and l^came musical editor and
adviser to that hrm in 1897. HU compositions
include cantatas (two short works were pro'
duced at the Gloucester Festivals of 1904 and
1907), over 70 church anthems published and
several services.
West's valuable book, * Cathedral Organ*
isis gises the most comprehensiv'e and at the
same time concise record of the holders of that
ottice in all English cathedrals and collegiate
churches. It first appeared In 1899 and was
reissued In a new and enlarged edition in t93t.
Its information is remarkably aceuraie and
clearly set forth. >r. c. c.
WEST RIDING STRING QUARTET.
The only chamber* music team in England
to be employed on a permanent fulhiime,
salaried basis. It was formed in 1948 by the
West Riding of Yorkshire Education Authority
to take chamber music into schools under Us
adcninUiraiiun. Thus children living, for
example, In small mining totvnshlps and
remote iVnnine villages enjoy an advantage not
shared by those in the large SVest Riding towns
and cities having local educaiional control.
After some weeks' rehearsal the Quartet
began its Khuol work on 7 Oct. 1948, at
Mornington Road School. Bingley. At the
end of three years it had played before
audiences totalling a quarter of a million.
Though short solo pieces to demonstrate the
instruments arc included in programmes for
junior schooU, the main emphasis b laid on
chamber music: single movements or com*
plete works by the classical masters arc
presented, as the occasion demands. In
senior schools Stravinsky, Waltm, Rawsthomc
and Bartok are warmly appreciated, at least
by the children, if not by the stall.
The member of the Quartet are Walter
Appleyard, a Harrogate violinist who studied
under C<auerall an<I Sammons (leader),
Arthur Levick, Raymond Lllley (who cnak«
his own violas) and Frank Gill.
A reasonable amount of time is allowed
for rehearsal and the preparation of school
programmes. 'I'lie team is permitted to take
a limited number of outside engagements and
has produced works by modem Yofkdiirc
composers. J. R.
WEST (Weste), WUliam (h. > ; d. London,
• 643).
English singer and composer. He was a
gentleman of the Chapel Royal from 1612
until his death.’ He is presumably the ^Vesi
whose “ Sharp ” Service (including T.D., K.,
C., M. and N.D.) and two anthems, * Have
mercy ' and * Save me, O God are included
in Barnard’s MS collection (R.C.M. !045<'5r).
This supposition is supported by the fact that
these works are included in this coUectlon and
not in Barnard's ' Selected Church Music ’,
published in i64r. The latter included only
works by composers then dead, and the MS
collection contains the nucleus of a second
assembly by living composers, which Barnard
intended to publish as a supplement to it.
}. M. (ii).
WESTBERG, EHc (*. Hudiksvall, 9 May
189a; d. .Stockholm, 16 Oct. 1944).
Swedbh composer and writer on music. He
was iniendant of the Stockholm Concert
Society, 1916, and managing director of the
International Music Bureau of the Swedish
.Association of Composers from 1927 onwards.
COkl POSITIONS
ayin|#»gnr No. 1,
StMphonv No. t.
SymphMv No. $ (' Swhtka LAtor Bollader J.
St'tnphoAK pe«tni : * Ouk * <' Kacipe
‘ Nenio.*
S\«naA>onir ' Scherso p«da(OB(c« *.
Comedy Os^iure.
gHbnon Rhapsody.
Fi^'O .Norihrra foocM.
K. D.
Srtt.- W ASToeoo. E.. '£rk W'e»Jb«** (in ' TjwfdVrt
li««r*r *. Stoekholm, leSO).
WESTBROOK, William Joseph (E
London, 1 Jan. 183J ; d. London, 24 Mar.
1694). , .
English Ofganitt and composer- Hu jo-
itructor was R. Temple, a blind organist. In
1848 he became organist of St. Bariholotncw s,
Bethnal Green, which he exchanged in 1851
or Si. Bartholomew’s, Sydenham, where he
•emained until his death. He took his degrrt
>f B.Mus. at Cambridge in Feb. 1876
O.Mus. in May j 8?8, his exercise, ' Jesus, an
watoriette for solo voices, eight-part chorus
ind orchestra, having been performed in me
:hapcl of Queens' College, Cambnd^. Me
was suborganUt at the Cr>'8i8l Palace tor
<ime three years and conductor for thirteen
rears of the South Norwood Musical Society.
iVestbrook pubibhed many organ pieces,
original or arranged; songs, parisongs,
nadrigaU, canons; English trarulaiiom <rf
«any songs by Mozart, Schubert, Fw, etc. ,
n part or endrely the English text of Beriots,
Oancla’s and Alard’s violin schoob; organ
utors ; a large portion of the first i« volumes
>f the • Musical Sundard
Sa •!«» Organ AfrawemU*
I H. C. de Ufootai»e, * TJ»e Kina'* Muiick ’•
^VESTENHOLZ
WESTMORLAND
WESTENHOLZ, Friedrich {6. f Schwe-
rin, P: Berlm, \2 Mar. 1840).
G«rRun oboi$t and composer^ son of ihe
following. A pupil of hU father, ho became
chamber musician at the Berlin court. He
composed conccrianies for oboe and Bute, and
oboe and bassoon, with orcheiira, duets fur
violin with various instnimenu, etc.
r. V. d. s.
WESTENHOLZ,Kari Augaal Friedrich
(b, Laueiiburg, 1736; rf. Schwerin, ^4 Jan.
1789)*
(iernian intlrumenlalist, tertor singer and
composer, father of the precedinR. lie was a
pupil of J. A. Kunzrn for theory and F. X.
Vocziika for siolonrello. From c. I7$6 he wa^
a singer in the court chapel of .Schwerin*
Merklenhurg, of whirh he became
mtiiifr in 17OH. as Henri's successor. In 1770
he married the singer l.inieita AILibiJi
1776} and in 1777 Elrunora Sophia .Sfaria
Pril'chcr, an evtcllrnt singer, harpdclKsrd and
glass*harmotii<a player, and comjxiser of
sonatas, songs and harpdcliord pieces. .\t the
court coiirerS she often presided al Ihe harpsi*
rUord, and L. W. Wolf dedicated tv her b
harpsiLliorsl sonatas, Karl WestmlxiU runi*
powd roncerlus, sonatas and pietrs for harpsi*
chord, oiuatas, fulms, chorales, birtlsday
serenades. sonRs, etc. t. v. d. i.
WE$TERBY« Herbert tF. Huddersfield,
14 June 1805;.
LriRltsh urRunist, pianist and author. Hr
was musically educated at the T.C.M. in
London and went to the C.ipe Colony in 16B8,
where he w,\\ .ip^mitued orRaiiist «>f ((rahams'
town Cathedral that sc.ir and of Triiniy
Church, Kini 1 >erlry, m id^o. Returning to
Britain in 1O91, he became MHCosively
orRunisI at btonchasrn, Elgin, Kirkcaldy.
Ddf.iti (Omsvenor Halh and Eriih, Kent
(Christ Church), As a pianist he played
Isefure Cecil Klicrdes at Capetown and before
Qpeeu Victoria at Osborne in iBgi. He
U’caine OrganirinR .Secretary of the Hymn-
Tune Association, and in J<>45 composed an
' i.inpire Anthem ’. His published books
include the following :
' &e*cl«Mveii riftcl his y)*nn WtKht,'
' t.iKl an)! his VSArlo.*
' ykanofent aC^eenc Inirodwiwn.'
* JliF Appfwsh 10 LtMS.*
’ 'Jhr Compl«se <>fa«n Keeiulnt.’
* Thv Hisiorr «i h^r^ont
Dtr llraan heciitloi’s (lyHlp i« ftKh.’
' Or«M)ii(’s IntetfMlional HeiwOetre Uvide.’
r>t« Piann \V»rhs el she Ureal C^omposen tkach l»
BeeOwveoj.’
c. a.
WESTERN, Echet S<t T»rAi.aeaw. Zar^.
WESTERN MADRIGAL SOCIETY. An
Assixiaikoh founded in London in 1840 liy
a Rcoup of gentlemen for ihe purpose of
Pfufdsing madrigals under the direetion of
VVilliam Hawn. The firsi present was
269
jerseph Calkin. Bos's from the Chapel l<r>val
and Si. Paul's Cathedral were rnRagcd to
sing with ihc members. In Nov, the
Society published a fresh edition of Its * LawN *
w’hich shuw’cd that lu activities had bi-cn
eoniinurd in unbroken succession under a
nuinlter of eminent imuicians. R. K. I tTry
wju tlien its rmsilucior. The conduclor.s
since 1920 have Uen in siiccr’ssion J'.
Sweeting, Clis'C Carey and Bori:. Ord, Choir-
bovs are «vow rngaRed from the t/>n(lt>n
C'lu'ir Si'livol, 'Ihc Sucic'iy r«'uint its tradi-
tional < irgani cation ; it mvcti r<'RiiUrl\ .ind
(clrlKalrrl its cenK’narv in IO4O. it. C. C.
WESTHOFP, Johann Paul voo Dres-
den. if»',(»; U. \Nciinar. -Spr, t7o>i.
(»ermaii si<»linisi and <oinpos<T. He was
iIh’ soli of a luienisi iii the Dresden rourl
chajirl. w1»o had U^n a captain in the army nf
Custatm ,\dulphus. Hr started his r.irrer .is
te.vhrr of langn.iRrs to the S.sxon princes r.
1671 and ended 11 as predrosor of langu.iRcs at
\V It trnlrerR I* n 1 trr.it y af 1 it i ti- j i / , .1 nd
linallv i^nt' (h.iniln’f srerrtarv .‘ind
(liainlMT fiiiistiian at Weimar, Ahotit 1O74
lie became cliainbiT ninsinaii m Dresden,
sisiiefl .hwcik’ti in tb79 .itui svas induced lu
join ilie army in the I'urkish cainp.iign iti
1 luAgary ; Iwjt hr returned to Dresden in 1 dllo.
He icHired as a stoliiiist all oxer Lurs>|><*, visit-
ing EngUndc. 1 08 4 -8;} and re 1 timing 10 Dres-
dc’ii in the l.iUer sear. He \%ns a reiii.nkable
siriuuso ami t«rtn|a>s<*d C \icJiii sotuiias with
ton caariwe H>re>den. ibejD C. ikekinnnn
re-edited a sonata m D minor and n solo
.Suite in A major (19^11, and ihe hitter was
also re-edited b>’ K. Co rhartr (193:).
i . V. <1. s.
WESTLAKE, Fradariek 'b, Koinsey,
Hauls, i'i »b. 1840; l.ondon, u Feh,
linglish |Manisi and (o>n|tos«'r. fn id',^-*)()
he was a Muckni at the R.\.M.. of which
inslituliem in i8bo l>e was made* sub-|^>fcsv>r,
tlien assfaiate and m i8(^ professor. He
played in publie wiihsuiressutiiil ihcdeiuandi
made un his time for leadiinR Ux ame tcH>
great. He reaf^arrii on 22 Ott. 1O73 at
SV. H. Hidmes'» concert and played, with his
pupil .\gnet C:hannel, Chopin's Rondo for
two piancifitrtes, F^bahly for the first time in
England. He was a member of the J*hil-
harmonic Society and the Society of Mmi-
euins. His enmpcwUicins include;
SU%* in ty meter j ‘ O Salut^ns ' : K»rie ai«l Ulufi*
twich ; b»mntrtwMri m ' »ymn» .liiccvu
f Til i ^ WKeiur>\t • 1^ pf. jnrt crilo ;
AIIf».o tjn* \ 9 'tniiodrt- W a fuviie in
«cusfi for pf. J teoft »n<l |urc*onts. ‘I.yf* Stuclenti.im
He also completed Slcrndalc Bennett's edi-
twn of Bach's ' WrU-temprred Clavie r ’.
WESTMORLAND, Earl of (John Faoa).
Srr BvRCHaftSH, Ixsan.
270
WESTPHAL
WESTRUP
WESTPHAL* RadoU (G«org HermaAa)
lb. Ob«rkirchen, LippC'Schaumburg, 3 July
1826; d. Sladthftgen* 11 July (892).
German musical acholar. H« studied
classical philolc«y at Marburg and from
183$ to 1662 held a professorship at Breslau.
In 1873 he held a similar post at Moscow in
the Katkov Lyceum ' and, returning to Ger*
many in 1880, lived successively at Leipzig,
Buckebu^ and Stadthagen. His special held
of research was the metrical and rhythmical
principles of ancient Greek music, his theories
occasioning considerable controversy. He
maintained for some time but ultimately
abandoned the theory that polyphony was
known to the Greeks.
The following are Westphal's principal
works relating to music :
* Metrik iter cri«<hiKhen Drafnaiik«r uad Lwik«f \ «i(h
Rowbsch. s velk t(9s4*ds).
‘Th»orie <ler muMMhen Kuraie dec Helleiwn' (yd ed.
of ilie ab«ive).
* Die Krasmenie unJ LehnSise der ftiechaKken RKvih.
miber * (1861).
* Cctfhiehie d«r ahen und miiielalierlkheo Muaak*
11864).
* Sriwm «ter aniiken Rhyibmik* (iWs).
* Seripit^rei m«irKi Grace 1* <1866).
* Theocic der neuKochdeuuehen Meirik* (167a).
* l>4 CIcmenie dee muiikalnrheft Rhyibwia mil
Rurkdeht awf mrt G(Mrrimw»»k* (1677).
* Allcemrine Theerie dec mueikalitrlMn Rhvihmik «eit
J. $. ILch' <1680).
* Aristoienn* von I'areiit,'
'Metrik und RKvihmik de* klaMiichen KfUeneniuim
a vrtk <itl87*93>.
' Die Muiik dnterir<hi«<Srn AJierudM* Ii888>.
* Die AruiouniiKSe RlivihnuHtehre* (i8$i>. h.c.C.
WESTROP, Henry {*. Lavenham. Suflblk,
au July i8ia ; d. London, 23 Sept. 1879).
English instrumentalist, singer anti com*
poser. He is said to have made his first
appearance at concerts in Norwich at the age
of ten. and at thirteen appeared at the Sud*
bury I'hcatre as pianist, violinist and singer.
He afterwards became organist at St. Stephen's,
Norwich, in 1631 at Little Stanmorc, in 1832
at Fitzroy Chapel in I.ondon and on 3 Apr.
1834 at St. Edmund, Lombard Street, a post
which he held till his death. He was conductor
of the Choral Harmonists' Society and sub*
conductor to Costa at the Saered Harmonic;
he led (he second violins at the Royal Italian
opera and the Philharmonic Society.^ He
was a member of the Society of British
Musicians and of the Philharmonic Society.
Wcslrop’s abilities as a composer were
greater than hb reception by musicians and
the public would imply. His compositions
include a Symphony performed by (he Society
of British Musicians, but accidentally destroyed
aficrivards ; a considerable quantity of con*
certed chamber music; an opera. 'The Maid
of Bremen libretto by Fitzball, written for
the Pyne and Harrison company {but not per-
formed owing to the collapse of the urtder*
• .‘iu MriovNov.
* .“itt C. E. in * TH« Mu^s] WorM *, 1 ( Oci.
1879.
taking). Another opera, ‘ The Mariners
was iinfinished at his death.
Hb daughter, Kate (Mrs. Allender), a
pianist, succeeded to hb post of organbt and
was an associate of the Philharmonic Society.
Hb younger brothers, East John ((804-56) and
Thomas (i6i&-8(), were also musicians.
A. c., adds.
WESTRUP, J. A. (Jack Allan) (^. London,
26 July 1904).
English musicolo^t. He was educated
at Dulwich College and Balliol College,
Oxford, where he won the Nettleship Scholar*
ship, proceeding to the degrees of B.A. and
B. Mus. in 1 926 and M . A . in 1 929. He was one
of the original cnemben of the Oxford Univer*
sity Opera Club, helped to edit Monteverdi’s
‘Orfeo' for production in 1925, edited and
conducted Monteverdi's ‘ L ' incoronazione di
Poppea' for the Oxford production of 1927
and did the same for the production of Locke's
' Cupid and Death ’ at the Scala Theatre,
London, in 1929.
Westrup returned (o Dulwich for a lime as
assistant master (classics), but continued to
write on music, showing a scholarly mind, an
individual style and a gifk of clear, direct
expression. In t933 he became editor of
' 'The Monthly Musical Record ', an appoint*
ment he resigned to Gerald Abraham in 1943*
and in 1934 he gave up his teaching post to
join the SUIT of ' The Daily Telegraph ’ as
musk crillc. Tim came (o an end on the
outbreak of the second world war, when he
returned for a time to schoolmastering at hb
old O^lege, then evacuated to Berkshire.
NVestfup became Barber and Peyton Pro-
fessor of Music at Birmingham University in
1944, in succession to Victor Hely*Hutchinson,
arkd was followed there by Anthony Lewis in
1947, when he was appointed Professor of
Music at Oxford, to the chair vacated by the
death of Sir Hugh Allen. Apart from his
teaching there he has distinguished himself
by promoting musical performances among
the Students, particularly as conductor of the
Oxford Univereity Opera Club, which under
him gives annual performances of works not
usually staged, such as Gluck's ' fphigenia in
Taurb Mozart's * Idoraeneo ' and ' Oem*
enza di Tito Stanford's ‘ Much Ado About
Nothing Berlioz's ‘ Lcs Troyens *, etc.
Welless's * Incognita ’ was an entirely nc\v
production.
He is the general ed i tor of the ‘ New Oxford
History Music 'and had already contributed
a nexv chapter on Song to the second edition
of the O.H.M. HU books, ‘ Purcell ’ (tgjjlj
* Handel ’ (1938) and a volume on English
chamber music under the Stuarts (not yet
published), comWne literary gifts and
scholarship of the highest qual'^V* ^he
bic^afAical sind analytical study of Purcell
W'ETERtNGS
WETZrXR
a?'
»8 a notable piece of work in which pail
reiearch u critically revalued and (he import*
ant results of the author '$ own research are
incorporated. He hai aUo come forward as
a composer, but his busy academic career lias
restricted hU activities in ihis dircciion.
W«(«riAc*» JoaepV St* Dcravih (a Uhv). R«wm«I
(9 libt.). Siuauei (caikUti .
Wm(*, ao«lb«M (bum Haaap>rdii»eh>. S**
IIaix'I unil GrettI ^H«unprrOinck« tluMp«r>
«lin<k liU ).
WETTERCR£N, Gercrad. Sn Palsok*
WfrrERCRPN.
WETZ» RJebard s&. Giriwitr, V'ppi'r
Siloia, 26 Keb. d. Lrfurl, ibjart. 1935).
(i<'rman condurior. icachcr and composer.
Hr rxhibiicd a gift for musk ai a chiUJ artd
Ix'gan (0 compose at ihr age of eight. Hr was
almost eniiroly a svIf'Cduratcd mu>»cian. as Ik
could liut toicrair school trarhing foe any
length of lime, the only teachers whom he
appointed 1 >ring Alfred Ape] Bn<l (auJwig
Thuillc. both of Munich, In looC Wcia
settled at Urfurt, where he occupied various
po«u uniil his death. He was conducKK of
the SIhgakademie. the Musikverrln aiMl a
maririga) choir. 8n<l he held a profeisorshlii
at tile rhuringiun Consi’rvatory. From i<>i6
hr also taught com posit Ion at the NVvimar High
S<'hoo| for Music. In 1938 he was elcc(^
a memkwr of the AkaOcmIe dcr K unite in
b< rlin.
Wcu was a composer of the romantic
school, and his st>]e may 1>e regarded as inter*
incdbie U'iwi*en Brahtrn and Oruekner. Hh
musical l<lium is more sensuous than that of
Urahms, but levs emotional than that of
Bruckner. \\« ta, wlio l>egan l>>' writing songs,
a class of composition that ke])t an imporiani
place during all hi* working life, was forty
year* old l^forc hr composctl his first sym*
phony. He reached the summit of hit ar(
in his great choral works, of whleh the mo«(
impormu arc the * Christmas Oratorio \ a
gay and tender composition in whkh old folk*
S(rngi arc skilfully interwoven, aisd his Rc*
C(uirm. which excel* by its deeply psychological
inlerprutaiion of the text. A special feature
of the latter contpofition is the important
task entrusted to the orchestra,
W'elx was not interested in opera ccccpt in
his youth. His onc*aci opera * Das ewige
Feucr with a libretto of his own, was
protluced at DusKidorf on 19 Mar. 1907.
Another, ' Jutlith \ was never staged.
The following arc the chief works by
apart from the operas already menlioiKd :
CHORAL WORKS
• 4. ' Tri«m*oinB»m*cht ■ lor woaen** voioa k on^
''r • for met.\ ooitn A onh.
ii. Nielif veSorm m J*, beste*. froai !tf«>keck>*
.. . t. at CmI9«io* ' to* ehofw ft •rch.
S9. Ilypcri9n »-»< bvii.Mir. (boon ft
S*. S Men’k Cliw^ei.
Op.
a?, III C»r l**Ktonc. ihoru* ft orch.
3ft. 4 kfm*t (^Imhvk*.
44. * CeiulirW Oci^nec ' for unscccmp. chotu*.
4ft * V«er Neder* for unaccomp,
ya. Rwiutrm Ui utprsno. hxtitOMC. chi«tMt & of<h.
yi. 'Aothi «hkJ Nlkfeen ' <Lt<hrMd<<irj UMiciAmp,
clMOn.
33. CriirHiifut (Val<Hv> lur *'c>rjn», b^rM'SiC, chorus
ft «Mli.
OKCHLMR.M. WORKS
I ft KMm Oveviure.
ac'. bsmfftwtiy No. 1 , I. mi.
47. bympliowv Na. i. A ma.
*>>inph«nv Na. j. IS* ms.
MM.O INSIKI'MI.NV ASO Oltt tll.StM.V
44. Remsniic \’a«wiw>av ku pT.
57. \ A. CariM«r«u.
CJJNMULR ML'sJi:
4). Mcine QiMtld Nu. I. I' ma,
4?. MvMie Quatwi .\«i. a. L ini.
1\AU/)N(|*A\J|,|J VJOI.IX
»3. SuAiU.
so.st;^
V 7. a * 0 , *j, ty. 17, il. JO, ji, 36. ji,
K. (,.. adds.
b*M • I'lMstK. liASt, ’KHlisn] VNri<*
Si>iii«i«Mao. r. L.. Wrir' 'l.ripiir, miC;.
WCTZLER, Hormanu (Han*) (k. Frank*
fort o M,, 8 (ht, 1870 ; d. New York. j<i May
I 043 ‘«
.SrisrrkamGcnnan organi*(. lomiuctur and
rcimposrr. He was thr son of .Sinoion
parents aiul s()rnt his chlbl hood In tlw L’.S.A..
but went In t88r 10 the city of hi* hinh for
Itiv (iiuMral cdutdiiun. <lud>irig at thr Hoeh
(lonwcsalofy uiukr Glara ^thumuiiR, Hugo
il<Trniann, Brrnliard Seholc. twan Knorraiul
l.iMielliert Uutnpr rdmek. Hr thi n M ttUsl in
NVvv kork. whrri; from iScj? I0 19m h<* belli
the po« of iKganki at Old rnnity OhuTch.
in 1903 he organized the UVuler Symphonv
Cunceris, as (hr conductor of which Richard
Strauss appeareti for the first time In I hr I .S.A.
I wo vTars latrc W culer returned !<> (J<*rmfthy,
holding posts a* an operatic conductor at
Hamburg. Riga, Halle, Lubeek and Cologne.
After 1943 he had i>u permanent fx>si, but
appeared as a guest cimduclor with various
imporiani orchestras, such as thr Royal I’hil*
harmonic and Berlin Philharmonic Societies,
the Gurzenieh Orcltesira of Cologne, etc. He
retired to Ascona, Switzerland, hut in the end
returned to New York.
As a composer U Vizier started from the
psisi-romantie xhool. and in particular from
Richard Strauss, He was a virtuoso in his
treatment of the modem orchestra and showed
a prrforenee for symphonic programme music.
His most important work in this line is the
symphonic legend ‘Assist' (Op. 13) on the
life of St. Francis, whkh among U4 works
submitted was awarded a prize of 1000 dollan
offered by the Chicago North Shore Festival
.Nisociation. Although Weirlcr's ehi*'f work
272
WEVER
WHEATSTONE
vva$ operatic conducting, he wrote, besides
incidental music for Shakespeare's ‘ As Yom
L ike it', only one opera, 'Die baskische
Venus \ the libretto of which was adapted
from a story by Merimec by Wcteler's wife,
Lini, and tvhich was produced at Leipzig on
id Nov. 1928. In this work he reveals a
special gift of creating a weird and mysterious
aimosplirre. The ' Symphook Dance in the
Basque Style ' (Op. 14) from this opera
achieved success as a concert piece. It was
introduced to New York by Toscanini and
to England by the composer himself at a
concert of the London Philharmonic Orchestra.
W ctzlvr was also a writer on musie, and hh
articles were collected In ' \Vegc *or Musik '
(193d). The most important of his composi-
tions not mentioned alwve are the following :
CKOR.^L WORK
' Mjznilicai ' Ter MpraM, boys' or Honsn'i eKerus
a ort*n.
ORCHESTRAL WORKS
to. * Svinphonk Fonloty.'
ts. * VIsjonen \ $ symph. movemcau.
VIOLIN* AND ORCHESTRA
• coDcertonte ’ Tor «n.
CHAMBER MUbfC
•• \'*riationA Tor ob««. rlsr. ste<«
WIND INSTRUMENTS AND ORGAN
.• ' T«4 urul Aiiteritrhu(»| *. «m*HC.
SONGS
M .ScwMkth
AUo MM«> Opp. I B. a R p.
K. O , adds.
W*v*r, Rob«r(. ."in Mec«»n twofL W«rlo<k
(3
WEYSE, Chrialoph Enut Friedrich (k.
Aliona, 5 Mar. 1774; d. Copenhagen, 6 Oel.
1842).
Curman-Danbh composer. After some in-
struction from his grandfather, C. B. Heuser,
and an unsuccessful at tempt to obtain lessons
from the aged C. P. £. Bach at Hamburg, he
was sent in J769 to Copenhagen, where he
became a pupil of J. A. P. Schulz. A few
years later he took up tlie duties of organist
utid teacher that were to occupy so much of
Ilia. time fur (he remainder of hrs life.
Hu composed several symphonies, »ume of
which were subsequently laid under contribu-
tion for dramatic music, a Sonata for two
bassoons, pieces for pianoforte and for organ,
and solo and partsongs. From 1819 he hdd
thu appointment of court composer and In that
capacity wrote numerous cantatas for special
occasions. He attracted the notke of Liszt, to
whom he improxised on the organ of Our
Lady's Church in 1841, and of Schumann,
who reviewed hU pianoforte studies enthusi-
astically in the ' Neuc Zduehrifi'. Weyse
was an ardent arranger of Danish folksongs,
and hb work 10 this held was carried on by his
pu|Hl A. P. Bcrggxcen. j. ». (ii).
Weyse wrote six operas, which were pe>
formed at Copenhagen : ' Sovedrikken ' (‘ Tlie
Sleeping-Draught libretto by A. G. Oehlen-
sehJager, st Apr. iBog) ; * Faruk * (Oehlen*
schJager, 30 Jan. i8t2); * Ludlams Hule '
(' Adutlam's Cave', Oehlemchlager, 30 Jan.
t8t6)i ‘Floribella* (C. J. Boye, 99 Jan.
t825 ) ; ' Et Eventyr 1 Rosenborg Have ' (* An
Adx’enture in Rosenberg Gardens J. L.
Heiberg, 26 .May td97) ; * Festen paa Kenil-
worth ’ (Hans Andersen, after Scott, 6 Jan.
C$36). He also provided some new music for
Johannes Ewald's play ' Balders Dod ' (' The
Death of Baldur 1778) at iu revival on 93
Nov. 1839, A. t-
hw.^LAascK. levs Perea. 'Weyie* Ronancer or
Saafe ' 4 Co$>cnh 4 ren, 1944).
* W«y>M $aA(« ’ (Copenharen. JM«).
WEYSENBERGH, Hainz. $tf Albi*
CASTBO.
Sa
10
WEYWANOWSKY, Pavel Jdaef.
V'r.rsAWVSKV.
WbaetM. Fr*««2s. Sm JackMo (J, * Ode
Fanev Pureell (4. *on|).
WKEALE, William. Sft Wealb.
WHEATSTONE. Engl ish fa mi ly of muiic
publishers and instrument makers. They are
said to have been established in business at
Gloucester and in London from about 1 750.
(t) Charlea Wheatato&e (^. fi d. Lon-
don, ?). He was a music engraver and is said
to have been publishing sheet music at 83
St. James's Street and 9 ^Vhiiehall. London,
before 1791. He was at 36 Chandoi Street,
St. Marlin's Lane, about i79i-93» S' Newgate
Street about 1794, 3 Bedford Court, went
Garden, about 1795* '4 of) Castle
Street, Leicester Square, about 1801, 20
Panton Street, Leicester Square, about r803*5
and 436 Strand about 1805-27.
i8t5 the firm was G. \VheatslOfte & Co., the
addre» being 90 Conduit Street about 1697-
1905 and 15 Wfit Street, W.C.2, from if>5
to the present day, In 1815-16 they had a
braneh or agency at a Wades Passage, Bath.
BcMdes a mass cd* sheet music the firm pub-
lished many interesting collections of gle«»
etc., one being ‘ The Harmonist ’ in 9 volumes
(r. 1805-10)- They were also makers and
dealer?, extensively, of musical insirumenia.
(a) William Wbeataioae (f- ? ; ^
don, ?), > brother of the preceding. He w«
teacher of the flute and manufacturer of
Gilman flutes, for the !
he held patents- He was at .28 Pall Ma i
about i 8 « 3 - 93 , 94 Chark-s Street, St. James s,
about 1823-94 and n 8 Jermyn Street about
*^h«^ and William \VhcaUlone, having
separate businesses at first, w ^
^gamated about 1826. Charles published
some books of airs for the flute.
WHELEN
UHISTLL
273
{$) (Sir) Charles Wheatstoa* (i. Clvucrs-
icr, Feb. ittoa; d. Paris, 19 Ocu 1875^, ?
nephew or cousin of ihe preceding. He was
famous for his inveniiom in letegraphy. Hr
was the son of a music-seller ac Gloucester,
ivcnt to London, evidently to rrlatitrs in the
music trade, and professionally was a musical*
instrument cnakrr, but soon lumcd lib aitm*
tinn to scientihe subjects, which ineludecl
light optics, sound vibrations and e]cctricit>.
Hr invented the concertina, and the patent
( fune !823) was hrUI by the Wheatstone tirm
for many years. He was knighted in i6b8.
His portrait U in the Xattonal Portrait Gallery.
r K , rev. w. c. s.
Uiei.. -AOAMS, W. (iiivLU. * Ot, MwtksI InsenoMt
sjmI Ui»r<>s«ric« «< ihe Isle Sir NShreuiMC '
Mu*. Au.. Vel. II.
.Crr 4/u Hccniidi i iniroJ. oT CtMicetitAAi.
WHELEN. Wiiki/red. Set V.sci isti Siku-
r.ns.
WHIGHELLO (WichaUo). AbieU tL ^
d. ? London, c. ‘745).
Kngli^h organiit, harpsichordist and eom*
poser. Hu was at one time deputy orfanivi ut
Philip Hart in Lnn<ion and afterwards organist
at the church of St, Edmund the King.
Huwkins refers to him as being a teacher of the
harpsichord an<l a performer ac the concerts
organised by 'I'homas Britton. He publisluti
a set of * Leuons for the Harpsichord, or
Spincit^m 1710 and a cantata named ‘A|i..llo
and Daphne ' (words by Henry Carry; alviui
i 73 f>« Another, on a poem l>y the same
author. * Vertuinnus and Pomona *, also made
some mark.
^Vhl^ hello was wry pojMjIar as a composer
of songs In the early part of the t8ih cciiturv.
Many of them appeared in such works as
Wat la *s ‘ M u « leal M Iscel lan> ’ f 1 7*9 - 3 j 1
Blckliam’s • Musical Kniertalner* (i?S7). etc.,
also on single engrovTd half*iheets of about
the same j>erio<l. He contributed a song to
Fielding's cutnedy ’Uve in Ses-eral Masques*
(Drory Lane Theatre, London, 17*8).
r. R , adds.
WHIFFLER (Wifier). Formerly assumed
to be a musical instrument, owing to the fact
that dictionaries of the 18th and i9thcenlueio
connected the word with "whiff*' and
’’ whistlers ”, i.e, fifrrs. I he New Oxford
Dictionary, howc\er, deems thb assumption
hasrlcss and due proliahly to the insertion of
the letter " h ", In the ibih century fifers
anil wiflen are mentioned together. A wiBe
IS a short staff or spear, carried liy attendants
deputy to clear the way ftn* a i>rocession. As
javehn men ” they were appointed to evorl
the jud^s at assises ; but in 1890 they weir
superseded by police. An ornamental wifle
earned, 33 ins, long and riiaped somevrhat
p ® possession of (he WTiter.
ror military duties a Urge sword was usually
VOL, IX
employed, as borne by the wilier liefurc iIk*
drums and Ides at the siege of Boulogne ( 1 j44 ^
The office, in a more peaceful form, sill I
lingers in tliat of the drum*major and hit
'tall*. r. w, <1.
WHINYATES, Seymour (h. Fr<ihurnc,
Gloucestershire, 4 Dec. ilhja).
English violiimi and muskal organiser. She
began learning iIk' violin at the age of se ven.
From ujna m 1909 she studied wiih W. H.
Keed in LondiMi. from 1909 l<* 191 1 wIili ]J«*nri
IViri at Dresden and .\ridreas Nlosi r in Berlin,
and fnnn 191 1 to 1915 she was at the K.G.M.
in la^mton as an eshibilioiier and a pupil ol
FerttanJez Arb>». In mm 1-43 she look a
ftiillier course uf study under Lucirn G.tpct in
l‘an>. Slietuuri'das amiImmi hi I'rancc. Italy,
Hoi land, Germany and .Sw h/erlaml in iQjb-
1930. played at a Queen s lUII Frnmenadc
GoJKrri in {.otulcm m jqa8 and appeared with
many clubs and societies in Hr 1 lain, as well
as with Ihe B B.C. In 1930 she formed the
U'hinyates String Quariri. with which she
inured in Denmark 119371 and Fmikc {193O'*
ai>d which played the 13 .H.G, and in many
Britidi renirts imtil Mi|i. Mean while, In
Mj3y, on the outbreak ol war. she had joined
(he leuHlon .VinliuUlxe Serske. with which
she remained unul 19^3, when she joined the
Music Department of the Britkh (k.uncll.
'I here she was promoted to the post of Pirecior
in 194C, 111 July 1945 the rank of Olffcicr
d 'Academic was conferred r>n her by the
French Covernmem. 1.. u.
WHISTLE. ’I’h«* simjiloi form of Jlageolet
or ^«r*«*kcr. It titay Ik* made of wood, cane
or metal; modcTJi whistles are son mimes of
cclluloul. The prnwiple is that nf a lube
plugged, or otlierwise arrangexj, at the niouili
10 that a narrow* slit only remains. A short
distant e below it a notch having a portion of
the lube cut slantingly away or, if of mi lal,
dctlceied inwards, ujion svhicU the breaih
impinges and so produces a shrill wmnd
dependent on the length and width of the
lube for its pi tell and power.
The short whistle, of the dog*wlii»ile type,
is not open at the end and peoduccs only one
note, ibe old parisJi clerk's plleh-pipe 1 made
of wood; was merely a w histlc plugged at the
end by a movable sloppee, which, jiushcd
upwards to ccruin fixctl places, gate the
required notes as a pitch for singing. 'I'hu
onlinary musical wln*lle \ihc tin or penny
wWstle) lias six vents whkh arc stoppcti by the
fingers of both hands, and 1 he lingering follows
llie same rule as for the fife or lluiv tvilhoui
key*. '|*he biecl whistle (directions for pla\ ing
which vrere |Hibhsh<d by Walsh early In the
10th centuo) is svry sJiort and as a conse-
quence shrill. 'Ibe whistles of sas age races
are generally of cane, and someiimfs blown
With the nose instead of the mouth. r. x
274
\N'HISTI.ER
WHITAKER
Whi*il*r, M«N«U]. Set N'ocuicm (uae el
ifrm).
WUetler, Re*. Set Goft (Muiced clevkhoH. Mr •/»
PLATE 38, Vol. IV, p. 796;. Gordoe {C., * R«h«*»
Progreis *, deiigni).
WHISTLING, Karl Friedrich ?;
d- ?).
German music publisher, ? of English
descent. He was ntablUhed at Leipzig. In
1817 he brought out the work with which
his name, and that of Friedrich Hofmeisier,
is chiclly associated :
llandburh dcr musikaliKlMn Lileralur. oier all*
e«ineine« tniemsiitrK fcerJn«iei Verte*ehAia eMniek*
ler Muiikslirn. Juch musikjlitchrr Schtificn und
AbbtUuncen mil AnMi« dei V'erlffcn und
18 vo.|
It was published anonymously by A. Kle^’set
and contains a tolerably complete list of the
music published in Germany, with some addi*
lions from neighbouring countries, between
the years 17B0 and 1617. In 1819 the pub'
Ucaiion was bought by the elder Hofmeister,
but in 1635 il was resold to Whistling. The
1817 volume was followed by ten yearly sup*
plemcnis, carrying the work down to 1897.
In i8a8 the second volume (or rather a new
edition of that of 1817} appeared. Thb work,
to which Whistling’s name appears, h an 8vo
volume of 1 1 58 pages ; it is d^^ ided into three
parts and was followed by a lupplcmeni con*
taining a list of the works published while the
book was in the press.
In 1829 Whistling sold his w’hole business
to the Hofmeisters, who brought out two more
supplements, carrying it down to 1833 and
183S. In 1644 a third edition appeared under
the following title :
C. F. tVhhilinn Kandb^ch d«r fmaikaluehen
Lii«ra«wr. «d«r aljriiMinct tvwdMi**
VrrMichniu der in i^uchUnd und in d«e nntrenwn*
drn LanUvm ecdfv<bi«n Muaihaltcn nuch iiH»*b«litfbm
SrbrifMn und Abbildvnfen, mil AnwiM dec VerieMr
vnj PreiM. Dritie. bii twm AnfviR dn JaKm 1844
«r||rai« Atiftaie. D«arb«itei und 3 ><f*vaf «y< bca wn
A. KeCriMUict.
This edition (a 4(0 volume) was published
by Hormcister, It consists of three parts with
separate pagination (part i, pp. 144; part ii,
pp. 336; part iii, pp. 340) ; the third part is
dated 1645 and Is preceded by a list of the
changes which had taken place in the various
firms of music publishers during the period
covered by the volume. In 1852 another
volume (382 pp.) of the 410 edition carried the
collection on from Jan. 1844 until the end of
idjt. In i860 a second volume (470 pp.)
carried it down to Che end of 1859, in 1868 a
third (36: pp.) down to the end of 1667, in
1876 a fourth (575 pp.) down to the end of
1873, and in 1881 a fifth {S84 pp.) down to
the end of 1679, since when this series has
been discontinued. w, a. s.
WHITAKER, John (8. ?, 1 77® » London,
4 Dec. 1847).
English organist, mude publisher and cons'
poser. He was organist at the church of St.
Oemeot, Easicboap, in London, a partner
in the music'puUishing 5rm of Button 8:
Whitaker, and made his name mainly by the
composition of popular dramaiic pieces. He
Join^ Reeve in wriiing music for 'Who’s to
have her? ’ in 1613 and Bishop in contributing
some songs to a stage version of Scoit’s * Guy
Mannering ' in 1816, among them being
several that were favourites in their day
* Oh, slumber, my darling * Dog Tray ' and
' O say not woman’s heart is bought He
aho composed the music for several panto*
mimes, in one of which (produced at Sadler’s
Wells Theatre on Easter Monday, ta Apr.
1B19) occurred the famous clown’s song * Hot
Codlins*, written for Grimaldi. This was a
pantomime based on Shakespeare’s * Macbeth '
entitled ‘The Weird Sisters, or The Thane
and the Throne ’. His comic sonp (‘ Darby
Kelly *, ' Paddy Carey ’ and others adapted
from Irish airs) were highly popular. Apart
from the dramatic pieces just mentioned he
produced :
* A Day In *, 1807.
'Th« Ouu^ FasMeeer* (with Corri and It««v«),
c8ii.
‘ b’p la TawB * (with Reeve and oih«n). iBi 1.
* Ckaasa ilil.
* AChtaariaeOUSBIwk’. iSiJ.
* MySfWwcand ( i8iv
* IwiAowna. or The Maid of Moaeew 1818.
* PH.II»paad hit or Whect'i IA« Child? \ 1816.
* IV BoardiAf Mte, <a Tbe Fof family'.
1818.
* The Broken Sword *, 1816.
* A FrkAd Indeed*’. 1817.
*Th« He>r«rVirMu’ (wiihBuhep). 1817.
* Ihree Mila fhxn Parii ’, i8j8.
* A Frffwteef Fvn i 8 ti.
* The VeieeM SoWier’ (riih Farry aad Caeke). iNe.
* Sweeiheiru aad Wiva ’ (with othen). ids).
U’hi taker also composed some anthems,
nusic for English versions of the odes of
Anacreon and of Aesop’s fables, ' The
Collection of Sacred Music’, 2 vols. (iBiB)
snd ' 12 Pedal Exercises ’ for organ.
w. H. H.. adds.
Set abe Stihap (H.. callab.}. Reeve (de.)
WHITAKER, Maurice (k. ?>
Ion, ?).
English j8th -century musical -instromcni
naker, musk printer and publisher. He w«
II “ the Violin under the Piazza, next tne
locih gate of the Royal Exchange, London,
rom about i ?6o to 1 7 78 or later. At one 1 itnc
ic was azsUtani to John Simpson in S wecc^ s
Mley, and for a few years after
ieaih <c. 1749) he was manager for MR.
iimpson, and for John Cox, who mam^
iim^n in 175'. '^'hen Co*
*ased business in 1764. Whitaker tdverus^
h^t “he carries on the same busme« in
n-ery branch thereof at his owti •
A hiiaker published among other f
:om»leat Tutor for the Cerm^
176s)- A number of his single-sheet simgs
*car only the initials M. ^V^
WHITBROKE
WHITE
WHITBROKE, WUlJAa. Sa
8R0KE.
WHITE, Alice Mary Meadows. S<f
Smith, Alicb Mary.
WHITE, Felix (fr. London, *7 Apr. 1084:
d, London. 31 Jan, i{)45).
English composer. Apart from some piafM>*
forte lessons taken with his mother as a child,
he was a sclf-taughi musician, lie com-
posed a great quantity of orchestral, v‘«ical
^including alwut 050 songs) and chamlrr
ni usie . H is first work to be pii Mid y perform* <1
Mas an overture, ' Shyluck inspired by
Shakespeare's * Merchant of Venice', which
WHS produced in I.ondon by Sir Henry \VinnI
during the I’romrnade Ckwwert season at
Queen's Hall in 1907. It is hrs chamlNi
music, however, that attracted the nywi atten-
tion, and hr received the Carnegie award iu
1 02? fur a sc’lting of .Nndrew Marvell’s ' I'Im*
N’ymph's Complaint for the Death of li<>r
Fawn ’ (for voice, oboe, sjola and |Hano 4 *>rie),
and again in 1923 for * Pour IVmrrln' «ror
llute, oImc, violin, viola and cello 1, These
works display an atiraetls e vnn oftmaginauve
poetry on a small scale.
Apart from his activUirs as a r«HH|u>wr.
White was a member of the Londem Philhar-
inoiiic Orchestra, playing the erksin and the
pianoforte, and between 1933 and 1935 he was
gn the musical st.ill at Covcni Garden IhcAtn-,
He made the lingUsh translations of Hmdc*
mith's operas ‘ Cardillac * and ' Matlsiv der
Maler' and edited for Belayev the pianofurie
works of Skriabin. His published composi-
tions include, in aslrlition in ihr>»e already
mentiontxl :
Rrmplii poem * Aoartc (on 1), G. It«
pKiutej
armoK. Mm • The tVvrie*} V'iHAtt • '«ri«r Cokhmiih
Herrn*4f foe ilf. oreh,
* Aeieu* ' tnr Mb. Irto.
' A HiekerH Note^bMOb * {nt H.
A AMmber .*Afk* (or vb.. ttUo Mfo Wji*.
in»u . paibt. bf U>e cenip«er.
Numerous sAMBt. pariwecs 4 aathrim.
u, (h). adds,
WHITE, Harold Robert (*. DuWin, t-
Jan. 1873).
Irbh singer, organisi. critic and composer
He was a eh<«r-boy at Christ Church Caih
cdral, Dublin, from i88t to 1887. H« had j
beautiful voice, and when it broke he was fo
a lime a bass singer, being abo swccessiveli
organist of St. Andrew's and of $t. Mars’s
and music critic. Owing to ill-health he wen
to Denver, Colorado (V.S.A.), in 1897, bu
returned wuhin two years and won priies a
the Fcis Ccoll (1698), aHo a prize given by ih
Worshipful Company of Musicians (Fanias’
Trio), He founded ihc Clef Club (looO, siil
flourishing in Dublin, and composed muci
vocal and imtrumenul music. Hi$ chief worl
.s an Irish opera, ' Shaun the fosi ' (based or
Boucicauk's drama ‘ Arrah na pogue •), sue
eesfully produced by the Carl R*,^a Company
in .Aug. 19*4 at ilie Theatre Royal, Dublin.
w. It, c. P.
WHITE, John (*. York, 8 Jan. 1779; </.
Leeds, 23 Aug. 1831).
Kiif I Uh onanist and computer, H e .si ud ie<|
for ilse mediia] profession, but his perf*>rtn*
ance oct the violin, when a Iv.y, shourxl that
he had considerable inmital nbibiv, and
nsedicine was iherelbre abamloneci for tnusj< ,
As •• Master White ” he playrtl at toncerrs at
Vnrk, Leeds and other Vorkslilri* low ns. In
1794 he came under ilir patrona|,'r of the I'arl
ofHarew(Mnl, whorinpK.t'cxI him a' leader un*l
tlieecior of liiN privau* c<»nc<'rts, and teacher lo
the family. VUiimit Ixmdon ujib the fanul),
lie look kw^ms on the piam»|<»rie from Diissrk,
singing and ihr /irgjn from John .\sldcv,
smlin from Raimondi and ihe h.irp from
llulip Meter.
.\l sonu* <4 ih*’ l/*>ndon (Oiiteris he ploM’d
ilsr (elU III the alnence of l.indley and
Dahiuen. He lircame iirganisi o| Harewond
fdnirch m 1H04 and seliktl ai 1.ml« in 1R07
as organist of Si. Faul’s Cloirth. He was
leader of the Doiuavter Mieiing of ihij an<l
one of the av^oiaiu Kinducuirs <d ihe grs’at
York JV%thal»of 18*3. 18^5 and jID8.
from I7U3 to iie.srlv tlie time <*r his deaih
lie was like main n^^anirer and loader of
Cooeerls in the We%l Kiding •>( Yorkshire.
In 1R21 hr held, in addition 10 lti« I.erds
apjXMBtmrni, the post ofoegani*! of W.ikefield
Pa rid) <;imrrh. He wroir a few unitnporiant
musical comp<Kjti<His, >,oin.' of wbitli w<>re
puldishrd by Mutf of Leeds, and w as ]>riihnl)l)
the White wI>o was in a parim r>hip with (be
Knaptonsrif York as music'sellen there <luriT>g
I he rariy iftrm. liis ion svas also in the
musical profrssion and in laier yearn assisted
his faiWr. John While’s wjfc playtxl the harp
and puhlislird some com |»osii ions. > K
WHITE LADY, THE iBojrldieu). Srr
Damp aus Nciir. 1 .a,
WHITE, Lsalie rf. Undon, 25 Fi b,
1824).
Irish puUuliee and bcKikseller. He was
eslaUiihed in Dublin during the last quarter
of llv 18th century. In 1779 he issued, from
iBCrampton Court, the $«*rond English edition
of Roscaseau's ‘ Dleiionarv of Musle trans-
lated hy William ^Varing. This work has
numerous mwieal illusiratjorn, in addition lo
two large engraved plates. Six years later he
l^ished Rurney’a ‘ Aerouni of the Musical
mfocmanees in Westminster Abbev and the
ranlheon^ However, his brsi -known musical
work »s Ihe fine quarto edition of |. C. \^'alker's
Bards ', issued from 86 Dainc Si reel in
1786. In 1790 he gave up puhlishing and
^ame a loltery.brokcr at 42 Dawson Street
Jn * 79 * he removed to 19 Daw^n Street, and
bel ween his success as pu Wisher and as lottery-
276
V^'HIT£ (Matthew)
WHITE (Robert)
broker he was reputed a millionaire in tSio.
He subsequently purchased a seat for Leitrim
and> in 1823, got hU son, Thomas, elected
M . P. for Dublin City. He became the founder
of the Annaly peerage. w. h. o. 9.
WHITE, Mactkcw {b. ?; 4 .?).
English iGth-i 7 ih-centurY onanist acMl
composer. He was a Gentleman of the Chapel
Royal in London in 1603J On 30 Jan. 1611
he was admitted a perpetual vkaKhoial of
Wells Cathedral, but in 1613 he was back in
London and admitted Gospeller in the place of
Robert Stone, and Is described as “ Minister,
and a Basse ((Vom Welks) He resigned his
place i n 1 6 1 4. He is presumably the * ' Mat the w
Wight of London” who on 1$ July 1619
received a share in a grant of the surveyorship
of latsds, etc., belonging to rectories, vicarages
and rural prebends in England and \VaIes.
On id July 1629 he accumulated the degrees
of Bachelor and Doctor of Musk at Oxford.
(I'udway calls him organist of Christ Oiureh,
Oxford, in 1611, and ascribes to him anthems
really composed by Robert White.) He has
been assumed to be the ” Mr. White " whose
catches are primed in Hilton's ' Catch that
catch can ' and in Piayford's * Muskal Gonw
panion ' (1O67), but there is nothing to sliow
that they are his. It is very questionable
whether any of the anthems to which hb name
is attached is rightly assigned to him, unless
perhaps the fragmentary full anthem ' Zache
stood forth which bears his name in Bar-
nard's manuscript colleclion (R.C.M. MS
1048*51), is his and not Robert White's.
O. s. F. A.
WHITE. Maude VaJdric (L Dicftpe, 33
June 1855; 4 . London, 3 Nov. 1937).
English composer. After acquiring the
rudiments of harmony and composition under
W. S. Rocks iro and Oliver May in London,
she entered the R.A.M. in Oct. 1676 and
studied composition under Sir G. A. Mac-
farren. In Feb. 1679 she was elected to the
Mendelssohn Scholarship, whkh she held for
two years, studying the while under Macfarren
and F. Davenport. In Apr. 1861 ilUheaJih
compelled her to giv’c up the scholarship and
reside for a time in South America. Before
her departure, hotvever, a portion of a Mass of
hers was performed at a R.A.M. students'
orchestral concert. In the winter t883 she
completed her musical studies in Vienna.
Among the most popular of her early lyrio
arc 'Absent yet present’, ‘The Devout Lover’,
' Ye Cupids ’ and * When passion’s trance
Her best songs are to words by Herxkk and
Shelley. For instance, for 'To Blossoms’,
' To Daffodils ‘ To Eleetra ' To Musk, to
becalm his fever ' she wrote pure, quaint and
measured music in thorough accord vdth
^ St* RimhauU, ‘ Old Cheque-Reok «< th« C3 »«|kI
Royal ' (i67»).
Herrick's delicate and somewhat archaic turns
of thought and language. But a song of
greater SC 4 ^ and merit than any of these is
to Shelley's words, ' My soul is an enchanted
boat from ' Prometheus Unbound Here
she completely caught the spirit of Shelley's
song and proved herself an adequate inter-
preier of a most exquisite lyric ; and worthy
of all praise b her thorough appreciation of the
importance of (he words of songs, an apprecia-
tion attested alike by the excellence of the
poetry she sets to musk and by her own careful
attention to the metre and accents of the verse.
Of M. V. While’s German arid French songs
may be mentioned Heine’s ' Wenn ich in
deine Augen seh ’ and ’ Im wunderschonen
Monat Mai Victor Hugo's 'Chantez, chantez,
Jeune inspir 6 e ’ and ‘ Heureux qui peut aimer
also a fine setting of Schiller's ' Ich habe gelcbt
und geliebet * for soprano and orchestra.
.Among her later compositions were a i.'ocal
quintet on Heine's ' Du bbi wie eine Blume ',
a setting of Browning's * King Charles some
songs on Sicilian themes and 1 few pianoforte
pieces. An opera, 'Jocelyn was projected,
but apparently never hnbhrd. a. h. w.
WUt«, R. J. Stt Melkr» (' Marlowe *, opera i ' Sonf
eTRuih \ thoral work}.
WHITE, Robert (I. ? ; 4 . London, Nov.
I 574 >«
Englbh composer. It hu been suggested,
though proof is lacking, that his father, siso
called Robert White, was an organ builder,
” Magiscer White ”, whose name is known
through paymenu having been made to him
between 1531 and 1543 for work done to the
«gan at Magdalen College, Oxford.* A
certain amount of support is given to this
identification by some entries in the Church-
wardens’ Books of the Parish of St. Andrew s,
Hoi bom, London >, whence it appears that in
the first year of Mary ( 1553 - 54 )
gave young U'hytc £$ for y' great orgaynes
which his father gav** to y* church”. In 157s
Langstone, a churchwarden of the pansh,
without consent of the parishioners, vestry or
parson, pulled down the loft and sold the
organs to the Dean of Westminster, “ wher
they notv stand and cannot be bought for any
mtmey so highly arc they esteemed for ihcir
goodness Among the NVcsimjnster Abbey
Munimenu b a bond dated ap ^
whkh b connected with the sale of the ot.
Andrew's organs to " Robert Whyt^nile*
man of Westminster ” and one John Thomas,
yeoman. As Robert While the composer was
then master of the choristers at Wesimimier
Abbey, and hb father bad been Jiving with h>rn
for some time before 1574.
Robert White may perhaps
cither (he father or the son. The «hole
action is difficult to understand, but jt u pos
, p ^ g • Mus. T., ISOS-
WHITE (Rvbcn)
277
sible that “ young ^^'hy(« " of the $t. Andrew's
documenu w&s the composer.
The first certain Tact recorded about Robert
White is that he took his degree of Mus.B.
at Cambrige on 13 Dec. 15^. The Grace
speaks of his ten years’ study in music, and he
was required under penally of a 40s. fine to
compose a Communion Service. 10 be per^
formed at St. Mary's Church on Commence'
mem Day ; omnia ptregit *’ is added in the
CracC'Book. Soon aficrvards he was ap*
pointed master of the choristers at Ely Caihe*
dral, in succession (as it seems; to Tye. who
retired in the early part of 1361. 'I'he serin of
'I'reasurcrs’ Kolls at hjy is incomplete, but that
for Michaelmas 1563 (inxvhich K recorded the
payment of White s yearly stipend of
prt>vcs that he had entered on hU duties not
later than Michaelmas He remained at
lily till the bvgi tilting of for John Far*
rant iia<i succreded to hU place id Nfastcr of
ih<’ Ciotristers l>y N(if'l)a<'lmas and lltat
NVhlir was slill at Fdy on 23 J>e. 1^5 h
proved by thceniry of the baplhm of Maigrr\ ,
daughter of Robert W Kite, in the registers of
i rtniiy Church, Ely. His t'ife, hllen Tyc, was
probably the com|>06er*s daughter.
It has also been stiggested that While, on
leaving fcly, went to Chester. In a copy of
Morlry's ' Plairie ami Easie (mroiluciion ’
(> 697 ) which vnee belonged to Hionias l om*
kins and is now in the library of King's College,
Caiuhfldgc, against the name of WJule, in the
list of English practliionen. is written in
I omkiiis's liand " F'lrsC of West Clmier &
We»t mi lister”. It had been known from the
researches of J. C. Bridge that a musician
naitud White was Masier of the Choristers at
CIk^kt at ihis date, but hitherto no evidence
has lH’«n found (such as thni su|>()licd by the
loRikiris copy of Moricy) to connect him with
KoWri \N*hitc, It appears from the Chester
Cathedral Treasurers' Accounts that *' Mr.
White” (without any ofTtcial title} was paid
>64:3:4 > i 5 ^ 7 . the Master of the
Choristers then being Richard Saywell, with a
salary of £i : 13 :4. In June 1567 White ap*
pears as Master of tlie Choristers and coniri*
hu les 1 31 , 4d . to Say^Ycl|•s salary . I n 1 56 7 and
156^ Mr. White '* took part in the Chester
Wiiitsun plays and on each occasion recejs*ed
4s. for Ids HTviccs, which was higher pay than
any of ihe other musicians received- 'I'he esH*
dence of the account books in fact is held to
sliow ihal While was thought a person of im-
pnr lance. His name is not found at Chester
later than t3$6, but the exact date of his dis*
appearance from Chester is unknown, as the
series of I'reasurers’ Account Books is ineom*
plctp.* It should be noted, however, that the
,• rnfnrnuiinn CMUibuleil W 1. tX Bri^e* t/
h« p.,iwr Ml * TH« MiTMle PUss • •* • Uww
AtthiK'JvgKAl boeiecv’i Journal *. 190)
Christian name of the Mr. White of Chester
is not known, and the surname itself is by no
means uncommem at this period.
It would seem iliat Robert \N’hiic was ap*
pmnied master of the choristers at W«^tminiicr
Abbey in 1 570. The .Abbey -M unin icn is i hro w
no light on the subject, hut the entries in the
registers uf St. Margaret's, Wcstnnu'icr, record
the baptism of "Margaret Whyte daughier of
Robert ”, 7 June 1570.* Klizabeth daughter
of Robert” was baptized on 24 Keb. 1572 ; and
" Pruth’rwc daughter of Robert " on 23 Aug.
* 57 J« AH these eluUJren were buried at the
end of «574, when the plague was raging in
Wriiminster and nearly aJi the fantily \sas
carrinl <ijr. Rol>eri \S Idle himself was buried
at J>t. Margaret's on ti Nov. 1374, and hU
wkJow died between the following 21 .\t»v. and
6 Dec. Only two daughiers, Marger> and
Anne, sun 11*011 their parents.
*Ihe will ol RolKrn Wluie, " BachHer of
Muskke and Master of ihe b^uirestvrs of the
Cathedral I Chun he of bt. JVier in the Ciiilc
ol WeumimUT ", is dated 7 Nov, 1374- He
desires to (»c buried at bl. Margaret’s, West*
mmster, " near umo my ihildrm " ; he leaves
Xs to bis fatlwr Kolieri \V hiie, " and all .such
u»s IsouseJnild slulc anti goodes w‘^ he did
Unsge vnto me at or lx tore his comjngv to
me " ; he makes bei^uesls to his d.iugliters
-Margery, Anin* and IVixlencr, leaving to the
first •• a mazer w*"* was her laiv graund-
motlw'f's **, *1*0 his wife l.lleii Jir k.'wes jiro-
I»cTty called ’ bw allow feldc and Wibnowes '*
a I Nut hurst, .Sussex, and he makes her cxecu*
trix ; and he giv-cs "to every of my skoller* to
cche of them ihjd.”. Prudence White was
buried 7 Noe., the day on wlikh her father’s
will was made. The wiU of J.llcn W'lnte, the
widow, is dated 21 Nov. 1374. A list ofdi fits
owing tu Iwr and her late hiisiMmI inriudes
the ftuin of owed by " (iabrii ll Cawood.
Citizen and blacyooer of Undon ", A eeriaitt
tdwafd Parston "owed x\%** viij***, un<l she
ha the in J»awnc a Jrwxll of goJdr *'. It iiu»
suggested ' th.xt the large sum owing to
\Shite from Gabriel Cawood tlie printer was
in payment R»r tome of his tiuiskal coinposi*
tions. An Edward Paiion is known as the
owner of i6th<eiitury manuKripu, such as
ilw lute* book In the R.C.M, (MS aolhi). It
is possible tliat W hite added to his income by
copying music, and that I'aiion was among his
employers.
White's contemporaries held lum in the
highest esteem. In the manuscript partlmoks
dated 1581, now in Ch.Ch. (<»84*88), the copy *
~ I?* ,. , •“ dto rtirr ecewn il»e worj
M Mkrm (hu Olu^Ki^n of H„brix wi.vf*.
««*mMi»*m«.we«*||<HiMreo*ldiecom{w«r, Aad
Midkavr » ban »in-c».
ifc* Wetim'*' ^ Anxfiwii* 19 l},e ht<i eJitiun ol
278
WHITE (Robert) : Works
isi has wriiten at the end oT \>'hi(e's LacDenta>
(10ns :
N’on ju mocsia plang«nU4 vetba pntphruc
Quam sonai auihiHa mu$k* monu DteL
(Sad M ihe mourniog k'Topb«t*i worrU fall 00 iLc ea#
More tad (o me l>ke mu»k*« ionet appear.j
Again* at the end of the Precamur, is Hniten :
MaKima musarum nostranim glorU SVbiu
'I'u perk* aeieriiuin aed lu* muM nunct.
i Thuu die*t. While, rhkf iptcndour of our art.
But v,ha( tliy ari h.iih >>reugh( stoJI iievermecc
depari.)
The Roy. Lib. B.M. contains a manuscript
wriiien in 1^9] by John Baldwin, " singing
man of Windsor", \*’ho sa)‘s, in recounting the
principal composers of his age :
1 will l>egine w»ih NVbite. Slieppei. T)^, sihI T*II«,
?jriuMi, Gyln, MuiHiie, (h'vukk one o( die ^veenes
Morlcy* 1597* quotes him among "those
famous English men, who have beene rwthlng
inferiour in An " 10 various foreign writers;
and gives him, with Lassus, as an authority
fur beginning a composition " upon the sixt
His name, hovvever, seems to have been for-
gotten by the end of the i7ih century, when
his works are nearly always ascribed to
Matthew White. It was not until he was
discovered by Burney that his merit was fully
recognized ; but ever since Burney's time he
has taken his proper place in English Itistories
of music, though even now but little of his
music has been printed. His printed composi-
tions ore * Lord, who shall dn-ell ' (Burney,
' Hist.', Ill, 67}; 'The Urd bless us ' (Bar-
nard, 1641 ; and ' Old English Edition *, No.
xxi) ; ' O how glorious art Thou * (' Old
English Edition No. xxi). The B-part ' O
praise Cod in His holineu ' U printed in
Burns's ' Anthems and Services', and series,
<, 1 847. The second half of the 4'part version
of this anthem, beginning ' Praise Him in the
cymbals ', is given in Vol. II of the O.H.M.
It is not easy to prepare an accurate list of
While's manuscript works, partly because early
copyists were free in supplying new words to
his music and partly b^aiise great confusion
exists between Robert White and two 17th*
century musicians named Matthew White and
William White.
The following list of compositions is based on
that compiled by Dr. J. H. Mec lor the first
edition of this Dictionary.
]. LATIN NfCyrETS AND SCRVICtS
A(i T* levavi. • 6. Ch. Ch., wmtine i«am.
Appropinouet <lcp*K4i>o. • S. Ch. CJ>.
CanlAie Domini. « ^ R.C.ai. MS aojs. • pwee
wilhoul word* (rpan of ISalm XCVJ). 1i b
identical with ihc openlrtfr ofEinvdisi W.
Chrisle Qui Lux. B.M. Add. HS$ 1 0.0)6* }9. Apkee
wiihoul words. Two luic «ctanc«ieenu, B.M..
Add. MS '.(9.846.
Deui mnoicAlur, • 6. Ch. Ch., waniinf leooc; MS
Bodl. Mil*. Seh., C. 49 ). t^oer oolvi ^W*
DM.
DiimiTK non m eniluium. « 6. hfS BodJ. hl«s. $cli..E.
i-ji Gh.Gh., wan tiaa tenor: MS Bodt. Miu. Sdi.,
E, 49$. tenor enJy. fxuacu, Doaine boa est sod
Sicui aUscuiui. Ch. Ch. 43.
Dumine ^uu bshitslxu Three •eriingt, Ch. Ch.,
wsnti^ tenor. One of them is in MS DcdL Mus.
Scb., E, 493, hs«us enty.
EuudiM i«. a 3. Ch. Ui.; Dodl. US Miu. Sch., B.
1-3: B.M. Add. MSS iB.pj&'SO. Sti Cuitaic
M&ai.
Jusnises. • 3. MS BodL Mu*. Seh.. B, 1*3.
Limeouiioo*. 4 3. Heth, peccetuoi peccevit, etc.
Oh. Ch. (rwke); MS Bodl. Mu*. Seh., E. 1*3:
B.M. Add. Mas 17,799^; MS Bodl. Mus. Seh.,
t. 493. conua'lenor only. FragmenU, De ocebo
nuMi, B.M.. Add. MSS ifi.93S'39« waoiing tenor.
Ch. Ch.
LrCcntur cocli. Roy. Ub. B.M. frogmeni ? of Can*
ui«.
Libev* me. • 4. B.M. Add. hfSS t7,B09*3.
hi. .SIS Bedt. Mui. Sch., £. 493, tenor onfy, dated 1370
and awnbed 10 William Whyte. Tenbury MSS.
Fragment*. Quia feeii : £i aaneium nomen :
Skue loeutua e*i : tml Skut crai, Ch. Ch. 43.
Uanu* Tuae. « 3. Ch. Ch. (twice) : MS Bodl. Mue.
Sch.. E. C*3i B.M. Add. MSS lS.9^39. Lute
arranoemeoi, B.M. Add. MS 90,9^; M$ Bodl.
Mvft. Mh., B. 4*9. eon«ra*unor only. Eairaeu in
K.C.ht.. hlS ao$3 (iwke) : Roy* Lib. B.M. ; and
Ch. Ch. 43 (Veinanl mUii).
hliceeer* mei. 4 3. «i0i Keond part Cor mundum.
MS Bodl. Hue. Seh,. £. 1*3 : Ot. Ch.
Feccaium peccavit a 3 (not ih« lame as ihe Lameala*
<»om ab^). Lute MSS, B.M. Add. MS 99.94S ;
and R.C.M. MS 90)9 (Iwkc) and witlioul name;
B.M. Add. htSM.049 (eaniui ociy).
Fereia mea. 4 3. Ch. Ch. (twte^
Kreeamur laoeie Dootlne. a 3. Ch. Ch. Four tetung*
in dt. Ch. MSS 9$4*B$ <N«. 3, 4, 3 ^
iriUAfi i* Ch. Ch. MSS 979'n*
(The Md and 3rd leiiinzi in are No*. 74 and
7« ia 979*43.] MS Bodl. hluv Seh., E.
tenor only. Am arcangemeut for lute. R.L.M.
MS 9«S9.
Reftna eeeh C»r naeti. a 3. Ch. Ch., imperteel.
Tola pulehra, 4 ^ Ch. Ch.. wanting lanor.
It. ENCLISH ANTHEMS. Etc.
Behohl Bow.ptake the Lord. B.M. Add.htSS go, 474*79 1
PH., aarribed lo Matthew Wtiiie.
If imi love hte. B M. Add. MS a4,i9f(,»hajmiY-
Lord, who >h*H dweU, 4 3- ^
O. hSwTSriot* art Thou, a 5. Printed in OM
Edrtwn. MS BodL Mui. Seh., F, Ji*i3i
Add. MSS 90.47l*79: PH-.aicnbed <0 Muthe*
White ; Ch. Ch, (twn organ Kore*). ,
O Lord, dehter me from min* eoem*». Ch. cn,.
O l^'^‘*?S^er*»or, R.C.M. MSS
“ R.W.”. perhapt an adapiaiioo f«f»a Latin moiei.
O praise Cod ioHnbolmm..* 8. An«targgl ^^
of (be bit: printed by Burn*, tCL,. HawJ'mi
•eore. lenor-book, *nd orean
•« Matthew >Vhiie: B.M. ^ Add, ’ illSw
B.M. HarL 7339 (tudway). awfibed to Matthe»r
The WWeia us. * 3- xa’^'Hrri “7399
En^ Edition. Ch. Gi ; B,M, Har). 7«9
(Todway). ascribed to ' i&.Vt'e)
Hawkim’s score a«l oegio*^
F*uw,: R.OM. MSS
30.47^79 aad 9&,397-
• tTefOi : RM. Add. MSS
To these, poaibly, should be added (ste
4 ka€f, under Matthew White) :
^ood forth. R C-M. M» t^5>J
MSS. ascribed to Matthew While.
Bernard'*
Doubtful anthems and adaptations are :
M wosh mv hands. Ch. Ch. 1*03.
(by AMrich ?) of O
I T^y mrwihd ««• Ch.Ct.i 99^*4
An adaptation
Q^ftiuj want*
WHITE SPIRITUALS
\VHITEHQUSE
S t aed sbo la FiWw.. witboui coop«e»*< babm.
ord«ta B.M. Hvl. 4I4Y. It b m«rel)'ABA 4 L*pu«
tian of O how |)Qcioyk
O God, ih« boothcn v« coew. rt fem d to m »n * York
CaiAlocue ia th« «cikI« NVHin in the fint ediiNHt
o( ihu PkUouory, Nolhwr h known of thw ai
Y ork.
O Lord. r«buk« me auL B.M, Ha«l. 7 )^ (Tudwov*.
"(«l lo kincluh HOfdj by the Ro. l>t. AUenh",
alto in B.SC Add. MS 1 7.B47. os ' H\«b»nO« * ftoan
R. Ultiie. Thk i* Tbe Bins ua. Htih now
wotdi.
O linu o>»io ih« Lord. 10 Husk^i Ceuko(ue (R.dM.,
1043, Ilamard MSS>, b Appareedy rAirro<l !•>
niituke. t'lirre toemi lo be im> eueb AjiiKrm «
ihr M».
Ptaito the Lord. O mr tovl. R.C.M. MSS lo^B*)!. ii
aa adapUdon ofSperei Itrocl. from Oomine iton e>i.
]) 1 , IN NOMINES. Etc.
In Nomine. «j. Ut. Ch. ; MS Dodl. SIwt. Seb,, (>.
B..M. Add. J.vie Add,
MS 97,346.
Tltrce In .SimiiMn, 44. MS Bodl, Miu S«b.. U, tn~
4 10. Ihe httr o( ilinr ii m Lute MS 0 M.. .Add.
Mb TQ.i 4 i>. !m Nnm«ne for Rite idiHeirnt . 0 M..
Add. .MS 37.»4i. 0 for luir. B.M.. Add.
MS 33.946.
Ut n mi l« U. for enria. C!h, (Si. 771.
Mr. UJ.yie hit twMie. • 7. B.M. A>U. MS
* lliiu of 4 pjri toiir« HI Rartiifm Hitl* dunes 11
wiilioul dittir* lb.* Bureo>. IIL Ii n imk
known where (liii MS it.
O. B. P. A.. ttV. A. 8 .
WHITE SPIRITUALS. $t< .S piit jti*a 1 1 ,
WHITE. WlUUm (6. f \ 4. T,.
English 1 7 (h*crntury comprber. He wroir
fAniajiics, pavant, eic.. for vtoU, lA srlttch
many exist in manuscript in the BoJInan
Music School Collection at Oxford (with the
dale 1G4 0 . in Cli. Ch., Oxford, and cIscm here.
To him may be aligned the fantasict. etc,, in
B.M, Add. MSS 17,70^*6. A vcr»e anthem,
d 6, in two parij,’ Almighty l.ord' and’Heml
down is in MyricU’s enlleciion, i6c(> (U.M.
Add. MSS ao, 37 S*?>. Thomas Tomkins
dedicaicti to him a five^part song in Im set
publisfu><| in 1623. riie name of William
NN'hitc with the dale 1570 is aitarhed to a
Utin Magnitirat in MS Dodl. Mus. Sch.,
This may be the work of an early
William \N hitc. but the name is generally
supp<ised u> be a mistake for Robert ^^'h^te.
William While is named among the ‘* singing
men ” of Westminster, to whom mourning
^vAS granted for the funeral of Ouern
Elizabeth !,• c, j ^
He is among the composers of raniasics
selected for special mention by Simpwi in hb
‘Compendium* of 1C65, by which year he
tvas ••now deceas’d”.* He is also included in
a similar hit by Thomas Mace, ‘ Musick’s
Monument 1676.* His music for vkrfs h
elfcciivc and well written, but none of ii
appears to l>e of outstanding interest, a, t*.
&« 9 l/» KjMiaty.
WHITEHEAD, Jamep (i. Nesvchurch-in>
Rouendair, Ijmcashire, 14 Jvne 1912).
English viuloncellist and gambist. He
siuclieil at the R.C.M. in London from 1927 lo
‘ .S»» C. 1;. dr lafonuine, * The Kjnp^* Miekk *. i>. *j.
* P. IIS in rd. of 1739, * * p
379
19$$ and obtained the A.R.C.M. diploma,
in 1934-39 ^ principal c<’llisi of the
Glyndeboume Opera Company and in 1933
he became principal cellist of the Boyd Nccl
Orchestra for twYlcc years. 11c is the cellist in
the Harry Isaacs Trio, also in the Khiiharinonic
Trio, and he plays sonatas with Crrald
Moore. He has |K’rlorinctl in nearly every
country in Europe and in the |j.S..\. In
Lon<lim he lias plaved at nuiru’rous (l•^<'’rLs
at the Wigmorc Hall, at the National Gallery
during the second v\orkl v\ar an<l eKr^vlltTe,
and he is wrll knuwn f<>r the jilejsing light
quality of his tone and the flexibility of his
terhnique. In 1933 he \«a» presented with
the Mtxial of the \N'orshipful Company of
Musicians. m. k. vv.
WU4»b«a4, Paal. Aiicilw/t.
WW4*b«aB. WillUB, Bw><« 1 ’ Hwmiaii 1 .ulicr *,
••Hul. <n.|.
WHTTEHILL, Clarence M.'irengo,
Iowa, 3 Xov. 1871; 4 . New York, iq Dec.
19321.
American iMssdiaritoiK >itiger. A pupil of
H. D. PMp at Chicago, he uai in business in
that tiiy, an<l imklenully a church soloist,
uniil iH<|C, when he ssetit to Paris to study for
the operatic stage under Giraudet and
Sbfiglia. His debut was made m Brussels in
1899. as Friar I.awreiHc in (JoumHl's * Romeo
and Juliet \ and im mediately alterwards he
waa il>c first American male singer to appear
at the Paris Op^fa*Comique. In ifTOo he was
the leading baritone with the Savage English
Opera flompany during its season in New
York- After further study with Stock hausen
at Frankfort o M. he went to Bayreuth for
study of the Wagnerian rcf)eriory, in w hich he
won especial eminence.
In 1903^ he sang principal parti at Cologne,
in 1909-11 he was a meinlier of the Metro*
pcJiian Opera in New York and in 1911-13 of
the Chicago Opera Company. Fmm 1918
he was again with the Mciropoliian forces.
He also sang Wagnerian pans in London,
at Cios'cni Garden, during five seasons, and at
Bayreuth and at Munich during three an<l two
seasons respectively. w*. s. s.
WHITEHOUSE, William Edward (6.
I^ndon, *0 May 1839; 4 . London, i« Jan.
*935)-
English violoncellist. After some early
study of the vi<din he took to the cello at the
age of thirteen, studying for four years under
Walter Pcuii. He entered the R.AAi. in
**77. receiving tuition from Piaiii and Pesae,
WOT the BOTamy Dpbree prise in 1878 and
joined the teaching. staff in 1682. With a
purity of style modelled on that of PI a It I,
he marie his greatest successes in chamber
music. He travelled In the provinces with
Jwhim and was cellist to the Ludwig
QuaTiet, the Bath Quartet Soeiciy (the oldest
WHITEMAN
WHITING (Arthur)
aBo
in England) and the London Trio (Amina
Goodwin, Simoneiti, \Vhitehousc) with whom
he toured in France and Italy. He migned
from the last of these organiaaiions in 1925,
being succeeded by Lcbcll. He held the
appointments of professor at the R.A.M.,
R.C.M, and T.C.M., examiner for the Assoda-
ated Board, and formed many distinguished
pupils. The cello upon which he played was a
hne specimen of Francesco Ruggieri.
WHITEMAN, Paul. *e Jazz. ^
WHITFELD, Clarke. Set CLxaKe.
WHITHORN (or May-hom). A rustic
oboe, the body constructed of green willow*
bark twisted into a conical shape and fastened
with hawUiorn spines ; the double reed is also
made of soft willow rind pressed together.
This primitive instrument used 10 be employed
in Oxfordshire in connection with a Iwal
Whit'MonJ.iy Hunt in the forest.
f. w. o-
WHlTHORNEi Emeraoa (5. ClcN'ctand,
Ohio, 6 Sept. 1^).
American pianist and composer. He
studied pianoforte and theory with James H.
Rogers at Cleveland and under his inHuence
began his professional career as a pianist at the
age of hfieen, playing for iwo comeculive
summ ers j n t he group of (owns consiitut I ng t he
Chautauqua Circuit ". Pianoforte uudy
with Lescheiizky followed in Vienna, as well as
study in counterpoint and composition with
Rol>ert Fuchs. From 1907 to 1915 he lived
in London, composing, teaching pianoforte
and theory, and writing music criticism
for * Musical America * and the * Pall Mall
Gazeue’. He returned to the U.S.A. in 1915,
when he became executK’c editor of the Art
Publications Society of Si. Louis, retaining (he
post until 19 ao. The fol loiving year he became
vice* president of the Composers' Music Cor-
poration of New York (which published many
works by younger men), but he retired >n 1922
to devote himself to composition.
Whitliornc's earlier works reflect his Eutch
pcan associations, but in his vivid pianoforte
suite, ‘New Yurk Days and Nights’ (chosen in
1923 to represent the U.S.A. at the Salzburg
Chamber Music Festival), a work “composed
with a conspicuousness not only of impression-
istic methods but of later developments In
polyionaliiy and chord formations ”, he suc-
cessfully caught the spirit of the great metro*
poUs. I'hts suite was later orchestrated and
performed not only by symphony but by
cinema orchestras and, in special arrange-
ments, by jazx bands. ' Sooner aod Later
a ballet (1925}, is likewise American in
character. In the ' Poem ’ for jManoforte and
orchestra {1926) and ‘ Fata Morgana’, s>‘m*
phonic poem (1927), there is a concentration
on rhythmic efleets. * Saturday's Child ’ for
two voices and chamber orchestra (1926) and
* The Grim Troubadour ’ for voice and string
quartet (J927) are both settings of poems by
Countee Cullen, the Negro poet ; in the latter
especially there is application of Whitbome's
expressed conviction that “ melody, whose
crown was forfeited in the maeblrom ” of (he
decade 1916-26, during which there was "a
sort of fetish worship of ugliness per se”, should
once more receive the allegiance of composers.
In his pianoforte Quintet (192B) a romantic
mood is present together with a thoroughly
contemporary trchriique, and the combination
is to be found also in other later works.
An early work by Whithorne was heard in
England in 1926: 'The Aeroplane' for
o^hntra (composed in (920), performed at
Birmingham. A work in which he used
authentic Chinese themes and sought to
imitate Chinese instruments was hit incidental
music for Eugene O'Neill's 'Marco Millions'.
An orchestral extract from this entitled ' At
(he Court of Kubla Khan ' was published in
1928.
His compositions include, besides those
already named :
* The Rein * tor ereh. {i 9 ts}.
* La Nuii ’ lot erch. (1217).
.S>in|ih«nr No. I (i 9 t 9 f.
.S>mf»h. |»oem * The Dream Pedlar ' (iV 90 ).
* PandaoZo ' for eerh. I1931).
%vmph. poem * .Mean Tntl ' {199$).
Smpheny Ne. t t> 99 Sl.
* Sierra Morma * tot erch. (X93I).
* 5 uolkr*i Serenade * tot sif. er<h. (1944).
Vn. Concerto (tpsO.
* Creek (mprrw>ecM ' Car ti#. 4iet (1917).
Sirinf Quartet <> 9 }a)>
S«MU far vn. ft pr. { iw).
' Cl ramino real ' far pi.
Aha pC pieeei, lanft. fte.
0. a<, rev.
Rtaa. — How AS*. Iomk TAwsa, ArlicW in ‘Modem
k(ua»e ' (Jan.-reh, tmt).
' Cmeraon >t’hiU»oma ' (N«w Yark. r 9 t 9 }.
WHITING, Arthitf {k. Cambridge, Maa<.,
20 June 1661 ; d. Beverly, Mass., 21 July
« 936 )* .. .
American pianist and composer. He studieo
at the New England Conservator)' with Sher-
wood and Chadwick and later at the Munich
Conservatory with Rhein berger, Buasmaycr
and Abd. In J 885-95 he lived at Boston,
devoting himself chiefly to composition. In
1895 he settled in New York, and from 1907
onwards he was largely occupied with tJ»c
giving of concerts of chamber muaic
lo be mainly educational. His “ expositions
were a regular feature at Harvard, Yale and
Princcioii Universities. He also became an
authewitativ'e exponent of music for harpsi-
chord and clavichord. .
With various American orchestras whiung
play'ed his fnanof^tc Concerto in D minor
and hb Fantasy in B> minor. Hu other
compositions include an Overture, a Suite for
strings and homs, chamber music and vocal
U-HITING (C- E.)
\N'H 1 TTAKER
music, and he made arrangements of clasucal
harpsichord mu&ic for the ^anoT^Mie.
w. $. s.
WHITING, George Elbridge (^. Hollis*
ton nr. Boston, Mass., 14 Sept. 1840; d.
Camlvidge, Moss., 14 ^c. 1933).
American organist, conductor and com-
poser. At the age of hfteen be succeeiled
Dudley Buck as organist the North Con-
gregational Church at Hartford, Conn. Iheri;
he founded the Beethoven Mttiical Society U>€
church practice. In 1863 he began his BcMton
career, playing at Dr. Kirk’s church and after-
wards at Trrnioni Temple, and giving concerts
on the Mu^ic Hall organ and on many other
Lrgc organs, meanwhile studying with d- NV.
Morgan, organUi in NW York. In 1863 lie
visited iMiglaiul to study with NV. 'V. fr’st. and
wlidc there often deputiictl for Best in church.
Keturning to America he became organist of
bt, Jowph's Church, Albany, where Kinina
I.aj«'anc%s<' Outer famous under tlic name of
/Vliiuni; was a member of his rlioir. .Nfur
three years he returned to Riwton, wherr he
was organist and director of music at King’s
Chapel for Uve years, and at the Nfusic Hall
for one year.
In l0?4 \Muting visited Berlin and studied
harmony with Haupt and rirrhrstration with
Radecke, Returning to B<nton again, he
became principal organ inurucior in the New
I'.ngbnd Conscrvaiory. He was also organist
at the Cathedral of the Holy Cross and eon*
due lor of the Foster Club, BuaUin. While
NVhttiMg was its director (he club wing a
nuinlicr of his comiKnitioiu, among uthers a
setting of the firologuc to Umgfelhnv's 'G< 4 den
Ix geiur and the first sketch of a cariiau,
' The ‘Fale of the \ iking *. His compositions
further included cantatas, church musk and
some symphunic works for orchestra. In 1879
he acc< pted a call from Throslore 'Hiornas to
take ihargr of the organ department in the
flolirge flf Music at Cincinnati, of svhirh
lliomas was then director. In 18B3 \Vhiting
rc(urn<;<l to Boston and I he New England Con-
rervatoTv. w. 11. o., abr.
WHITLOCK, Percy (William) (*. Chat*
ham, I June 1903 ; d. B^memogih. t Mav
I.iiglish organist and composer. Educated
at ]i<H hfstcr Choir School and Kings School,
he wt»n scholarships successis'ely at the C.S.M.
and at tiu* R.C.M, In London. From 1921 to
1930 he was a-sshiant organist at Rochnter
Caihr<lral, while from 1 934 10 1938 he coupled
with I his the duties of organist choirmaster at
Oiacham Parish Church and from 1939 to
• 03 ^ those of organist at Borstal Church.
Rochester, He was director of music at St.
Stephen’s, Bournemouth, in 1930-35 and
from 103 ^ until his death he was Borough
Cntnnisi at the Municipal Pavilion there.
id:
Hliitlock was a well-known and prolific
composer of music for the organ and the
church, while he was distinguished equally for
the many organ recitals he gave at Rochester,
Bournemouth, etc., as well as at Broadcasting
House, London, and for the Organ Music
Society. His chief publications are
AfKhptei. SlotfU, CwnmuAKHi aaJ Lvmins Srrsiert.
Tttitn Im «Iic tjuisliM SetfiKe
«(h«Mrr Xliaic.
* Ske\rA NkewW* ' Cor oegan 12 boukj) ; (,rcdn Son^ij
io C miiMTi 'Two Fanuiy-U^urolt * aui( ' ply*
okousti Sutw * for orcon.
Simpaooy fttt urcon omT ofchrttrj,
T. w. (;,
Wkiimaa, Wall, .Nncrirr niAiout,' }td<<>r>
I.., «o(h. . h(l( .tv. II., .*)vni)>Nonvj, lkit>tM 4
>’(>n ilie Kr«<a’. hli't llot.ip, 'j.
BhmwiM '4 MMict., (Sun»,rr •\s'h>.|*rr» t 4 llea^DilN
L>r«ll» *, «in «4 '•r»h. . V iJioul
work,. BfM)c« .1 r^nb, so»c», hr>MM> ' |)iu/n 1 api '.
(hMus a Bunthjuwr i
(.*t«rr C , ' VS Aible f<rr I.iIac 1 irru. *,
a wck.*. Owrl(>**o«<»>'ir<lr«<, '* of (/,«», *, \<Mrr
L ft.i (tolrrMltr*lAiV,r i'Wa llrili ’, < linr^l ri«A|i>(Kl\ ..
t^<rvmr I tumpolrr *. of< Ii, Iaima»v g 2 orch.
t.fru«>n 'j i»nc,«, llrliwt * .Sra k
'v.iM(*off 4 rc%«rir.<hAral «>Mk< .’IU^II .,
IVIo Jow •* Msiu< I ruA>|>r<( r *. < «M>rL I. auIaIp
«M,c (l<lr . lAfurll 'S>cnllolut
Mud* /••€ <H<a . t.rMk* .* Sjtiil AM immimIc ', tl.kC«
HtfiM.W' .' tkrum Iai'i*. tli'Mal wi rb, j 'oMst
%>»lK «v<h Hjfn« Itt.i, A <h'>'Al W'»rb> ,
I , KhdiWHlv, vriHr & vi<h. . lfAiri>.iM I.. «omv .
Art K. thorui a '. Haru * Mi«Ih
'l«>in>|tflrr \ <lM*rAl H'.eb '. Hrt»r- nf
lhA\rnl« llTAth «AfWAh<, & |.f .. IlMMlitiMili
• Al* Kr for <V<u« k '»i<h ; 1 pjUmima : j otni'j.
' « <W>rAl ••.ok\ . * hiUHAtt < )\4 ruirr ' . l.iv'Clfr
'ISniAk I A(H *. «lM>f«w a < 11 .,
ta*KC f>0 l%>M NrirtaaM*, <>i«>rii« ^ <»r(||
Molkr.tlrmidAn '' In .VlrMM,ri«nk miauviim. .S.ilm*
Mr* •’ C.«l.rMM>i»«tulk trnnipru, iln UioAiMin '.
SAMlrn .’.ShtfH lrvm|ir(<*i ', <li<.rdl HMtbr. ^iliortk
• * I r«>mmh<Vla«p , tlviriM . Sthuhrr MUh
fHih.l. Stliumah / (hutal <-e*k* . 2u>ov«'.
Sr»Mm kIimaI «>4.fb . Siahl.int ' J Iriiai (klr ',
rhofal «kork : ) wnc»'. IIiomumma 'H . mm»ci. N'ajvM
lowic Miih V'AurliAn \\illiA'r,> iIimiaI Motki.
tVonl <:.’|>ii«rLt I vs*. \Viciai» 4 ( Imral
• ork ; i loftf «,
lhai 8(t(iua, A. V.. *VVa(i Ns'lMltnan AfyJ lins*
M (kMfXMr* «M, k I... XKV'III, 104 ", f*. m*.
WHITTAKER, WlllUm G. (CiUlea) fi.
.Newcastlc-on- Iync, 23 July 1U76; d. Orknev
I>U>s, iJuly i<M 4 h
English musical scholar, choral ri>n<lu<t<>r
and composer. He particularly dcsotrj him-
self to choral conducting in Nurthumberland
and obtained conspicuously fine musical
results from the choirs under his rontml.
These included classes at .Srmstrong (killrgr,
the Newcastle and Gateshra<l Choral Cnion
and the Newcastle Bach Choir. The last-
named, a small body of picked singers, w’as
fwnded and irainrd by him for the purpose of
giving Hach's cantatas in conditions approxi-
mating to those for which they were inlende<l.
Whittaker took his Bach Choir to Ijjndon for
a three da vs’ festival In 1 922 and later travel kd
with it with great sucrest in Germany. He
gave the first complete j>erformancc of Byrd's
* Great Service ’, at Newcastle, and rviicatcd
it at St. Margaret's, \^'estm^ns^er, in 1934-
Whitiaker published manv choral arrange-
282
\VHITTIER
WHYTE (fan)
men is of folksongs *, as well as original choral
pieces. A Quiniet for strings and piarrafevee,
' Among the Northumbrian Hills and ‘ A
Lykewakc Dirge ’ for orchestra are published
by the Carnegie Trust. He was appointed
Professor of Musk at Glasgow University and
Principal of the Scottish Academy in 1929.
H. c. c.
\S'h It laker was an occepiionally fine Bach
scholar and devoted great care to the study
of that master’s cantatas, particularly from
the point of view of performance in English
translations. The fruit of his studies and
practical experience appeared in a valuable
book enlilled ' Fugitive Notes on Certain
Cantatas and the Motets of J. 5 . Bach ’
(Oxford, 1025) and in a lecture given to the
Musical Association (Proc. tR*®V«l| Mus
Vol. LIV, 1938). His ‘Collected
Essay’S * (Oxford, 1940} also contain Bach
material as well as ranging over a wider field
of sehnl.*irship. g g
WUttivr, Jeha Cr«««J«ar. Sn H0U1 ($psrUAn^>.
Msc kcn**e 1 SV uchf » lUu(hi«r \ ewitsis). Paine
{ ( olumb^Hvmn L
WHITTLE AND DUB. An old English
name for the pipe and tabor,
WHOLE TONE. Tomr (i).
WHOLE-TONE SCALES. From the
chromatic scale of twelve Kmi tones can be ex-
tracted iwo scales, each consisting of six
whole tones within an ocuve- The notation
of them is quite arbitrary and the use of
sharps or flats will normally depend on the
context in which they arc us^ :
Although they are symmetrical with respect
to each other, these scales have no note in
common and have therefore no mutual
harmonic relations. There is also no inter>'al
of a perfect fifth within them, and they have
thus no unambiguous associations with the
classical major-minor systems. They have,
however, been used for melodic and harmook
expression within their prcKribed llmitt, and
still more frequently in contrast with tradi-
tional idioms. o. i>.
Sf* e/i* Seale (s mu*, rxs.).
WHOLEFALL. .SVe OaNAMcrers, A (iii).
WHYTBROKE (WUtbroke), WilUam
( 5 . ?, f. 1495 ; </. > London, c. 1568 *),
English ecclesiastic and composer. He was
at Cardinal (now Christ Church) College,
Oxford, in 1 525, at the same time as Taverner,
whose close contemporary he probaUy was.
* For lut Iff B.M.S. Ann., leso.
* His wUI i« Hated 14 Mar. t$ 6 a fSomMvi Ho«mc.
Ptero^ahve Court of Canterbury WiUv rrf, SheAetd).
1q 1530 he was ordained priest, when he was
sent to Manchester by Higden, Dean of
Cardinal Colley, to report oa the musician-
ship of a certain John Benbow, who was a
candidate for the post of master of the chor-
biers there, in succession to Taverner. On the
suppression of Cardinal College, Whyibroke
became Sub-Dean of St. Paul’s Cathedral in
London (ggjunc 1531), a post usually held by
a muskal cleric.* He alM became a minor
canon.* He was also appointed to the vicarage
of All Saints, Stanton, Suffolk, and possibly
retired there in 1 535 when he resigned from
St. Paul’s. Flood {s«r BibJ.) suggesu that he
spent his remaining years there, Irat the will (m
footnote 8), suggests that he died in London.
But before that, on 30 June 1534, he had
signed, with other clergy of St. Paul’s, but net
Dean Pace, the declaration of allegiance to
Henry VIII denying the pope any ( P temporal)
authority in England. Ch. Ch. 979*63 con-
tains a piece in 4 pans called ’ Hugh Ash-
tons Maske an arrangement using the tune
of Hugh Aston’s * Hornpipe ’ for virginal, in
which Whytbrokc'i name is at the end of the
contra-tenor pan. He contributed to Day’s
' Ceriainc Notes ’ (1360) a setting ’ Let your
light so shyne* * (described as ” a thankes-
gcuyng for the poore ”) for the first of the
three Communion Serv'kes contained therein.
In the 1585 edition (issued under a new chic *)
hb name is also appended to the Magnificat d*
the second Evening Service. It u probable
that he abo wrote the * Nunc Dimliiu ’ which
follows, as Knyght ” ’ U given as the comptMr
of both canticles of an alternative Evening
Service. ^Vhytbroke was a contemporary of
Shepherd, RHford and Ludford, and com-
post chiefly for the Latin liturgy. His close
friendship with Redford is showri by his will.*
The Magnificat in the list below was published
as No. of Novello's ’ Parish Choir Book ’.
Mw> * re •quare * (U in 4 pu.) (B M. Add. MSS
'& Zr>M\ithi (B.M. Add. MBS
M«iet C>ev»’. s x'oiea (Fetemouw* Cam-
Audivi media noete ‘ (B.M. Add. MSS ' V®®?.**'
Thu letiing b by T*v*«»er, but the>eri ed
ia by Ultywobe).
j. M. (ii), rev-
Dtai.— F looi^ W. H. CxArTAW, ' Eariy Tud«f C«m«
peeen' (OKferd, 19*5).
Set aim Aateo.
WHYTE, Lui (A Dunfermline, 13 Aug.
190O. u,
Scottish conducts and composer, nc
sludkd composition with David Stephen and
* See Fvoor and Samson, _ „ , ...
* Dearribcd aa ''^l>‘-caxMft and tub-Pean >n nu
* Frinied in ‘Tbe Parith Chnif ', II U6«^-49)-
* S>4 Day Jaha. ^ Kwckt.
* He iYqv«wed 10 be " buried «iibin U»« elavatf' «
S«. PaaP* and« Uw Library ihcre, a* n«re the traxt
where «b« badye of Mr, RedfanJe Jate 'hs
querenm and Amner (alraonrrj of Si. Paul * Churehe
Mth burred aa eoovenwnUy nay be .
WHYTE {Robert)
WfnTHORNE
2«3
pUnotorte with PhiUp Habcead ai the Musical
School of che Carnegie Dunfermline Trust. In
S0(8 he look a pianoforte scholarship at
ihc R.C.M. in London, and also a scholarship
for composilion, under which he studied with
Stanford and Vaughan Williams, in 1923
he was appointed Music Director to Lord
OU’iitanar, when he produced operas by
Mozart and Sullivan in the village of A 1 >oyne.
Aberdeenshire, making use of local taleni.
In 1931 Whyte was appointed Muvlc
Director of the 6 B.C!. in Scotland and m
• 935 hr formed the B.H.C. Scottish Orchestra,
Front 1935 until the outbreak of like seeoml
world war in 1939 he w as engaged in training
that orchestra and, in <olUboration with Dr.
Harry M. Wilhher and others, in prrvniing
an < lal>orate mu>kal radio series. * Music
from I he Scottish Pa>ii For I his serin
Whyte " rt'incamatrd " over auo muiilatetl
Scots pieces, and out of fragmenu of tdd
Scotiish airs, discovered by IV. Wdlshcr in
manuscript, Whyte buill up a n<’w>o)tl ireavur)
of madrigals, songs and pieces for sirings.
One of his major achicvcrnt nis in tins fu'ld
is the rcincarnaiioh ol ihr hnr l>niglas
Ma«a (rarly ibth century 1.
In 1945 the duties of Musk Direcior aswl
Conductor of the orchestra hvl l>reome so
htavy that it was necessary for tkiem lu k>e
divided. Whyte retained the c ontiuclorshtp
of the urchnira, which, under his liaton, has
appeared at each of the Ivdinburgh Fc^iixals.
He reteived the O.B.l;. for hit serskes to
music.
Whyte's works include an (i>era, ‘(^omala*,
based on Ossian: i ojKTetias, ‘ The Fcirgc *
and ' The l air of the Sheplvrrd ' : >*alleis
' (foblin Haa * 'I'hc 'Frout ’ and * Donald of
the Burthens ' (prod. London, <;osrni (/arden.
t 03 i); much incidental music f(»r bruadcasl
plays ; • .Sonii<*t ' (^VordswvrthJ for solo
voices an<l t Itorus ; 9 Symidsonies '.me
IK'rrorine.i at an Ivdinlnirgh Festival), sym*
phtjnic poem* ' Ikiinburgh * aixl • 'l ain o'
Shan lor ’ (after Burns) ; pianoforie Coneerso
(also performed at Edinimrgh), violin Con*
certo, viola Concerto ; a quantity of chamber
music, im lulling a string Quartet; seme
pianolo rte m usic, etc, M- L.
WHVTE, Robert. See Wniir.
WHYTE, WiUinm (*. ? ; rf. Edinburgh, >).
.Scottish i 8 ih-i 9 lh*centur>' music publisher.
He was rttabJished in Edinburgh, “ai the
sign of the Organ ”, at i South Si. Andrew's
Si reel about : 799-1 609. His address was 17
South Si. Andrew Street in about 1609-11
and No, 12 about 1811-26. From 1825 the
business was conducied as William Whyte &
Co., with premises at 13 George Sireel from
about 1826 to 1O58.
Whyte published great quantities of half,
sheet and whole-shccl Scots songs, but he is
best known as having engaged Ifaydii 10
arrange two colU’Ciions of Scots tongs, in
ris'aJry of George 'Ihomson's similar )nt I dila-
tion. 'Hiomson w*as much hurt at Huyiln's
undertaking tl»c work. The arrdiigi’in«'iii»
for W'hyie w'crc Hone In iBou* 3 and were
in number; they were iwutxl in two folio
volumes in i8u6and 1B07, and Haydn rm-lvi d
5 «o florins.i ‘I he title of ih<* work was ‘ A
(killection of .Scottish Airs Harmonized for
the S'oicc & Piano Forte*, with inlroduciory
Si concluding Symphonies; and Aicompaiil*
ments for a \ iolin & ViolotKello by Jene pit
Mavden Mus. lKxt.‘, r, k., rev. vv. c. s.
^ WHVTHORNE, Thomas ft, 15.^0^
l.nglivh (omjam’r. He wciiw to have jM*f*ii
an amateur imnui.tri and a man ol xifltrient
imam to sustain iIm «<a( of pi mting hl> rum*
positions. In 1571 Im* |niblidi<*<l :
(g« iKrrr, «ihJ ftue sA\.es
a«Ml made U 'IlMan,.* VM,M>i,wr»e. t,<*Ml. tli« wliuh
swices Iw of wiiMbv Kifm, Ktai ». (u mv. lour,
Matie than, vatte lot.l, caanr cjmc to KMiite. and
Uali ' 4 Ix»mhu( w^rniiK*, jtid k.>n»r plraunl
it wn : «.» ilwi ai««.t,hnr t<» thr «lill </ n,p otiiifo
'hiM Uw>ff Mu.itui,*. 4t.<| «imI .Irlio .t1 ili«
hcarprs. ifcae may ^icre linde ilior «,r«, 1.1,1 ,, ii,)m
andl,k,>»y, .SuH iKwIs fwldidio) .y,i. ,sj,. Ai|,imkJv,».
rranWd te Juhn Date, dMrJJiiw «.\p, .Mdroyalr.
Tin* jfr«'fa<>, prmU'd onlv in the unn, part-
book*. »h«»w» th.it NVhytltorne h.icl tiavelled
"In sundry forrein land'' |w«) (>avmg s|M<ial
atlcnliuA to various kintls of .
^ il<e luliju, ennat? iliP s-hk It o >»,i«
1 hj< <a(lp 4 Ik .Ss|Nd,( 4 lK ’* preo iiiprv unp;.
Tikis volume has hi'lorkal im|Hirlan<e, for it
is the mily puWishH «*l of se< ular v»x.tl i otn*
positions in England between dial of 1530
formerly atirihutkHl to W'yrikyn de W'tfrde Ami
Byrd's ‘ Fsalmet, Smets and Songs ’ In 15BU.
Nor does the iktusic thserve the censure that
has been heaped upon It. Bnnuy described
both the wvrds an<l music ol this set as Iselng
*' truly barlsaruus ”, and other wniers have
ftsifowed Burney's lead rather blindly. Why.
tliomv can scarcely be called a great com*
poser, but it must not be furgotic u that secular
vocal music In England in 1571 cannoi fairly
be compared with that of twciuy-livc years
later. .Nevertheless the 1571 book contains
some really excellent songs, dc-signed on ihe
plan ^thc “ ayre ” of a generation later rather
than that of the madrigal ; ihe melody Is in die
top votcc*pari, the lower voices bemg of sub*
ordinate* inlerwi, * .\s thy shadow it>cll
ai^y'lh ' has a ^ilernlid (low ing melody , and
this song alone is sufticient to confute ihost*
who have so greatly undervalued W I lyt I ionic's
‘J. CuOktwrt H« 4 }<k«). 'Oeorc* 'l>vomMii. ilip Fn«hd
his UIp sfHl Conespwcilpiiie '
«**•« « cakuJaked frem tf>e tucrmpnc 00 l»U
rih* '^* *'‘'« *'
.1 ' . *. ool y irnpf |»af ilwk, of whidi
llic uil«*pa«e B Buunr.
VVICHELLO
WIDOR
'vork- Philip (P«wr VVaHock)
edited and published this son^ tc^ether wth
eleven others selected from this same set, and
he claims that several of them are worthy to
rank with the best of the ayT.'s by the luienisis
who flourished some thirty yean later. < He
also points out that Whyilwnc’s ‘ Buy new
broom * is the earliest printed example <rfan
English solo song with instrumental accom-
paniment; the accompanying instruments in
this Instance were viols. There are 76 com-
positions in this set. Most of them are moral
songs, but the ‘V'enite* and some other
p«alms arc also included.
^^'hytho^nc‘s second publication is of Jew
interest. U was entitled :
Dvo>, frr Cor iwe cempMed and made
by Thoma* Uhvihernr Crm. Of ih« u^irh. lainr be
olaiTie ami eaiie <0 b« tunf. or playrd on MuwraJI
lincrwmrnu, 4 be made ht yanf bernAen af both
itiew Mrii, And the mi ef iheM Ouee be made and
sei fporth Ter Uiate that be mare tKrtnt in tinemt er
pltyint *' afereuKl, all the y.hkh be druided iaM three
parii. Thai ir 10 uy :
TI1C fiht, whi.h daib be«m at the Ana mac. are
m^lc M a man and a chiUe la ung. ar aiherwHe Sar
vaieoi or initrumenu of Muwke, ihai be of ihe like
eemnaue ar d Planer m sound.
The second, which doth befin ar the sum. tent, are
made far lun child tm to «nr. Aba they be apUy made
Tar two treble <.orneu to piay or sound: or othrrwHe
for voices er AiusrraH JnstrumeBU, that be of ihe Ivfce
compewe or rlitian^e >n smmJ.
And ihe third |>ari which daih br«in at the xxxvui-
lOhi (brinr ell Canons of iwo paru In eoe) Im of dturrs
cornpaascs er diuancM, and ibrrefere are la be wrd
wiih voKr* or Instruments erhJuwcke accordinolv.
Now newW published in An. Do. isoa. Imprmied
• t Lan.lt.n by rhamas Esie. ih« mirnd af tVdlsam
Byrd. 1)90.
This set Whs dedicated lo tlsc Earl of
Huntingdon, and the composer's portrait ai
the age of forty wa» prtntcd at the end of each
of the paribooks. The first 12 pieces arc
psalms; the remaining 40 numbers has-e
only the opening words pcimed with the music.
r,, H. t.
Dtau— WAnt.o«K ratim. ' Thatnai tVbyibome: an
Unknown Chxabcihan Campairr* (0«A^ tt» 1 h
VVICHELLO, Abiell. S<* Whichcllo.
VVICHMANN, Johnna. Set VS’cichuanv.
WlDDOP, Walter (*. Norland nr. Halifax,
19 Apr. 1893 ; London. 6 Sept. 1949).
English tenor singer. He first came forward
as a Wagnerian tenor (Siegfried, Parsifal,
Ole.) in the British National Opera Company
(luring ihe 1930s. and although awkward as
an actor and somewhat crude as a singer, he
at once attracted attention b)* a robust arsd
powerful voice that fitted him admirably for
heroic parts. He sang at the Barcelona
international season In 1927 and later at The
Hague, Amsterdam and in Germany. In
addition to the great Wagnerian parts he
appeared in ' Trovaiore ' Aida * Butter-
fly Vaughan W'illiams’s ’ Hugh the Drover *
and other works, and sang in Gluck's '.Armide'
in German during the internationaJ season
‘ !Vler Warleck (m* BcU.).
at Cwnt Garden in 1928, He was also an
effective oratorio singer with a fine technique
for Handel, though without sufficient subtlety
for such a part as Elgar's Gerontius.
Widdop sang comparatively little during
bis Iasi years, but it was a touching circum-
stance that he appeared at an Albert Hall
Promenade Concert on the night before his
death, singing Lohengnn*s farewell, b. b.
^VML Set Mouri (* Ap(^«i Kysciaikuf
play ««i(h m ).
VVIDMANN, Erasmoa (A Hall, Wurttem-
1572; Rotenburg o/Tauber, Oct.
1634).
German poet and composer. He was
cantor-preceptor at Graz about 1590, KttpHl-
metiUr to Cc^nt Hohenlohe at Wclckcisheim
in 1604 and from about 1614 preceptor and
cantor at the school of Rotenburg. In 1699 he
styles himself " P. L. Caes’* (imperial poet-
laureate). He was a prolific composer of
motets, psalms, hymns and other chureh
music, also secular songs and instrumental
music in dance forms. He wrote a theoretical
treatise, ' Praecepta musicae Latino-Germa*
nica ' (Nuremberg, J615), £. v. d. s.
B(ak.— RrKMear. Ckoao, * Crsimus WidBsnn : L*bm
uad Werk * (rubiniea, 1940).
WidmaM. J#«»pb VtkMr. Ste Gets (* VVid«r-
Zahmuai \ opera ; * Helllf en drei Kbaifc ,
irMid. »,}. Heiar (* MaesaK *. choral work; part*
konc).
WIDOR, Cbartea Marie (Jean Albert)
(E Lyons, 24 Feb. 18455 d. Paris, 19 Mar.
»937>-
French organist and composer. He stutued
fint under his father (organist of Saint*
Francois, Lyons), afterwards going to Brussels,
where he was a pupil of Lemmens for organ
and F^tis for composition. In 187^ he
became organist of ^jnt-Sulpice, Paris. He
succeeded Franck as organ professor at di<
Paris Conaervatoire and later followed Dubois
as professor of composition. He soon dis-
tinguished himself, not only as a player, but
also as a writer (he was critic for the ' Esta-
feiic ') and a prolific composer in many
fields. He became Permanent Secretary W
the Academic de* Beaux-Arts, Widor’s works
comprise many pianoforte pieces, son^:
Symphonies in F major and A major for
orchestra, ten symphonies for organ and one
for organ and c«h«slra, concertos for piano-
forte, violin and ccJfo, a pianoforte Quintet
and Trio, Sonata for pianoforic and violin,
a Suite for flute, six dueu for pianoforic and
organ, a Mass for two choirs and two organs,
Psalm CXri for chorus, orchestra and organ,
a ballet in a acts, ‘ La Korrigane scenario
by Francois Copp^ (produced at the Opera,
I Dec- ie8o),anoperam3 8cuand4
’ Maltre Ambros Hbrclio by Copp^e
Dorchain (Opdra-Comique, 6 May j8w), a
4-act opera, ‘ L« Pccheurs dc Sainijcan
WIDOWS
WILCK
285
(Op^a-Comique, D«c. 1905), a I^tk drama
* Nerto ' (Opdrt, 37 Oct. 1924), iiKidcntal
music to * Conte d’avril *, a French version
of Shakespeare’s ’ Tweltth Night * (Od^n,
33 Sept. 1865) and ' Les Jacobites drama b>'
Coppie (performed 21 Nov. 1885) ; a sym*
phonic poem, ' Une Nuit de Valpurgis’
(perrormcd in London at a PhUharmonic
concert on 19 .\pr. t8dd, under the composer’s
direction), etc.
^Vidor is b^tl known as an organ composer,
certain movements from his sympbonlei Tor
that instrument having achieved great popu*
larity. 'I'hese works are among the mint
important in the organ repertory, both in
scope and in the inlluence they has*e had
on organ technique, idium and registration.
They date Trocn two periods of the composer’s
lire, Nos. 1*4 being Op. t), Nos. v8* Op. 43,
’ Symphonic gothique ’, Op, 70, ' S)mphonie
romanc Op. 73, and * .'sinfonia sacra’ dor
organ and orchestra,'. Op. Ui. The hik
‘'s)mphony", how nor, is sometimes in-
a|)}>r(>priai<>, ciiH^cully in the case of softK of
the earlier set, which, consisting as they du
of six or seven mowinrnts, some raittrr sllghi
an<i short, would be l>etier Irrnsrd suites,
Jutillicati'm ii perhaps found in the treamient
of the organ as a kind of stlf-eonulned
orchestra. The range uf st>k and inuod is
very wide, the movemenes comprising canons,
fugues, (<Mcatas, marihcs, schercos, sonve
highly wrought atlagio movenwnu arsd (in
No. 0^ a very fine set of variatiuns -realty a
free kind of passacaglu. ,\ll the later sym-
phonies, and certain lecilom in the first four,
make severe rien) antis on else resources of
both pl.iyer and Instrument -so much so
that only lately have many uf the best mme-
ments U*gun to receive due recognition.
Some performances by prominrnt recitallvis
In Kngland and Amerira t>f the whole set
of symphonies in their entirety bear witness
to the appreciation tif this Important side of
Wldur’^ oui{)ut. II. «i., adds-
Djsi -pMcurr. Iiioon. 'Charlr»<Nf*ne Wia«r’
XXX, 1944. (S. !»$/.
WIDOWS, Robert. Ste Wviww.
WIECHOWICZ, StaAJslaw («. Krusayce,
N'>v- 1893).
I‘oiish composer. He studied at Cracow,
Dresden, St. Petersburg and Paris. In 1921
he settled at Po^naA as^ began hii pedagogic
career as icacher of theoretical subjects at the
Comervatory Uiere. He also conducted
choirs and acted as mude Critic to * Prtegiqd
muiycsny’ (* Musical Review'). In 1939
he was awarded the State Musk Prise. Since
the second world war he has been teaching
music at the State High Music School at
Lracow.
He published the followin# books on music
(in I'olish) I
*Tlw Choeiis M*sicr and Ihe V'maI toms.’
‘The Haioo* of Ike C^otr ai>d ihc Devcinpineni
Ckee&l 'leehiwquc.'
* Seofc Readinc.*
* Lurrisei in Keading Xtusse wriiieii in olil Clefs. '
' I>« Bask Prioeiplet toi «he Chorus Master '
His eomposi lions contain vkmc’nts of folk*
lore and are dlsunguished by tlu Ir vivacious
and incisive rhythms as well as ilieir vocal
effects. In 1946 he wun the first prkr at the
Polish Olymfuc Competition in k\*ar«aw with
his ’ Kantaia iniwna ' (* Harv'vst Cantata ‘k
His c<*n»pvsiti(ms lot hide the f<>noNving:
C:ilOK.M. W 4 IKKS NslJK OKCltl.SiK.N
’ PaMMalli * ' NaitvMv Wmks ’i *> 9i7i.
' L>ite« sSuMuiishi* ’ Niakosik ranuia f»i
miscd chofus uiili Lta\< & Hworikkind «>r< h. i ifji'ii.
’Xanlata iomaaivcifta ’ 1’ Koriiauiis (.aiiiata'j kr
iwfuaae. < hacus a or< h. • <9)>i .
S F< 4 k .s«M(e» hK sok <Imxu« C ukIi < lQ 4 i 4 Sj.
‘ tVu|(uw<tMei Ithv* l.aik NSotms'i
(htUrefi’t caiMaia Ui mlu rk^ut & or'Ii.
>14441.
’ J^ul^Ua ' C PsdmoJv ’ 1
* Xa fluavktm uar<>»kM * ' .\'» l.alllin^ I’oC 'i ' l{> 47 i.
’ Kmiuiri lue i'ri«|e<Ka)’ ' Wht iImI n«>l
t;,S’.U.ta>M»*VMM> ( UOh.Vb VtCKkS
’ MtwcdiAne Baikt ’ i’Mfui/rk‘» I'a»i) 'I ales 'j I 9 tr>',
’ Kupusak ’ .I'Hi!.
' KaMata iiui^iia ^ / f lai>e»i tlain^ia 1 94a .
CIIORM. VSOKKS \V(ll( HA.SDHIKH.
OK OHti.NX
’ litiMvk fct 4 nlo«*Y ’ IrtfMKh'' unh ori^nri
i^Si.
* Ma<ut<k ' Mith t ft*. •444
‘ hacM4 <Hxki ’ ’ lire J.«e» Drurr 'i u»lh a |>f». 1944,,
' karsiaia •HsIue'vKXtmaka ’ ‘MukiCHkis (^aiK.kia '
OKClIl.MK.M. VNOHK'i
‘Bailie l«M* Imhan .Siiiiuner *j. • svinriii. i-irni
‘ChauH * y KiifiuMie ‘K SMt<} 4 t. »< lirr«v lyaO .
* t kfani I* tSild JVaa |iiciuie« ^ivti .
‘ v«Mc tee p( . fterc, 4 vt**. *>94^'.
Iksidcs l»e w’roie 7 Marurkas for violin and
piacsoforic and very* many songs. c. b. ii.
WIECK. Ckrittan family uf inusiciatu.
(1) Friedrich Wieck {*, Prctcscli ur.
'lorgau, Saxons. 18 .kug, *785; d. Dre.sdm,
C Oct. 16731, pianist »n<i teacher. He U’gni;
life as a studrnl itC thi-ulog)' at W iiicnherg,
|;rrw her and (irivatc tutor, and was for some
lime engaged in a pianoforte factory Kn<l
library at Leipzig, 1 1 is first wif<« u as M an a n no
Tromllk, who was ihr mother of Clara (3),
his famous daughter, and of two sons, Alwyn
(3/ and Gustav. This unhm, however, was
^'^Fcd and the lady married Barghd, father
of Woldemar Uargirl. W'levk married
again, on 31 July e820, Clementine Fechner,
by whom lie had three children. Cad lie,
Ckmcfis (<lkd y’oung) and Mark (4). Alsou t
1844 he removed from I^ipcig to Dresden,
wlsere he remained till his dc.*)th, spending
the summer at Loschwjta and leading a very
musical life, hU house a rendezvous for artists.
MefsdeHsohn endeavoured to secure him as
professor of the pianoforte in thr I.cipalg Con-
WIECKI
WIEDERMANN
28fi
scrvatory, but \vithov( sucres, and Moschcl«
was appointed instead.
Wieck began lo teach the pianoforte on
Logier’s system, but soon abandoned it for a
method of his own, if that can be called a
method which seems to have consisted of the
application of the greatest care, sense and
intelligence posiblc to the leaching of tech*
nique and expression. He embodied his views
on the pianoforte and singing in a pamphlet
entitled * Clavier undGesang * (i653» ^nd ed.,
Leipzig, r075), translated into Engibh by
H. Kruger, of Aberdeen, with three portraits.
Among Wieck's pupils may be mentioned
Hans von Bulow, who, in a letter quoted in the
translation just mentioned, speaks of him with
respect and gratitude. But hb daughter Clara
was hb l>est pupil and hb greatest glory. He
caused her much unhappiness, however, by
his stubborn opposition to her marriage to
Schumann.*
An insiitution called the ^V^eck•S(lftung was
founded at Dresden on i8 Aug. tO?!, his
eighty*iixth birthday, partly by fundi of his
own. He continued to see h is friends almoei
up to the end of his life, and an amusing
account of a visit to him in 1672 Is given by
Amy Fay.* He published some studies and
dances for the pianoforte, exercbes in singing
and a few pamphlets, ' Verfall der Gesang*
kunst etc. He edited a number of classical
pianoforte works which were published anony*
mouily, but distinguished by the Irliers D.A.S.
(" Der ahe Schulmeister **).
(a) Clara ( JoaepUne) Wiceic Leipzig,
13 Se|)i, i8t9; d. Frankfort o.'M., 30 May
i8q 6), pianist and composer, daughter of (he
preceding (ste Schumann, ClaKa).
(3) Alwyn Wieck {h. Leipzig, 37 Aug.
1831: d. Leipzig, 31 Oct. 188$), violinbt,
brother of the preceding. He studied the
violin under David, was in the orchestra of
the Italian Opera in St. Petersburg (1S49-59),
lived later at Dresden and published {1 875)
* Matcrialien zu Fr. Wieck's Pian^ortc*
mclhodik
(4) Marie Wieck (A. Leipzig, >7 Jan. t^3 ;
d. Dresden, a Nov. 191$). pianist, half'sisier
of the preceding. She was educated by her
father. She visited England in 1859 and 1864.
She was much esteemed for many years at
Dresden as a teacher both of the pianoforte
and singing. She edited several of her father's
works. o., adds.
WIECKI, Leopold {b. ?; d. Mogila, 8
Apr. 1806).
Polish composer. He was a monk of the
Cistercian monastery at Mogila, in whose
archives was found a manuscript of his *Passio
ex B ' (Bft major) for soprano and bass with
' ^MSchumanm (Roscxt}, pp. 6na*ii.
* ' Mum Study mCtmunv' ((.eAMfl, 147.
accompaniment of s violins, 2 horns and
C. R. H.
WIEDEBEIN, Gottlob (^. Eilenstadt nr.
Halbersudt, 27 July 1779; Brunswick, 17
Apr. 1854)*
German organbe, conductor and composer.
He studied with Zachariae at Magdeburg and
Schwanberg at Brunswick and spent most of
hb life at the latter town as organbt of several
churches and conductor of the court theatre
from j 8(8 to 1832, when he was succeeded by
Meihfessel. In tSst he vbiied Rome.
It was to \Viedebein that Schumann, aged
eighteen, submitted hU first songs in 1838,
having a high opinion of him and linking his
name in a letter of that time with those of
Weber and Schubert among song*writers. Ten
years later he pubibhed Wiedebein's encour*
aging reply in the ' Keue Zeitschrift fur Musik ’
(Vol. VIII, p. 106) as conuining “golden
words of advice to budding composers One
of U'icdebein’s songs, to words by Goethe,
appeared as supplement to the ' Allgemeine
musikaibche Zeilung * in 1809. He also
wrote an oratorio, * Die Befreiung Deutsch*
lands and music for a dramatic prologue by
Klingemann, performed at Brunswick on 30
Oct. [833. Goethe, who ignored Schubert's
KUings of his poems, thought highly of Wic*
dcbcin's.
\Viedebein's papers and correspondence are
presers'cd at (he Municipal Library, Bruns*
wick. Some of the more inieresiing portions
were published in various periodicals :
F. C. JaiMen, ' BHe<weeh*«l bMihownt ynd
an K*peUm«Mier G. '■M;
K. iMel. ' L>«ti BrifCr Mamhfwn *n WMebeiri ( Dh
M utik len). _ . ,
F. A. ai«rb*eA, * Au* vereancsncn T*acn: Fri«ie voi
FeiMl. BsOer. Lin4p*inin«( und Sp«hr ah 0- Wied«*
bem' (N'.Z.M., tqti). ...
P. A M«rb*<ii, • Aw den Brirf«h»ften C. Wiedebeiiu
(* Jahrbuch da Br«ua«bw«i|et CarhicliUvertim •
H. Mwkl 'Oyrr und bfudk in Droden und tVi^a in
iSfu; g«richte eiiHi Zeiigenmab ( d«ii*
Khrifi fur B(Mb«rf«euode *,
WIEDERMANN, BedFJcb (*. Ivanovice
na Han«, Moravia, jo Nov. (883 ; d. Prague,
$ Nov. 1951).
Czech organist- His grandfather and fa iher
were village schoolmasters and musicjsns.
AAer the school-leaving examination at a
Prague “ Ch-mna«um " («908) be enrolled m
the Divinity School of Olomouc, but belore
ordination he turned entirely to music. He
studied the organ at the Prague Conservatory
(1908-9) and began to attend Novik's *n*f*«^
courses in composition. In 1910 he worked
as an organist at (he Cathedral of Bmo and
in 1911-17 held a similar post a( the Bene*
dictine Monastery of Emauzy, a
known Prague centre of admirably executed
church music. In 19*7 Wiedermann sue-
ceeded O. Hornlk as a choirmaster ol tnr
WIRGAND
Wir.MAWSKI
paruh church at Karlin, then a Prague suburb.
After two >'ears he retired from this post to
concentrate on his activit)* as an organ recital*
ist and teacher, in both ^ which acii\iiies hr
held the foremost place among the Prague
rnusicians of his time. In 1920 he startc<i hU
popular organ recitals in the Prague Municipal
House, and in the same yrars he was appointed
professor at the Prague ConserN'aiory', After
the Kcond world war he became a professor
at the Acadetny of Nfusical Arts. He com-
posed some valuable wurks for his instrument
aiul good chur<h music, e. r.
WJ«|*aa. Carl Friedrich. .W Jriowb
inann ' im mI. n» '
Wlclaod. CkriiCoph M»rtiA. St* BcimIc }.
*,Mcr\tp'., ItAiibe 1 Am^rMtc *• cm*.
KuliUu Lulu \ pl.ty »»ih lo , Kunocn ' u ' IMcrt
l)jii«kr opcr.i . <)k;rf. 4 i SSrl^r. '•evtj'. S<b»< 4 l<ct
VS<brr > w, * CHarect 'r, tViM.iuLv F.
4>» I.
W 1 ELE» Aim 4 e van der h, lirussels, B
Mar. I 9 (J 7 J.
Delgian haq>sjrhordist and composer. She
siudicd at the Drussels Oiuiservaioirr, where*
she won the l.aurr van (’iilsem prise for piani^
forte plaving utHlc r |k»»c|uri and Itrst prire*
fur harmony, counteqioint and r<>mf>cmti«)n,
alto for musical hisu»r>'. In Paris sJh* siudsed
at Wanda Landowska’s huriwkhonl kIkxiI
and also took a rnurse ki musicology with
Pirru. She has given harpsichord rerlcali
in Briiswls, Ani'seq), Liege, Rome, Paris.
Geneva, Londc»n, Names, .SirasUwirg and
Au*en* Provence, and has played with numer-
ous orchestras. She has itiarle several record-
ings of com|K>siiions for harjKlchord and has
iranscribecJ caniaias by Monieclalr, Ikmirr.
JIasse and PcrgoUit, and wmatas hy lj>ratrlh.
J'Oeillrt and ilamal. Her compcHiiums in*
<hidi* a Porm for orchestra and some Inven-
tion* for the harpsichord. w. k. sv.
WIELHORSKI. AJekaander NVul*
hynia, jCi Sov. 1889; rf. lhahst(»k, ly Scpi.
lyji),
Polish pianwl and romjKwcT. Lducalrd in
Moscow, he lH*gan his |>ianistic rarwr cjuile
early. His concert toun covered the whole
of Lurope, including LnglamJ. Hr settled in
'Varsaw and Ixrgan his |>rdagogie career at
the Ck)nsi*rvalory without discontinuing his
concert artiviiles. His composilhms include a
symphonie poem. • Ad aura a Fantasy for
pianoforte and orchestra, numerous pieces for
dvf pianoforic, of which the ’ Qtiasi-NValti *
anti the ‘ Impromptu No. i ' enjoyed great
populariiv, and very mans songs, c. a. m,
WIEN NEERLANDS BLOED DOOR
p'ADEREM VLOEIT. 'I'hc hrst line of the
Dutch naiional song. con>posrd in 1815 by
Jan \V diem Wilms in eelebratiem of the victory
of the I^gcr Bank. The words are by
Hendrik lolicns, a popular verse-wlii r of tlw
day. For a long time it held the leading place
m the alTettioii,oftIw Dutch people, but later
^87
was superseded by the older, official .song,
\Vilhelmus van Nassouwe. It still rniiains
popular, however, and is sung on matiy
official oeraaions. This is iIk* tunc ;
It. A.
£v afi . \Aive14l NntliifTH; Kk 4 larKl.
WlENIAWSKl. Polish familv o| musit iunc.
(1) Heeryk (Henri) Wieniasvakl 1^.
l.uhhn, 10 July t83^ : Mosuiw, 2 .\pr.
lUKii , viohmsi anti ioio|M>si*r. Hk father,
J atU'Usr kN’jeniawski, was a itdliiarv surgeon:
hit riHrtlvr, Ktgm.t, brfn \\ollI. a sister of die
dislinguisheti Polish platiLt l.dward Wollf,
was e>.<remelv nuuit al. Hi nr>k’^ Ulmt lor
music slwiwrd itsril so early that Inc parents
deiKJed to have him taught the violin. Hie
hrst tear Iter was Jan Moia«(k*I, who lai« r he-
eaine leader trf tlw NVnrs.iw (}|x>ra or<h« <ira,
and I hr second Si an Ida w S( Twucaydski, w*hn
aho taught JnatUlm His |»r<^reis was so
unusuallvra|Hd that Serwar/ynski atJvm d the
|>arr(iis to send hmi ahroatl fur hirther studies.
Jn 1843, afn*r Ins arris al in P.vris, where he
was intended 10 eonimiir his siutlies, hr v isited
with his fathc’r the Caedi violinist and eont*
poser Pamtfka. vshu after hearing the l>oy play
the violin to him said: *' II \a faiie winner
SMI num ".
After an examination NMeniawski entered
ClayePs class at the Paris Ck>nservanMre on
8 Nov. 1843, He made sueh pnigtess that
cm 4 Dec. 1844 hr was admitted to the most
advanced counc in the class of L. J, M<.ssart,
The admission of a boy of eight to the Gun-
srrvatoirr was quite exceptional; even tnore
exceptional was the rompiriion of the eourse
by a student of eleven who. competing with
Iburlern senior colleague^, won the first prize
granted by tW sehool once a year. He also
received a violin, aeeording to Desfussex, who
says chat *' apres av oir remporte le jiremic r
pnx au Conservatoire dc Paris, grace k la
l«b«aln^ dr rLmpereuf Nicolas. W'ieniawskI
drvmt p(«»ossrur d un Ciuarneri sceHy d une
rroix •’,» Having obtained the prize Wie-
niaw^ CMiimued his studies under Massart
' A. UpJmcz, y ILUJ.
288
VVIENIAWSKI
until 1848, when he began hi$ career a$ a
virtuoso. After his iirst triumphs in Paris he
went to St. Petersburg, where he enchanted
thousands of his listenm with hU pla>'ing, in-
cluding Vieuxiemps who, though having been
himself a child prodigy, admitted that he had
never heard any violinist w'ho at such an early
age was able to play as perfectly as >Vieniaw$ki,
who then made an extensive tour in Europe
with his younger brother Jdzef, the pianist.
In i8€o he was appointed court violinist at
St. Petersburg, a post he held for eleven yean,
without discontinuing his concert activities
abroad. In 1872 he visited the U.S.A. and
gave a senes of concerts together with Ancon
Rubinstein- After the latter's return to
Europe Wieniaw'ski extended hb travels as
far as California. He returned to Europe in
1874 and accepted the post of fint violin pro-
fessor at the Brussels Conservatoire, aa V’ieux-
temps's successor. But he left after a couple
of years to resume hb wandering life.
/\n incident connected with Wieftiaw9ki*s
tour deserves record. During a concert given
in Berlin on ti Nov. 1878 he was to perform
his second Concerto (Op. 22), as yet unknown
in Germany. He appeared on the platform
and, after playing a few bars of the first solo
entry, suddenly stopped and disappeared from
the platform. After a short interval it was
announced that he >s‘ould resume hb playing
but asked permission to play seated. Applause
was the only reply from the audience. He
appeared again, sat on a chair and began to
play again; but seised by another spasm of
the heart, he fainted and was conveyed lo the
ar lists' room. Among the general consterna*
tinn and dismay, Joachim, who happened to
be present, stepp^ on to the platform, took
up U'icniawski's violin and said : “ Although
[ cannot play my dear friend’s wonderful
concerto, I shall play Bach s ' Chaconne ’ ",
greatly delighting the audience by thb spon-
taneous act of good fellowship.*
Struggling against his mortal heart disease,
Wicniawski made for Russia, but broke down
at Odessa and was conveyed to Mokow, where
he died prematurely at the age of forty-four.
Wicniawski was one of the most eminent
violinists : a great virtuoso, distinguished from
the mass of clever players by a striking and
peculiar individuality. Technical difikulties,
It seems, did not cxbt for him. Double har-
monics. swift passages in tenths, left-hand
piZiicati and flying sSacrafr, crystal-clear and
perfect, w'cre among the features of his tech-
nique. Joachim sa>‘a in his memoirs that no
one who did not witness Wieniawski’s playing
could imagine the feats of hb left hand. Left
* Ae<ordinr to ZdsStbw Jshitke. wboce bik^.
ih«n a student M Ow D«rlio H«h SehM Ky
Miute. wss on eye-wiin«« 10 iockkot. Z, Jsanb «
sru«Te was puMUied is ' Rurh (nuryeiAr ’ ( Tm
M usical Movemaot ’}, No. 9. p. >3 (CrMOW,
hand and right arm were trained to perfection,
and while the boldness of hb execution
asionbhed and excited hb audiences, the
beauty and fascinating quality of his lone
went straight to the heart and won sympathy
from the first note. His unrestrained Polbh
temperament was perfectly blended with
tenderness, warmth aod poetry as well as
grace and piquancy. At the same time he was
so thoroughly musical as to be an excellent
quartet player. He was one of the fint, if not
the first, to discover an important factor in
the rational production of tone by means of a
special grasp of the bow in which the stress
was laid on the function of the forefinger and
its ability to balance the weight of the bow.
>Vieruasvski as a composer subordinated his
talents to hb giAs as a virtuoso. Their prin-
cipal purpose was concert performance and
the display of hb own dattling brilliance and
unrivalled security of technique. Hb total
output amounts to 22 works with and 6 works
without opus number. Eight other works
composed between 1846 and 1851, which he
frequently perfi^rmed during hb concert
appearances, are lost. He most often em-
ployed the forms of variations and of the
fantasy which best suited his particular aims.
To that category belongs his ' Souvenir dc
Moacou ' (Op. 6), a set of variations on two
Russian songs, and ' Le Garnaval russe ' (Op.
11), in which the composer's individual in-
ventiveness shines forth clearly. The fantasy
(Op. 20) based on iJiemcs from Gounod's
‘ Faust * b one of hb grcaiesl achievemenu as
far as virtuosity b concerned. His ‘L^gende
(Op. 17), compoaed at Ostend in 1839 under
the ^11 of hb ardent love for an English-
woman, IsobeJ Hampton, who later became
hb wife, b full of deep feelings imbued with
tessdemess and lyricism. The composer Pol-
dowski (Lady Dean Paul) was hb daughter.
Wienlawski wrote two concertos. His firtt.
in Ff minor (Op. 14), is poor in construction
and bears many resemblances lo other com-
poaen' concertos written earlier. The secoiw,
in D minor (Op. aa). on the other hand, is
summit of bb creative work and, published
in 1870, became one of the most popular
violin compositions in the world at the urne,
together with the * Ltfgcnde '.
wrote two P^onabes — D major (Op. 4) * ^
A major (Op. as), the maiurkas 'Souv^ir
Posen ’ (Op- 3), two Mazurkas (Op. «*) .P«®;
Ibhed in 1853. ‘ ObeKk ' and
(Op- 19). Hb ‘ Scberao-Tarantclle m ^
minor and the ' Gapricci^VaJse
also became very popular- Though siiU wuc"
played and enjoyed, hb compositions are not
of great importance.
Bm. -!>«»«»«. A.. ‘Meori - '
HSivk*&eftU«ki ’ tWamw, lOS').
\VIENIA\N‘SKI
^Srr cin l^oldoHsM {dauffale*). Vkrbnwv i) Mfifi
uwd lb ' Souv«nir -k’ Momou *}.
(4) J 6 z«£ Wieiuaw«]d (^. Lublin, 23 May
1837; d. Bru&$?U, (I Kov. 1912), pionisi
and eompoKT, brotlwr of ihr prccrding.
Lik<' his cider brother he sho>«ed lalrnt for
music very early. He entered the Paris
Conjcrs atoirc as a pupil of P. J, /irnmer-
mann, later passing on to Alkan. In 1840.
aged iweUr, when studying under Marmnntel,
he won a first prUe. He began to compose
at the same time as his brother. Among some
joint atlentpu were transcriptions from operas
an<l some chamber musie. r.g. an * .Ulegro de
sonate \ dedicated to Moniusako, and a
* Grand Polish Duet ’.
J<'«ef made \ ery many concert appearances
with Henryk. In 1675 he was appoinii'd
director of the Musical Society in \N*arsaw.
He resigned from this post, hcn»e\er, and
moved the nrjtt year to Brusst U to lake up
(he post of pianoforte teacher at the Con*
HTv a loi re. I Ic re ma inrd t here until his death .
Jdtef Wicniawski's ywks include a piano*
forte Concerto in G minor (Op. ao), a Sunaia
for violin and pianoforte (Op. 34 1, a Fantasy
and Fugue (Op, 35I, a * Ibllade ’ in L> minor
(Op. 311, a string Qiiartei (Op. 30, many
iwlonaisci and waltzes, of which the NValu
in ])» ms^jor (Op, 3?, together with his song
■ 2 »chw><cnie * (• Kcsiasy ') (Op, 38), en>o>Td
greai popularity in Poland. He also wruie a
Symphony in 6 ntajor (Op, 49), a dramatic
overture, * Guillaume le Taciiurne and ' 24
Etudes de m^aniame et <lc style *, the fruit of
hit many years of pedagogic experience.
Detides teaching he led a very active life,
etpccially in organizing and sponsoring l*oInh
music abroad. His endeavours t© secure per*
formances of Moniussko's operas in Berlin and
1 aris were of no avail ; on the other hand he
succeeded in penuading a French puUisher
to bring out Moniussku’s 34 songs with both
Ff^nch texts, which appeared in
I nris in 1DO2. He also invented a nevv instru*
mi nt built by the brothers Mangeot in Paris,
later known untler the latter's name as " Piano
Mangeot ”, ft was a pianoforte with two
keyboards, the lower protruding towards the
performer and tuned normally, the strings of
Jhe upper keyboard lying farther to the back
<n the instrument and fastened In the opposite
d‘rcftion, the treble being under the left and
the bass under ihc right hand of the player.
f)n this inslrutncnl " 4 deux claviers ren-
ve^*’ Ihc Polish pianist Jullusx Zarpbski
performed for the first lime during the l*aris
tx hi 1)1 lion of 1878. Wieniawski also played
Ircqurnily on the “ Piano Mangeot but
•aitT he abandoned it and returned to the
normal pianoforte,
Bi SI . - OtL^mun. 1., • Jowph Wki^wski • ( fuk. 1^).
(5) Adam (Tadeusz) WieoUwaki (k.
VOL. IX
Warsaw. 27 N'ov. 1876 : rf. Bydgoszca, j-j A|)f,
1950', composer, nephew of the prtveding.
He began his musical siiidJcs ter) early und« r
Melcer ipianolbrier and .Voskow'ski imnifKi'i*
.tiejnj ai the \^arsaw' Gimst natoiy and rtm*
tinued them under DargicI in Uttlin. ihvn in
Paris first under \ incmi d'Indy at the .Sc luda
Clanloruin and latex under Kaurc an<l Grdalgt'
at the tkmtervaiture. His lir»t tyinj)h<.iik'
poem, ‘ Kamaralinazan was perh.nnnl in
Paris by Lamoumix in lyio. W hen ihe lirsi
world war broke out hr juinnl tlx- armed
forces and fought on the Frenth fr<.ni. After
the armistice he returiKxl t<. \N*ar>a)v. In
1928 he was appotniexJ director tif the \t arsaw
Musical bofiety and ihr Chopin High School
of Music. I’t^lher with /urawh w he ar*
ranged the Clmpin Jntentaiinnal Clompeiition
fur pianists and die Wieniawski Coinpeiiiion
tor violi nists. J n 1 933 he was rlr< 1 ed cii .ti rina n
of the Lniofl ol Pohvh (lon)|M>s< rs in VV^r^aw .
For his artiviik'i lioth as romimsor and
organizer he was awarded thr Gitv of W arvaw
.Music Prize in 1936. His car I hr works
sIk)w tin* influence o| the French late irnprrs*
sioiiists hm string <4iiarteiK l.airr lie intro*
tiureil into his rniisK Pnluh folk airs and
rh) dims.
Adam Wieniawski*! cumpusitinns include
the following :
on K,t>
' SUw'. lsrK«l br.**d mi j l«brru*> l» Nf. S\„.
•w»i»«lj 41 ^ «l.e (;viMni.*cr , ptiMl. SI,
1916. «lw NWub. i9?u. aiMi ,
WwM« 4 o(n l* CiUKMiftd 'j, tnit*K Jrjnia iii 1 ..ci
■hb. mi \,||Kn iif lJiV.AiJani*» iio^xl
1/ •. |u<>U. W«r\a>.
b^LLLIS
* .>ru ill JewKakm/
* I j(il 4 '. Vyatuw, 1^94,
t'Hcrodh tV 4 »i •*. |mW.
ORCHLSTRAL WORKS
’ ISeiure« *) '<»}«>. iiirlu(|iii«
I Itr <<*an©m««hM « *1 alp,
ruMral W a r -at
l2l(k Nuika. «•. tt.
2 ^nipli«nic l*«cm
KamaraliDMan 09 l«>,
Pfin«r*< Baojawf 'I©!)).
* Pvtsb bwii«* '1913^
MANOFORTi; AM) OkCJjrs 1 K.\
OMKCtlibM.
CH.VMBJ R MUSIC
9 ^itinx Quamu.
MOLLV & n.aXOKIKTK
' Orkftule.*
HANOFOR'lt MLStC
Oteaaki • (' Pktum *) orcbmraud lairr.
SO.VCS
f faluii Fatk^np,
’ ('‘fth Fotidi ami FmiicIi wixd,).
AIki MMutMU .rafu«ipfH«s of RaJi»|, Folk fnelodi«,
C. R. H.
300
VVIERZBILLOWICZ
WIGMORE HALL
Wl£RZBlLLOWICZ> Al«ksajid«r (A. Po-
land, 1850; <t> ?, 1911).
Polish violonccUU(. Educated in Warsaw,
he went to St. Petersburg, where he joined
the class of Davidov. After completing his
studies he became teacher at the Ctmsenatory
and principal cellist in the Opera orchestra
there. He did not discontinue his concert
appearances and frequently visited Warsaw
to give cello recitals. At these he magnifi-
cently performed works written for cello
alone, and he customarily ended his recital
with the performance of a pianoforte trio by
Beethoven. Haydn. Moaart or Schubert,
joined on the platform by his two intimate
friends Michalowski the pianist and Barce-
wicz the violinist, both professors of the
Warsaw Conservatory and both artists of
European fame. c. a. h.
K. Stt Botkovre (* Su4t«A *>.
WIETROWETZ, Gabriele {h. Ljubljana.
1 3 Jan. 1666; t/. Berlin, 6 Apr. 1937).
Austrian violinist. In her sixth year she
began to study the violin with her father, a
military bandsman, who placed her five yean
later in the hands of Casper, director of a
musical college in Styria. There she dis-
tinguished herself and after four years of study
was assigned a stipend, which enabled her to
go to Berlin, enter the High Sehod for Music
and take lesions of Joachim (in 1862). At
the end of the first year she gained the KlendeU-
sohn prize (tjoo marks) and two years later
achioxed a similar success. She spent three
years in studying at the High Scho^, during
which lime she was engaged to play Bruch's
second Concerto at the Elcrlin i^ilharmonic.
I.ater she gave a concert in which Joachim
to«}k jiart, playing with her Bach's double
Concerto and conducting the orchestra in
concertos by Brahms and Spohr.
She made many concert tours in Germany,
Switzerland, Norway, Sweden, etc. In cdqa
she made her d^but in London at the Crystal
Palace concerts and led for the first lime
the Quartet of the Popular Concerts, re-
visiting England ihirieen times in the course
of the ensuing seven years. On the secession
of Emily Shinner (Mrs. Liddell} from the
Quartet which bore her name, Gabriele Wie-
trowetz became the first violin. She was
appointed violin professor at the High School
in Berlin (1901-12) and upheld her position
as a worthy representative of the Joachim
school. vf* w. c.
WIPLER. Set U'HifPLea.
WIGGLES WORTH, Frank (6. Boston,
Mass.. 3 Mar. 191B).
American composer. He look the B.S.
degree from Bard College, Columbia Univer-
sity, in 1940 and the M.Mus. degree from
Converse College, Spartanburg, S.C., in 1942 *
He studied composition with Ernest While.
Otto Luening and Henry Cowell.
Wigglcsworih held a Teaching Fellowship
at Converse CoUege from 1941 to 1943, when
he joined the Army Air Force. In 1946-47 he
was back again in civilian life, when he became
an Artist Faculty member of Greenwich
House Music School in New York. He then
became an instructor in music at Columbia
University and Barnard College. In 1931 he
was awarded the American Prix de Rome,
renewed for another year in 1953. Also in
1931 he receiv’ed the award of the Academy of
Arts and Leiiera. He is editor of New Music
Editim and New Music Recordings, organisa-
tions for the publishing and recording of new
works. Among prizes won by him were the
John Bard Scholarship in 1940 and the Alice
M. Ditson Fellowship in 1946.
The folbwing are Wigglcsworih 's outstand-
ing works :
* Cbor«l Su*dv * ^ wprino, chorus k i pfi. ( 1347 ).
* Cmiion * To* rhoms & imaU oreh. |i^].
* Jmmizh ’ for baritofvr. chorui & orch. ( 1341 ).
* alrep bmlnwd * for chorus & small oreh. (iptl).
* tasur Alcluia * for r-pan womco’s cAorus (i9Se).
atusfo for nfv k pore. { 1341 }.
5«Hic for ii|i. (t34Sl.
* aiusk for Orrhrtfra* ( 1344 ).
* Mu»K for Striae OrchoMra ' (<34^).
* S<tc«s * for ii(. orcb. ( 1347 ).
* HoriietH * for oreh. ( 13401 .
S Motemmu for sifs. ( iMl).
^ New EnilaaO CofKrrto' for vn. & (tfi. (1340
Trio for flwtr, oboe 4 clar. {I94t|.
Trio for llulr. banfo k harp (>34*)«
t Movriweau for sia. 4iei {I349l>
Dues for vn. 4 viola { 1943).
Trio for vn, . tioU 4 cello ( 1 34^).
MtMk for • fluier 4 pcr«. (i943)* r
* The Plunarr * for sopraoo. nuir, viola, crilo 4 N*
OSliJ. . ,
* Trilocv * for sopraAO 4 «i<. tno (I 943 )>
AiM variotf initrumcnul pirrn, 4c.
P. 0.*H.
WIGMORE HALL. Nine years e tier the
eonitrueiion of hii Saal Bechsicln in Berlin.
Friedrich Wilhelm Carl Bechsieln, founder
and head of the German firm of pianoforte
makers, built the Bechsiein Hall adjoining
hU Londwj showrooms in Wigmore Street.
It was opened by two mvltaiion recitab m
toot, at which the ariisu were Busoni,
Raimund von Zur Muhlen and Helen Trust
(31 May) and Pachmann, Ben Davies and
Plunkct Greene (1 June). The accompantfU
were Victor Beigel, Hamilton Many and
Undon Ronald. The first public concert
was given on 3 June 1901 by Evelyn Suari.
The hall cost nearly 4:100,000 and em-
bodied special architectural and siruciurai
features which ensured exccller)i
Seating 5 y> Pirin
reciub and chamber music and bas
ctmstant use by the greatest artists of the day
and by young musicians seeking to esiaonsn
* ^r^\hc outbreak of war in 19' 4 ‘be
forte business and the hall
receiver and manager appointed by law, i
WIGTHORPE
WfKLlS'SKl
J916 the Board ot Trade issued instruccions
for (he London branch of the firm of Bechstein
to be wound up and the property sold by
auction. Early in Nov. Bechsteln's business
includinf showrooms, offices, studios, the
Bcchstein Hall and warehouses (coverir^ os'er
33^000 square ft.l, underle icings and tuning
contracts, together with furniture, fittings and
137 pianofortes — was knocked down for
^ James Doyton, M.P., acting as
agent for Oeb<Tih8n» (Lid.t. Some of the
premises were leased to the ^Vigmore Hall
and Piano Galleries, Lid., and on t; Jan.
1917 the newly christened Wigmorc Hall was
opened with a violin and pianoforte recital
by ^Mhrrt Sammons and Safonos*. In 1916
the hall was leased to the Aru Council of
(ireat Britain for a term of twenty years.
’I\vo jubilee conceris in ai<l of the Muskians*
Benevolent Fund were held in 195c. Tlw
artists were Adela V'ernr, Astra Desmond and
the Amadeus String Quartet (31 Mayr and
Jelly D'Aranyi, Sinecerlin and Brsice Boyve
(1 June), with Gerald hhmre and Ivor NVwton
ai accompanies. Sir llrruti Pooley, ( Jsairman
of the Arts Council, and Sir Steuart NVilvm
spoke ac these concerts and irihuies were paid
to the Kail, CO Mr. Lake, who has acird as
artists' personal assisiani since and to
Mr. II. T. <;. Brickcll, who wrrtc 10 the hall
in 19111 and has l>een manager sirKc 1934.
3- a-
WICTHORPE, WillUcn (*. >; 4 . ?).
English 1 0th- 17th-century composer. A
student at New Guile gc, Oxford, he graduated
in iIk) 5, afeer having studird muue for
ten yrars. B M. .\tld. MSS 17.76^91 contains
the following madrigals l>v Wigchorpe tal-
though * To picatl my faith * is attrilsuied to
1), Batchelor in Robert Dowland’s ‘ Muslealt
BanqucC,’ lOto) :
^ ^ ]>owlan«]’> MrruM W$innM»« - &«cr0w . . tMn« •*.
* liither a « ft,
‘vmidiM ate «»hI fdlo«ei • 3.
' Werr ( made Jurer *, « 3.
’ l'(» plead inv UklK \ « 3.
' I am nvi t uf »uch brkrfr *. » ctiatawr.
'I'wu anthenu l>y him, ' I ni living stand * and
' O give thanks ', arc included in the Batten
O^an Book, and the words of some others
are given in < 11 1 ITurd's collection (1663).
J. M. (H).
WIHAN, Hanul (^. Police nad Metuji,
5 June 1055; 4. Prague, i May 1920).
Czech violoncellist. He studied with F
Hegcnbarth at the Prague Conservatorv
{1O67-73) and started his public career at the
age of eighteen as a teacher nl the Moaarteum
of Salxburg. Later he was cmplo)^ in the
private orchestra of a Russian patron (Dervies)
m Nice and Lugano for a year, became by
of Bllsc’s orchestra in Berlin
1187$), of Prince Schwarzenberg’s orrheslra
at S^dcrshaiisen (1677) and of The court
orchcscra at Munich (1860). In the last-
named employmcrtc he remained until iBBB,
when he accepted a professorship at ih<’
Prague Conservatory. During the nine ycfir<
foBowing he developed a very sucrcssful career
both as a virtuoso and teacher, but later Im
roocenirated entirely on ih<* highly responsible
duties undertaken by him in ih< BoJirmlnn
(Czech I .String Quartet as its former t< aehrr
ami afterwards (1897-1913) its ouisumling
member and ex|>eiienred manager. He re-
tired »n 1914 and ua» replaced m the quarlet
by L. Xflenka. ^^hen the Prague Cunu rvj-
lory wav reorgan irnl in 1919. he was appointed
profeaSorufchaml>er mush there and prefesme
of ihe cello at the M.isd r Sch«Hil, tuo po^ls
hr held iimd Im death, o.
Bi»i. -tliaAS, Jl,. * ||4»y» U'UiSti* iPr.igur, I0C7J,
Sh aft* DsolAk OrJ. t for if {in & orch.)
WIHTOL, Joseph b. Uulniur, Laivin,
34) July 18(13: d. Lulteck, 44 .\pr. 1948).
I^tvian eom|K>wr. H<‘ was a [)upj| of
Johannwn aiul Kirnskv-Korsakov at ilie Ckm-
servatory in St, iViefsljurg, where he wak
appoinnxi |»r<d«vu>r of theory in lDB4>. 1|,-
belonged to Ou- Russian u h‘M>l in hh ( ;irl\
«lavs, an«l many of Jus w<»fkv vsere publlslu d
by Delayev ; Imic tJu- Ijfi 4kd<»wn of the Uussi.m
rmiMfe brought wjih it the formation of the
little Hal tie .States, and from 191O Wihlol wav
the heart and soul of the Latvian inushal
rnwement at Riga, wlterc he hecame the
dirv'cioeoftlK Naimnal OfM ra and the Uivinn
(Joowrvatorv' of Music. In 1944, liowev<*i.
he |<>A for Geemanv, wlvere he lemalned until
hit death. Wihlol's works exhale ihr tv piralb
Latvian eharaetcristie of a melanchol)' that is
wholly ar>arl in senilment and {|uite diflermi
in mo.al from that of Russian muvjc. ‘I hr
fijilowing arc among his peineipal and charar-
tcritiically national works :
Svmphwiv.
' llw Fc«M ef IJf*’. wm|>h, porm m a Lzivian ihemr.
I> 0 . 4 >
Dtimiuc CKrriure. Op. 21,
osTfittt* ' ^MKtiUt \ On. 37,
l***®**^ FolkMAts f«f erlki <; orch., Op. 49
Siiuw QiMnes. Op, #?. ' ^
Oppt 30. 3*. 33 * 41,
Ahn ehpcsl wntkx. Lsimam folkwni ir.
■snermmu. «c.
c.. ^ . . . . ^ adds.
.S»r *9. Ri»«ky-k»n*k9v 'o4Uh, ip thamHer m. «
Wtk«ri, A*ttL S*r S.beKsi, FmindHun,.
WIJNGAERDE (Wyngaerda, Vioea),
AiitQDsus (i. Utrecht, ? ; 4. Antwerp, 1400)
Dutch composer- He settled at Antwerp
and K mentioned by Clarean, who reproduced
his Ego domuo ’ for 4 voices, which appears
also in Ischudt's manuscript, No. 463, In the
library of St, Call. s v d j
WDOB^SKI, Wojciech (b. >; 4. >).'
Polish 1 7- 1 8th-ceniury instrumentalist and
composer. Educated at the J«uli Bunary
WIKLUND
WILBYE
2^2
of Cracow about I7i8» he played (he violin,
oboe» trumpet and born, and was a member
of the Jesuit band at least untiUa737. The
inventory of that chapel of r 757 mentions one
Psalm composed by Wikhmlti, ' Lauda Jeru'
Salem ex C c- r. h.
WDCLUND, Adolf {b. Lingserud, Varm>
land, ^ June 1879 ; d. Stockholm, 3 Apr. 1950).
Sw^bh pianbi, conductor and composer.
.'Uter studying at the Stockholm Conservatory
•-* composition with J. Linde^ren and piano*
forte with R. Andersson — he was awarded a
state stipend to enable him to study in Parb
in 1903-4 and a Jenny Lind stipend for study
in Germany in 1905-7, where he was a pupQ
of James Kwast in Ekrlin. He conducted at
Karlsruhe in 1907, was coach at the Berlin
Opera in 1908 and made his d^but as a con-
ductor in Sweden at the Royal Theatre,
Stockholm, in <911. He was conductor of
the royal orchestra in 1923-35 and of the
Concert Society's orchestra in 1925-38. He
conducted in London, Vienna and Barcelona
and in several cities in Scared inavia. He was
elected a member of the Academy of Music in
Wiklund's compositions include:
Symphony, Op. so.
Symph^nK peem * Semnefniiit n<h >p|'»pprlae *.
Symphonic Wolofue.
Ooneert Ovrttwr.
«Suit«} mil (ot orch., chamber oreh. a Met.
Concerto N'o. 1. R mi., for pf. Si orch.
Concerto No. a, B mi., for pf. ft orch.
* Knn ter u tuck * for pf. 4 oreh.
Son(i wiih orch.
Sonais in A mi. and pictet for va. 4 pf.
ff. pieeci.
X. D.
Uini..— Article! in * Re«ter i Radio * (•PSP, No. aj) and
* Svenik tnu»»ktidnint * (ipish PP< t*t.
WDCMANSON, Jobaa {b. Stockholm, 38
Dec. 1753; d. Stockholm, 16 Jan. tdoo).
Swedish musician and composer. In hu
youth he had taken lessons in pianoforte and
thoroughbass with H. P.Johnsen. but in 1770
was sent by hU parents 10 study mathematics
and in^trument-ntaking in Copenhagen. Dtv
liking the work, however, Wikman&on main-
tained himself by giving piano lessons until he
was able to return to Sweden. On hb arrival
in Stockholm in 1772 he entered the civil
service and held organist's posts concurrently,
first at the Dutch Reformed Church and in
1 7S1 at the Church of St. Nicholas, the organ
of which he helped to rebuild. In 1796 he
became director of education at the Academy
of Music and in the following year teacher of
harmony and counterpoint.
Wikmanson was a good violbt, but after
making the acquaintance cf Pihlman, the best
Swedish cellist of hb day, he exchanged the
viola for the cello. He was also an excellent or-
ganist and studied the pianoforte from C. P. E.
Bach*s * Versuch As a composer he was a
disciple of his friend J. Kraus, with something
of the latter’s solid style, sirox^ feeling for form
and technical mastery. He also had a streak
of humour, which found outlet in the finale of
his early pianoforte Sonata in B minor. Tbb
movement b entitled ' Honsliusct ’ (the hen*
house) and b described as “ a very naive and
ingenuous piece ". He publbhed 2 cello solos
and 3 Sonatinas for rither in 1781, and music
to a play, ' Eremitcn ’, in 1 796. In the
middle 1 780s he wrote several string Quartets,
three of which, in D minor, E minor and Bk
major, were publbhed after hb death and
dedicated to Haydn, who responded by ex-
pre»ing hb admbaiion for the Swedish master.
Wikmanson was a friend of the Abb6 Vogler,
whom he helped with the writing of correct
Swedish for hb textbooks. x. d.
Btat. — XfoaNca, C,.C. SretcAx, * Jebsn Wibrnsiuon
untf <li« Brw^r Si(vcm«4pc * (Sipckholm, ipsaj.
SiL%'CMroirs, G. A.. * Anuonclitr) ofver J. WikmaUMB *
(SMrkhalin, iSvt),
SraiLur aioMSB, C.«C., * Nlcot em Johsn Wikmin*on.
Crik Paiautedt ocb Olai Sehwan lamt «lei nor*
orarl^vecet in Siorkyrkaa * (S.T.M,,
* Svmk orkMlAr * (S.T.M.. ieSS)>
St* Wm Fii|el (mrmonal miiNC).
WILBY^ John (i. Diu, Norfolk, (bapt. 7
Mar.] 1574; d. Colchester, Sept. 1638}.
English composer. He was the third son
of Matthew N>'ilb>*e, a tanner, who was in
a prosperous position as a landowner at Diss,
and (here can be no doubt that this was the
composer's birthplace. ^Vhile still a youth he
attracted the notice of the Cornwallis family,
seated at Brome Hail in the same neighbour*
hood. Eliubelh, daughter of Sir I'homas
Cornwallis, married Sir Thomas Kytson, son
of (he Sir Thomas who built Hengrave Hall,
near Bury St. Edmunds, and not far distant
from Brome over the Suffolk border, ^^’ilbye
became resident musician at Hengrave about
the year 1 595 , and had 1 he ad vantage of Jiving
in surrour^ngs where music was greatly
encouraged. The younger Kytson did much
to improve (he magni licence of Hengrave and
also owned a (own house in Austin Friars,
where Wllbye accompanied the family on
(heir visi(S to London.
In spite of changes in ownership, Hengrave
Hall has undergone surprisingly little
(ion during the three centuries and a halt
since Wilbye lived there; the Kytson family
poriraits still hang on the walls, and many
priceless documents have remained in the
house. Among these are the very interesting
iijvcntori« taken in 1602 and 1621 ; from
these we learn exactly which room w«
occupied by Wilbye, and details as to the
furniture of his apart ment are recorded, fhere
arc also Ibis of the musical iiulrumenis and
books which would have been in his keeping.
Among the papers belonging to this dale are
oririrul letters of many notable people, includ-
ing Sir Philip Sidney; and ctf special interest
WILBYF.
to mu^cians is a holograph lell«r of \Vilbyc
dated from Hengrave, Scp(. i6a6, and ad'
dressed to his friend Nfistres Camocke at
the house of Lady Risvrs at Colchester iHen*
grave Letter Book 11 , No. 131).'
W'ilhye continued to live at Hengrave until
the death of Lady Kyison, who in her widovi*'
huud kept up the establishment in great state.
Her death took place in 1G36. \Vilbye then
retired and spent the last ten year* of his life
at liie house of Lady Rivers, the younger
daughter of Sir Thomas K>'tson, at Colehesirr.
The house is described by Morani in his history'
of Colchester as ** the Great l>rick house ”
opposite Holy Irinity Church. 'The house is
stiU (> 934 ) standing, and it was there that
Wilbyc died in Sept. 163B. He was buried at
Holy Trinity, but there is nothing to show the
position of Jtis grave.
Wilbye was a man of some suttfiance at the
lime of his death. Many years previously ihr
Kyisons had granted him a lease of tl»c lieu
sHi'cp'rarin on their estate in reward for long
and faithful services: and he owned IoimI at
DisS, Bury St. Edmunds and elsewhere. He
died unmarried. His will (P.C.C. 143 Lee)
was dated jo Sept. >638 and prosed on 13
Nov. ill the same year ; it is printed in full by
Kcllowcs.* Two Latin motets. * Homo naius',
e 0, anti ' Nu reminiscaris a 3, a treble
solo with instrumental accompaniment, were
etllied l)y Arkwright.*
for isvo conirilKiiions to Leighton’s
* ’fearesor l^ameniacmns ’ (1614). Wilbye has
UTt no I'.nglish chureli music, and only a frag*
mcnl of a single imirumenial piece by him is
known. It is as a madrigal composer that he
iios won enduring fame, and in the opinion
of many welhqualified judges he is considered
the grc>atest of all madrigal writers, wlirthrr
I'.hglish or continental. For style and finish
he is perhaps most nearly approached by l.aKa
Maren^io, and certainly he stands as the
greatest stylist of the English madrigalists.
It was in 1398 that Wilbye's first s’^wmewas
publiihrO, It was entitled ‘ The First Set of
English Madrigals to 3. 4. 3, and 6. voices
Ihc dedication was to Sir Charles Cavendish,
who was a cousin of Michael Cavendish, the
luicnisi and ma<Jrlgal»st. Sir Charles married
hliMheih, the elder daughter of Sir Thomas
Kytson of Hengravc. The dedication is dated
from Kytson’s house tn “ih' Augustine Fryers
the XU of Aprill 159B The set contains 30
madrigals, of which 6 arc for 3 s-oices, 6 for 4,
10 for 5 and 8 for $ voices. Among the best
arc Whit needeth all this travail* and
Adieu, sweet Amaryllis', ‘Flora gave me
f»Ar«i (lowers' ,od the «x-p»n version rf
Lady, when I behold *.
vJ in CftnuMV in ’Th*
• /*M.. Hrrhce.
• if N’<., XXI orhi. 'OW EncUsli EJkion*.
2‘>3
Eleven years later he published ‘ I’lie
Second Set d .\fadrigales to 3. 4. 3. and G.
pans apt both for \'oyals and N’oyecs iGot|.
'Ihls set was dedicated to Ijdy .\ral)fUa
Siuan, whose mot|i<*r. I.adv l.<*iiii«>v, was
Elizabeth CavcrKlish, sKicr of Sir Clijirlc'^, ihe
patron of \N’ill>>T’s finu set. J'liis sctoiid set
contains 34 madngaK, 8 each lor 3, 4 and G
voices, and lo for 3, Wilbye's Myir In this
second volume is decidedly more mature and
individual than in his earlirr work; a large
proportion of liw madrigals in this xu brhmg
to the very high«t class. ' Draw- on, swn t
night \ * Stay, Cory don ’ and ’ ScTtlv, <> softly
drop wliich follow each othe r in ilit- six*[>art
section, are su|>erb rsamplrs of m.adrfgal writ*
Ing. .Mmosi cquallv line arc ' Happv, ()
hap|>y he *. a 4, aiuJ * Oft have 1 vowed', ti 3 ;
ilie desers'edly po^Mtlar ‘ Swt'ct honev>suckiiig
liees' is aho In the sery fiiNt rank with iis
spkiididh ctmira'teil sections, its v.iried
grouping of the voiciw ami its urong and
coinpriling wrwe uf rhvihm. There I' siarcely
nne weak nutnlier in the »< 1,
WiJhye’s contrihuinin to ‘ IHe Trluinphes
of Oriana * was ' The l.adv flriana *. J hls
siit'pari matlrigal is eliar.icterhtic of his
brighter mood.
(X inanu»cri|>l music by Wilbve there is an
imperieei *()h,whu«It.ill rase me c G.w audng
the 9 rtd eanuis and alius parts m the Bi»dl< Ian
Uhfary at Ovford 'MS Mns. f, 20*24 V Jhe
altus pan of three Fania.Mcs <t 4 U In the H.M.
i.VJd. MSS 29, |a7». .\ volume of l.esions for
the Iwle was solil in the library of the Rev.
Uilliam CaCMiIing of C'amcrlmry in 1777, but
it is not known xiheilwr ji still e>.lsts.
Frllowev's preface to Vcd. VI of ’ The
I'jrglish Madrigal Selioo) ' gives mariv del nils
conecrnliig the life and family of Wilbyr, in-
cluding wills and other documents.
t. It. r.
'file following arc \Vil bye’s vocal works^ :
S IRS r SIT OF M A D K I C A l.S t jflB)
Fen (uRCb V'oirri
I. FIv. love, aleft «o he«i«n.
t. Awjv. <h«u iluti »M Ivir me.
J, Ay me ! e*» m«e>' rumour*
4> we«p. O mine eye«,
3. Dear piiy, how. hh howi
i. Ye renin* iheughu.
I 7. IVhal seeilesli all thit irakai) * i Pi. »).
t •. O feoh can vo«i not •«? tPi. »•).
9. hope of rneedine.
to. Udv. Mken 1 beMd.
1 1 . ]>«« taith my C3«ni krichi.
19. Adieu, rwm Amar>Mu.
For Frvx Voice*
I}. D«r. hapleis mao.
ft*. I fall. O way me ifi. j).
< 1 $, Aad ihoufH my love abounding iPl, ii).
, _ ".T'* Anoquarian <«oe,eiv
294
WILCKENS
WILD
i6. I alwftnbes {?i. i).
n. Thus tov« commaodi {Pl Si).
iS. Lady> y^r do spiu fiK.
1$. Alas ^ whai a vr«ich«a lift.
90. Unkind, O tuy ibv nying,
a 1 . 1 suog som^imn my dwufhts.
23 . Flora gave me Tairess fWw«r«.
Foa Six Voacts
23. 5w««( love, if ihou will gain.
94. Lady, when ] behold.
3^. When shall my wreuhed life?
'3b. or joy's and pleasing pains (pi, i)
.37. My ihroat is sor« (Pi. «i).
aS. GruH, behold my heaxv ending.
99< Thou ati bui young, ihou aayesi.
30. Why dost Ihou shoot?
SECOND SET OF UADRICALS (i6e»>
Foa THatt Voieis
1. Cjome. shepherd swains,
9. Flourish, ve hillocks.
). Ah I cruel Amanllis.
4. So lieht is lave.
. Ai fair as mnrn.
. O whai shall t da?
i . I hve, and yei meihinks.
. TIterc is 0 jewel.
Fok Foi'B VoiCKS
9. When Olorh heard of liee Amynsas.
so. Hatipy sireams, whose UemUing fall.
>1. Change me, C> heavens.
IS. ].ove me noi for cornels croce.
13, I'ly noi so swifi, my dear.
14. J loie, alas, yei am noi loved.
1^. At mairhicas beauii.
10. Happy. O happy he.
don he foUowdd Schreker to Berlin in 1920,
vvhA the latter was appointed director of the
High School for Music in the German capital.
Prom 1921 on WiJekens was employ^ as
coach at several German opera-houses. On
the occaum of the successful first performance
of his ballet * Eton Morte ’ (Berlin, 1925) he
met the dancer Harald Kreuzbe^, to whom
he became subsequently attached as a lifelong
friend and musical accompanist.
For four years Wilckens was dramaturgist
at the municipal theatre of Hanover, where
he became responsible (in close collaboration
with Kreuzberg and Yvonne Georgi} for a
temporary vogue in the an of ballet in
Germany. He also accompanied Kreuzberg
on his world tours, acting as his musical
director, accompanist and domesiic composer,
and specializing in the difliculi art of wriiing
effective music of a certain artistic standard
for esiclusively choreograpluc purposes.
To-day ^V^lckens*s music is heard wherever
Harald Kreuzberg appears and some of his
ballets have been successfully performed out*
side Centra] Europe, especially in the U.S,A.
He lives at Seefdd (Tyrol), in close proximity
to Harald Kreuzberg, continuing as the
laiterY chief musical collaborator.
Feu Five Vocev*
{ I2< .Swe«i honeynurkint bees (Pi. i>,
iS. Y«(, iwrei, takr hreil <Pi. »i).
19. All nksiure h of ilii* rmtaJiiiwn.
90 , 011 have t vew«d.
itt. !)nwn in a valley iPt. I).
| 3 «. HarU ilexiihics are love and beauty <H. li).
93. Weep, weep mine eyex.
94. 'I'liere wlicre 1 mw,
3 . Ye ih.ki do live in plravurev
. A silly Sylvan.
Fuk Six Voku
37. Owrcieheil man.
( eS. Wlierr most my ihoughu IPi. 1).
94. Oexpiirfiil thus unto myself (Pl ii).
3 u. Ah! caiiriol lighs nnr (ears.
31. Draw on, sweet nighi.
39 . Slay, Cnrydan. thou swain.
33. Sohly, O softly rlrofx mine eyck.
34 . l>ons have t made (line hills.
JN MORLEVS 'THE TRJUMPHF.S OF
Oh (AN A' (i6ecs)
’ The (.ady Orlana * tot 6 vokes.
MOTET.S IN I.EICHTON'S 'TEABES AND
lAMENTACIONS * <1^14)
* I am aoite tired with groans’ fer 4 vokev
* 0 (ied. the rock of my whole sireng ih * fer 3 voices.
RiOL. — Fei.Lowrs. E. H., * Ertslnh MadciRal Coen*
poscrv ’ (Oxford, ipaii.
'John Wilbye’ IProc. Mu<. Aai.. Vol. XLf. I 9 is)>
Hi:viiK.ii. Itvoo, ‘John WJbye la teinen Madrifafen *
(Aweil»ur«. 193O.
Steaht CSunilcy (opeca on W.|. Polyphony (nwie. ex.).
WILCKENS, FrMrieh (b. Liezen. Siyria,
13 Apr. 1899).
Austrian composer. He grew up in Vienna,
where he studied musicology at the University
under Adler and became a composition pupil
of Schreker. I Jke many others of his genera*
CATALOGUE OF WORKS
OPERA
* Die Baehe dei verhohnten Lfebhabers comk e|wri
(hbetno by Ernst Teller), prod. Brunswick, i 9 >«
BALLETS
* Don Mone prod, Berlin, 1993. ,
* Robes. Pietre 4 Co. (KnminiJbalteiukeiKh) , prod.
Hanover. 199B.
' Kaeusielfehrl prod. Lelpsif. 1999.
* Weibeemohic \ prod. Darmiiadi, 1936.
ORCHESTRAL IVORKS
Symphoote Overturv (early week).
BaBes Siuiet:
* Dm neidiichen MM«hen.*
’ Arigel of faith.*
' Ahasvora.*
* Baby in dee Bar.’
Other bollei suites and miic. oeeh. work.
Abe pf. work*. &<.
H. r.
WILD, Franx (*. Niedcrhollabrunn, Lower
ustrta, 31 Dec- 1792; rf. Obcrdobling nr.
ienna, I Jan. i 8 ( 5 o).
Austrian tenor singer. Aa a boy he entered
e choir of the monastery at Klosicrncuburg
•ar Vienna and thence was promoted to the
mrt chapel. His voice changed with extreme
pidity in h» sixteenth year, after which he
rcame a chorus singer, first at the JosefsUd
id then at the Lcopoldsiadl Theatres. One
ghi a solo singer fell ill, and \N'ild, though
iprepared, took his place and sang so hneiy
at he was received with accIamatiOT, He
u at once oflered an engagement tor uic
amtncrior Theatre, to take subordinate
irts. His powerful voice told with so much
WILDE
WILDER (Philippe van)
295
effect one night In the quartet in KRhuPs
* L'thal ’ that Hummel recommended him to
Prince EaterhAzy and he entered on an engage*
ment at Ebensiadt for six years from 1 1 Ori.
16 to. Soon after Count Ferdinand Pi Iffy
endea\'oured to secure him for the Theairt
an der ^Vien> but Esterhizy declined to let
him go. \N’ild pressed for bis release, %>hich
was at last granted in Sept. i6ii. In the
meantime he had taken the law into his otsn
hands and sang Ramiro in Isouard's 'Cen-
drillon ’ at this theatre, hr>i as a guest artist
(9 July and then (aO Aug.j with a perinancni
engageineni. ilis sucec^ t>as great, and uhen
Uie ihcain* was united undrr orsr managetneni
with tlie Karninmor ^18141 hr reintwed
thither, exiiitnx universal admiration b> Use
li<iuivl lf>ncs of his voire. For two years Iw
sang there with Ford and \ogl in the sante
company', hu bit appearance being on 4 June
tdiU, after which he »lnrt<d on a tour in
Germany. On y .N'ov. iHib he apfieared for
the lir«t lime at Darmstadt, having U^en made
/•umwntngir to the Grand Duke of Hes>e.
SN'iUI left Daritistudi in 1823 for Pariv.
prim! pally for the t^kr of further stinly with
Kovdni and Bordogni, and after lltiv he ac*
repied an invitation to Gaurl as Aaaiinrr.
jtf'igfr. In July i8ay he returned to Vienna,
his engagement being made permanent on
I N'ov. idjn, and there he remained till 184',,
except for occasional tours. One of these
bruiigiit him to London in 1840. where hr
ap[>eared wlih StaudigI ami Sabine Heine*
fc itc r a I .St . J arnes s '( heat re. 1 1 is last appear*
a nee on the stage was at the Karninertor
Theatre on 2} Mar. 18.15. After iliis he
Ix'camc producer.
One of the happiest rvt nls f*r SVild’s life wav
his ineeiing with hc'ethoven in 1B15, at a
festival concert on I he birthday of the l.m|>ress
of Russia. Beethoven himself appearcs) and
exlemr*nri/e<l for the Lvi dine in public. Wild
had arrangetl to suhsUiutc ' .\delaide ' for
an air of .S(adUr*s : BtTthoven wa* delighie<),
antJ at once onemJ to accompany it. “ Ills
pleasure at my iurforntancc *\ wys \N*ild,
" w.is vj Krrai that he proposed to score the
song for orchestra, I'hiv never eaiise •iff. but
he wrote for me the cantata • ' An dk Hoff,
nung ’ (u> Hedge's wr^tk), which I sang to
his aicoinpanimcni at a very select maiinfc.'*
Wild*, Ot«»r. Sif AlTwerii (F.. * Safow ^
itO. a.>. * ' SfthiM ►. ink »Mh wfc.f.
iK., t <(*nuolo « ofierar.
( , ioo«). LandevKrk ('AmIwim*
‘^wvie* i ^
UlkO (.Asielnt*Mr»Tr«lnc« otch tuitmi
[. R»« *, haUes', Fra^kcl C Impari^c
<• Safe*.* 'Tmu^$,
. balMK Kr^n 'Safeo**. nmfk. pXt^.
• <»n. 94 . <ompowd in 181 4 .
m ^ ’»• composH
KB4Fa (' Bilr pan', opera). I.utvens ('Biri>KlAy <4
!b^u ', ballen. Marioue {* Salonx ’.opera),
lov ('Sphans eanlalai. Orchard 1 ’ Pkiucc of i)<srjuM
Cray*, <^raJ. Kadoai /Biriltdav of the (nfahia*.
baJleii. aateme iSirauu, o}<ral. .Sliaeubic 1 ’ Ikitian
Ofay *. opera I. Sthreher <’ObyrUiae drr InfaMtin *.
b i H e t>. Senti <F. G.. sonai. Seblei t" /uent ’tnd dir
Ifil&niin *. bolkti. Sirauu fK,. ’Salome’, opera.,
Tchrrvpnin 'A., do,. iotHl. »n,i, X’awikhko I’Oankh
of Ikath tvnvph. porM<. ZasHijn '' Ball.^J •>( Kea'I*
HMC Gaol ’. deelamaiion •»iih m.h ZrmliM<t:\ (’ fjoren*
lutnche 1rar«.kr* * ' oMra*). /iiek lO..
' On ike Hote *. baikt '.
WUdembrwch. Reoae VO*. .^rNApravmk 1 ’ *,
opera . Rrcrr eioniti.. SthiMmcp r rc(iui!r>r>i «s iili
•ceh. . Sinvili I, . /vtinre C'l^rtfal) o|«'ra'.
WILDER, PhiJippe van * fk. ? ; if. ?}.
.Netherlands ibtlwcatury lulriiKt and com*
poser. Nothing k knemn of liiv early jears in
live Netherlands, He is fust Iieard ^as living
in I.ondnn, in the parish of St. Olave's, in
1595, He apjtcars In the court arcounis from
ij'zy. He laugh: the lute tn IVincess Mary
and in 1538 was appointed lutenist to Henry
\ HI. Jri the inventory of goods (Ibrl. 1419)
taken after the king’s death (<5|7) he is
descrtiietl as keeper of the musit ai insiruinenis
at N Vest minster. In 1550 he apjiears as
(irmlcnian of the Privy C.haiulxT to Eduard
VI, rmnnussmned to collect children for the
Chajiel Koval.
His idcmhyuith the earlier "Mr. I’liilhps”
is esiablislted by a rnamiwript offlalduiirs at
Glircsi Church, Oxford, in which Is a motel,
' -ypice I,ymine hy *’ .Mr. Philips nf the
King's privi ehamiK’r ”. The same motet
occurs, ascribed 10 " Bhlllips ”, with the date
15C8, in Sadler’s manuscript ^Bodl. Mus. e.
1-5) and also in B,M, .\dd. MSS 31,390, * A
bokc ctf In nominn, and other solfainge songt s
of V. vi. vii. and viii. pans for voyees and in-
struments' contains fifteen other jtieers hy ih<
same composer. It is ihctefore safe to con*
elude that these, and the similar lute arrange*
men IS in the R.CM. (Sac. Har. Cat. No.
lyfig). are all by Philippe van Wilder,
Music by him was printed in .\rUwerp an<l
Paris collet lions of 1 314. 1545. 1574 and 1597
but the siyk of all these Is earlier than that of
Peter Philips, and there can l>e but small <loubi
that nothing by the latter ct>m|>oser dates from
much earlier than the ' Parana ’ of 1580 in the
’ Fuzwilham Virginal Book ’.describtxl by the
wrurr of tltc manuscript as '• the first one
Philips made ".
It ii»y be mentioned that besides J*hilippe
van Wilder a Peter van SVilder was appointed
minstrel to Henry VIII in 1519; his name is
lound among the royal musicians until the
retgn of Mar>’. A Robert Philip was also a
pupil of Comysshe in 1 5 1 4 ; he was a sinking,
man at St. Geer's Chapel, Windsor, before
*J 30 . and also a gentleman of Edward Vps
• r»w** luv fy*ifiKKrfi mIiIi ivur
Fhili^. f.xUt f«| tu VS ,l<|rT\ Mss in l.tigJan,
a« asv<iiH lu *’ Mr. n»lUjn ". “ '
296
WILDER (Thomton)
WILHELM VON HIRSAU
Chapel Royal; but he U not known 10 have
composed any music* w. a. s.
Wilder, TboratoA (Niv«a>, S*» Taylor <J> C>.,
* Lucreee \ incld. m.).
WILDER, (JjrSme Albert) Victor van
(b. Wetieren, 21 Aug. 1835; Paris, 8 Sept.
1802).
Belgian poet and music critic. While
studying for his doctor's degree in law and
philosophy at the University of Ghent, he also
frequented the Conservatory there. Having
written for a time for the 'Journal dc Cand
he determined, like his countrymen Vaez and
Gevaert, to push his way in Paris. He began
by translating songs and ended with French
translations of all ^VagrMr’s worb later than
• Lohengrin He >sTotc French words to
Handel’s 'Messiah' and adapted for the
French stage Mozart's * Oca del Cairo
Schubert's ' Der hduslicKe Kri^ Paisiello's
' narbiere di Siviglia ’ and Weber’s ' Silvaru ‘.
Wilder ^vrote criticisms and ftkilUi^ns In
' L’Evincmeni \ * L’Opinion naiionalc * Le
Parlcmcnt ’ and ' GU Bias'; was a contri*
Imior to the ‘ Menestrcl ’ from June 1871 to
18S4, and republished ‘ Mozart : I'homrne et
Varilste ’ (Paris, iSdo, 8vo, and i88t, lamo),
and ' Beethoven : sa vie et son au\Te ’ (Paris,
1883, tamo). To him also we owe the publi*
cation of Mozart's ballet ' Petits Riens '.
0. c., adds.
Sff «/(• F«ur4 { I Mne). PrsiKk <C.. * Pf«fnkr Sovrirr
de mat w»rk}. Lain <&., Sirauia (3.
‘ opcKKAf.
WILDERER, JobanA Hugo (L ?; V.
? Mannheim, ?).
German composer. He spent, so far as U
kno\vn. his whole life In the scrs*ice of the
palatine court, successively at Dusseldorf, Ncu'
burg, Heidelberg and Mannheim, in 1696 as
court organist and from 1697 until 1724 at
the earliest as conductor; in the Ant extant
list of the Mannheim court musicians (1723)
he Is still mentioned in the latter capacity,
together with Jacob Greber. His * Moduli*
lioni sacrc ’ for 2-4 voices and violins, pub*
lished in Amsterdam without date, may have
been one of his earlier works. Apart from
some smaller pieces for the church (a Kyrie
and Gloria by him is extant In a copy made by
J. S. Bach and was some tirM believed 10 be a
work of his), Wildercr wrote mostly for the
stage and provided the court for many years
^v^lh operas for festive occasions. The follow**
ing is a list of them :
' Giocasia ' (Dusseldorf, 1696} ; * II giomo
di salute, ovvero Demetrio in Atcnc' (ibtJ.,
(696) ; ' C^. Pabio Massimo, owero Lc gare
d' Ercole e d’ Amore' 1697); 'La
monarchia risolutft ' (ibiJ., 1697); ‘La foraa
del giusio ’ {ibid.f 1700) ; ‘ I pregi delta rosa '
(Heidelberg, 1702); 'll Mane romano'
(ibid-t 170*2); 'La monarchia stabUita *
(Dusseldorf, 1703; revived Brunsw'ick 1709
as ‘ Ntoo *) ; ‘ Faustolo ' (Dusseldorf, 1 706) ;
'L'Armeno' (Wolfenbuitel, r. 1707); ‘Ama*
lasuma ' (Dusseldorf, {713); ‘ Coronide ’
(Heidelberg, 1722). There were also two
smaller eomp^mnwdi per musical without specific
lilies, and two oratorios, ' II trionfo di Placido’
(Heidelberg, 1722) arid ' Esther' (Mannheim,
1734) ; the latter must have been performed
on the stage, since Alessandro Bibiena painted
Kcncry for it. The composer died about that
time.
For several of Wildercr's operas the ballet
music was written by one Georg KralR. The
scores of ' Giocasta ', ‘ II giorno di salute’,
* La monarchia risoluta ’ and ' La monarchia
stabiliia * are preserv'cd in the Austrian
National Library. a. l.
WU4f*A3. AaIo*. Sff Str«uu {ft., B eher*l vrerki).
WILDROE, PhUlp de. See \\UpbR,
Phiuppc vam.
WTLDSCKCTZ, der, ODER die STIM-
ME DER NATUR (* The Poacher, or The
Voice of Nature *). Opera in 3 acts by Lor*
taing. Libretto by the composer, based on
a play by August von Kotzebue. Produced
Leipzig, Municipal Theatre, 31 Dec. <642.
1st perf. abroad, Vienna. Josefsiadi Theatre,
18 Aug. 1843. I St in U.S.A., Milwaukee (in
German), 1 853. sst in England, London, Drury
Lane Theatre (in German), sJuly i895>
WILHELM, Carl (b. Schmalkalden, 3 Sept.
1813; d. Schmalkalden, 6 Aug. rd?!)*
Carman conductor. He conducted the
Licdcrtafcl at Crrfcld from 1840 to 1863. 1"
1834 he composed the patriotic song ' Die
Wacht a m Rhei n ' to words by Max Sch necken*
burger and it became so famous, especially
during the Franco- Prussian war of 1870-71*
that in the latter year he was awarded an
annual pension of about ^
Sh NsiSeeal AntKems (Germsay).
WILHELM VON HIRSAU (*. Bavaria,
?; d. Hirsau, 4 June 1091).
German scholar- He was writer of legends
to Othlos of ^Vu^zburf, «. 1033. He was first
a monk of St. Emmeran’s. Rai^bon, but from
j 068 to 1091 abbot of the Benediciinc mon-
astery of St, Aurelius at Hirsau in the VVurt*
temberg part of the Black Forest, where he died
and which was destroyed by the French. He
was a man of great learning, who, apart from
many philosophical and astronomical '^rks,
wrote the treatise published In Gerbert s
‘ Scripiorcs', 11 , under the title ‘ Musica S.
Wllhclmi . , in which he deals with the
antique and medieval tonal systems, and po'nts
out the errors of his predecessors, including
Boetius, whom cv*en as much as to of^bt was
conridcred sacrilege during the whole ot tn^
mkklle ages. A second work. ‘ Dc '
lonis was contained in a 12th-century
belonging to a Nuremberg antiquanait, Murr,
which has unfortunately been lost, and ofti> a
WILHELMI
WILHELM)
full dncripUoQ by Murr, published ai Nurrm*
berg: in tfloi under the title * Xotiiia duorum
codicum', dedicated to Haydn, U stiJi in
exUtenee. Frorn thU it b apparent that the
Guidon ian hand existed Ion; before Guido
d’Aretio. f. v. d. s.
WILHELMI, (Johaa) Tobias (Jacob)
Amsterdam, 7 Apr. 1885; Stockholm, 04
Oct. I944».
.Swedish vioUimt and composer of Dutch
origin, a relative of August U ilhelmjJ He
studied in Amsterdam and at the Cokigisc
Conwrvaiory, and was a pupil of Bernhard
Zwcers for composition, Ffitc Stein bach for
conducting and Dram KIderling for violin.
After l>cing leader of the orchestras at Bonn,
too?. Leipzig, iota, and Riga. isc
settled in .Stockholm, sshere he founded llsc
SVilhvImi Trio in 1915, was leader of the
Concert Society’s orchestra in 1915 -itj and of
iht; royal orchestra from 19^1, conductor of
ihe Siockhoiin chamlser orchestra from i‘»1t
and musical director t/ihe I’ar Urkule Socieiy.
He also conducted the National Muvum
promenade concerts,
Wilhel ini's compo<iti<ins include uvo Syin*
phonies (No. i. 1925); a syniidionic poem
* Citanjali after Tagore; a vn, (loncerio
( I t|^b) ; Suite for oboe 8: orch, ; Itallad. ‘ Has
Lied vum U'ide ’ (1919) and uiher works lor
soprano & oech. ; ' Himlens bU ' for men’s
chorus & orchestra : ’ Bellmans kaniata ’ awl
other works for solo yokes , cltorus & orch, •
itg. Uuari ct, pf. 'IVio, vn. A pf. Sonata, etc.
R. D.
Um . Arikir in 1*, NVhnJ’t * Allm.»nt n>tmkksib<<n *
^MiKkliwIm, i9Jlr.
WILHELMJ, Auguai (DanJel Ferdinand
Victor) {h. L'singen, Uurhy of .Nassau. zi
Sept, ilkj', > I*ondon, '22 Jan. 1908;.
German violinist. His father was a doctor
of lasv and f«r some time aitoenry.gem ral •>f
Prussia; his mother, Iwn Charlotte IVm,
excellent pianist, a pupil of Andre of
(JlfenUarh. His earliest instruction in violin
playing was gisen him in 1849, by Konrad
Nassau’s A'«pcfl«e/ikr at
NN irsbadrn. His talent was so precoeious that
when Henrk tie Son lag heard him in 1832 she
embraced the seven-year-erfd child uarmly
exclaiming *’ You will be the (ierman Paca-
nmi”. On 8 Jan, 18^4 Wilhelmj made his
hrsl puhhe appearance at a charity concert.
Later, at the Court Theatre of IViesbadcn he
saj<l to have “ astounded lus audience
lYmcc Emil von NVittgenstein sent ^Vilheliuj
to Li52l, who was so enchanted with the child'*
playing that he in torn sent him to David at
Leipzig with the words - Let me present to
y ou the future Paganini ! ". This was in iBbi
In the following year he played ErnsiN
the he d&l
«9?
• Concerto pathciiquc ’ at a ConuTvntory
concert and on 24 Nov. of the same year h<’
played Joachim’s Hungarian Concerto at a
Gcw’andhatis concert with conspicuous success.
He remained at the Gonscrvaiorv for three
yrars, having Hauptmann anil Kirhiir to
teach him harntony and compo^iiitui. 'Ihen,
in 1884, he went to Trankfori o M. for furllirr
study with Raff.
'Ihe following year saw Wilhelmj
begin Ihe wandi ring life of a virtuoso. He
firvt sveni to Switzerland, in i8W> to Holland
and in the suiniiMT* through Jennv Lind's
inlhtenee vidiid lx>ndon. making his debut
on 1; Sept, and receiving a rapturous ovation.
In i8l>7 Wdhelinj ssas in Franci* ^md Italy.
Oft '2? Jan. i8l)B he nude his lif>i ap|>enranee
in St, iViershurg, whither he had Ihvn invited
Its* the (*rand Due he^s Hi li na Pav Im na. 'I he
follow Ing years he reusiied Era nee, SwiUi r>
land. Ik’lgiumand the British Uli sand in 1871
extended his tours 10 Holl.viid .\iicl .Si Aiiditinvia.
Hiv best apiie.traiiee Itefore a Ik Hin nndknce
was on 22 Ofi. 1872, anil on 22 Mar. 1873
Jm’ mad<> Ins lirsi ap|>raraiice in S'lenna.
In ($7*, UiHiHinj was In rngland again.
He played at the l*lii I harmonic .Sorietv's
crmeeri in menu>rv <4 Sterndair ]k tini il and
occupied hiinu’ir during the year In propagai'
ing Ihe cult of Wagner in KngUnd. In 187G
he led the orrhesira at Bayreuth, going to
rjkgland again in 1877. In the same year he
induced Wagm r to journev to London and
nmdocl at the Allieri Hall. Wilhelmj Ic'd the
Mohns and osganirerl two extra concerts on a
h>s lavish xalv on 28 .iimI 39 May. In 1B78
he started on a lour round llie world, which
lasieil until 1882, when he jmssixI through
l/mlon on his wav to <*ermaiiy, home (o hh
villa at MoNl>ach*Biebrj< h on the Rhine, after
which he n iircd fur a while.
During his stay at lli< liri« h W ilhelmj
fouftdesl a viol in school in conjunction with
R. Niemann In the neighlxiurlng Wiesbaden.
In 1883 he was Irawlllng again, and it was In
this year that, at the invitation of the Soiian
of 1 urkey*. he had the unique ex|>crlenfe of
playing before the lailies of the- harem.
Blas^itz near Dresden Ixramc \N'llhelmj’s
home in 1888' 93, in which latter year he
installed himself In lAindon. In 1894 he was
apjwnied principal violin professor at the
G.S.M. He also taught privately.
The qualities that comliined to make August
WllJielmj one of the greatest violinists of liU
clay may be summed up in the force of hU
personality, the great certainly of his tech*
ftiijue, hrs rich tunc, cultivaieil imcrpn*iailon
and splendid poise. He stood for dignity and
breadth, and he aimed at an exac 1 lialanceof In*
telleci and imagination, conveying a suggestion
^ rc^e force that was esscmially inajestir.
On the other hand he made himself respons*
298 \VILHELMUS VAN NASSOUWE
WILHEM
ible, with an ill-judged arrangement of the
Air from Bach's orchestral Suite in D major,
for the superstition that the melody of this
piece was intended to be played on the G string
of the violin. Another arrangement of hb
was that of Wagner’s song ‘ Traume ’ for
violin and small orchestra.
In his later >‘ears Wilhelmj look an active
interest in the technique of violin making and
was a fervent patron and champion of more
than one continental maker. He was coA'
vinced that the " secret of the Cremona
makers ’* lay in varnishing their violins while
the backs and bellies were fixed only to the
top and Ixjtiom blocks of the instruments, the
final gluing taking place after the varnish was
dry. His house in Avenue Road was (in J8c^)
a muse urn of modern* made violins, and he was
for ever encouraging amateur violin makers to
devote themselves to the art.
He composed several pieces for the violin
and also wrote a ' Modern Violin School ’
with James Brown, which was published in six
pant. a. H.*A., abr. k adds.
— SfoaoAN'OxowNi. H., *Aa AparMiiMiion
the Tru(h sb«ui Auruu Wilbelml* (M. a L., UJ.
19 S 3 . p. ei 9 ).
WILHELMUS VAN NASSOUWE. The
song of the House of Orange, adopted as the
national anthrm of Holland. The origin both
of the words an<l the melody has gl\*en rise
to much discussion.' It is still a point of coo*
troversy whether Ntarnix van St. Aldegonde
wrote the words of the song, or whether, as
Professor ,). W. Enschede surmises the words
were originally written in French about
and that Marnix translated them into Dutch
in 1572. The melody has at length been con*
clusively proved to be of French origin, for the
oldest version of the song, which appeared in
the fint edition of the * Geusenliedenboecxkcn *
of bean the heading " Naar de wijae
van Chartres This is the tunc of a song of
derision, on the siege of Chartres, undertaken
by Conde and his Huguenots in 1568, and
beginning ** O la folic ent reprise du ^Jnee de
Condi And soldiers who were employed
by Condc and afVenvards by >Villiam of
• Jn Vo). V ©r the ' TiW*«krlft dcr * ibe
Siihirrt ii disruMed full fentlt* Iw ran
dijk. J^rxl, linschetle and v«n Dvrte. FilWn mMna
of ihr tone ©K placed one under (be eOier to ihew
wheie»n itiry UifTcr. erid their veriotw loweee* are ueied.
• /»(/. Vo), VI] (iw).
• In in undated * R««ueil de chansons ipinwelki . . .
•ve« aijires rhenaon* dn vieloirrt qu'il • pSev S Dieu
de ilonner 4 notre iret*<hr«sti«f) rey. Charles IX . . . Mr
Chritwnr de Dordeeu*. Peris’ fr, ls> 0 ) we find el No.
48, '* 4 U<re ehenson <k U ville du Chartres S>ar
le p*in<« lie CerKM. mr un ehertc nouveau ” hreiouiM
with (he words “O Tolle enirepriie". And >n (he
eolirciion of 1619 m tilled ‘L.1 pieuse ikiueite avee son
llrc-lire ' (hrre it a hymn In honour of Ihe Virz*o nucil
10 Ihe same " folio rfttroprrte “ melodr- F’n**h'. in * u
Clef ties clianvmnlort. ou recueP de« v*udcvi1l« de^M
eeni an> el plus * i Ballard. Paris. I 7 ' 7 >. «
called Mon Dieu, la bd 1 e entrCe”, (he air of which
is Ihe old read inf of the Charues sonf. All this prows
that (he song survived Ibr many yean abo lo France.
Orange eWdently brought the melody from
n«th^ France to the Netherlands, where It
was adopted as a national song. The song
has undergone many changes, and the follow*
ing version given by F. van Duyse in his ' Oude
Nederlandsche Lied *, Vol. II, p- 1620, which
he claims lo be the l^st and oldest *, can no
longer be so regarded :
WlLHELVliS VAN NaSSOIAVE (tSdl)
AWr it vy w w Omtru.
Wil • h«l * ram van Hat > saa'Wahre
e«a V 4 >d<r*laBl gha * trail- «• VI ijf
Icavrg aa.ver’Vfcrl, den CsaietU van His*
•raeagUflfeiS lek il*<*gi ^ha • rcri .
The * Nederlandsche Volksliedercnboek ’ gives
a version of greater rhythmic complication,
and the \ersioA now officially used as the
Dutch national anthem makes a point of the
interesting and beautiful change to triple
time in the second strain :
WILHEM, GuiUaoAse (Louie BoeqoU-
Ion) <*, Peru, j6 Dec. tySr ; rf. Paris, a6 Apr.
1842}.
French musical educationist and composer.
In eariy youth he was in the army, but an
irresistible passion for music made him take
to ii as the pursuit of his life. After passing
through the Paris Conservatoire he became
one of the professors in the Lycde Napol^n
and afterwards had a post in the Coll^
Henri IV, His origina I composition tverc few
— chiefly settings of Bdranger's lyrics. It was
• Duw ihiftb that io ihe heponine »**«
nKlody w« a ugnal a» trympei-WaM, lo
den no( Moeut. aliheugh he a^rniW U
an »mir vMg : tud he quetrt « ihe pum'
(he mow he*«iiful) venion ilw WlaNwng Oerman »aJ<i
tent of 1607:
WILKINSON & CO.
WILKINSON f'nigrnas)
about thr year i8i^ tliat hr began lo iMrtrU
Uirn&cif in the cla»S' (caching of nussic in
schools, and (hrough Bcrangcr's inlluenrv hr
^s'as put in cha^* of (hr luu&ital part of (he
work of a society fur promoting grnrral
rducation. Later, at his plans bcoadrnni
ou(, he was made dirccior-grneral of music
in the municipal scliools ot Haris. He threw
himieir mtu (hU came with an enthusiasm
v\hich soon produced striking results. BokJrs
the school leaching, he had classes whhh
gave instruction to thousands of pupils,
mainlv working people; and out *•( (Ins
preU'ftiiy grow' the ealablUhment of the
" Orph^in ", (he vast organiz.ttion whiih has
since vuverod I* ranee with singing*socie(j«s.
I'ho apocinlitv otVS llhcm's s\>crn) curiusl on
the point of school organization. I'he fdan of
" Mutual Instruction ", as U w’as called, was
then much in sogur in Trance as a was of
<'C</noniMii\g teaching*pusser, ami the jxiint
of the Wilhcni ssslcm was the af>|>lkaU‘fn uT
dm idea to the iraihing of singing. Ills
princijial clasvlHV»k, (hr * Manu« I inusiral a
I’usagu des (iollegrs, drs Irutilutions. (h*s
Ieoh'S et des (Jours dc C^hant *, is an c^jilaiut*
lion of the urdinary ssriltrn language of music,
clefs, Slaves, signatures, timr<ss iuImK, et<.,
interspersed with a nutniscr of solfege eacr< iso
for cla^s praciicc ; the explanations are of the
kind usually found in musical insiructioo
Ixxiks. His special way of arranging the
classes isexplainrsl in his ' ( iuidr de la mctlimie'
(4 th cd. dated 1831^;. «. a. l.
Sit tin OfphCwM,
WILKINSON 9 c Co. We Baoocaip &
Wll.RIMsOy,
WILKINSON (Wylkyncoo), Robert
(6. ?: d. ?y.
l.nghsH i^th-tbih'Crniury cofn|>oser. .Ml
that rrm.iins of his work is in an early ihtli*
century manuscript in tlie lUon OilUgr
l.ihrary. ’J he index lo ihk show's (hat it
originally contained 97 rompoMiions, and
of the 43 which remain 4 are by tVilkinson.
'These arc* two settings of * Salve Krgina for
0 and 5 voices, a I3*part ‘Jesm auiem
transit ni * ami an imperfeci * () virgo pru'
denlissima 'Fhe impart compositiiin is in
canon, a setting of the .kpostles' Cored
pri'fixcsl by die wor<ls "Jesus autem tram*
iens A part Is assigned to each apostle,
an<l their names are placed at the beginning
of (hut part of the Cr^ which each i» tradi'
tionally suid to have written. A mite in
Latin g)v«*s the key to the canon. A copy of
this is in John Baldw in's Commonplace Dwk.
Ihe mpari ‘Salve Regina’ is similarly pre-
fixed by a set of initials, each representing one
of (he nine angelic hierarLhii*s. Aa belbre,
a voice is assigned lo each. \V. Barclay Squire
(' Arcliactilogia V<d. LXI, from which most
of (liesc details ate taken) refer* to a man of
2y9
ihU name whu w’as a demy of Magdalen in
150^ and who took iiis bachelor's decree on
lu Feb. ijtiB: but divre is a note jn the Lton
manuvcfi]>t • *' Ksilx'rt \N y Iky iison cii aiepf>i< i«'l
De "f which seeinx to indicate that he hud
dial before the manustript ivav writien,
proliaiily some lirm* duiing tli<' lirst A'ti vt'urs
oflhe centurv. J. '|. lii.
WILKINSON, Sarab. S« Mousiais,
S.saAir.
WUkia*«0, Tstr. Sii GioiUdtM I ., iuii*iii*lj'k 1.
WILKINSON, Thomas b. ‘ ; d.
l.nglid) ihdi-i 7ih-teiuury <oin|>oser. A«
innst of what mndins of his tvork is it) iiianii*
ssripi IKirl). ; li M. Add. 3o,y;B*if,
which <i»ntains the le’Uf eani^ni volmm* of a
s4’t of parlb'Kiks made at Diirliuin in itrt>4) it
IS i>ovsd>h' that he was a siugingoiian (hen*,
I Ik rr iv no rs’toed of him I’idu’r as <irk(aiust
or ehoirinasler. ll.Nf. AdtJ. M^!> 'U«i«3hl)*d,
whuh also eoniains a g«HKl <le.il of )iis mu»i<',
IS an I’arK’ I7ih*t«'ntur\ maiiusf ri]>t in ihe
hami of Alfonso Terr.abwto the <ld\'r. O/ilv
(In* CMrai. anil purduHiks of this
Ml remain. Ihe nunustript aho lonuhii a
niailrigal, ' O losolv, loselrs^ sweet •• hy him.
.\nciilii*r 3*parl on<*. * S«i\, (i.ilalia. sjnte our
rotmnihge hltlnr'. is m K.M. .\d<l. MSS
ami 31, duo. 'Jhc lauiwy. u/Uis and
Irmt* i>a(is of three *> part HaNatis Iw him arc
m BAf. .Via. MsS’3oJUijdl.
SLRMt'J.'t, Lm,
NtoOiinc VrsKC '1.0.; BV I>urli. (’ 12, 13. {h«
(ofDpWte.
l.s^Miiir S*n«e M ; .V.l) . Dwili. .t. *. Orsun
«»te.
Kvit«, >j 1*11 s»y. kiK 'Oniilrir,
NNJUIAIS
BrhvU. O lil.) (Kill., B.M. AJ<i. MSS
IMisrc Mtr. tl <hmI. Iluth. ; It S(, AiU. MSs
jimI 2<i
*llcar niv |ira\vr. O (mb! 1*11 : II. M, AH«I. .MSS
(A (.H iG\i iMti x.uninv.
llcMC ms |ir*\rr. O I lUil, |t ,V|. AilU jii.ttSo).
IMpf. l4«.l. l*H . Ihirh,; )I.M. AUJ. MsS JC.4?t9^
M4I f) )66JI
1 am (Iw rrs4ir#<s moh srrsr unilirm ^ »ih 6 *i>ai( dierui^,
JIarl. 7s«4»3U. S..4C. K.M. AJ«I. MSS 91 j. 1 M.fl.
Ill 'ttwr. 0 L'lM. Trub. 0 . B *7).
Lard. iMotf arv ilirs •nciruxsl. Purh. ; DM. AJJ.
kiss }«.«7a>9 and
lovd, I am iNif iMtkmicvM. ril., iocompirie.
Ct Jrrvialrm S’luk.
O LAfd. canwdrr. Duik. ; B.M. Add. MSS 3i»,4?B«Q
and »9,jMi B.
O LonI 0 «d (d mv u]s alien. NI, : liar] ? 340444 .
Store.
O ].ord ay Goal, l>uih, ; B.M. Add. MSS 3O,47D'0
ami a9.)6$4.
rrarse ibf Lord. IXirh. ; B.M. Add. MSS lo.arfl.o
ami H.SM-fl.
• Pr««r»« me. O LunJ. Durh. : DAI, Add, MSS
W.4?»>9. 99.S79-7 and 99,9S6-D) Cli, Cli. s6-du.
BaM aan wanlinc,
* Pul me •« lo irbukr. ninh.; B.M. Add. MSS
90.47D-9. 99.366.fl. 5J.409^ and 9^,352-7; Cli. Ch.
S64o. Aaw s>aniin8.
tmo thee, O Lord. lX*ili. ; B.M. Add. MSS 30,478.0.
NVhy an th«g co full, York,
* ConUibuwsI c« Thomas
' Irsuiiae irmedium* (ifliflj.
Myiicll's tolleelloft
J. M. (ii).
300
WILKINSON {Tate)
WILLAERT
WQ.KOM 1 RSKI, Kjiaizmen {k. Moscow^
I No\'. 1901).
Pol i&h violoncellist and composer. Educated
ai the Slate Conservatory of Moscow, he
began his career by founding there, together
wiiii his two younger sistera, the Wittomireki
Trio. He relumed to his ancestral country in
1919 and continued hts studies under $tat>
kowski (composition) and M^marski and
Mcleer (conducting) at the Warsaw Conscf> a*
lory, which he left with distinction in 19^3.
In 1925 Itc was appointed teacher at the
Lodi Conservatory and the next >rar principal
cellist of the f^llharmonic Orchestra in
\Varsaw. He soon became assistant conductor
of that orchestra. In 1934 he made an exten-
sive tour in Germany, Rumania, Hungary
and the Baltic States. In 1945 he was ap-
pointed rector of the State High School of
Music at L6di and in 1947 director of the
Silesian Philharmonic Orchestra and Opera
at Wroclaw (Breslau).
The following are \N'illsoininkj’s principal
compositions:
OPERA
’ WaIvk'x uiUly ' (t9)6] («cef« le«t durin* ihe xqm-ij
war),
CHORAL WORKS
Fravmrnti rrAm a Hequirm (19s}'.
0 .Sun«* (wnr.ls Lv M. KenoaiiKha) Tm 9 irrWe \o«fr»
a MSV IIQXS^.
^ ''"MV* for rhkoru« 't9ij>.
' Jimvlraix * ^wnrJ* by M. K>VH>pAkkA). (l•ofal milAliwn
HUM nnli. (19)1)).
* Xtiivt Tor 4 tcU veke«. rherus k orrjn
^•->34 -59).
UrArlaw Cantata for soprano. 4 oteh. <i9so>.
ORCHESTRAL WORKS
SvrrtplioAV 09 ?$).
’ Sinfunia caticertanta * for cHIo 4 wrh. fipiO).
CHAMBER MCSIC
Trie Tor vn.. raltu 4 pf. (19 it}.
Striny Quariai ((94$).
riAMOFORTE MUSIC
Sonata f i9>a),
a Ktiaubian Daikci.
VIOJ.IN AN'O PIANOFORTE
Saaau <1919}.
‘ Ball.-tdr * (1924).
X'tOLONCELLO AND PIANOFORTE
(OR ORGAN!
Ballade (191 tl.
a PreluUci and Sehano ((9 it).
Maiurka aaH Elegy ((9a4).
Poem <i 9 ? 4 ).
Aria, uich orsan (194$).
Al4)> many mtn to words by Maria Koeopiwrka,
Teimajrr. WyspiaiWki and Rydel (I 93 $' 50 ).
WILLAEHT Adriann (L Bruges, c.
1490; d. Venice, 8 Dec. 1562).
Flemish composer. He was the son of
Denis Wiilaerl, apparently a church musician ;
j Also VilJahert. Vlllard. Vuillaett ami. is lialy.
Adriano or Adnano Fiammengo,
at any rate he received payments from the
cathedral chapter of Saint-Dtinalien. Adriaan
was bred for the law and sent to Paris for the
purpose t^siudy about 1514 ; but hU energies
were soon turned into their natural channel,
and he became the pupil of Jean Mouton in
the theory of music. Three compositions in
manuscript at Bologna are dated 1518. He
returned to Flanders for a while, then went to
Italy, but whether he visited Rome and Venice,
as earlier biographers asserted, U uncertain.'
On I Mar. 159a he was engaged for the chapel
of Alfonso (I) d’ Este, Duke of Ferrara. From
Feb. to Apr. 1523 he was briefly In the service
of Ippolilo (11) d* Este, Archbishop of Milan,
the duke's toother.
On 12 Dec. 1327 he was appointed me/Un
di eappelh of St. Mark's at Venice by the doge
Andrea Gritii. In 1542 and 1536 he visited
hb native country. His career at Venice,
where he lived until his death, is associated
principally with the foundation of the singing*
school which was soon to produce a whole
dynasty of musicians of the highest eminence
in their day. Among the 6rst of these may be
named ^VIIIaerl's own pupils, Zarlino and
Cyprien de Rore; the latter was Wlliaert'i
successor at $1. Mark s.
V^'lllaert’s compositions arc very numerous.'
Those publisited at Venice include five masses,
1336; three collections of motets, 1539^5
a^ 1561; two of madrigals. 1346 and 15^;
a volume of * Muslca nova 1339. containing
both motets and madrigals; several books of
psalms (1350. 1533) and of hymns (154^)*
'Canxone viltanesche 1343: ' Faniasie e
ncercarl ' , 1339. Besides these a variety of
his works may be found In dlBerent musical
collections published during his lifetime at
.Antwerp, Louvain, Nuremberg, Strasbourg
and other places.
U’illaeri holds a remarkable position among
those Flemish masten whose supremacy In the
musical world made the century from 1450 to
1350 dislinelively “ the century of the Nether-
lands He did not merely ukc up the
tradition of Josquin des Pr4* ^ he extended it
in many directions. The two organs and the
two choirs of St. Mark's led him to Invent
double cbttTises ; and this form of compositicm
he developed 10 a perfection which left little
even for Palestrina to improve upon. Hu
motets for 4, 5 and 6 voices arc of the pure
» Thct€ k BO ^ tor the »iOfy ih«t i
«im to Rome, »»*»«» L«o X *»*» pope, *
n*e«e* of hb (• Vertwim duke n »u»ve ’)
M the woek of Jowuio. Ai »oo, •» wu xiiltd. «
ehoir komed iu reel euthonhip, they refu^ W ti"? '•
oCAiA. VVilbert J nome oot haviog yet b«eove
po^r whki il w* »oo » be Ji*'*"*
^&e Uk Ibts to Ff lb U., aftd. Ibr thoM.
«he Neiberteodt. Coovem’* 'HBUDry el
de U »vp«<repWe teuilcek doiu les
(be difTcfeBi yeon. . . .^,><411, aT
• AmUtt. I. $. S« tbb wrii« * excellent eftbcum ot
Wilteen. III. $0$^
\N'ILLAN
WILLCOCKS
Flemish sryle» and wriil^n mth sin^lar clrar*
nos in ihe diffem^t pans. In one Instance he
advanced to ihe concepcion of an entire narra*
live, that of the history of Susanna, set for j
voices. It would be absurd to describe such a
work as an oraiorio, yet (he idea of it is not
dissimilar. Indeed, in departing to some
extent from the scverit>' of his preclecevnr>
and creating for himself a richer style of his
own, \Villaert ventured to be more dUiinci*
is'ely decUmat<>r>' than any one before him.
'I'hc complexion, therefore, of hb writing,
though it might appear "dr>’*' to FHk, K
markedly more nK^crn than ihat uf his
masters. He U also of first-rate importaine m
the realm of the madrigal, and his cofnpsxi.
tions in this field arc probably the best renvem-
l>orcd uf ail hr u rote. To corilrmpocaries.
however, if wr may believe Zarlino, hb church
music appealed most siroitgly, his fwalms and
especially a Magnificat for three (l»<>in lieing
particularly admired. A fine portrait of Inin
is givvn by E. van drr .Siraeien, ' La Musique
aux rays-Bns 1, 358. a. l. e., rev.
BIBI,K)ORAHKV
Cabson, Coabi is, *XetK« aur AiU, VS'ilUrtt' •Bcmbt'.
ALrare, 'The ItAliAA S»(«dri«Al * i|Vime«<>n
k (iKKvrsl. laiBi
GkeiwiB. ' A. tSillM/o' lAniMvr^. iKo..
IlLHtrxAx^, I.RMii, 'AalriBis UillMfi m <kr well*
lisKen V<Aaln>u>»ki teiner /.cit ' ' 1,4^^111,
LCHArati, A', ’ N('ilJaeri ’ 1 Kerne.
Hft e/i# Adriaiit iwwtks by VV. Husallril*. lo hm .
Meruh* iC., meeurvir wiihl.
WILLAN, Heoky tk. lA>tMlon, id <ht.
1880).
English organist, ri>ncluriur. leather ami
roinpiner, .After hoUling frosts at St. Jralin
Baptist, Kemingum. and other lajiuhm
churelics he went to I'oronto, as head of
the theory classes at the <lon»crvator> an<l
orgatiist and rhoirmasier of St. Faul’s. In
i‘j>4 he was apfK>inir(l leecurer and exaniiner
to the L'niversiiy of Toronto, and in igiij hr
herainc musical director lu the Hart Home
l’la)m Club, in connection with which he
^^'^<>le incidental music for performances vt
classical plays. Since igao he has been N'icc-
Frinripal of Toronto Conservatory. He has
written much admirable church and organ
music, among ihe latter licing two hne I’rc*
Mrs and Fugues in C minor and B minctf, an
effective Epilogue ami a broadly conceived
Introduction, Faasacaglia and Fugue.
NN'illan became professor of thfwy at the
University of Toronto. He is deeply inlerested
in the revival of am lent liturgical modes ami
IS a renowned aucliority 00 pJainsong, (ir«*-
gorian chant and the music of the Intern
Church. As a comptnrr he has jiroduced
several imporlanl works for tl»e Mendelssohn
( : hoir of T oronto, I nclud lug thr war viefy ' Whv
They so Softly Sleep ' and a very irapresivc
Apostrophe to the Heavenly Hosts He has
301
abo (timposed many sung>, tmliKling settings
of poems by U*. D. Veals. In 193^ h** turn'd
to works un a larger srale, an<i his S\mi>hony
Xo. I, in D min</r f|X'rfurmod io 3 l>j, the fiist
'Hiistarxling symphonir vsx»rk to \k produted
on Canadian sinl, pruv’d of fx'rtnant itr im-
portance. His ' O>ronatiun IV Jh urn * nn'i
his 'Marche s<>lenn<’ll<’ (oinfKrtC'l m i<yj7,
are ev'en rir her in inspiration.
In 1937 ap|irar<‘d Ins opsm, * iVirdre ol
tH<’ .Sorrows’ tlil>rt'tlt) bv\|c>hn Coulter, aftre
j. M. Svngei. commissioned by the Canadian
BroatU ailing 0>rp»ratiMn as the lirsi lull-
length Canadian o|>era.
I hr b’lnvirsM) (if 'l*‘>rfMHo <otiferre<l on
W illan the (U’gree <•! M us. Hoc, He condtKls
cite ludor hingefs. a stinird <horai group
devoted In iIm* revival of earl) Jmglish simg,
M. f,., atUls.
WILLCOCKS, David (Valentine) ii.
Xevvquav, Cornwall, 30 l>vc. 1919-.
Knghdt organisi and consiuttor. He luil
his (ir>i musical ex|>eri(fl<c m f.nmloti as a
cltorisler at Westminster .\l)lies in 33.
In c<f34 he was writ with a musi< «< h«»larshjp
to (.Ilium CulU'ge, where he reinuinnl unlil
iftSH, wl>rh he iibtainctl a sear's seholarvlu|>
emiiling him to vtud^ al Kl, .Nicolas (iollige
'Ku>al VifKil ol Church Muvk . In 1930 .|n,
and again in 10 J 3 - 47 . he wav at King’s
Collecv. Caml>ridgi’, with an oruun uhoiar-
ship, and Ik there <il>iaiiKd the additional
Ji 4 in Sirwan of KanikHh and ()|>en hmnda*
tion ScholarshijK, Unh in I'lp. His Uni-
versity studies were inierriipleil in (he ye.irs
I94«M5 By war service with the ^ih llattalion
l).C.t..l.. and lie was awArtleJ the .\fjhiary
Crovi in Normandy in KiH- (hr end of
his second period at Cambridge he l>ccanie a
Felluw’ td* King’s (kill rg<>. .\:nong hit d<*grees
arc the M,.S., Mus.B., A.D.C.M., K.R UO.
and A.R.C.M.
In C94? Willfocks, who had by then begun
to show' an uncoimnun gift lor conduciing,
liecaine conductor of the Carnhridge IMiil-
harn^ic Society, and the same year he was
appointed, all hough still unusually young for
such a post, organiii of Salivbur>' Cadiedrnl in
^cession to Sir Walter Alcock. I’hc follow-
ing year, until 1950, he became Director of
Music at St. Mary’s, Cainc. In that year, on
the retirement of Sir Ivor Atkins, he suceectled
to the post of organist of Worcesier Cathedral,
T>o( in itself more disiinguished than that of
^ialisbury, but no doubt made attractive to
him by the opportunities afforded by the
lliree Choirs Festivals, He wa.v in fact
appointed conductor of the FettivaJ Choral
S«ieiy and al once began to show spcciHl
laicnts as an inspiring choir-trainer and an
ad mi rahlc perfomer. Fhese laicnts at irac 1 ed
aitention rn the Midlands generally, with the
result that he was also appointed to the post
302
WILLEMS
WILLIAMS (AJb«rto)
of coaductor of the City orKrmingham Cbrnr,
vacated by the death of C. D. Cunningham.
E. B.
WILLEMS. Netherlands 17th- iSth^ cen-
tury family of violin makers.
(i) Jooris Willems (h. ?; d. Ghent, ?).
He worked at Ghent between 1634 and 164?,
and was a corneit player as \veil as a violin
maker. In the latter capacity he turned out
very careful work. Hb model resembles that
of the Amaii school, but is stouter and has
more projecting edges. The varnish is brittle
and pale In colour. A bass viol by him is
(or was) in the Snoeck Collection in Berlin.
His son Nicholas was a viol player in Ghent
Cathedral.
(a) HenHck WiUema («. ?; d. Ghent, ^),
prob. brother of the preceding. He was
active at Ghent between 1651 and 1698 and
was the best maker of the family. He followed
the Stainer model, adhering to the high arch,
sharp edge and sti^f sound holes of the Brescian
school. The work of this maker is excessjvTly
neat, and the wood of the table always wril
chosen, but the varnish is ordinary and roughly
laid on. For the backs of his hddles he
employed maple beech, lime and
almond. Some of Hendrick Willems's work n
preserved in the Cathedral ai Ghent, and in
the Snoeck Collection in Berlin there b (or was)
a kit of his dated 1C79. He also made lutes.
<3) HeyndrUk Willems (k. Ghent,
d. Ghent, ?), nephew or son of the preceding.
Me worked al Ghent betuven 1717 and 1743,
making violins and cellos on the Amati model.
A eeriain J. B. Willems, whose relationship,
if any, to the above is undefined, came to the
fore as a maker of brass instruments in 1 760,
but seems to have been a violin maker also.
Z. H.-A.
Fraai. St* Coovieru (Kheal maci).
WILLEMS, Mlaa. Set .^dojsoh, Johh.
WtUctia, R. F. Stt Mclien <3 «har*2 S *e*cs)*
WILLIAM OF NEWARK {h. Newark-on-
Trent, ?; d. ? London, 1309).
English composer. He was " Master of
the Song ” (Master of the Children, Chapel
Royal), William Cornysh being hb successor.
He is represented in the Fayrfax (Thoresby)
Manuscript in the B.M. by 7 songs. A
madrigal, ' Thus musing w'as republished
by Novel lo in 1B94, t. v. d, s,
WILLIAM RATCLIFF (Opera). Set Cut.
DoPFER. Heine. Pizzt.
WILLIA M TELL (Opera) . See Guillaume
TcLL. Rossini. Atso Schiller for other
works.
WILLUMS, Aaron {k. ? London, 1731 ;
d. London, 1776).
English music teacher and engTa>‘er. He
was clerk to the Scottish church in London
Wall. He wrote * A New Christmas Anthem
for 1 . 3 . 3 and 4 voices ’ and edited several
collections of psalms, anthems and other
church music. e. v. d s
WnXlAMS, Albert (Edward) (L New-
port, Monmouth, 14 Mar. 1863; <f. Souihsea,
It Feb. 192$).
Webh composer and conductor. He joined
the 61SI Regiment as a boy in 1877 and the
next )‘ear was posted to the band at Malta, in
which he played the cornet and euphonium.
Showing unusual aptitude he received lessons
in harmony and insirumenuiion from his
bandmaster, Birthmann, one of the old
German bandmasters of the British Army. So
rapid was his prt^rew that he carried off isi
and 2nd prises for composition and arrange-
ment at the Military Exhibition al Poona In
1884. After this he felt that his calling was
composilkm. Sent to Kneller Hall (1883) to
C|uiUfy as a bandmaster, he created a mild
sensation when hts overture * H^loise ' was
puUished. In 1888 he was appointed band-
master of the loih Hussars, and a year later lie
look the B.Mus. at Oxford. Early in 1692 he
was chosen bandmaster of the Royal Marine
Artillery. Al Porumouih, having both a
military band and an orchestra, he and his band
were frequently tn demand by Queen Victoria
al Osborne House. He also inaugurated a
scries of symphony concerts at Porumouih
and was conductor^ the Philharmonic Society
(1693-97). On the retirement of Lieutenant
Dan G^frey as bandmaster of the Grenadier
Guards, Williams received the appointment in
1897. He lectured on ' Scoring for a Military
Band’ al the R.G.O. (1909) and took the
D.Mus. at Oxford (1906), received the M.V. 0 >
(t 9 o 8 and 1922) and ihe Order of the Crown
of Prussia, retiring as Captain and Director of
Music <1921).
As a conductor UHlIiams, who scorned the
mere time-beating " usual with band-
masters and des eloped highly original methods,
was an irutigation and inspiration to the men
under him. As a composer he was, with
Ladislas Zavrrtal of the Royal Artillery, the
finest that the army had. His overtures
‘ H^loise ’, ‘ Proserpine ', ' Plutus ‘ Sancho
Panta ’ and ‘ FrauenJob ' were distinguished
by new ideas and brilliant scoring, while his
two grand marches, ‘ Ecclesiastical ' and
• Processional ‘, showed solid conirapuriial
work and an effectiveness equal to anything
produced by his contemporaries. h. 0.
Biw,.— F ajoMu, He««av C.. ' The Rj« Devdopmefii
of Miliurv .Mwk* (Leodoe, t9ta). PP>
• 49 *
' Orchesnl Tivto*. Oet. tpoi. pp. «S<-9e
WILLIAMS, Alberto (*. Buenos Aires, 23
Nm*. iSfej W. Buenos Aires, lyjun^ « 95 «)‘
Aigentinc composer, educationist, poet and
philosofAer, of British and Basque descent.
When eight years of age he was already
composing and flaying the piano by msunci,
WILLIAMS (Alberto)
WILLIAMS (Anna)
&o he was sent lo the Con»er>'aiorio dc U
Provincia de Buenos Aires. In 188*4 the
Argencine ^veinjnent sent him 10 the Parb
Coruenaiuirr. where he studied pianedortr
widi Mathias and Charles de 6erU>t (juniorl,
harmony and counterpoint with Durand,
Godard and Guiraud, ainJ finally composition
with Cfear Franck. On his return home at ihc
end of 1869 he gave two planoforie recitals.
I'uuiided and directed thv symphony concerts
of the Aierieo, Diblioieca aitd the I'opu*
larct In 1893 he louiKled the Conserva*
toriu dc Burnos .Mri*', which he cvnimued lu
direct till 1940, estahlishijig branch institutions
all oN'cr tiic country*. Since tlicn the Con>er\a*
t«>rio hat been directed by hi> daughter Irma,
also an accomplUHed musician. In 1900 Ih*
gave a concert of his worb in Hirlin, cofKJtict*
itig the Philharmonic with 1 'illy Koenen a>
solobt. In iQtOi on the ociadon of the
tw<*ntv*hfth annisersar)* ol liis teaching career.
Im pnpih organized a eorwen of his mu»r.
including the ftrst and tvtund syinphoniit.
in the ’Icatru Ciolon, In i93(» three co<*<i*its
of his music were given in ParU: onr or*
chestral. one oI chamber musk and a piatM»
lortc recital. On his seventy •fife li birtlMlay. in
UJ37, the 'Peatro Colon organized a gal.t in
hi\ honour at whicit Jo«c Oil conducted hi>
Kith, sixth and seventh vymptkujiir\. In t«^}o
'Potcanini bn/adcast two muvemrms from tise
seventh Syinplnmy with the N.U.C. orclsevira.
In 1938 created an officer of the
Legion ul llunour. In i^r, on reaching hk
ciglilieth hirtliday, he was the centre of many
Turn lions, Ixah state aid private, i» his
hojiour.
AlU*rio NVilliams was priddeiti ami sirr*
president of I he Comisidn Nacional de Bellas
Aries and dinciur of the mudr section of
the Mine as well as of the old .Sterseo. He
was a memlx r of ilie Academia Xacional de
JMUs Arles and v lee- president of the CcHUbion
Naeional de Dellas Artes, president of the
Asociaciba Argenuod dc Coociertos. hemorary
member of the Asoeiacion Argentina dc Cont*
posi lores, /\sociacion Argentina de Mtivica de
<l.imara and ilw* Asoclacion Folklbriea.
WillianWs com|josiiions fall into throe
distinct periods: chose WTitttn in Park and
until 1890, which show a Lui^jcan cUwkal
iedlucncei those written between 1890 and
1910, which make conscious use of the national
folbong idiom and include a pianoforte
piece called ' LI rancho abandonado ' which
has beernne the corner-stone of the Argentine
naiionallstic school ; and ih«>»e following the
second Symphony, ‘ U bruia de las mon-
tanas , m which he ex^iis the more modern
icndenctea of his art.
In the leaching field Williams can be said
to have created the prcscnl-day enlightened
llueniu A»rg* public acid a liosc of good pro-
303
fes&itMtal and aniairur musicians ihmughoul
the country. He ow*n<'d a miivic-pubii^hing
Iiouse, Qurna. and puhlishetl an enormous
»uinb(*r of educational works and K achiiig*
pictes.
\N'illiaRis is considered the grand oltl man of
.\rgenline muvic. Plic fn]|t*w'ing arc his chief
conipwiitonv;
CHOR.VL WXjHKS
41. Iw f'tr uMOoinpjiMrJ omI* ««!«•»
'(oin|i»>er's uuftJvi.
OKUII.MH.VI. NVOKKS
* r>inMT« ebetiu <4 Jc tuiHieov ' iRKg,.
lA ' W<«mk 14 Or <.N«(etio *
SO. * .VtiniJ(urA» ’. Vmic I
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9a, 'ivinr^Mi) Xm. 4. * U nUja ( 4 miiii>» *, K» ma.
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t.y KM. I 9 )li .
tui. Nil V, * La nswrriF del cotoeu *, U oi.i.
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n.yNoroKn; ,mvsic
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Opo. SY. 4J. 4». 4V.S7.67. 71. 6 j . ftj, 94 . ,|W (all
aw the («an|M«n > wm 11 werdi) .
N. F,
IhM. VwExtt Amsai, MlWnn Williams:
lUNHulum vMar, eon alxonri Aouiaciviirs swbr« lu
wwra . . . Bwenot Aitr', 1 94 4 '
KoU* Lmowv*. • .MJxriu Williams; mdtico
ar«cniMio <Bwciio( Airct, .
WILLIAMS, Anna iS, l.ondon. 6 ,Suc,
1845; / Ixmdon. 3 .Srpi. 19/4),
linglidt sojirano singer. She was the
daughter of Uilliam .Smith Williams, reader
to .Sinuh, Elder 4 Co., to whose insiglu the
)KiLhcatiim nf Charlotte Drome's ’Jane Kyrc*
was due. Sl»e was taught singing by H. C-
IX'aeon and J. B. Welch, and on 37 June 1873
toiA the fir« soprano prize at the National
Hriae Mating Festival at the Crystal Palace
m IxKidon. She afterwards studied for
304
WILLIAMS (C. A.)
WILLIAMS (C L.)
Rftecn months a( N'apl«$ wUh Domenico
Scafati, and on 17 Jan. (874 reappeared at
the Crystal Palace. She obtained a very
high position as an oratorio and concert
singer at the principal festivals and musical
societies of the United Kingdom. Special
mention must be made of her singii^ at
three succcssit^c Birmingham Festivals in
three new oratorios: in 1885 in Stanford’s
‘Three Holy Children’, In i8d8 in Parry’s
‘Judith ’ and In 18911 ai very shwt notice,
in Stanford’s ' Eden On the last occasion
she received from the committee a handsome
present in acknowledgment of her readiness in
taking extra work on account of the illness of
Emma Albanl.
Anna Williams sang occasionally in opera
in the English provinces, but it is as a refined
and accomplished concert singer that she
was best known. Her powerful soprano
voice was of octavTs In compass, and slic
used it like a true musician. On 13 Oct. 1897
while still in the plenitude of her pow^en, she
made a farc^vell appearance, and afterwards
devoted herself to teaching at the R.C.M.
an<l elsewhere until 1904, when she resigned
her appointment. She married Rodney John
Fenessy In i<)hi, a. c.
WILUAMS, Charlea (Fr«ncU) Abdy
(6. Dawlidi, Devonshire, ib July 1655; d,
Milford nr. Lymington, 97 Feb. I 993 )«
English violinist, organist, writer on music
and cum|>oser. He was educated at $hcr«
borne Schoul and subsequently urtder the
Kev. F. A, RadclifTe, Rector of Milston near
Amesbviry, whose Inlluencc contributed in no
small drgrcc to foster his los’c of music. In
1873 he entered Trinity Hall. Cambridge,
where he took the degree of DA. In 1B7B.
W’hilc at Cambridge he took an actis’c pari in
the management of the Cambridge Unlvxrsliy
Musical Society and played the violin and
viola at its concerts. On taking his degree
he >vrnt for health to New Zealand, where
he was organist for a year or so at a church
at Auckland, playing in the orchestra of the
Auckland Choral Society and founding a
Ulce Club. Returning to England In 1879
he resumed his studies for the church; but,
family opposition to the musical profession
being overcome, he became organist and
music master at Dover College in t88(.
The following year he took the M.A. at
Cambridge and entered the Leipzig Conscr*
vatory, and in 1883^1 he was o^anisi of
St. Mary’s, Boltons, London, SAS*., where he
did mucii to improtx the standard of the
music. He next took the Cambridge Nius.B.
in (891, having already taken the B.Mus.
at Oxford in 1889, and devoted himself to
the study of ancient Greek music, and more
especially to plalnsong. making tours for pur-
poses of research in Italy, Belgium and Prance.
Articles arid lectures by him on this subject
led to his appointment, In 1895, as composer
and director of the music of the Greek Theatre
at Bradhcld College, of which institution he
afterwards became the organist. For the
Greek plays he made use of ancient modes and
rhythmical forms, besides reproducing, from
ancient models, aulol and lyres, on which he
taught the boys to play. In 1901, in conse-
quence of ill-health, he retired, wrote many
xaluable books and did much to promote the
revival of plainsong. He trained the body of
priests of Ca^ in the Solesmes system in
1904 and directed the music of their Easier
Mass; this led to the establishment of that
s>‘siem in the island.
Abdy V^MIiams’s published compositions
are few in number ; they include a Magnihcai
and Nunc DimiltU in F major, a Morning,
Evening arid Contmunion Service for alto,
tenor and bass, the choruses of the 'Antigone*
of Sophocles in the Greek modes, as performed
at Bradheld. Unpublished works are a
Quartet in D minor, a cello Sonata In F
major and four canons for clarinet, violin
and pianoforte, all performed at the Musical
Artists’ Society in 1887-88 ; also the choruses
of ' Alcestis ' and ‘ Agamemnon ‘ composed
for Dradheld. His literary works arc as
follows; ‘A Historical Account of Musical
Degrees at Oxford and Cambridge* (1893);
* 'fhe Music of the Greek Drama *, essay pre-
fixed to the 'Antigone* ehpruscs; lives of
Bach and Handel, in the Master Musicians
series (now superseded), 'Notation’, ‘The
Organ ’ and ‘ Organ Music ’ in the Music
Story scries; ‘The Rhythm of Modem Music*
(1909); ' Arisioxenus’s Theory of Musical
Rhylh m ’ ( 1 9 1 3) . He also con iri buted to t he
' Classical Review ’ and (o various musical
periodicab, on Creek music, plainsong, etc.,
and kindred subjects. i a. r.*w*
Wm Aulet.
WILLIAMS, Charlea Lee (6. Winchester,
I May 1853; Gloucester, 99 Aug. 1935) >
English organist and composer. He was
the fiRh son cJ the Rev. David Williams,
fellow of New College, Oxford, and rector of
Alton Barnes, ^Viltt. He was a chomier of
New College, Oxford, in J 869-65 *
pupil of and assistant organist to Arnold at
Winchcater Cathedral in 1865-70. In 187*
he xveni to Ireland as tutor and organist of at.
Columba’s College, where he suyed oil i 875 «
He took the B.Mus. degree at Oxford m id?®-
In 1 876-62 he was organist and choirmaster ol
Uandaff Cathedral and in the latter year
entered upon hb chief official position, that 01
organist of Gbucestcr Cathedral — a post he
occupied with much distincuon unUl to 9 ®>
conducting, in that time, five Olouwter
Festivals and taking part in the other Ihrec
Choirs Festivals.
303
WILLIAMS (G. i B.)
WII.I.IAMS (Crrrardj
L«« Williams composed a con^dvrabk
amount of church music, and sacred can^
talas by him, including ‘ Belhany ’, * GclhsC'
mane', •Harvest Song', ‘FeslivaJ Hymn’,
were produced at Cloucester and ^Vorr^stcr
FciiivaJs. Owing lo ilUhcalih he reitrrd from
active work in i8oS, but he rcuini'd his
interest in the Three Choirs FesiivaJs a» a
steward, a member oT committee and uiti*
inatcly as Chairman of the Kaccutive ai
Clouteslcr, He also edited (with H, G.
Chance; continuations of the * Hi»tor>’ of tlie
Thrw Choirs' (t ^’3 and I930>. In irj^
thr degree of Mus. Dor. Cuniuar was <on*
A rred on him, j. a. r.*u . adds.
WILLIAMS, Chriatopber k Beeket {k.
Durehester, ^ July
Jmgliih cuniposer and author of Weldi ex*
traction. He was educated at Manchester
Grammar School D<y«i*4', at Deiuictne
Scljf>oJ liyxi-y, and ai Keble Cidlegr, Oxford
(iyO0-J3>. where he the M.,A. in hiv last
>car, He joined the Army in 1^14. served in
ihr hni world war. wjs iiualidvd out in 1916
and cheti worked in the War Office vniil the
end ol hostilities. He taught for a time at il»r
London Academy of Music aswi examinnl
for ihc Incurjx>raled Society of Musicians, of
the Coumil of which he was a memlser A)r
three years. He ira\r]lrd extensively and
lived much ahroatl. lev luring and playing in
i;\>ro|H-. Ceylon, Inslia and the C.S..\. As a
critic he Kintrihuted lo ' Musical Opinion '
for SIX year* under thr pen.name of " Siiijon
WocMi iKsitlcs writing ankles for various
musical perioiiicah; and as a non*musieal
author he pfuduced three novrJs, two travel
htK>ks and a liook on winter sports in Kurope.
llctket NMIIiarnv's compositions have never
hirctune well known in hngland, Ihii several
have been performed abroad, an<l his musk
has Uen appreciatively noticed as <l«an*<ui,
individual and admirably presented wbeitner
It was heard, in Briiain, France, America and
elsewhere, His works include the Allowing :
HLai MUSIC
; Ka.w ’ (Shw lh«j.
.V Nifihi %,iib (Uaweti*!',
t;HLKt:iC MUSIC
,M,ii<run( 4 t and Nunv l>tauun.
* Jioiorwin aninue.*
M.u> ill C !••«.
OKC(|fc.‘>rKAL WORKS
% Suilrt,
« ajjet Syi(« J,p R«i lot duml^t mfe
an Btri>wv<n'» £(o,»nt«.
JVvrtrrB'i Suite.
W rlih Suite,
[ A Hundred Ye*rv Ae®.'
^ »^e Imoeruiofu ’ toe unaJ\ enk.
• and l>trivMif«H * »!•».
In.induetinn Frol- * fat ehamlitr cwh.
) Mttwie, (gr untM ur«h.
4 I’lett, fur small i>«Ic
I. h. (Ik lime of Wxrieau.
2 I'aMnmI.
VIOLl.V AND ORCMLSTKA
Cu€icrrvifh>. H(ih saalJ erch.
ChUMULk M(A|(:
1(>0 (uc «M.. (cllu K f»r,
VIOLIN .\.\U HANOIOKIL
} Vuiuuk.
’ S«Mie lie C'^uprrin.*
VUlLONCLU.O .\NU J'JANoroRIL
Sonaa®.
HVNOtUKII. .ML'sK.
I SuAaCM.
i ’ HenwHon (--irl Suiiei.*
’ Ihtee F-uotal Sk«silir>.
Th'I War I'lt turn train ytaiur*
I. C^liriklmav ai tV>HKrruv
i. .kuifeka, Ic Jr Nkiiik.
tJfiS * the Wrt M*i-lrr% lljm •.
* Ikrre.Aiic^i U.iHe,.*
t lm|<ro«i(|Mu(.
’ li(p linpt«
Vxrral «MlKr
T>VO HANOI ORTLs
IntewitAiHu xwl iXMbk ( u<ur.
Alut icttraJ BmIi 4 tr.in«riiH'i<t«.
lIKt.W Mt'vli;
Nmau,
(.^MKertvIut ufrfai. A |)f,
Ahn a ELuk urtrfTi^rnKKii.
f k'-A, of IJitakrtkaii L«v«
* Imu (SidJ
S hdli-nibk hum Hnitlxrn Ffttue.
.NumerMH Kparair tuhrr.
K. n.
WILLIAMS, George Ebeneaer (F. J.c»iu
don, I7«j: / LrrtHloo, 17 Apr. i»m)j.
Usglish organist ami runi|juser, He a
churistee at bi, I'aurs Cailndral in lam don
mider Richard IMHrny. (In t^uiiting the
ciusif UI)out 1 79<»; he iH Carne tti puly t.rg.iiiisi
for .ArnoUi at NVe si minster .\blH*y, Jn lUg-,
he was apjsointed ofgaiii^i of the l»hilaii.
lhro]>ic .Sotwiy’a flujsci and in 1OJ4 sue-
crethd RcsIhti Cisoke as organist of
ouftsier AblK-y, He roniiwwd. when a btr),
some chants and setting, of the ha net us,
printed m ' Sixty Chants . . . toni|>ove<| hv ih(>
Clwruiers of St. I'aul's Cathedral' (1793),
-nd was the autlwr of * An Introduction to
the hanoforte ' (idio) and ' txercises for die
^iK*fie* (1815). lie was buritd on 2±
Apr. 1819 in iJio soutJi cloister of West*
numler AUbc)-. ,,
(Johns) Gerrard A. London,
10 Dec. 1O88 : d. Oxietl, Surrey, 7 Mar. 1947).
faiglwh coo.poscr. H, oiigmally foljov,od
Ihc prrfwjioti of an arcJiiiect, hut tiovoied Iti,
spare uok tu mustc, joining choral sociciic^ and
laying in ore Ih'sIchs a, op|M*rt uni ilea arose.
Uheo he hrsi tovA to tompor.il ion in 1911 hu
had had no other training than this, and that
Winch he acquired from constantly reading
music, but two years lairr he reeeivxxl some
guidance from Ricliard Wallhew'. in all
e^li^, however, he was a st If- 1 aught musi-
cian. Most of his music is in the sinaJIvr forms
VOL, IX
V
3o6
WILLIAMS (Grace)
WILLIAMS (J. B.)
and of an intimate character, with somethic^
of the art of the miniaturist. Much of hU
best work is in his numerous songs, which
have great lyrical charm ; but he also com-
posed two siring Quartets and orchestrated
a set of his own pianoforte pieces, ' Pol
Pourri His other pianoforte woria com-
prise ' Miniatures * (also orchestrated), Pre-
ludes, ‘ Side-shows *, etc. A comic operetta,
‘The Story of the WiUow-Patiern Plate’, is
for children. A ballad opera, * Kate, the
Cabin Hoy ’ (Kingsway Theatre, London,
iOS4)> based on traditional tunes, was a
delightful attempt at reviving that essentially
English idth-ceniury type In more modem
terms. He also arranged and orehesiraied a
ballet from a Uerthoven sonata. B. b.
WILLIAMS, Grace (^. Barry, Glamorgan-
shire, 13 Feb. 190C).
Welsh composer. She was brought up in a
musical home, for her father was a musical
schoolmaster and conductor in Wales. She
studied music successively at the UnivTciity of
Wales, Cardiff, where she graduated B.Mus.
In 1936 ; at the R.C.M. in London (1936-30),
where she studied under Vaughan Williams
and Gordun Jacob; and, after gaining a
travelling scholarship, in Vienna, where she
became a composition pupil of ^Vellesr
(•93C>-30.
Grace Williams has lived chiefly in London
( 1 92O-46) , where for many years she taught
at the Camden School for Girls (1931-46),
hut has now returned to her native Glamorgan-
shire. .«\|( hough she has drawn much Inspira-
tion from Welsh sources, as it apparent in the
lilies of many of her works, her outlook is
essentially cosmopolitan. After writing her
first substantial work, the now popular
concert overture ‘ Hen Walia ‘ ' (1930), she
found herself out of syinpathy with the
sophisticated atmosphere ^ London con-
temporary music and entered on an experi-
mental period, producing very little for the
next six or seven years. A steady if modest
output since 1936 revealed her primarily as
a composer of orchestral work^ including
concerlus and works for voice with orchestra.
Her more serious music reveab a certain
independence of character and b carried out
with invention and resource, and her most
recent works show considerable accomplish-
ment, Her output includes no chamber
music, but a number of songs with pianoforte
and some attractive settings of Welsh folk-
songs. Traditional tunes arc also used In the
overture * Hen Walia ', the * Fantasia on
Welsh Nursery Rhymes ’ and her music for
the Welsh film ‘Blue Scar ’.
The majority of her w’orks have been
p^'rfomed, and important performances have
* tlcA Walls 15 a dhtrict in C*«nisrron near
old Itoiiian tVales.
included * Rhiannon ' (B.B.G. Symphony
Orchestra), ' Sea Sketches ’ for strings (fi.B.C.
Home Se^ce) and * The Dark Island ’
(B-B.C. Third Programme ) ; many works
have been performed at the National
Eisteddfod, she owes much to the B.B.G. in
^ Vales, and the ‘ Fantasia ori Welsh Nursery
Rhymes ' has been recorded. Since 1 946
Grace Williams has done much educational
work for the B.B.C., including scripts and
contributions to the children's hour.
CATALOGUE OF WORKS
CHORAL WORK
* Hvmn of Praiw ‘ (* C ceonedaw^ Awl-'rtld twordi
traruUwd by the CompoKr from iM Black Beek
Carnurihen, irih eeat.) rerciiorut B otch. ( 19 S 9 ).
I^uiie, * Tl>« Daoe«r> \ for so{>rano, wemea*5 ehema,
M(t. 4 harp ( I9S3}.
flLM MUSIC
Scar' (1949].
* David ’<I9S0,
OftCHLSTRAL WORKS
CaAe«n Overture * Hen Walia * (t9Se).
* Eledy * for nc«. 099S. rev, 1949).
* RhianoM *. iyntph. kfend {>9)9).
* Pauiaiia ao Welrii Nunery Tunei * (1949).
* O^en Gkndower tMiteh, impre iiinni after Shake-
Ware** ‘ Henry I V *, fart i (1949).
*Sra Sknehes * for nf$. (1944).
* The l>ark tUand *. Muie for xifi. (I9sv).
SOLO AHD ORCHESTRA
* S ene * for Mprano It ehaaibcr ereh. (1997 , *(ik<
rci-MCdt
I. Super flumma.
e. In eunveriandp.
* The $e«Hi ef klarv * (a seiilaa of (he Marnifkail for
icorano 4 chamber orch. 1>9}I» r«v. 194s).
' Skifoma cenrercance for pf. (rpcO*
'The hleery Xlcniirel (aftrr Grimm) for narrator a
9r«h. 1 19491 •
Va. CofKerso (i9sal>
TWO PIAJ^OFORTES
' Poliih Ma.'
SOHCS (WITH PIANOFORTE OR ORCHESTRA)
'TarMulta* (Hikire Belloc).
* Service for aU the Dead ’ (D. K. Lawrence).
' The hlad htaid** Soog * (Herrick),
* Gnen Rain * (Mary Webb).
* I had a Uiik nut live * (anon.).
* Oh. match'd away in beauiy'r bloom * (Byron).
* Oh. weep for Theac ’ (Byran).
FOLKSONG ARRANGEMENTS
B Uebh Oven Sonei (1937)* . .
* Xbri Uwv4 • (' Bks^ Mary ').8.$.A.A. 4 pf (i93B).
* tfodi Ha * {a vake* 4 pf.) {i999)*
' Jim Cro * (uniton 4 pf).
WILLIAMS, Joaepfa Bevlr (i. Man-
chester, 10 Aug. 1871; d. Concorcs, Lot,
France, 3 Aug. 1929). . ^ . j
English musician. He was the founder a^
first general secretary (1893-' 92 ') oj
Amalgamated Musicians' Union and the
wime mo>er in the fusion ( tgai ) of this society
with the National Orchestral Union which
gave Wrih to the Musicians' Union, of which
he was first general secretary (1921-94). He
was the second son of Edward Williams (*. 03
WILLIAMS (Jo&eph)
WILLIAMS (Tennessee)
Sepi. (843; d. 37 Mas. 1906), a musical di>
rector of the Prince’s Theatre asMl the Queen’s
Theatre, Manchester, and Kate Leigh (d.
6 Sept. t93i), an actress. Although educated
by his father and others for music, he be-
came a school teacher, but eventually entered
his father’s profession as an irntrumenialist,
playing the clarinet at the Gaiety I heairc.
Manchester. Iji the laic 1880s the general
social and economic conditions of the asrrage
musician in theatres uerc not rosy. Salaries
were in the region of 30s. a week as a maximum,
with rrlicarsah con 5 idercd obligatorily grant.
The band*rooni m theatres, when it did exist,
was under the stage atxi thoroughly insanitary,
while the band pit in the auditorium was
generally narrow, uixomfociable and ill*
lighted. \N illlams. then in his leeni, was soon
in n’bellion ag.timi all this. I'here was, at
that time, no protest is e society f‘>r rnwHians
that could vv>lce any complaint from those
who had to sufTer under th^ condiiions, but
early in |8<J3 Williani' began adv'ocating the
forinaiion of such a society b)’ means of an
anortyincus circular, and as vhki as hr Isad
obtained llic necessary support lie boMly
Uumlied hit scheme for an Amalgamatcil
Musicians’ Union in Manchester, tlie use of
the word “amalgamated” being due to the
di'Nirr of die musicians in Birmingham to form
a similar protective «k wty. 'liie offis iai date
ol its cstahllshmcnt U 7 May ttkj^, and the
lirst year saw ilir torch being carried t<>
Cdasgow. Liverpool, iXiridec and XewcaMk.
lly I he end of the year just ©s er one thmssand
inrinliers were enrolled. From this humUe
bcgmrimg arose die |>resent sjsi ofgameatmn,
and even when Williams mired throsigh ill*
health ill iQa.j, literally svi;fn cHit b>* yean of
struggle, it numitered iwenly*tsso llKmsand
meirdtrn, with liranclies in every part of the
eouniry. For several vears he sal on the
Manchester I'cmn Camncil, and later he was
a member of the (ieneral Coumil and I’arlia-
inmtary Commit lee of the I'rades Union
Congress Itecoining iu chairman in 1^3.
It. c. r.
‘' ‘TV Wdh^m. family
I ^ Mucicians Jan, c<n}i.
Sit tit* Muiieisfu* tfaioA.
WILLIAMS, Joaapb, Ltd. English muss
pnmer? and puldiihen, Tlie firm was «tab
hsh^l m London in 1808 by Lucy William
(p. . ; d. ?), music and copper-pJatc prinre
at Fountain Gourl, Cheapside, who printec
some works for Clement! & Co. In 1837 shi
mov^t to 41 Duke Streci, Little Brllain. when
known as uici
w I continued the business a
Joseph Williams, moving in 184$ to la-
Cheapside, these premises being occupied
until 1883 , with other branches, 6 Milk
Street, 1857 to 1662 , and 1 1 Holborn Bars,
1862 to 18 ^. In ihe latter year the premises
at 24 Berners Street were corned, w lie re the
main business was carried on widi grrai
success until Aug. 1807 , when the firm imnerj
to 32 Great I’onland Street, where it remained
until 1938 , moving then to 29 Lnfutd Street,
.Marylebone, iIk* present premises.
Joseph \Ndliam Williams vias vuu reded In
18 B 3 by his sun, Joseph IKnjamm Williams,
who was known as a comjxi^er uneUx the
pseudonym of Florlan Pascal. !{<• di<*d in
Jolv 1923 and the business has since lieeti
carried on by his eldc'si son, Morian Vv'illiams,
with his bruiher Ralph Williams for a time.
I hr business iKcame a laiiuly coiupanv,
Josqsh Williams Ltd., In Hyn*.
pH* (irm over its long hiviory has always
l> cn progressive and vcicle in its ouiltxik, pub-
lishing aInM'sl everx* Und o( work, including
ligbi ojseras, liallads anti other nuuic for
p**pularconK rt*|)arty ennxi.iimuenls, sperial*
i/ing in educaiuinal riiuvlt. I lorian \\itiiams
was inviteil by the .Nsuxiatt'd JioartI oi die
R .V.M. and R.< 1 .M. to print for them die
.Music Ibtamlnation Books cl n ring ih« p« ritnl
1914 - 18 .
Works of tiKtimtioR by Llgar, V.augh.vi
Uilhatiiv, Bax,.folin lieland, Bantot k, (hirdon
Jaccdi, I ovey, Matkerizie, Me l.uen, Dyson and
01 hen have l>ren issued by die lirm. whit h has
a large ela*»ical xxtMin to its credit und was
cooeemctl in ihc puldiration gf fl. Iv. p. .\rk*
wrighi's * < >ld l.iiglivli l.Uidon ' ul MUalxihnn
and JacoUan cotnjxw rs. I V ofljti.d hiH.ks
of iVntifortr Lxaminatioji Music are aUo
issued hy the firm for the < 1 .S,M.
vv . t.. s,
WILLIAMS, Maria Jane h. Gl.iriiorgan*
shire, 9 (>ct. I7t#3; d. <rlaniorg,inNjiiie, in
-\*ov. 1873'.
Welch v^irano s|ng,x .vnd music edilor.
Slie lived most of her life in her n.itjve couiuv.
Her thief title to remembrance is her ctdlec*
li<4iuf tcadilionul Welsh airs, u hit }| was nflrrc'cl
in com pet i lion at an l.hitdtlfud held at
Abergavenny in 1838. Mie puWidied forty*
three of the mclodirs, wiiU Welsh wvrds, in
iB^ iLlandovrry, and D’Altnainr, tamdon,
folio), Uit only a few copi«*$ seem to iia\<'
been printed. I'he title rntiv
M s,«fnl. and .MoicaMwe :
WILLIAMS, Ralph Vaughan. Srt
\ AIXIMAX WlLUAUS.'
WUUam*. Troaef«e«. Su BowJc* CCJIa.*
& Sumwwr *hil Siookr mcid. mi. ; 'iwmj.
• A|iVu«h ^ wnaiRM an hoi Iw p|iriiai«,J, tint
I* ^y****^ b.PlxeJ under (hr nrvi. r(ie (oin.
P«et bvmtf (eoe(«Uv kn<mn u V»u$h4r> \Vi(l,arn<
3o8
WILLIAMS (Thomas)
WILLIS (Henry)
WILLIAMS, Thomas (b. ? ; ?).
Welsh or English tSih* century mu^cal
editor. In 1780 he published ' Harmonia
coeleslis a collection of anthems by Purcell,
Blow, Croft, etc. (London), and in 1789
* Psalmodia Evangelica a collection ^
psalm and hymn tunes in 3 parts, preceded
by a complete introduction and historkaJ
essay on church music, instructions in minia-
ture for learning psalmody, etc. a. v. d. s.
WILLIAMS, Tom (A. Burry* Pori, Uan>
elly, 2 Aug. (90:^).
W’eUh baritone singer. He studied singing
at the in London under Maurice
d’Oisly and Rosina Buckman, and became
an A.K.A.M. From 1937 to (945 he was
principal baritone of the Siler's Wells Opera
in London and since 19412 he has been singing
principal baritone parts in opera in English at
Covent Carden. He has sung in such widely
different operas as ' Madame Butterfly
‘ Lohengrin *, ‘ Peter Grimes * I'he Magic
Flute ' I'hc Flying Dutchman ' and ' Rigcn
let to \ and has forty operatic parts to his
credit. He sang at the Three Choirs Festival
in (947 and at the Leeds Festival the following
year, lie ha» sung at Promenade eoncerls
and with the important English orchestras.
u. K. w.
WILLIAMS, W. $. Gwyaa. S<e Eistbdo.
POD (Llangollen).
WILLIAMS, William (6 ?; / ?).
English I7th-idth-ceniury composer. He
nourished between 1C77 and 1704, but nothing
IS known of his early life. He lived and
worked in London as one of the king's musicians
in 1(395-99. sucN'hing music consists of a
hancilbl of theatre songs an<l some reeortler
sonata*, scattered through various publications
from 1C77 10 1700, a set of * Six Sonata’s in
three parts’ (1703)' and some incomplete
theatre music for strings.’ On the evidence oi
the songs and sonatas (three of the tric^
sonatas arc fur violins and three for recorders)
he must he accounted a composer of some
merit. His music is typical of the generation
immediately following Purcell's, the sixth
trio'ionata, " in imitation of Birds ", contain-
ing some pleasingly original touches of melody
and harmony. a. t. d.
WILLIAMSON, T. G. <^. ? ; rf. ?).
I'.nghih i8ih*century composer and music
publidier. About 1790 he had a music and
** fancy " %varehousc in London, at dO Strand,
from which he issued a number of sheet
songs and collections of music. He arranged
two sets of ' Hindoostanec Airs' (t797 and
' 79 fl)» composed some vocal music, * Six
Fas*ourltc Sonatinas', a scl of marches aiid
other music. r> a.
' Copy in (lie FuswilliAm Mu«etim, CAmbeidgr.
• Ch. Ch., Oxford.
WILLIS, Heary (^. London, 27 Apr. td2t ;
d. London, ii Feb. 1901).
EngUsh organ builder. He was articled to
John Gray in 1635 and later was for some years
organist of Christ Church, Hoxton, subse-
quently of Hampstead Parish Church and
Islington Chapel-^'Ease, which latter post he
filled 10 within a few years of hU death.
In 1847, in which year he played the double
bass at the Gloucester Festival, he took the
first step in his career by rebuil^g the organ
at Gloucester Cathedr^, with the then un-
usual compass of twenty-nine notes in the
pedals. In the Great Exhibition of 1851 he
ex hi U ted a large organ which was much
noticed and led to his being selected to build
that for St. George's Hall, Liverpool, which
under the hands of Best became so widely
known. The organ he exhibited in the Ex-
hibition of 186a also procured him much fame
and became the nucleus of that at the Alex-
andra Palace, destroyed by Arc on 9 June 1873,
shortly after in completion. His next feat
was the organ for the Royal Albert Hall
(opened 1871), which In siae, and for the
eflKiency of its pneumatic, mechanical and
acoustic qualities, shared its high reputation
with the second Alexandra Palace organ. It
was constructed for the restoration of that
building and inaugurated in May 1675.
Willis supplied or renewed organs for many
of the cath^rals of Er^land and Scotland:
St- Paul's, London (*872), Canterbury (1886),
Carlisle (1856), Durham (1877), Hereford
( 1 879) , Oxford ( i 884) , Sa Hsbury (1877), We) Is
(*857), Winchester (1853), Truro, St. David's
(1881), Edinburgh ( i879)» Glasgow (t 879 )»^
well as many eollegr*, churches, halls, etc. He
built the organ In Windsor Casde, with a
douUe console, 10 that (he msirumenl can be
played from St- George's Hall or from the
Private Chapel. The award of the Council
Medal in 1851 specifies his appUcaiior) of an
improved exhausting valve to the pneumatic
lever, the application of pneumatic levers in a
compound form and the Invention of a move-
ment for facilitating the drawing of slops singly
or in combination. In *862 the Priac Medal
was awarded to him for further improvements.
In 1885 she Gold Medal was given him for
••excellence of tone, ingenuity of design and
perfection of execution He look out seven
patents between 1851 and t868-
Willis was always a scientific organ builder,
and his «gans arc distinguished for their
exeelknl engineering, clc*-eT comrivawes ana
fini-raie workmandiip, as much as for ineir
brilliance, force of tone and orchestral char-
^*The present (194^) head of the firm of HentV
Willis fc^ns is Henry \ViUi 5 (L 1889), third
of the name and grandson of
took over the management of the firm m 1910-
WILMS (Isaac)
WILLM'.R
The chief factory is in London, at the Rotunda
Organ Marlborough Gros’e. Old Kent
Road, with branches at Liverpool, Glasgow,
Sheffield, Nottingham artd Edinburgh. Many
developments in both the electrical and tonal
aspects of the organ are due to the hrm.
Examples of its major work miiy be heard in
Liverpool Cathedral, which has the largest
organ in England, in >Ves(minster Cathedral,
in the rebuilt insirunicnis in St. Alban^,
Salisbury, Hereford and other cathedraU, and
ill many churches and coiKeri'lialh in Britain
and the Empire. w. i.. s. tin.
BiOi.. \Iwi. *1.. idea. p. aarff. ; 1901. |». ibj.
Xefsiitiitay
WILLIS, fsaae f Dublin, ?; d. Imw
Uoti.
Irbh idih- i9ih-cenlur>' music |M>UiJur.
.MKrut lUib hi’ l«X)k o\tr the pretriisrs at y
NN'minorland Street foriiHrlv iH’ld b> (rtMild*
ing, IV.Mmaine, I’otirr 4 ; to whom he
ha<l iKied as agent. His lHiNtne>s iHCame
extensive, and he remoMil to |.n(Kli>n aliout
idj4, the linn Iseing then Willi« Co. and
their shop at St. J aim’s Stnel. I^mdnn.
vvher« the) rvinainc’d uniil id:j5, except for
al)Oul two Vi jrs, whi ij the a»hlrs*>s
w,u R<nal Mu^Kal Ri’^xeinirv. I^gspiian Hall,
I’i< call lily. J’liiin >033 to 1848 the hrin was
at 7^ I^wer Grwvenor Street and hnally,
as Uaae NVjIhs, at 119 New bond Street in
r. iH4p-bt. ADmi ld’40 they had an agency
Kui* tie la Paix, l*aris.
1 he Dulfhn bu»ln<>s was retained until
iH^ti, when it passesi (o Robinson. Buv«ell &
KobiiUtun.
I'he mu'it issued by the firm was (trine i pally
iif ilic <irawing>rooin type an<l dance muwe.
Their princi|ial colleciion* arc E. FiusioMMt**
•Iriih Miniirclsyh Bk. ii (1816); T. H.
Biiylyi ' .Miniature Lyrics’, musk composed
and arranged by Sir ,|ohn StesThson. 3 ho^s
ClOrj-asj ; * IVruh’se MdsKljss ’ arraneed b>’
I. .Mostheles (18^7).
Isaac ^Villis .nay hasx- had wunc intereM in
^^illis's Kuoms in St. Janun Street, though
in ibyi the prs'prletors w’ere Frederick and
Chariii Willis, r. k.. ^ 5,
WILLMAN, Thomao LJodaay (g. ?, c,
1 783 ; d. London, 28 Nov. 1840).
LnglUh clarini’tiist. lie is stated to have
l>ccn the son of a fierman, who, in the secorkl
half of the «8th century, went to England and
became master of a miUiary barnl. Poslbly
the father is to be identified with the John
Will man who composed songs for Irish
Voluincers In the early 1780s and described
Inrmcif as “of the 4th Horse”. Tl>e son
api^ars to have rcceis’ed hw early irainine
umlcr Christopher Lfcy in the lUst India
Company s Volunteer Band. Eley was also
bandmaster of the Coldstream Guards, a post
whieJt Wi liman afterwards fUWd and held till
1823. On the death of W'llliatn Nfahon in
1616 Will man succeeded to his appoiiiimenis
in t 1 *c Philharmonic and Opera ortlusiras,
wlirre his reniarkably iM'aiitiJol inne M*oti
made him a pt^ular f.ivouriir. He w.is in
incessant request al*c. m protincj.'il Ir.ciivitb,
apjtcaring frequently in rmtcerlos .itid in
oMig^i for clarinet or ba^Ni’t horn. I’etis. hii
acid critic of Lngli>h inurunK’iiulijU, singled
him out for special |>r.ii''i’, rank ini' him with
Ih’rr and Heinrich Barinaim. In ilDb hr
wfoie * .\ Ckimplctc Instruction Rook for ilie
Clarinet '. W'illman, who Jilayed wllh the
reed against the upper lip. a clarinet wlih
ihirteen key's of Lnglidi <on>irn< tioii.
P. u. R.
WILLMERS, Heinrich Rudolf iL
iVrlih. 11 Oct. ihjt: d. \ ienna, aa Auu.
1878 .
(h’rinan pianl'i ,<nd ioTn|)«iN''r. lb' was a
pu(Nl iJ litiinmel .ii>d F. Siliiiridrr, Wiis
wHlely kimwn iMh a\ a brilli.int pla\«r and
c«HU|Miy'r fur the pl.iiiMforle, and u.u teacher
at .StvrriS (aiiiM’rxalorv m Biillti fruni i8fi(
to ctUki, lb tlwri VM’ut to liti In Vhcuia,
where he tlaxl iro.<n<’. t,.
WJItser, Alfred Mari*. \rr I'm.imi {'Kwidiiic*.
hU. ,
WiLLNER, Arthur b. *!e)>lni’, 3 .Mar.
iHHl r,
Getmati cornjMwer. lb Minlird the piano*
forte with .\. Kutbardt and comfMisiiiun
with Ihuiti and Rehit'vke at the Li’iprlg
lh>nM’r>at«irv. lb' <r>nclti<ii’tl his musical
InsinjctMm at the Xfnnhh .Vadmiv under
Klu’inl>rrgi’rarKJ riiutllc. In ifjn4 he bi’cmn*
teacher •/ CMm|M«ailmi and depute dine I or
c/ th<’ Stern Oirntrs atory in Btrlin, a jiC'i
wluth Ik held Air twenty 'une \carv In 11)24
he rcmoMtl to X'ienna, win re in addition lo
his creative atiisity Ih’ taught at the S'olks*
hoc hw hub’. In ipjS he setti.’d in London.
WiUiur Itas dmsv his lK’^t wurk in j.lano*
(otic and chamlar mum. He prifers the
min^ form* t 4 intuit , which he treats in
a highly terw and rone c ntr. ate J manner.
Intenuly U feeling and strongly controlled
pasdon characierirc his inude. Ho is «ono-
nucal in tlsc ux* of hk man nal and avoids all
display of brillianty. 'I'iie fullosMiig are his
chief compudlioitt ;
CHORA l. WORKJ.
Oh
•«. » (iMKiMf* Mith OlrbW)
r. An den led.
ORCilLSTRAL tVOUKS
4. Svfnphodie Sthexeo.
17. y-roHl.’
S7. OMHette l«r»Tn.
sa. Suite of Pufun.
TV * l)w lqMruft.enu pre^Mt ihenudves.'
A M'lapbonv, A m»,
SOW IXSTRCMllSrS AND ORCHLSTRA
SS. OUa CMKeiu<.
5>> H. Cooeeno.
$10
WILLS
WILMS
Of.
64* Concerto Tor s vm. & stfi,
8. Pf. Concerto, ‘ V with sie*.
0. SiMie for pf. & 410.
CHAMBER MUSIC
9. Strifif Qtiertet No. 1,
• 0. Strinf QuoTtci No. s.
14. Stnng Queriei No. 4.
• 8. Quanci for vn., viola, cello & pi:
35. Sonata for 9 xna.
41* Suite for vn. & cello.
44* Sirin; Quariei No. 4.
Ao< Sirin; Quartet No. A.
VtOUN AND PIA.NOFORTE
It. Sonata No. 1.
It. Sonata No. 3 .
9t. SonaiA No. 3.
30. Suite.
GQ. Sonatina No. 1.
60. Sonatina No. e.
?t. Senanna No. 3,
91 > Sonata No. 4.
VIOLONCCLLO AND riANOFORTr.
IS' Vofiatiow.
PIANOFORTE MUSIC
le. * Sccbildrr.*
i6« Variaiioni,
04. * Tonaweiten.*
ae. Sonaia No. 1.
sS. Sonata No, a.
a. Sonata No. 3.
S . Sonata' No. 4.
. 'A iravrraleiikcka.*
Go. *Sbetehef,*
S3. * Neu« Notenhueh,’
73. ;Rytlime9{«iudMl4«ilnl.'
74 > * La Voia du piano,*
73. *The Piano -a« Ore heitra.'
70. * La Mam vivante/
AUo elierai piecea. offan Hork*. wnirwAiental pieeet.
pi. ilucia, sonn, Ae.
at. o.
WlLLSi Joha (^. Granlham, $ May 1693).
Lnglish pianj$i and accompanist. H« was
cduraicd at Nottingham Mtgh School from
19^3 to > 9 ^ 8 n(l studied music at the Royal
Manchnttcr College of Music for the neat
eight years. He was a pupil of Prank Merrick
and Egon Peiri, and won the Dayas Gold
Medal and the Si loti Prize for pianoforte
playing. He obtained the performer's
A.K.M.C.M. diploma with distinction in
1911. From 190 1 to 1933 he was a piano>
forte professor at the Manchester College,
and during those years he frequently accom>
panied at concerts tn Manchester, LivTrpool,
Bradford and elsewhere in northern England.
In 1935 he became a sufT accompanist of the
B.B.C. for eleven years and accompanied
hundreds of singers as well as performers in
all kinds of chamber music. He also has a
two-piano partnership with Lucy Pierce, and
together they have given many recitals in
London and Manchester. m. k. w.
WILLY, John Tbomaa (i. London, 24
July 1812 ; d. London, 8 Aug. 1865).
English violinist. He was for some lime
a pupil of Spagnolctti in London and became
a member of the King’s Theatre orchestra.
He played under CosU as a firsl violin and
later as principal second during the whole
of bis career. He led ‘ Elijah ’ at Birmingham
in 1846 and was leader at various other
festivals, also at JuUien’s and the London
Wednesday conceru, the new Philhannonic,
the National Choral, the Society of British
Musicians (of which he became a member in
*® 37 )*«tc.,ctc. In 1849-50, and again in i860,
he gave classical chamber concerts at St.
Marlin’s Hall, very much on the plan of the
sut^uent Popular Concerts. Among the
artists who appeared were Arabella Goddard,
Louisa Pyne, Charlolte Dolby, Sims Reeves,
Siemdale Bennett, Ernst, Piitii, Pauer, etc.
A. c.
WILM, NicoUs von (*. Riga, 4 Mar. 1834 ;
/ Wiesbaden, 20 Feb. 1911).
German pianist, conductor and composer.
He studied at the Leipaig Conservatory In
1851-56, became in (85? second conductor at
the Xlunicipal Theatre of Riga and in >860
teacher of pianoforte and theory in the
Nikolay Iruiiiuie at St. Petersburg. In 1875 he
aetiled at Dresden and in 1878 at Wiesbaden.
His works are numerous, and some are
imporunt : a string Sextet, Op. 27, a Quartet,
Op. 4, two vidin Sonatas, Opp. 83 and 93. a
cello Sonata, Op. itt, two Suita for violin
and inanolbrte, Opp. 88 and 95, arc among the
best cd* his compositions, which include very
many pianoforte pieces of a popular kind,
parisongs and motets for chorus, as well as
single songs. j. a. r,*u.
WILMS, JohaBo WUholn (Jao Willesss)
(k. Witzhclden, West Thuringia, 30 Mar.
1773; d. Amsterdam, 19 July 1847).
Dutch pianist, harpist, organist and com*
poser of German birth. He is known chiefly
as the composer of the Dutch national song,
* \Vien Neerlands bloed door d*aderen vloeit ’.
He was a pupil of his father and his elder
brother, the latter of whom was organist at
Elberfrid. In 1791 he removed to Amsterdam
where he took th^relical lessons from a local
teacher and himself started as teacher of piano*
forte artd harp, in both ofwhich he excelled, and
he appeared frequently in public as virtuoso
on th^ two instruments. When in 1815 a
prize of three hundred guilders (about ,^^ 5 )
was olTered by Admiral J. H. van Klnsbergen
for a song to be sung in celebration of the
victory of the Dogger Bank he entered with a
setting of a poem by Hendrik Tollens and won
the prize. In 1824 he was appointed organist
at the Baptist Church in Armierdam.
Besides the melody by which he is still
remembered he wrote other songs, a Sym-
phony, which in 1820 won a prize In a
competition at Ghent, and three pianoforte
cofscertos. In later Ufe he was, as a tribute to
his efr<«ts on behalf of the art of music, elected
an honorary member of the Toonkunst
Society.
WILSON
\VILSON (John— i)
Ajithrto*; HoUaad, HweNatdaack
blord (mui. ex.).
WILSON. English family of lausician*.
(i) MatUcU E11«b (knoun as Hilda)
WUaon (fr. Monmouih. 7 .^pr. i860; /
combe, iianu, 1 Dec. 1918}, coniraJio singer.
She was (he daughcer of Jamn \Mlson, a
musician and bandmaster of (he local \’olun-
teer Corps, She studied music at an early
age and her parents having removed to
Gloucester, she sang in ihe choir of St. Mil*
died s C hu rc h ll icre. In 1 874 -7 5 she a |ti>rarefl
as a solnisi uid) the Gloucester Choral Sociriv.
l.ator she studied staging under Shakespeare
at the R..\.N!. in l.onJon and (he ptanoAirte
under Nforton. From i860 to i8Ai she was
the West RIOT laruJ Sclu>Ur there and in 1H62
the hold« r of Ihe Parepa-Rnsa Prize.
In t68u Hilda Wilson sang at the OUMKrstrr
Ft'stisal with such success that she was engaged
the lu’o rollosxiiig years ri»r Worcester and
Hereford, Later she sang as principal
roniralco at the NorwUh and biriMingham
Fcslivnls in adtillion to those alxnT namnl,
with engagviricixi at ihe .Sarred Harmonic.
Royal Choral Society. Cr>sial Palace anti
Philharmonic Society in Lnmlon. as well as
at various eonreru tliroughoui ihe Cniletl
Kingdom. She became a great favourite on
account of her fine v’oiee, the peifn lion oTlier
style and fiHrasing, and nf her muiirianly
ftt lmg. On lA .Iulv 190^ she marned Ashley
Richard Hart of Clifton.
(a) Agnaa Wilton 'k, Gloucnier. 8 Oct.
iW>j; H. I^ntlon. y? .\|>r. 1907). singer,
sixer of the pretethng. She sluslirsi singing
In ].nn<iun under Viscid. She appeared at
the Lincoln. Hovingham and Herelorri
Festivals, and l.iter Ijecamv a Ic.vher of sing*
ing ai the Plarkheath and We« l^dr.n (Um.
scrvaiorics of .Music.
($) Htar> Lane Wiitoa L Gloucester,
1871 ; 4 . lj)ndon, 8 Jan. 191 5‘. organist,
pianist and l>ariior\e singer, brother of ihe
precetling. He won success as a singer.
conkp«iM>r anti arranger tif songs. A. c.
j. s» Tot VI r (;br»» •, «rfkl, tn,i.
WILSON, Joha {b. 5 Apr. 1595 • ;
*/. L/Ondon [ Wcviniinster). 23 Feb. 1674*.
Lnglwh lutenix. violist, singer and com*
I^er, Antliony \N*ood calls him a native «»f
kaviTsham. but the Favrrsham regisiert do
not go hack to so early a date, and nothing
ii to be learnt there al>ou( his family; u
svoulil seem, however, that he was • kinsman"
to Walter PorlvT, tlw musician,* \>*ood*i
statement that he was " naturally inclin'd in
hiv youih to vocal and instrumcnul Mustek"
Is corroborated by the fact that before he was
iwmiy he wav employed to write music U>r
The Slight of FV«e». Pjeir«*d By the
01 (»r#»es.W. .c Ihe C«ir« of WSiie-baJI. in (h«
' AcoseUinc In hi» lombslene.
• Wood. * P«>U’. anno i6«&
3'«
Banouenuic Howv, vponTwelCe hii?li(. 1G13 |tv. 1614).
8ein« she IxH nf die SMVnoniiri .suU .M.ai(AiricejiC'i
Hhieh were ficrtbmMKl ai i>,e nurrMicr f>( dir
hoMuraUe ihc KarV Snmemi. xiiJ Oi" l,a«b I i.uko
daughier of ihr l.urV •<( SHilliJkr, Ixol <*li.iml>rrlaMie.
l^tkduA Pruned by N. (>. Ibr K'llurt WMwmi. atrl are
10 be kM al iHr bhop al OrAui'IiMK new gate. i$i4.
Th«* music to somt' of iIk* s<»ng' g:vrn with
the deicri|>tion of cIk ma>qur; u h.is no
composer's nanv*. an<l (lopvrjrio ^nd [,.oj|rr
api>car to haw rollalx)r.iicd in it. Hui
^Vllson*s aullior>hip is aiUsird bv his havirjg
printed it as hU, in a (hn'''*parl arrang<*m« nl,
in his * tUio'ifvdl .Vyrrs ’ (ibbo', J'oiNjblv
this is not ih'* only siagi* mu'lc uritten by
\Vilson in his )nuih, for he printc’d ses’cral
songs from pb^s among hiv \Mir publii atinnt,
including sellings <J ShakesiH>;.r< ’» " I'.ike,
0 take ihov lips aujy" ami •‘Lawn as
white as driven snow ". Kimbaoh > liuh ed
maiftiainetl what is virrv Iikeb to Itc the f.ntk
1 ha I VNil'on was tin* si age sinc< r who look the
piirl *j( Ikiltharar, the (haraiirr who sings
"Sigh no nsorc, laches ", in ytitne perroiin.im c
of 'Nlmh .\cio .Mmiui Nothing', In the
hrvi fohu edition c^.Miakes^X'.m \ |l|,l\^ 1 ibj;^
the stags- dirretiem has " Ltiter the PriiKi*.
lu^mato, Glaudwi and Jackr Wilson 1 his
Jacke Wilsrm was m«isi hkelv the s.une " .\|r,
Willson v« singer" whn wav among the
friends of .Mlc^n (Iw actor* and dined with
him on his wi-ddlng annivers.vy, 2j On,
r6/o*; ami the s.vme John Willson who w.-n
recommended lu the b.rd Stasoe and court
of .Mdrrmen liy Henry .Slontague. \*is<tiunt
Mandeville, as one of (hr " Serv.mts of the
Cilj for Music and voice " on 41 (h 1.
The " jolm Wilson Mu'iclun •' of iJo* parish
of St, Bartholonu w the Levs, w hose w ife Jonc
wav iHiriesi at .St. (iilcs’s, Gripplegare, on 17
JuL 164 p and whose von was brrjed there
the follow ing 5 Ss-pt., "from the hoiwe of
Gco^e SommcTset. musiti.ui ", w.is prohably
ihcsam.-, ihoughj. I*a\nr Golllrr’ took him to
be klenilcal wills an hifaist born in iVlj son
of one Nitliolas Wilson, mitwirel. ofSi. (;ilt-s*s,
Cri|)|drgatc. Kxcept that the rombination
of namev is a very common one. (here seems to
he no reason for doubling the isjeniitv of ihc:5c
Wjlums with the suldrct of this article.
In John W'dsim wav made one of the
King's -Musicians, The warrant fur hiv
liveries it dated 30 May 163^ and 0 iwtcni of
ps*f annum •’ lo con Ilnur during life ”
liearr tl>e same dale. His name nriirs attiong
the musicians up to 1 64 1 . when he It fou neen t h
on the list of musicians " F«- Lutes, \‘lolU anti
jd.cp »> iiwn: 1104b)
It It dial hr ni*v i»xve been mlimvte wlih
» Wrfnui.0.1 copy n| Sis
n«fk« .1616 .wM bv Mewn. SeibrW, iBDce.
tiiend, Mr. Js*»«. Udton, Ben iMwon's Uuift xnd Mri.
monv <4 b^ love ".
' llwu.ry of IXitwich CfiWtxf '
'rri* .... * ’ MemcinltfancJa \ n. lov
Ywipti As ion Ml ihe Pliyj of Shxinpean- * r 1 ojc).
3' 2 WILSON Uohft-i)
Voic«”', and on tho list of His Majesty’s
Scr^anis of ihc Chamber in Ordinary ((641)^
printed in ‘ The Musician la May 1897.
Wilson seems to hat-e been a favourite with
Charles I, and
giving Kit Majmy coosUnt aitefxIarKc. had e(WA>
limes iuK opporiuniites ta cxeeciie his hand mi (be
Lute (being the besi at i( in aJI Enelend) before bin
10 tiis great delighl and wonder ; who. while he (>Uv^,
(lid usually lean or lay his hand on his shoulder.
Other evidence of the king’s appreciation of
his singing is found In the verses prefixed to
the ‘ Cheerful! Ayres *, During the Civil >Var
\ Vi (son went with the court to Oxford, where
on 29 Nov. 1644 he signed receipts on behalf of
the musicians. On the following 10 Mar. he
was ma<lc D.Mus. by the University, being
" now the most noted Musitian of England ".
After the surrender of the garrison at Oxford
in 1646 “ he spent some years in the family of
Sir Will. Walter of Sartden in the Parish of
Churchill In Oxfordshire, who with his Lady,
were great lo\rrs of Muslek VN'hile living
there he contributed ‘ An Tlegie to the
memory* of his Friend and Fellow, Mr. William
Lawes *. to H. Lawes's * Choice Psalmes *
(1648). It is probable that he de^'oted his
time to composition during this period of
retirement, for most of his published music
appeared lieiwren 1646 and 1660- At
length ", says W ood,
iiMn ihe desire of Mr. The. 6erl*w Qu. Cff W.
(then l^luter ti Churchill) made h» oiMCMUni
I'upil Dr. Jfth, Owrit, \’ireehancrMnur ef ixi« L'ru-
veniw. he w«i cMWtiiuied M«M<k ^efeteoe (heceef.
an. i which with other helei from tenie Rnyalnu
• n thete partt (he hstinc then a l.MlgiBg in B*ll. CMI.)
found a rAinf>nsble sulnSitance.
Wood mentions him among those who
a I tended the weekly music meetings at Oxford
in 1656 (" he sometimn play'd on the lute,
but mostly prcshlcd the consort '*) and
describe the " humoursome way'* in vrhieh
hr showed his admiration of Baltzar's violin
pi ayl ng i n 1 658. Wj Ison held t he profcssorshl p
until i66t. In 1657 he published
ruilieriuin C.irolinum, The Devotleni of hn Sacred
Meje^tie in his SoliiiMlM end SwITerines. Rende red rn
Vene. Sci lo Mutick for 3 Vokes tml an Orfsn. or
Theorbo, By tohn Wilson, Dr. and hlusiek Prolneor
of OxforJ. (.onclen. Printed lor John hlanin and
Jamn Allcsirry. and are (o be sold ai the Bell >n
Pauri CiiurcK«)ard, 1S57.
He speaks of this work as '* the last of his
labours", and Lawes in a commendatory
poem urges him to call back his '* resolution
of not composing more It may be, there-
fore, that his next publication was merely
a collection of his early songs revbed and
rcarrangcri. This was
Cheerfiin A^rei or Balladi Pir«( composed fee one
sMtgle Voice and tlnce sei fur ihree Vokes by J^n
* H. C, de Lafoniaine, ' The Kino’* hfiralck *, pp. gc*
loi, eie. In the Itni ediiiMt of ihi< IK<iio*Utry har noioe
i« sail! tn be found in a liu doled 17 Apr. 1641. ed
I* hfisiriant for (he Kaytei (ne>. bui ii may ^ coo>
jeclured ihai the same appoinimeni is meoMC
Wifaoe Df in Mustek Profeaor of die same In the
Unwemiy of Oxford. Oxford, Pria(ed by W. Hall,
far Ric OaxTS. Anno Dorn, mpclx.
This is described as ‘‘the first Essay (for ought
we understand) of printing Musick that ever
was in Oxford
At the Restoration Wilson relumed to his
plRcc of Musician in Ordinary*; and on 29
Oct. 1662 he was sworn as Gentleman of the
Chapel Royal in succession to Henry Lawes-
Woc^ implies that W ilson had been Gentle-
man of the Chapel Royal at the beginning of
his career, but there is no record of any such
earlier appointmenu Wood also says he was
made “one of the Choirc at W'cslminsier ”,
ll was at W'esiminstcr Abbey that (on 31 Jan.
1871) he married Anne I'enniall, widow of
hfatihexv Fenniall, who had been a Gentle-
man of the Chapel Royal. In the marriage
licence Wilson is described as “ of St. Mar-
garet, Westminster, widower, about $8
He died at his hoxise at the Horseferry, ^Vesi-
minster, and was buried on 27 Feb. 1674, in
the Little Cloister, \Vestminster Abbey. By
his will, dated 30 Apr. 1671 and prot'cd ifi
Mar. 1674. he lef^ all his properly to his
widow, with the exception of a bequest of 40s.
to his daughter RebKca Bowreman, “ to by
her a Ring ”.
Besides the publications already mentioned,
ionp and snatches by Wilson appeared in hit
lifciime in Play ford’s ' Select Muiicall Ayres
and Dialogues* (1632 and 1853)1 'Select
Ayres and Dialogues* (1859) and ‘The
Treasury of Musick’ (1869); in Hilton's
’Catch that catch can', 2nd Hiiion, correct^
and enlarged by J. Flayford {1656) and in
Playford's ' Catch (hat catch can : or (he
Musical Companion ' (1667). The words of
an anthem, ' Hearken, O God arc In both
editions of Cl i (ford’s ' Services and Anthems '
(1663 and 1664). Much manuscript music
by Wilson exists in the B.M. and elsewhere;
in particular there is a large volume in the
Bodleian Library (MS Mus. b, t), to which
it was presented by (he composer before the
Restoration, on condition *' that no person
should peruse it, till afier his death ”.
Wilson, according to \Vood, *' was a
Humourist and a pretender to BulToonry ,
and Sir N. L'F^irange’s manuscript ' Merry
Passages and Jeasts ’ (B.M. Harl. 6393) Si''"
an anecdote of bow “ W'ilUon ”, who rnay
be supposed to be John Wilson, prov'okM
a drunken quarrel, in the company of the
brothers Lawes. But Henry Lawes, who
evidently was intimate with him, presents
him in a pleasanter light :
Fmib toM s«nuakiUAee snd expetlenre, I
Co^ trR the ihy kiwur* mtPST'‘V ^
Ubio Oiv tnrr>d j ihy uw snd hw*f heart,
Cv^a VMfKi. food lUlure. all bul (hv rreii orl.
Whkh I bul d uWv undenUftd. _
• SW* The KJBe‘» Mmiek ’ for "x^nv
• Foam's ‘ Laadoo MarTia»« LicentA (1887).
\\'ILSON (John— ii)
UILSON' (Sieuart)
3'3
\N'ilson's great repuiaiion among hs conirm>
porari«s was doubtless due chiefly to his skill
as lutcni&t and singer, though U'e^ calls him
** the greatest and most euricHs Judge of
Nfusick that ever was ", and Ljuys praises
him as a pioneer, in ^sords which seem nsore
appropriate to Lawes himself ihan to Wilson :
IW il««« I an«l mui I (/> (hv fWAiv,
I K;ii ihou hnti gu«ae in .NSntKk, tihbwnit wam.
a ^ih nlirtf iFvrre hm Monn before,
t.ikr Mavcli^ cta<r.| M( unkiMHn >h»fe.
*l hnu Uunhi'H wnr l^uu««r. hM, hj »peak in Th««,
lJa^ vt lh« r»|hi diiniit and si««jperliMi.
Ill' song' are pU a'wint and mi ludiov', arul one
or iwo of them huch as ’In the mrrr^ tisonih
of May '; are still met uiihin anihniiigies, bui
il IS pnjkialily as an early composer of music
in Shakes (KM re\ words iImi Ik* i> now ln*'i
knov.n. liis porirait u in the* Ikxlkian Music
Sih<K>l ai Oxford. o. k. n. a.
WILSON, John i. I'4)inl>urgh, aj Dec.
i«W; c/, (^uelxr, » JmK l «(0 >
Scoitish tenor sini<er. Me was a|>|)n'ntueil
to a printer and artemards iKcaine corrutor
<i{ die pr<*$s to Ikillantvrir & (>>,, many of
Scott’s Waierley r>gv<h passhif through his
hands. In lUib he applied himself ie> the
study of inusie . After oflKiaiing »v pr<‘i‘enlor
in a church, he Uome in iH^i a puful of
1* in lay iJun aiul soon afn ruarcU afipeared
ni die* l.iiinburgh coiueru. In tKa? he
hegan i< jelling singing. Me siudh'd unekr
(irixelli, jhd 1(1 star. 1^30 a|>p<Mreil at the
lidiiilnirKh dieatre as llrnry Ken rain in
a dram at i< version of Siou*» • Ouy .Manin *.
ing ’. Mis success was so dev idee I that l»r \sas
straightway eugagiHl in laxKhm fi>r Cosvnt
(rarden, where be eaine out on 16 <><t 1II30
ae Don CaHoi in Sheridan and Linky’s ' 1 he
Dunitia Me cnnnnu'd at ihat theatre uniil
‘^ 5 > "hen he nniovcel t(» Drurs l.anr
i'lu alre, isliere he s.ing in Ibife's * Sse ge of
Keiche lle * imd other opiTas.
In 1K3H, in company with Jane Shirrelf and
Mr. and Mn. i;. Seguin. he sisuej .\n»eriia,
where he ssas warmly welconiexl. (hj his
rciiirn tn l.ngland he began giving ilwse
bcoitish " table enierl.immenu ’* with ssIikIi
his name subseeiuemty Isrcame Ideniifird and
to which freon May 1841 »ie exclusively
devoted himself. >le g.^v,. ihcm throughout
l.nglAnd and .Scotland with the greatest sue-
cns. I heir titles were:
A \i<hl vr»* Rurtn,'
Afinl«<f ,N«hi wT
A IseniMCrs of Pomr (iiarlir '
VVjndrriof tVaBri,’
M-cv nf
HrU,.*
.Jj*' jf ViaJjM.!/
I he WjDjsr .snil ihe Bco,-.*
A tJjscr Ki* flon.'
Ilif Jjtr of binli has 1,^ b^ i 4 tt
lo il.r ,ft«, ihe ,U w*
W Wjlvir,. a .^chnltivor, and ^*1 horn eai l>t
i«oo and UpiaeU on 4 laot. ^
tart>' in i8|<> I»r revisited .\mcfica. At
Quebec he was atiackc*d by cliokra and died
there. W ilson's txsicc was a jwtre, sweri-tonexi
tenor, and Itc sang with grcai lasic,
VV. II. II,
WILSON, MaHa MinJun, 30 Nov.
J9051.
Knghsh violinist. She wax langhi hy Jicr
failscr until sJie entered ilir K.C.M. in if) 19,
when she gaiuccl a srholarsfiifi and sMiti the*
Tagore gold medal. She was si ill a scholar of
the K.C..\ 1 , wl>en in i^jfy die* ohiaiiud » place
in Ihe .New Queens Midi Orchesira, ihen
conducird l>y Mr Henry WVkmI. She also
played much m cimmher music and in ipa?
became ilw sinlinwi 10 a irio fornied hy the
pianist He nrv llrwikhiir't, whcun vhe married
•n icjrfC). She liecamc a minilx r of the* ll.IkC.
Symphony Onhc'iraon its foundaiion in ici^o
and advanced to the poa of sub-principal. In
icyiG site jotmxJ the »iair of the R.O.M. as
prnfexsor ol her iiisirumeni. 11. c. c.
WILSON, Mary Ann b. I.tMidon, illn*;
/ ioHMlhur'i, Keen, 13 IVc, ilMi? '.
Knghdi tofirano singer, .She wav taught
singing Iw IhcMiias NWIdi. Her hrvt ap|>ear*
ante* liefore the l.(»odoii puhlh j| JJriirv l-iiu*
Iheaire on iH Jjn. ilDi, as Mandjiie In
.\fiH'*v • .Vi.isc rAvv *. caused an inmiediatf
/•/ore, av inu< || f(,r her youth and h-)ks as for
her froh voice and bnlluni dtiging. She
remained ik re unni •, Jidv, *' ahout (15
mghiv according to (ienc vi. “ wonderfuily
aitrjecivr ‘7 Her other pai u wtr<‘ Kosetia
r Love in a Village 1, Clara ' Ihienna '1 and
Lady CayLind *’ False .Marmv’i, etc. Aflrr
an cciuallv wKcewful pruvimi.il mur she went
tlw nest year to Italy. J'he pre/nalurr sirain
of Her early csertinn', howrv c r, soon tuined her
health and then d«'strc*yrd her suicr. flut
her short carc'cT was very lucr.iiivx*, mul in the
year of Ikt cleUii she made the unpricedcntcxl
sum nf ^loAKi.' On 3 June die marricxi
\N'elsh, and by him had an only daughter,
who marriixl hatli,
WILSON, Sandy, Ste .Sokc, p. ci^8.
WILSON, (Sir) Sieuart fF Chiton, 21
July iSUcp,
Knglish tenor singer, song translator and
musical o^anircr. He was educated at
Winchester College and Cambriilgc Ciiivcr-
sity. A musician <»f many parts from an early
he look a share, both as an under*
gr^uaic and later in many musical aciiviiies
at Cambridge. Me studied singing with Jeaa
dc Resike and Sir George Henschcl, and ii was
afier the war of 1014-18 that he came promi-
nenily Iwfc^c the public as a mcml>cr of the
.A««rJin« lo tUr unw .suchortw a
fMiflinc H*, by I.HntoM. In
ipc-« «A H«s'Ik1K io »<d ,nk *
Ihc iltfv *’ (Jlo(.4,*ft bhisbn
n«n^l Mioile uf
. isorumii prev*
cjllrJ l>> die ojK, of
3*4
WILSON (Stcuart)
WILT
English SingCTS group. The idea of a team of
solo singers for the propagation of ihe Ei^lUh
madrigal wa;» hU. In subsequent years he was
also interested in several operatic ventures,
notably the British National Opera Company,
the introduction of Mozart's operas at the Old
Vic., the Glastonbury Festivals and the
festivals of opera organized by Napier Miles at
Clifton and Bristol. In all of these be sang
leading parts with distinction, although
neither his voice nor his temperameni was
primarily that of a dramatic tenor. He
took a leading place as lenor soloisi in the
English provincial festivals, gaining special
success as the interpreter of the namc'part
of Elgar's * The Dream of Gerontius ’ and in
the choral works of J. S. Bach. He studied
(he method of rendering the recitatis’es of the
Evangelist in Bach's Passions with unusual
care so as to achieve in them a delivery akin
to good reading, yet Bllcd with an intense
dramatic expression. Indeed it may be said
that Sieuari Wilson's sense of drama expressed
itself more readily in music not allied with
stage action. In all his vocal work anistic
sensitiveness came to the aid of a voice origin*
ally of line quality but unfortunately rendered
somewhat uncertain as a result of injuries
incurred in the war of 1914-16.
Wilson made various concert (ours in the
U..S.A., in Canada and in Australia. He made
a name for himself as an apt and penetrating
judge of performance at musical competition
festivals. In 1937 he surprised even those who
had known the versatility of his musicianship
by appearing as conductor in London of
Boughton's opera * The Lily Maid These
performances were made possible by his
generosity. He had been awarded damages in
a newspaper libel action by which he did not
wis)] to profit personally; consequently he
devoted the sum received to bringing on lo the
London stage a work, hitherto unheard there,
by a composer for whom he had retained a
sincere admiration ever since his association
with Glastonbury.
In 194,^ Wilson was appointed Musical
Director of the Arts Council Great Britain ;
but in 1948 he left that office, in which he was
succeed^ by John Dennison, to become Musi*
cal Director of the BB.C.. a post formerly held
by Sir Adrian Boult and vacated by the death
of Victor Hcly* Hutchinson. The same year he
received the honour of knighthood. In 1946
he undertook to act as Hon. Secretary of the
Council of the Central Music Library, and he
continued to do so until that scheme was fairly
launched, thanks largely to his efforts, and the
C.M.L. w’as opened in Oct. 1948. Having
reached the age*limit imposed by the B.B.C
appointment in 1949* he accepted that of
Artistic Director at the Covent Carden Opera.
Wilson applied himself to the problems of
song translation with his friend A. H. Fox
Scrangways in the ct^umns of M. & L. To*
gether they produced a number of translations
of Schubert, Schumann and Brahms which
were published first in that par>er and subw*
quently in book'form. Wil^n also retrans-
lated the texts of Haydn's ' Creation ' and of
Brahms's Requiem, and he has contributed
various articles to the musica I press. He edited
a collectioQ of Fox Sirangways's writings
issued in a volume called * Music Observed
From these details it may be seen that he is
one of those musicians who are more concerned
for the progress of musical life in its several
aspects in Er^land than for the advancement
of (heir own personal careers.
H. c. c., adds.
Sft a/** Bou^MD. Boulc Enalith Sinfcn. Foi
SiraoewAys (eO. of ’ Mumc Ubtcrwcf'l. (' Mom*
ina of iHc Yrar*, choral Mlkt). [.abrartei (Central
Mu»tc Library), iSe. MUn ^Napier;.
WILSON. T. (? Themafl) (^. ? ; / ?).
Englisit cyth'century singer, organist and
co.*nposer. A singing*man of this name at
Ripon Minster was appointed to play on the
organ there from 1670 lo (677 in place of the
regular organist, Wanless, who had become
deaf. He is referred to u organist of Peter*
house, Cambridge, where much of his music,
detailed below, is preserved :
V. aod T.D, ; M, and N.D. (» mKiacs) ; Latin K., C.
and $.
ANTHEMS
* BrhaU hew feed and /eyful.*
* Brhetd new, praae the Lord.*
*6let*rd it the man that tearcih.'
'Chrm ritinf.’
* Lord. Thoo art become iracieu*.*
’ rrevent ui. O Lord.*
* Thy mercy. O Lord *. incomplete.
* Turn ihy face *, inoemplcte.
Seniors of she Cellecti for the Fewu of the Circum*
cisMO and Sc John ihe Evanielist.
Single parti of the following are also at
P.H. r Latin Litany, CoJIecls for and and 4ih
Sundays in Lent. Another anthem, ' By the
waters of Babylon is at Durham.
j. M. lii).
WILT. Marie (bom Llebenchaler) (f-
Vienna, 30 Jan. 1833; rf. Vienna, 04 Sept.
1891).
Austrian soprano singer- She was ihr
daughter of poor parents whom she lost in early
life, when she was adopted by a eoupic named
Tremier. She married a civil engineer or
architect, Fran* Wilt, and first sang at con*
certs, making a notable success as Jemma m
Schubert's ‘ Lazarus * under Herbeck, Ad-
vised by DHitie Aridi to adopt the operatic
stage, she received vocal instruction from
Cansbacher and Wolf, and in Dec. >865
her debut -t Orar. The following year she
sang Donna Anna in Berlin. On 1 May tw,
urtder the name VUda, she first appeared >o
London at Covent Carden as Norma, with
considerable success, and later as Lucrczia.
WIMMER
WIKCK^VORTH
She sang again in 1867 with lets eflect. Be-
tween these yean she sang in Venke and
Vienna, with such success at the latter as
Leonora in *Trovatore' that she was perman-
ently engaged there in the autumn of x067-
She became a great fasxHiriie both in dramatic
and coloratura parts, though physically un-
fitted for the latter on account of her corpulent
person, to use the words of Hanslick.' On 35
May 18O9 she sang Donna blvira at the open-
ing of the new Vienna Opera. In 1874 she
was the first Aida there and in 1875
original Sulamiih in Coldmaik^s ‘Kunigin von
^aba *. .She was alv> a great fasourile at
concerts, and in 1H73 sang with great success
at ilic Kheiihh Ir^iival at Aaclwn and the
Schumann Festival at Bonn, .\ccording to
Hanslick she was unrisalkd in ' .Alexander's
Fcau \ ihc Ode for St. Cecilia's Day and
Brahms's Urquiem, On the stage, Ikc sa«,
ilic M*% a m\MU jI mnr^inKnt i cW
llir «dr; s tlcr|ier iii.prfixvn r^rtU nMJr wpwt mt
Nvt a »»l <ifjrn.iuc uIfm( or
In J874-73shc N\ at again al (knrnc Canlen
as Dotma Anna, hcnuratnidr, \ alrnticw. .\h<c.
etc. ; hm in spite of her tsunderful vuicr of
gn at volume and compass, and isrrfect
produeiion and >i>le " <. she did isoi make ilw
stutessihat uas expected, Jn 1878 the did not
renew her rrigagrrnem in \ ienria f«.r family
reasuns. hui became cuKageil at l^ipaig,
where she added Bruiitilxildc to her repertory,
lat< r at Urno and Uu<Ja|>rsi, airigmg occasion-
ally a» a " guest '* on the Mage of her natis'c
city and taking up her rcsidemr there on her
reurement. fbvuig fallen lK*prIml> m love
at lifty-eight with a man much younger ilian
herself, she tnmmitleed snKide by throwing
h<' rse (f out of it fou n h- Hi>or \s indotv. a . t-
Wiosmrr, Jac»l>y» AatanUa. v, M uati ,■ Sthul*
kllcL.ll <|F. i, *,
WINCH. 5 W lioRV, p, 3-1.
WINCHESTER TROPER. JVre are
two niamiv npii of this I ropcr, one at Oxford
(UiKlIry 77-^;, ,|jtr«| iH'iuren gjy and loib
and the other at CamUidjr (C^pus Chriin
College 473J, rather Llcr. J'hc Cambridge
irnpof con I aim hy far the earhcM cdleclkn of
harmonized niudc kmmn to exist, antedating
by a century w so the ‘Call x 1 Inns 'manuscript
ai O(>nipo<tella and the harcnr>ni2cd tropers of
the .St. Martial group. Tim cnilcetioo, which
IS known as the ‘ SVincheMer Organa ', cooi-
pri>« no lexs titan 1G6 pieces in two-part
harmony - ta Kyrirs 8 <;iorlas (one of them
in C/reck, wriiicn :n roman characierx), ig
Iracis, 7 Sequences 5C Allclulai, 59 Re-
sponds, including a few Antiphon*, and A
sunriry troi>«. They are written in neum-
tioution without any siaff line and arc ihere-
lorc umranslaiable; but contrary motion, the
ihi, ^ « Ae m cd. ef
earliest on record, can occasionally be dls-
cerrted. a. Jt.
Birt --HA-rwcMJf., J,. 'Two Kin<h«tpr J rotten’ m
jMriul oT Ihralosual biuUi»-i ’, XXXV 1 1 . x*.
lyiuatAr.
Th« Xtinchrsirr Troprr \ «d. \V. 11 . f'erre dleiiry
BtadUuiw S«ct^y, iS^t).
WINCKRLMANN, Hermaius (A. Bruns-
wick, 8 Mar. 1849; rf. Vienna, ttijan, igia).
(jvrman tenor singer. With the micniionor
Itecoming a pianoforte maker he wetii to Paris
for his training, hut hr abandoned butlricws for
a vocal career. After lessons in ringing from
Krtcb at Hanover he made his drltul in JO65
at Sondershau*rn. He ^ang snccvtsiwly at
AUenburg, Darmsiadi and llantburg, where
on I Nov, 1879 he made a great tiirces* as the
hero on the produciion of Rubinstein's ' NVm *,
On 18 May 168a he made his l.ondon debut
at Drury Lane Theatre, under Kklner, as
l.ohengtin 'in CJermani, and atiratied im-
mediate aitenlion on ariomii of hi' fine tenor
voire, marih pri**enee and admir.tble aeiitig.
Me sang alvi as 'I'annh.insrr and Hal ilie
original \\ahher t<ut Sf<»|<ing and 'Frisian tii
I'.ngland; lie was admired in all three pans.
Oft ro Juftc he sang at a Rirhier concert in
St. James's Hall, w«h Ko'A Sut her in her
UusUnd'i Josef Sorlierf • WaUifr.udein and
oil 3b June in Bsrtliomrs choral Symphony.
On 3b July 1884 Winckehnann Has the
original Parsifal at Hayreuth. In rH«3 he was
engaged for Vienna, the result of siirrcMful
" (lastNpirIc '* tisere Ufore, in operas bv Wag-
ner, Mi-yerbeer, etc., and on 4 Ocl. lie and
.Sfaterna were ihr Iijm Tmian and Isolde in
Ilia icily, lie liecame a gf«a l fa\ ou n 1 e t he re.
In operas new to N'iriina he s.mg (he tenor
pan* in Marschner's ' \ ampyr ', M.issenei'j
*(.kI , \ erili’s 'OielJo', Merlin on produuion
of <ioWmark s opera <>J limt name, Admeius in
the revival of (.luck's ' Alcesie ’, Rinafdo in
the revj\al of the same masu r's ' .\rmida
etc. On I June 1908 he retircxl on a |)ension.
Hans, his um. was also an esttx iui d heroic
leiK^. who appeared first at the Vienna Opera
»nd later in Prague and elsewhere. a. c.
WiMkvlttAAQ. JMchin. Srr
^tponuni, ofv*« ? „„ > M,,n^„nff,fi Anudii *1.
WINCKWORTH, Arthur Bath. 1866).
English ba» singer. He started his musical
career as a dwir-boy in Bath Abbey. When
his vo«c had liroken and developed into a bass
be studied singing there with Kmilio Picraccini
ai^ later went to Italy to study operatic parts
with B^ignam. In 1894 he joined the Clarl
Kosa Opera Company as principal bass,
^matftmg with n for many years and appeat-
•ng in about 60 operas. He was also the com-
r^ys artistic dieector from ig:6 to lOii and
/A prine ipal of the Carl R<«a School
Vwrs he appeared at
the Old Vk, Theatre, e g. m ‘ I>on Giovanni '
as an exeelicni Lept^dlo. e a
3i6
WIND BAND
WINDSOR OR ETON TUNE
WIND BAND. Brass Ban c>. Dr vu and
Fife Band. Military Band. Waite.
WIND -CHEST. Tbc box-like consi ruc-
tion in an organ which receives the wind from
the bello^sE and supplies it to die pipes above,
when (he pallcU in the w’ind-chest axe opened
and (he sliders drawn.
Set Mht Orean.
WIND-GAUGE. Organ. Tell-
Tali.
WIND-HOLE. The hole in the boot or
foot of an organ pipe for admission ot (he wind.
WIND MACHINE (also called A«oU-
phoDe). A contrivance used on the stage
wliich cannot be properly called a musical
instrumeni. but which has been occasionally
used by composers, as fur instance by Richard
Strauss in 'Don Quixote', Ravel in 'Daphnis
el Chloc ' and V'aughan Williams in the
' Sin Toni a an tardea *. It is a barrel covered
with silk which, on being turned more or less
rapidly, produces increasing and decreasing
noises by friction closely resembling the
soughing of wind. The objection to it as an
element in composition is that It produces by
realistic means what music should suggest in
its own terms. a. •.
WIND-TRUNK. A large wooden or metal
tube for conveying the u ind of an organ from
the bellows to the wind*chcsc.
WINDET, Jobn {b. ?; 4 . London, ?).
English i(iih-i7lh*crn(ury typographer and
music printer. He lived in London in the
reigns orKlieabcth I and James I acKl was in
business from 1584 until 1611. Hit first ad-
dress was at the ^^hile Bear in Adltng Street,
near Daynard's Castle. In 1394 he was at the
"Crosse Keyc»"ai Paul's Wharf. He printed
many editions of Sternhold and Hopkins's
Psalter and numerous musical works, fie
held an assignment of printing rights from
William Barley,
Windet's publications include Grcav'cs's
' Songes of .Sundric Kindcs ' (1604), Hume's
’ Ayres, French, Pollish. and others* (1605),
' An Howres Recreation in NTusieke * by
Richard Alison (1C06), John Bartlcl’s * fiooke
of Ayres ' (iSoC), Mirhacl Last's * Second Set
of Madrigalcs * (i5o6), Robert Jones’s * First
Set of Madrigals ' (iIm?) and some others of
a »imilar kind.
F K., rev. w. c. 8.
WINDSOR or ETON TUNE. This famous
psalm tunc is first found complete (unless the
assertion be true that its original form U in
Nyland's * Piae caniiones In Daman's
music to the Psalms (1591), harmonised in
four parts and set to l^lm CXVI. Ii is not
in Daman's earlier work of 1579.* As rto com-
plete SCI of parts is known to exist, the melody
only can be quoted :
’ an of (his extremrlv scarce work m
Kawkifu, * Hiitory o( Murk ch. cavi*. abo I. 4^4.
This affords an example of Daman^s method
of prolonging a tune by repeiilion, of which
Hawkins speaks.
In 1592 (he tune appears in East's 'Whole
Booke of Psalmes ', containing the church
tunes and " other short tujies usually sung in
London, and most places of the Realme". It
is marked as being one of the laiicr, and must
(herelbre have been in use for some little time
previously. In East's Psalter it is harmonized
b)' George Kirby, with the melody in the tenor.
Daman and Kirby merely harmonized the
melody, but wltocver was iu composer, it is
only an adaptation of the tune set by Tye to the
ihird chapter of
TV Aet«t nf (he Apotilet. irafttlsted into Enjrivihe
kletre . , . wiih netf» w eche Chapter, to ivt^te and iIm
to pUi upon (V tuie
Here we hnd the ftrsl, third and fourth strains
of SVindsor, and a fragment of (he second. For
the sake of comparison Tye's tune is sub-
joined, reduced into score in modem clefs :
\VIND\VAY
WINGHAM
3'7
Jh host’s i’salu'f the tune hat no <lis(iJM:tke
n;iinr, hi it hi ibi> it was iwrtrd in the S<oi>
tisli (Nailer puhhthetj liy Amiro H.iri, is
OiiiiJie Ill RiveriHroft’s nbJM
ii is inirkrrl at in lviii(]i«h Tuitr ^imJ is tli'uMv
nam«*rt " Whultor or Kiton I he tune was
popular in Stoilaiul •. and this, coupM vxih
the SrtiitMi form oTIis eirJira name, Ini io the
lietirr 1 1 Ml It veat ttKJi^enous to ll<al countrs.
Ifi Hart’s IN.ilior of iGif, the nieUHl) ahuw
it svitli slij^ht varialtunt. irMlinliiifE iIm*
omission of ili^* an Menial ]rAfl|i)it-iM*t^. I Im
tnay ha\ e (>crn done lo ass im date «> rluirarn r
to thai ol other lunet in die <<>llc(ii<Mt; Ihii
houTver ihis may Im, the Mndeutal s\a\
retioml t</ the penultimate of ihe last
strain in Kahaiih JNaUcr lAlierdten. t&33'i
and ihroiiithuiii the tunc m i]»r harmonised
Scottish INalter of 163'’,, o. a. r„
WINDWAY. ihe narrow sht r>r ofientiti^
lielween ilir block or lauRUMb and llse cap or
lower lip of n flue ptjjc of the oraan. x. 1
WINESANKER. Michael (Maa) b.
‘loroftio, ? Aug. lyt3i.
(iana<lian com(H>oT, piarthl and wrllrr 00
nuisic. JJe studied at ilic GnKenitv i*f
Torotuo from luy, to it|33, nhere he Wk
the Miis.llac. decree, at the Vnlvrisiiy of
Mulligan in i93»j-.p. where lie became an
M.A.. and ai Cornell L'niverdiv from
to i^n, when he tduamed die (I1.D. While
at Toroiilo Unkrrsiiy he studied com|imition
prisaiely ssiih Heahy WilJan. and Ite ha<l
lessons m niWKobigy w«h Olio Kinkeldey at
(A>rne|| University. In 1937 he made hh
debut a$ a concert piAiiisi at Toeonlu. He
tauglil pi4nof</rie at the JlambsHirg (kmsersa-
tory, rtfronlo, in ippi for a year ami in il»e
summer of 1945 laughi musical iheurj ami
history at Bay \'icw Summer College, iu
i '1 ( r.- id he was a gu« i Professor of .Nts«iro|..gy
at Ihe University of TtKas before becoming
the Uw*' Ssl-raar rrfm c«
r«r.
Of ol.»inose Marisn, «.onl)r«((hr fvime.
(yn tr.wi !-> wlitft not to confuse it wuh die * Dunde.
Associate Professor of Musieal Literature at
Texas ChrUuan College for a year, and since
1949 he has been Professor erf Musicology at
the same University.
Winesanker was awarded a grant* in* aid
of research from the American Council of
Learned Societies in 1943 and a hmhrr grant*
in>ai<l of research jointly from the Carnegie
foundation and the research cum mil tee at
lexas Chriitian L’niversiiy in 19^1!. From
1948 to 19'^ he was secrciary <>l die ’Lexas
CJiaptcr of the Ameritan Musicologieal
Society and since 1930 he has been presiilenl
uf dx" Texas (.hapter. He is also a member
of the Mcxiirial Academy and a Fellow of the
.\meruan Counril of l.earned SiKieties. Ills
ci^tnpoiiiions include a pianoforie Sonata In
C minor, some songs and .1 siring Quartet in
(f major. He has wriilen some ariKle> and
relieve c, including ’ MijsHu*lJramATic Crlii*
film uf i8do(A't»(ury Ornik Opera* fjour.
.Kmrr. Musicul. Soc.. sutiimer lypp and * A
New Hash Ciniau? * {’ Ueviua dr estudbrs
musuales iu*,v , m. k. u,
WINCHAMj Thomas 'A. Lor>d<m, Ti Jan.
iHibi d. I^.ndun, ^4 Mar. i8y3>.
I.nglidi orttanict aikJ < ompou r. 1 le Ixx amc
organist of St, .MkIi«uTs Momimi Church,
Simdiwark, LuntJim, at ihe age ul le/i, and in
ift>3 entered the .Vademy of Music.
Four jears Uiir he wmi to ihe K..\.M. and
beeariM' a pu|MJ <>f Sternduh' (k'niwti for com.
fxssiiKsn and of Harold lhoin,i« lor plane**
fcirte. In 1871 Im was apjsoltiKxJ a pmfessor of
(hat Imtrnmem in the seho«d, and he w.i5 mb*
4e<iuei«lv eh c ted a fell<Av. ,\<, e.irl> as ilMH
Ise was apposnicfl nrganiM ol .Ml Saints
i'addingi«ai, ami in illba was givc'ii die |misi of
musuaJ director at the UrcMitpion Or.nory, an
oflice which he filled unh much dnimciioti
until Im dealh.
Hh church rum |X)d lions .ire inatked by
suavity rather than auvicrit), and |i is taiher
as a pic^nci r «f belter linngs in the music of ihe
Rfrman church than as a eoiniwer that his
name will be remetniMTtxJ. He raised the
sen iees at ihc Oratory ic»a very high standard.
His Mass in 1 ) major was <onipo»csJ for .\nt*
werp Cathedral in 1876, and anoilur Mass
was written in the hdluwing year for ihc
Oratory. A ‘ Tc l^um ’ fur voices, urchcsira
and organ was brought out at the Oratory in
1884. and in the same year his flne motet
• Amavii sapieniiam * was written for ihe
irrcenicnar>‘ of St. Charles Bofrt*meo ai the
church uf St, hfary of the Angels. Bays water.
\N'ingham left four symphonies (in 1) minor,
IL.A.M., 1869; in D> major, Cry'S!!! Palace,
1872 ; in £ muior, with choral finale, 1O73 ;
and in D major, $883). His six concert over-
turc^ are as follows; No. 1, in C major, Jubilee
of the R.A.M., .872; No. 2 <‘Lrc«*), Crystal
faUcc, 1875: No. 3, in I) major, choral,
WINKEL
3t8
Alexandra Palace, 1877 ; No. 4 (‘ Fair laughs
the morn Crystal Palace, 1878; No. 5, in
A major, Brighton Festival, 1879; No. 6
(• Mors janua vitae ’), Leeds Festival, j88o.
An elegy on the death of Stentdalc Bennett
was performed at the Crystal Palace in 1675
and a Serenade in major a( ihe Philhar*
monic in 1 885. A concert Capriccio for piano>
forte and orchestra, two string Quartets, a
Septet for pianoforte and strings and wind,
were completed, and an opera, * Nala and
Damayanii ^ was left incomplete.
j. A. r.-u.
WINKEL, DieiHcb Nikola tia (A. c.
1780; 4. Amsterdam, s8 Sepc. 1826).
Dutch or German mechanic. He lived at
Amsterdam and constructed several insiru*
men is for musical reproduction. It was he,
not Maelsel, who was the real inventor of the
metronome, although his device was perfected
by the latter. a. w. t.
Stt tU» Moelid. Nteirenome.
WINKLER, Alexander Adolfovich
Kharkov, 3 Mar. 1865; d. Leningrad, Oct.
• 935 )*
Hussian pianist and composer of German
origin. He studied at Kharkov at hrsi, later
with Duvernoy in Paris and finally with
Leschetizky in Vienna. After teaching at the
Kharkov school of music for a time he became
a professor at the St. Petersburg Conservatory.
NVinkler's works include *En Bretagne* and
Variations on Russian and Finnish folk tunes
for orchestra : 3 string Quartets, a siring
Quinicl, a Quartet for violin, viola, cello and
pianoforif, a Trio for violin, cdlo and piano*
forte; a Sonata for viola and piamkorte;
Variations and Fugue on a theme by Bach
for two pianofortes ; Variations and Fugtte mi
an original theme and numerotjs other works
for pianoforte ; songs, etc.
E. a.
Sh aif Rifn»l(vKorMk9v (ceHsb. in cKunber w>. A
K* Van.).
WINN, WilUam {i. Bramham, YMks, 8
May tCaS; 4. London, 4junc 1888).
English bass singer and composer. He was
taught singing by Sit George Smart and
Schira and made his hnt appearance in
London in Mendelssohn's * St. Paul ’ on 24
Oct. 1855, at St. Martin's Hall. He became
popular in oratorio and glee musk. In 1864
he wa^ elected a Gentleman of the Chapel
Royal and in 1867 vicar choral of St. Paul's
Cathedra). He was a member of the Noble-
men and Gcnilemen*$ Catch Oub and
Honorary Secretary of the Round, Catch and
Canon Club. His song, ' Nothing more *, and
the prize glee, ' Go, Rose are wclUknown
favourites. His eldest daughter and pupil,
Florence (L Nov. 1837), was a favourite eon.
tralto concert singer who made her dibut in
1881. A. c.
WINTER
WINNEBERGER, Paul Antoa (b. Mer*
geniheim o/Tauber, 7 Oct, 1 758 ; d. Hamburg,
oFeb. iSat).
German violoncelltst, organist and com-
poser. He studied under Magisier Heilig,
AbW Vogler and Hobbauer. At the age of
nine he was court aliist at Mergentheim, at
fourteen o^anUt at the Dominican church.
He studied ihedogy at ^Vu^^bu^g and Heidel-
berg Universities, and c. 1778 was teacher at
the Jesuit church and solo cellist at the iheaire
of Mannheim. In 1 780 he became solo cellist
and music director to Prince WalJersicin and
from 1783 was teacher at Hamburg, where on
the establishment of a French theatre he be*
came cellist. He composed an opera, cello
concertos, quartets, trios, sonatas, etc.
WINSHEIM, Abraham. Stt WtoSHAN
WINSLATE, Richard (*, ?; d. ?).
English t6th*ceniury organist and com*
poser. He was organist at \Vmchester Caihe*
dral (, [550. Of his compositions only a
piece for organ or virginal, * Lucem luam *,
has been found, contained in the Redford
Manuscript. B.M, Add. MSS 29,996.
a. V. d. s.
Wlac«r, CkriviUa. Stt Gficf (4 senfs).
WINTER, Peter voa (^. Mannheim,
(bapt.aSAug.j 1754 ; d. Munich, J70et. 1625).
German composer. At the age of eleven he
was a Violinist in the Elcelor Karl TJicodor's
celebrated orchestra at Mannheim. He had
some instruction in composition from Vogler,
but really formed himself as a composer
later in life. In 1776 he became musical
director of the court theatre and in this post
made acquaimance with Mozart, to whom
he look a great dislike and whom he damaged
later in Vienna by spreading false reports
about his private life. When the court
remov'ed from Mannheim 10 hfunich Winter
followed i in 1 794 he was made vice CeptH-
mtxsuf and in 1 7^ court CtiptUmtultr, a post he
retained 10 his death. He was treated with
(he greatest consideration, receiving more
than once leave of absence for tw'O or three
years. On one occasion he presumed too far
on this leniency and was thereby in disgrace
tor a time. Winter visited Vienna twice, hrsi
in 1781, when he produced three ballets,
' Heinrich IV *, * Inez de Castro ’ and * La
Mort d 'Hector', and again during the years
between 1 796 and 1 796, when he had hve
operas performed at the Kamtnerior Theatre
and Schikaneder's theatre, including ' Das
unterbrochene Opferfest ' {14 June t796) and
a cantata, * Timoteo, o GH efleiil deJU
musica ' (1796), by the Tonkunstlcr Societat.
The intercourse he maintained with Salieri
was Imporunt as Inducing him to pay more
attention to (he vocal part of his compositions.
This is perceptible in all the works written in
WINTER
WINTERXIT2
$19
Vienna, He also visited ItaJy (Naples aivH
Venice, i79'“-94)» Pnpjt <1795), Paris
((802 and i8o6)» London (e8o3*5> and half
again (Miian and Genoa, i$i7-i9).
Besides a large number of operas, of which
ihe greaicM and most lasting favouriies were
•Maria von MontaJban’ (Munich. 1600)
and ihc ‘ Das unirrbrochene Opferfest
popular on account of its catching melodies,
\ Vinter composed a quantity of church music,
cantatas, songs, partsongs and instrumental
works (symphonies, oveciurcs atid concert
pieces for various insirumenu>, most of v^hich
were primed, but have long since disappeared.
HI* Singing Method (Schott, Maina. with
Gt riuan, French and Italian words;, howocr,
long kept iu value,
Of his ciiurch worb there were in the Roy al
Ohapel at Munich 06 masses, 2 Requiems, 3
• Siabai Mater ' and a quaniicy o( graduals.
olferiorlcs, vespers, etc. For the Fruiesiant
court chapel he wrote 7 eamaias, a oratorios,
• Dur sierbendc Jesus ’ and • La Bciulia
liberau ’, a German ‘ S(al>ai Mater ' and
stnailcT anthems.
Winter’s strong points were just dcclama*
tion, agreeable melt^y, brilliant choral m riling
and rich instrgmeniatiun, which he never
sullcred 10 overpower the choices. His weak*
ness was in counterpoint, which he had nec^er
found an opportunity of mastering thoroughly.
As a whole Ills church music is preferable to his
operas, which, though vocal and melodious
have neither originality, greatness, dramatic
lorcr, lire nor genius, liu ain arc especially
weak, never seeming fully dev>elopcd. >Vinier
could amuse and emertain, IhiI to seise ihc
imagination, to touch, to agitate, was beyond
hun. I'his is why even his best and most
jwpular worb disappeared from the state
after his death. era
The following is a list of \N in«er's vsorb for
die stage, apart from the balleis meniioned
above * :
(»K«r Tass.!,, peed,
; Kw, K«u|»«. .tBi.
. i?** p^d. Mwnkh. tsftj
ruVJ. J swy ‘Li
: 0.1^11*,, -•!
, ^MuivKh. .78(1. pt.^.u
't.NC Te«*.4e,
; p»>cl» •, ;^|. Monkh.
P~<.
-
'
C.^. I„ u.i<. • «b. b, V-fce.
* .Anlifena *, prod. .S*| 4 n, l? 9 l.
* I »«fdiu dt CrvLa peod. Vrmce, 1 702.
*1 r«a(clli rivsb' ilib. by MsMia Uuciuonii, pro.!.
VciiKe. 1 ’ejito b«n 0 rn«drMvi. Nov. :?$!).
’Drli«a*, prod. VeiiHr. 1794 fVieruiA. hs ' !,(« xw
HiMbu/t 1796*.
* e II Inonfo del bri «pvv> ', prod . FYag or, 1 79),
* l>ie TtMflUMrbi ’, prvd. Bax reuih. f 1 795,
’ I dyr sedon ’, prod. Vimru. t7<|4.
* LUs untrrbrachrnr Opferfene ' <lib. by Ften2 Xavrr
Xuber), peod. Vtcima, Kamirvrtsot 'liirdTrr. 11
June 1 ) 90 ,
•BubskMit iSrAOUdm* ihb. by ffruAitrl SJ,ikAr»c<lrr>,
lA rolUb. Hilh airdrrtiMh. pfod. VirciiiA. lliroier
auT dr/ \S irsirn, as t ^ 1. 1 797 .
* Ore Siutifs prod. Mutu< h. l *06,
* ISoft oJer Urr Koinpf niii <Ipm I Irthmi'n ‘
ibb. by vlilk-uw^Pt. a kri|url u> ' Ihr /oubrtlluir
prod, vkAm, IWairr auf tier NSicdrtk, {2 JiMir
• M*.
* Ma/w .0(1 SfieMalbsh * |»x* Ka.I Krerr. Ija^tsI on
S ahAim Nr|io<TMik K«»m2trtk’. ireicdyj, ptiMJ,
luiwk. 2I J«M. iBuO.
* TAmrr^’ «I(S, Uy F4wnnc Mi»rrl dr l!|,r«lrk,||r. he^rd
on V«4i«ire's * L*( >t|iltrlm 4r (^hinr *», prucl. F*to.
CStv/A. KSrpi.
* (Jk BtAlu di <'Al<|no* (bl>. bs' l^itrnro <l 4 1 ‘oiMr',
prod. Lii«d 4 A, HAv-avarkri (Itrai/r. 71 .Mav
* II irwnfe *•* niiior lt«irniw * ld>. In do P.eitr ■, jsrixl.
I^Mtdun, lljxmatbri Ihrjur, /.> .Mar. iJjoi .hanr,
«t * CauM ri l*oHvx \ Orrra, 19 Aug, iSs<h .
’ll raiM di Pr’A/rptna ’ lib. by da I'onir , |>r<>d,
t4*ad«A. Itixmarkri Tbrairr. « .Mav ifloj.
’/aua' kU bx prod. LoiidiMi, jIaxtMaibri JUoirr,
/9 Jan. iBos,
’ IWr 4 raornbond *. prrid. Munirli, ibss,
’ (tulmar ibb. by Maiiium von <V>llin, after Owian’i
’CoMsU *1. pmd. ktunHit, 1$ Vfii, rtkip.
* xir br»d«n BliftaSm ' ^ilio, appatnuly rvot (irod.,,
* 1>K Panio^ln *. pred. Hamburc. iflii.
• MaoAwit* II’ tliK bv lrl«r Homani>. prod, Milan.
Trairo aHa VaU. 2I Jan, 1817,
’ 1 dvr Valdomirt inud. Xldan, 1817.
• r*rlinda *. prod Titian. iAr7.
’ VhfWHW vnd .Sansrr*. Phid. Muniih. i8}e.
.SripMvt SraiMH* •M', uurr at Ihrmre*.
^ofM Addiyon I’LliMb ’ . BrrilKixrn ixan, f»r of.),
VMrmt/b 'collab. m 'bb>l«>ii. JSramidrii ’j. SiMilir
r< 4 tvH,rfi fe VD. & pfV
WUirr, 2 . Sft 'J,, ’ sUur Jlra ’, eprra).
WINTERFELD, l^rl (Ceorg August
Vivlgtui) voa ( 4 . Berlin, a« Jan. 1784; 4J.
Berlin, 19 Feb, 1859).
German musicologist. He was educated for
the Uw, which he studied at Halle. AHer
holding a succeuion of ofTicial posts in Berlin
and Breslau, he retired on a pension in (847
and devoted himself 10 musical literature. He
had made a large collection of materials In
Italy, which he left ai his death to the Berlin
Library* His most important books arc as
(blloM-s :
JebwtnM lyrlxHti vvn Palntrina * (|8S2>.
JohaMXM Cabcxli uikd cevt Z«iiaUer * 1*8341.
Ikr cvMHn<h« Kir<hCT*««an« urnj sein Wtliaknii
, ’ f'asa-sr).
bb« K. UinuiM frwdrxb Fatehs tetulic he Cnant*.
^ ft 839 ).
D», MariiA Lwihen deuuthe seisclkhe Lledrr '
(lafsl.
• fb« rtemellun* d« Oeme.ndr- ur>d Chorgeunss in
d«t evanc«lt*<hen Kirihe * {*848} *
Zur Ueschkhte heilipee Twtkunsi^ (1850*32].
WiNTERNACHTSDROOMr ^EEN
{Oprn), .$reBoF.cK.
WINTERN1T2, Emanuel (F. \'icnna, 4
Aug. 1898). ^
American musicologist of Austrian birth
He studied at the University of S'icnna from
320
WINTERTHUR
WKtn
1918 to 1922, ukijig the LL.D. degree there,
and at Hamburg Univeraty in 1923- From
1938 lo 1941 he was a lecturer at Harvard
University and at various universities and
museums in the U.S.A.» and in 1941 he was
appointed peripatetic professor for the Car-
negie Foundation. He was keeper of the
collection of musical instruments at the
Metropolitan Museum of Art in New York
from 1941 to 1949, in that year being made
curator and head of the department of the
musical collectioru at the same museum. In
1948 he lectured at Columbia University for
a year and since 1949 he has been visiting
professor for the history of musical instruments
and the history of opera at Yale University.
He was ma<le a Guggenheim Fellow in 1948.
He undertook the task of reorgani2ing the
Crosby Brown eollection of musical instru-
ments of all natiorts at the Metropolitan
Museum of An, and he has organized several
exhibitions of musical instruments in the
U.S.A. Since 1943 he has written a number
of articles on the history of musical instruments
in ihc * Bulletin ’ of the Metropolitan Museum,
atui he has also written programme notes for
concerts of ancient music held there.
H. K. w.
WINTERTHUR. An industrial centre of
only some Co.ooo inhabitants, Winterthur
holds a special position among Swiss towns.
Its very active musical life consists essentially
of concerts oiganiacd by the Musikkollegium
IVintcrlhur, founded in i$?9, whose old
tradition has not prevented it — particularly
in the last few decades — from adapting itMlf
to the demands of a new age. It has in fact
given the town a wcll-deKrved reputation as
a stronghold of modern music. Apart from
the interest taken by all musically inclined
inhabitants of (he town, the Musikkollegium
is maintained largely by a few generous
patrons. By it arc administered the Winter-
thur Municipal Orchestra and the School of
Music {Director, Kar] Matihaci), founded in
(873 and 1873 respectively. The Musik-
kollegium arranges not only symphony con-
certs in the accepted sense, but also popular
concerts to which admission is free, experi-
mental pcrformartccs and chamber- music
concerts. Ten symphony concerts, twcniy-hw
free concerts (with orchestra and soloists) and
25 HeHsabfitdf (orchestral and chan^ber music)
arc given annually. The permanent conduc-
tors were Ernst Wolters (until (945) and
Hermann Scherchen (until i9$o)- con-
ductor of the free concerts is Victor Dnarzens.
and the otiicrs have been in (he hands of
visiting conductors since the season of 1 950-51.
\Vintcnhur has Itad since J920 the vrcll-
kntiwn Winterthur String Quartet (P. Rybac,
C. Dahinden. H. Wlgand and A. Tusa).
Apart from instrumental musk the town also
cultivates vocal music assiduously. Thtre are
a mixed choir (founded in (674, since 1926
conducted by \Vcmcr Reinhart), the Stadt-
sangerverein (founded 1827) and two men's
choirs (founded 1852 and t88o). Protestant
church music also plays a prominent part
with a church choir and church orchestra.
K. E., adds.
Biau— Fuia. Max. ' Du MgsiU;o]:«{ium Wiiurrthuc
1624-1837’ (WiAKCthur,
HvKStKSi. R.. * Zur Mu&ikf^hichM tViatenhwn ’
(tVintenhur. 1409),
Wiante. H. E. 9«cb {J* C.» jS, portrait af).
WIORA, Walter (8. Kailowitz, Silesia, 30
Dec. 1906).
German musicologist. He studied at the
Kochschule fur Musik in Berlin and at the
UniversMies of Berlin and Freiburg i/B., taking
the Ph.D. degree in 1937 and die Dr. phil.
halnl.** in 1941. In 1936 he was ap-
pmnted (o the Archives of German Folksong
at Freiburg, wliere he also became lecturer at
the University in r94( and Professor of
Musicology in I942> He is co-editor of the
scientihe complete edition of German folk-
songs. His literary works include :
’ Dk A«^<oc)uiun( und KctauMAhc von Volk*l«l-
Heitra * ;* JahrUudi Tur Volbi^eJfarKhunf tS3$].
* Oas Aluv d«r dtuvehan ValbIMwciun * {* Dcuo«ke
ElwMkbuhur iMi).
* Dk an««Ukhm Volbimlodicn bei Zuecitmailia uiid
tfihiM' iOmeriMtim. 1941). ^
'Z«r ErSoftchuM do eurepaiKhen Valblirdn
{A.M.W.. 1940).
* Anion gnMift^adtr 0b«r dot ia d«r KioaJc
iFreibwrc i 'B.. 1946I.
* Du Valktikd ' <Hfiddb«r«. IQSO)-
* D«4 wnak Lat«« '• >'> ' kiutikfomhuAK ^ Vf, I9S.I«
* CuropaiKhtr Valkwrunf : ermaimame Forntn m
eharakianXiMhtn Ab*vandlunren * (Colatne*
’ 0rvcki>^ * {Fttibgff i,&.. i999)<
E. B.
WIPPERN, Louise. Set Hnaaikas-Wi^
PfcXN.
WlRiN, Dag (Ivnr) (k. Noraberg, Orebro
Un, I5 0c(. 1905)- .
Swedish composer. He studied theory and
eomposicion at the Stockholm Conservatop'
with Oskar Lindbe^ and Ernst El I berg ut
during which period he composed a
work for solo voices, chorus and orchestra,
' Ytlersta Domen ' (* The Last Judgment ),
incidental music to a Japanese play, chamber
music and songs. In 1932 he was awarded a
slate iilpcnd which enabled him lo
three years in Paris studying composition and
Insuumeniation wiili L. Stbaneyevand widen-
ing his musical experience. AAet his return
to Sweden in 1934 he was music critic to
* Svenska Morgonbladct ' in 1 938-4® ►
ian of (he Association of Swedish Composers
in 1035-38 and a member of the committee ol
(his aiociation and of the Swedish ^m-
posers’ International Music Bureau (STJMJ
from 1939. In J947 he became vice-presiden
of the Society Swedish Composers, and ne
is a member of (he Swedish Royal Academy of
Music.
WIRTH
WISE
Wir^ first won gooorai recognicion as a
composer with a Serenade Ibr strings, Op. 1 1,
which he ykrote at the suggestion of Tobias
\V'ilhelmi for pcrfunnance by ibe Siockhoim
Cbambcr Orchestra. It was also performed
by the Concert Society the following year, artd
since t939 his earlier and later works have
become well known in Sweden. Some of hb
compositions have been broadcast frura
London. VVirt^o withdrew some of his earlier
productions, which include Symphony No. i,
Op. 3, and Sonatina for cello & pianoforte,
Op. 4 -
/Vpart from those mentioned above, the
follow ing are his principal compositions :
K^iliQ upt rrtu * EUin, iwU •<li kmi* i imoi.
KaUiO o|jrt4 ’ Den glad* |ulKn<en ' ( issi /.
IftsiUriiul niiHic iv a tlr^aunc ^rruM of yiauhcxt'i
lacMl«t»ul niu«c to bJuknp<are’» * Ntmcbant •r\’eoi(e *
riln^ mutii..
Cwn&rrt tivcilurr. 0|>. 9 ( I 9 )i).
N)nr«ni(iu, U^. 74 Mi.
(«4vot(e .ind ^herio tv< wen.. Oft. 7S ' 1935 >S4>.
lor ttkti.. Op. M I I 9 S 7 |.
Syiiipliohv .So. «. Op. 14 1 1939 ).
Svmphohr ^0. 3. Op. jo 1 1943 *44).
(:orK«ri < Werturr Nw. >. Op. i 9 1 i 94 u*.
l.itile bune Cor wdi.. Op. ly « 1941. .
(;«iicert6 fue cdl^j 4 onh., 10 l*996>«
(^wncerio for vn. 4 »nh.
*koiucM«« Cor «M. 4 pf., Op. I ( 191 *
IS. I no. Op. $ {I 9 I 3 J.
’ yrrlvJium ’ lor ccfle 4 pT.. Op. IS upyal.
’ * Cor crilo 4 p(.. Op. (•
StMialMM fvf VI). 4 pr.. Op. i> <l 94 aj.
MniiK QujrMi Nm. ), Op. i 9 U 94 lr.
I Kvmk* .)iid Vjrioilwtf for pi*,, 3.
I*f inrtrt. Mng*, 4 c.
K. O.
bioL. - ' VViiTn t>«r«iri4r ug u«Sv * {* Mwk*
vjil lrn\ l|45. No. ij.
.Stjlom, i., 'Uaji tVkr«n*, in * l>« ay* hmanta'
(‘.iwkMin. p|). 9|.«9).
PnaoAKrsr. M., ' Dor Nn irSn *. m * SivnuU lomliurc '
(MwUwiMi, 1943'. PP. IM*S 9 .
WlRTH, Emanuel {S, Ludlce nr. Carlsbad,
id Oct. :d4a ; rf. UerJin. j Jan. 1923),
fiohenuan violinist and violist. After study
under MiUtu r and Kitll at the Prague Con*
servatory he received his fint engagement as
leader of the orchestra at BadrcnBadcn. Jn
iUb.| he was appointed leader of the German
f Ipcra and " Society •' cgnceris ai Rotterdam,
and also umlertvok the duties of professor at
the Conservu lory there. In 1877 he accepted
an invitation from Joachim to settle in Berlin
as leacher ai the High School for Music, and
as viola in the Joachim Quartet. His popular-
ity with Berlin audiences was shown on the
occasion of his jubilee in 1 909. The " Trio
evenings ", which he founded in conjunction
with liarih and Hausmann, were long a
feature of Derlin musii;al life. In these he took
ilie violin pan, but it is as viola player in the
loach im Quanet that he wilt be best remem-
berctl. ^
WIRTH, Helmut (Richard Adolf Fried.
rich-Karl) (i. Kiel, 1 0 Oct. 191 2).
German composer and musicologist. He
vok. lx
3 «i
was privately educated in music, but was a
pupil of Friedrich Blume for muNicology at
Kiel UDU*ersjlv in 1933-3G, ukini; a doctor's
degree in 1937. He has held a |Mwt as pro-
gramme director in the Hafnl>ur,; Kddio <ince
193G, but devotes rnu<h of his liinr to com-
position, arid hr also Ircitires on musical
hbior>' at the Lnlverviiy. He wrote a book,
* Joseph Haydn ah Dramatikrr ’ (Wolfen-
buitrl, 1940) and his compoviliom include:
* Vjnsiiaiu sml Fueoc an £iisluK * fm
khjU M(h. < 9 i^ .
’ UoUm* ’ fuj «hanhrr urch.
* KuiHjAiwhe V'i>lkiliDl«r ’ Tur bviione and sinall >,rcli,
i* 9 »l'.
Swiau luf obur 4 pf.
i iVtS feJ Mutr 4 |>r. .<V 4 S'«
S.MaU br pc
SonatuM w pf. (436 .
SoMjlin^ fwj kar|M<n«r«l ' 1946:.
t eC Swic* I 9 | 9 :.
* l)j« .Maitcnkbfti * iKiIhe' C<j* iui<( 4 pC. 1943).
* I.Klwod«wirgeMti>C« * CjJ v«mc 4 | 4 . j 047 ' •
k. I.
WISE, Michael (k. Wilishirr ', c. 1646;
d. SalisbuO i M ib.t? .
English counietirnor singer, vrganht and
composer. He wp^ admiurd n child of the
Chaficl Rg)al in lx>iul<>n undvr Cookr
in ibCv. In ilHij hr becainr 41 lay clerk of
St. (irorge’s Chajiel. Windsor. In iGoShcwas
appointed organiii and master ol ihc choristers
of Salisbury Cathedral. On ti Jan. ibyti hr
was admitted a Omilrnian ol the Chapel
Royal in die place of KaphaiJ CourtcvNlc,
deceased, being dewriln’d in ihe clirt^uc-book
as " a counter-tenor from Salisbury ".
During the ro>al progresc<-$ uf Charles II
Wise is said to have had ihr right to play the
organ in any church vjsitetl by ihr king. At
the lime of the coronation of James 11 (93
Apr. 1685) he was suspenUtd front his office,
and Edward Morton ufliciated in his stead,
llte cause of this suspension is unknown,
lltere is in the Uagforcl collection in the
Briiish Museum Library a coarse political
song, published in London iu iCillo, entitled
' n>€ >Viluhire Ballad ’ ^ from which it
appears that \Vise was su|)poscd to have been
engaged with oilier \Vjltshire men in getting
up a iictiiion for calling a Parliament. Jt is
possible that this siding with those opposed to
the court policy may have been made the
pretext for hit suspension.
On *7 Jan. 1687 Wise was appointed
almoner and masicr of the choristers of St.
Paul's Cathedral. Dot he did not hold those
ofiWo long. On Aug. 1687, being at
^isbury, he had a dispute with his wife,
in the heat of which lie rushed out into the
street and, the hour being lair, was ehaiicnged
by a watchman, with whom lie began a
quarrel, and reccK'ed a blow on the head
‘ ProhaUv ai $«lHb«iry.
bf Ok Ballad Society ie 'Tbe Bajferd
x
322
\^'I$EMAN
WISLOCKI
from ih« man's bill which killed him. He was
buried near the west door of ihc Cathedral.
Six of his anthems, ' Prepare ye the way \
' Awake, put on * I'he ways of Sion * I hy
beauty, O Israel ‘ Awake up, my glor)' ' and
' Blessed U he ' are printed in Boyce's ‘ Cathe-
dral Music and an Evening Serv'ice in
major is in Ritnbault's * Cathedral Music ’.
Other anthems and services exist in manu-
script in the Tudway coJleciioo, the R.C.M.
and the choir-boob of many of the cathedrals.
• I charge you, O daughters ’ is in Dering's
'Camica sacra * I1G74), *1 will sing' in
Langdon's ' Divine Harmony * (1774). Some
catches by him are included in ' 'I'he Musical
Companion’ 0667) and his duet * Old
Chiron thus preached to hU pupil Achilles '
has often been reprinted. w. »i. h.
WISEMAN, Herbert {i. Aberdeen, 3 May
tbab).
Scottish musical educationist. As the son
of the Very Kev. Dr, James Wiseman, Dean
of Aberdeen and Orkney*, he was educated at
the Grammar School and University of Aber-
deen and the R.C.M, in London. He took the
M.A. degree and became an hon. A.K.C.KL
and F.K.l.S. After a few years as music
master (Madras CSolIrge, Si. Andrews),
organist, conductor and lecturer to students in
training as teachers, he Krved in the Royal
Artillery during the lint world xvar in Palestine
and elsewhere. On his return to Scotland he
was appointed Dire<tor of Music to the Edics-
burgh Education Committee and quirkly
established himself as an outstanding educa-
tionist. A versatile and priciical musician,
and an ardent sol-fa-ist, he brought to the
problems of school music a sane clarity and a
visionary real. He was one of the pioneers in
organizing and conducting orchestral concerts
for schools (Nov. tQ 93 } ar^ it svas from one of
thc.se concerts that he made hts dtbui as a
broadcasicr in 1(104. Thereafter he continued
weekly broadcasts to hcoiibh Khoob with
increasing success down to the outbreak of war
in 193D* when he l>egan and maintained the
highly popular weekly series under the title of
Singing Together, until his appointment to the
B.B.C. as klcad of .Scottish Music in 1^6.
As a festival adjudicaior and conductor he
has been much in demand es’cr since 1991,
and as chairman of the Advisory Commiitce
of the Caird l>ust he has been responsible for
some shrewd scholarship awards to muskal
Scots, including such welhknown musicians as
Watson Forbes, Thorpe Davie, Peggy Samjw
son, etc. In 1923 he founded the $t. Andre>vs
Summer .School, nne of ibe first of its kind
for general musicianship, with tutors of the
calibre of Sir Adrian Ik ult, Sir Steuari Wihon,
Sir John Barbirolli, Harold Samuel, the Griller
Q,uartet, etc., and it continued until 1939.
In 1929 and 1930 he visited America as
guest lecturer and conductor at Columbia
Univcniiy, New York, where he was respons-
ible for courses in choir-training, conducting,
scho^ music and general musicianship as well
as instruction in tonic sol-la, madrigal singing
and European methods of music teaching.
He became a D.Mus. (AoMrir ea«re) of Edin-
burgh University in 1949.
Among his many puUications the following
Are perhaps the most important :
* THt aiusk Ola» ; a MiaiuI hr Teachen ' {Clut»w),
hJasCM Melodin ht Srhoolt \ a wnes of ten
books for ii<h(.re«dins (GUit^w).
The Cliemdon Sent bookf m volumes of »oojt»
'rao Inlsat to Senior Soeondiry Schoob
(Oxford). ’
* pu eolith Serir* of Madii|oU * c»c. (Bosion, G.S.A.).
, 7?**?',"* Toanher ' iltiuttroied bv Tner) (London).
UhUrm bincMs *. 0 roHeciton of hymni for (he very
>ou»r lOsfora),
* 7^ Scott SoAf sUikt * (iQ eelioboraiion «*iih James
CoMon) (London).
* The Club Books' (in colioWslion wiili Sydney
Noriitcofe) (London).
* Tutce Sixteen * (in eoUxboretion M>ih Sydney Norili-
rote), a eoHection of part.ionp (or female voicri
(London).
S. N.
WISHART, Peter (Cbarlea Arthur) (i.
Crow borough, Sussex, 25 June 19a)).
English composer. He was educated at
Dryantsion School and studied music 6rat at
Birmingham University under Victor Hely*
Hutchinson in 1930-41, taking the D.Mur
degree there, and 10 1947-40 privately with
Nadia Boulanger in Paris. He returned to
Birmingham, xvhere he married the violinist
Hannah Jones, lecturer in music at the Univer-
sity, and in Jan. 1949 joined the teaching-stalT
at the Birmingham and Midland Jnsliiute
School of Musk. His studies were interrupted
by w’ar scrt'kc in the army (R. Signals) in
liWia and Austria from 1941 to 1946.
\N'ishari composed a go^ deal as a siudent.
and some of his works urre performed at the
w'cekly concerts at Birmingham Unwcrsily;
but his first mature xsorks. which show a
decided individuality and an assured tech-
nique, were the four Pieces for violin and
jmnofortc and the Cassation for violin and
viola, both published in 1949. Later works on
a larger scale were the ' Cwccrio gross© ' for
orchestra, composed in 1948. and liie violin
Cortccrio. w’ritien for his wife in 1949*
£. D.
WISLOCKI, Sianlslaw Rzessbw, 7
July 1921).
Polish conductor and composer. He siuOiea
at Praemysi and then at the Lvvdw Conserva-
tory. He continued his studies at the Schola
Cantorum In Paris under G. Simonls (con-
ducting and composiclun) and E. hfichall
(pianofonel. He is now (19541 conductor of
the Philharmonic Orchestra at Pgrnah.
Hts compositions include a Symphony, an
Overture, ‘ Highland Dance and Nocturne
for orchestra, a pianoforte Concerto, 4 Poems
\V1SSMER
W'lTHJiRS
3«3
for lenor and orchestra, 2 Suites for piano*
forte ; Sonata for s*iolin and pUnofone. and
vcr>' many songs. c. a. h.
WISSMER, Pierre (i. Geneva, 30 Oct.
1915);
Swi«s compouT. His muskaj studies look
him from Geneva to Pari<, where he plaee«i
himself under Koger*Dut a»se for com |>o>i lion
and under Daniel Lesur for eounterpoini.
In 1944 he WM iippoinml a teacher at the
Geneva Conservator) and soon afterwards
joined the musical slalT of Kadio^Cienev a.
He i< niiu' living in Paris.
As a com|«isrr \Ni'><»nK‘r made his fuM
appearance lnfore a wiikr public in Paris
with his (ir>! pwmJortc tUjnrerlo. Works trf
his )ia\e since Itern perfc«jiw-<l all osrr ihe
worUi. His music shows affinitU-s wjih ihai
of the "jeune Fr.ince " ; his mudcratels
<idvancrd style is distinguished by charniing
cirecis o| sound, admiralde instrumenlaiiun
and a spirited inusicalits . Hi' chief works an
as f^»|^(^^v^ :
sTAt.l. \M»KKs
* Lr h«AM DiltidliiliP ballrl i<ii<i .
* Manwh. au U UHk ,«rra 'kias
IncNl^ni.tl U>r «rsrral H«'s
RADKI Ml M<:
' NMlasIrs ' 1 1*141 1.
‘ he rirs ’ 1 iiist.
t!an<«rlo *
' 1*4)1 ' l*)^) t.
OKCltl.MR.U. Ul>KKS
I Mouvrtnerki ' fuf «t*i.
’ llwr<iiM^in«nc •VI iM < hnidl * for firrh '
Nvni|Ji, «w»le • Ani<wi« ei Ckt^lr* *. 4 f»<r Sliabr\peM«'
IXin* «• w>Me * iA D ll < Itra Srh*« ' i« 4 *, ,
I'iWCJhOKII. AM> OHC.MI.SIHA
r tUuHcrtUw CMJI 7 ^ l<i|a .
t.HNMIll.K Ml'SlC
9 Sir»»»e CNdiirw U937 a iuiq'.
MOUX ANJJ N\NOft)KrL
V^haiMU ' 194C'.
I*IAM>K>H||. MI MC
^0hdU 1 194*1; .
Mn. nim llimkf . clwluwi, uHifi. 4 «.
WIT, Paul de (*. Macstricin, 4 Jan. 1852
o. l-eipijg, in Dec. 192^1.
Du (eh gamU and cello virtuoso. ICducaled
in his native city, he vveni i« Leipzig in 1870
and the r«>JI<ming year started Ihe •Zeitschrifi
Inr Insirumenienhag *. whkh ronlinued to
appear uniil stopped by the second world war.
He also founded an Instrumcnlen-Museum
winth was laicT purclia'cd, on two diflereni
pcctoions, by the Kgl. Hsxli«.hulc fur Musik
in Berlin a lau-r collection going to the \V.
Meyer Museum at Cologne, being purchased
lor this purpose in 1927 by Al. Kraus. De U'ii
vndeavoured to bring the viola da gamba back
into favour and wiih this aim gave a large
number of reeiiali on it. and wrote a liook
‘ Geigerueticl alter Mcisler whlfli ran to
several editions. A ‘ \\'eltadres»buch dcr
gcsamien Musik*Iiisirunu’iiieii Industrie
edited by him, was issued periotUcally for some
If. A.
WTTENDALE. *eriFNTHAL.
W ishe r*, Cc»r|*. W HtiOrr^ . pariirv^C'.
WITHERS, Herbert 6. I.ondun, 31 Mar.
iSdci/.
English stolonccUisi and teach* t. He
enlerstl ilic K.A.M. in (^m<l«)n at t)ie age
ol «Meen, studying the cello under Whliehouse
f<*r three )ears an«l then pror ceding to
Frankh.ri u .M., where he was a pupil of
Hugo lirtker for four years. He was elected
F.R..VM. in and in was app*>im<*d
teIJn priJctsor at ihr K. S.M. The (olJowjng
) ear he Uxaiiw an «<aaminer lor ilie .Msnrinicrl
Boarcl of the Rusal .^€J|<K^ls ,.f Mufir, his
niariiinaii<»n w<»rk iniluding two fours of
South .Mrira. In 1930, in addition to ilie
teaching vl his msiruinrnt at the he
was apiHNciied dir<><i«ir of the (h.unher
rinrsic studies ilMr<>. a |mw| he has hehl ever
sime and in wimh he has done invahiahie
work in training string phiven (or i* atn*wurk.
His classes brtaiiw lamoiis, and mans o| the
best < hamlsefnmdt plavsTs trained in i.ondori,
<*f the generation lulltming his own, passed
through it wiiJj iinmensi* profit al t*iu* lime
<*r another. S|»ecial c*m<eri siTirs given by
llwse classes includt'd the complete Ik-eihmen
quarieii 119341. all Braliim s chamber iniisie
( 1935 '. «ll Sthul>en's 1 19301 and Dixjf.ik's
(* 9371 . Mozart's five string quinicis (193d),
four coocerii of Frsncli music ^1950) and a
icnn covering iwenly-fiw* years of British
music (193M. It was for hit services (o the
an of chamber music that the Ccihbeit Gold
Medal wa* bestow eti oi» Jiim by the W orshipful
Conipjfty <i| Musicians in 1939.
In hR earlier y ears \\'itlier5'did a good deal
of concert work apart fivun Ins leaching. Gn
hn return from fJrrman) he tnath- a lour of
llte Far l.avi and India, and he ai>pearvd as
soloist at many «f the important orchi'siral
coneeru in Great Britain. In 1909 he was
appomied by Sir Thomas Beech am principal
cellist of lus orchestra and of the Covent
Garden Opera, a post he retained for ten
years, and afterwards he remained attached to
t^'ent Carden as chorus tnastcr an<l director
or the music on the siage. T his sidclme
CTperimcc led him to become <mc of the
renders of the British National Gpera
® member of
tfte Willy Hess International Siring Quaeivt
and the Catierall Quartet. His publicaiigns
i«l^c an arrangement of a cello Concerto
by Forpora from a manuscript in the B.M
(1920). Fete galanic’, a suite for string
324
WITKOWSKI
WITTGENSTEIN
orchesrra arranged from pieces by Couperin
and Rameau, and editions of numerous cello
pieces by various composers. e. n.
WITKOWSKI, Georges (Martin) (4.
Mostaganem, Algeria, 6 Jan. 1S67; Lyons,
14 Aug, 1943).
French conductor and composer. He began
life as an officer before turning to music. The
Grand Th^&tre at Names produced his one^
act opera ' Le MaSire i chanter * in 1891, but
he foil the need for serious musical sctidy and
VpX>rked with d’lndy at composition from
1894 to 1897. Having left the army he settled
at Lyons, where he founded the Schola of
Lyons (choral society) and the S«i4ti d«
Grands Concerts, which he conducted. He
alto assumed the direction of the Conservatory
at Lyons,
Witkowski's first imporunt composition
was a (;iuimci (1897, unpublished). Two
symphonies (1900, 1910), a Quartet (1902)
and a Sonata for violin and pianoforte (1907)
followed. His ' Fotme de la maison ' was
first performed at Lyons on 46 Jan. 1919.
It is a vast composition In 3 parts for solo
voices, chorus and orchestra, in the nature of
a dramatic symphony or oratorio, spaciously
designed and very characteristic. Another
work, * Mon Lac, prelude, variations et
finale ' for pianoforte and orchestra, was
first performed at Lyons on 20 Nov. 192 c by
blanche Selva ; it also displays the mark of a
strong individuality. ' Quatre Poimes' for
violin and orchestra (Op. 43) followed in 194$.
In hit Jaier years WiUiovk'ski compel
many songs with orchestral accompaniment
(Qpp. 48, 47, 28), including ' Deux Odelettes
dc Henri dc R^gnlcr ' Trois Po^ct de
Ronsard ’ (Op. 30, 1934) and *Paysage r4v4'
(L. Mercicr, 1937). * La PrincesM loinuine',
an opera in 4 acu (1948-32), is an adapution
of Rostand's play, made by the composer
himself. It was produced at the Paris Opira
on 46 Mar. 1934.
* Introduction ct danses * for violin and
orchestra (Op, 31, t935-36> and another
group of (2 songs, with pianoforte aceompani*
ment, * Po^mc dc Tamour to words by
the Comtesse dc Noajlles (1939), were Wit-
kowski's last works. m. l. a.
D)IL.— BotiCHSit. M., *G. M. WiiSowAi’ (R««. Mus..
1426, No. i ).
WITT, Cbriatian Friedrich (4. Altenburg,
(660; d. Altenburg, 13 Apr. 1716).
German composer. He was court Cepell-
nuhift at Gotha and wrote music for several
dramatic productions given before the court
of Saxe* Gotha; t.g. * Cespraehspier (1689).
A PassacagUa of his was published as the work
of J. S. Dach. He composed a number of
cantatas which appear to be lost. He
wrote ' Psal media sacra* (1715 and later
undated eds.), 3 French overtures, a 7*part
Sonata, 4 suites, organ and harpsichord
piec os, et c. a.
Wnr, Friedrich (6. Hallcnbergstcllcn,
Wurttemberg, *771 ; d. Wuriburg, J837).
German violinist and composer. He was
violinist at the court of OetUngen-Wallcrstcia
about 1790, toured to bring out his composi*
lions and obtained in 1602, through the per-
formance of one of his oratorios, the post of
Ceftlim/iiUr at \VQr2burg. He wrote two
operas, ‘Palma* (Frankfort o/M., 1804) and
‘Das Fiscberwcib ’ (Wurzburg, 1806), inci-
dental music to a play, * Lenardo utid Blan*
dine * (Wurzburg, (8t3}, 4 oratorios, masses,
cantatas, symphonies, concertos for various in-
struments, chamber music, pieces for military
band, etc. a, u
WlTTA$$£K,JohnQa August. SftVnA-
Ibk, Jan August.
WITTELSBAGH. Rudolf (k. Consunti-
nople, 30 Apr. 1902).
Swiss pianist and composer. His parents
returned to Switzerland from Turkey when
he was a child, and after his education at the
“ Gymnasium and legal studies at the
University of Zdrich, he decided to turn to
music as a profession. He first studied at the
Zurich Consers’alory and then continued his
training as a pianist under Casadesus In
Paris and under Schnabel in Berlin, where he
also worked at composition with Hindemith.
He also attended the Universities of ZOrich
and Berlin. In 1946 he was appointed
director of the Zurich Conservatory, where he
had (aught the pianoforte since t93r.
As a composer Wittclibach has come before
the public with few works. He It In the habit
of re-examining and revising his music again
and again, being a keenly self-critical, clear*
thinking and cultivated musician whose great
concern b to eschew any kind of *' paper
construction ** in favour of living and aurally
satisfying sound. In his later works, such as
the pianoforte Concerto, he aims at a return
to functional harmony. His most imporiaat
compositions are here shown in chronological
order :
*•*»»* ('Wo>«
(MAriei wr $ «*ibo jiwU. A p(' (I49i>.
'CoAcmiM^ IS»rcb*fnbef orcb. ((93*-99)'
g*Ue« music * Wclk im Svea'
yr. (14)4).
Canuu (Or eenirtlw * pC (>4M-S9{'
M«»f« No. • tor chamber erch.
PT. CetteerM <1092).
* Mueib fur Oiumter* {1490«
K, V. F.
WITTGENSTEIN, Paul (L Vienna, 5
Nov. 1887}.
Austrian pianist. He comes of an extremely
musical family of high standing. Joachim,
when a boy, lived with W'litgcnsicin s
mother, svho sent him to Mendebsohn for his
tuition. The family was also on veryfnendiy
terms with Clara Schumann and Johannes
^^tODAWSKI
WOELFL
325
Brahim and sOU owns several valuable auto
graphs of Brahms and other composers.
WiitgensieiQ studied musical theory with
Joseph I^bor and the piaih^orie with hfalvine
Br^e and Lcschetizky. In 1913 be appeared
for the first time in pubik as a concert pianist.
Shortly after tlie outbreak of war in 1914 he
was tsounded and lost his Kg ht arm. Hence*
forth he devoted himself to playing with the
left hand and acquired an aruaeing virtuosity.
Hi» capacity for wide spans and quick leaps
enables him to p<*rf«trm with one hand H'orks
which ofTvr dilhculties even ibr the ordinary
pianist. Ha int< rpretations are distinguished
by great clariiv and seme of poly-phony. At
thr same limi* it »ccim ines itable that a certain
hardniis should manifest ic&rlf in his touch.
VVitigcnsirin plays works he has himself
adapted for one hand, and especially com*
positions written for him. 'Ihcse include
works for pianoforte and orchestra such as
Uirfiard Strauss's ‘ I'arrrgon s«r Syznphonia
dontrttica ' and ’ f^anaihenaensug Ravel’s
Comi-rio in <mr moventrnt, cuncrrios by
U. W. Korngvld, K. .Schmidt, S. Bortkiewica,
R. Braun and J. l.abor, and chamber music
such ai Variations on un Original Theme
for pianoforte, clarirKi and siring trio by
Ernest Walker, a pianoforte Quartet by Hans
G4l, dilFcrcnt works by J. Labor and F.
Schmidt, etc.
W iltgcnitein left Austria after the Anufiiuu
in thr 1930s and wttled tn the L’.S A*
WLODAWSKl, Toraaas (*. ?; d.
Polish I7(h*crnuir> insirumrnialist and
«Hripojcf. Before 1640 he becaiiK* a metnber
of the royal fha|)el in Warsaw, and he was
still active there in 1O5:. One of his canons
was publiihed in ’ Crdtfum Musicum ' by
Marco Scacchi at Venice in 1643.
WOODS, ? Michael. Sm SVoooi.
WODE, Thomaa. St* Wood.
WOELFL'. Joseph (h. SaUborg. 34 Dee.
'773 » d. London, 31 May iBia).
Austrian pianbt and composer. His in*
sirucuon in composition and piasioforu
playing was in the fmt place due to L^ld
Mo/.ari* and then to Michael Haydn, He
was a chorister at ^alsburg Cathedral in
' 783 ”86, No mrnuon of h I m occ urs, Itow-ever
In the correspondence of Leopold Mosart and
his son. In 1790 he wmi (o V ienna and was
lalun ihcncc to VN'arsaw by Count (^rtskl.
ihere, in 1792 ©r 1793, began his puMte
*»' w»*«kpo WwM eiwod
W,jm ‘w 'r1 vAfiouilv m
kwhkh. lae »hol<.
pr^blV€^«, rv y^r^am oTcihec
w wIlMf hu nuae. and him W«lt
wJ2 '’''*** B«deel*
jS). 'S.:?
career and subsequently he appeared I n Vien na ,
where be was received with favour, both as
composer and performer. His first opera,
'Dcr Hollenberg*, was com|>o5cd to a libretto
by Schi kaneder, at whose theatre 1 1 was brough I
out in 1 795. This was followed by ' Das
schone Milchmadrhcn ' for the Court Theatre
in 1797 and ‘ Dcr Kopf ohne Mann' at
Schikaneder’s 00 3 Dec. 179S. I'hc value of
these pieeci docs not appear to have been
great, but they were successful in Vienna, and
the Last two were performed at Leipzig, and
* Der Kopf ohne Mann ’ at Prague also. To
this period the curious combination-piece by
eight composers, ’ IJcbc machi kurten Pro*
cess belongs (produced 36 Mar. J79O1,
On tlse whole Woelfi was not of much
account as a composer for the stage. .Vs a
pianoforte virtuoso he stepped into the first
rank and was even able to contest the palm
of supremacy with Beethoven. In Vienna
the young composer marrie<l, in 1798,
Therese Klemm, an actress at the Court
Theatre. In ihe lumnxT of the same year he
set out on an extendctl tour, wheihrr with
or without his wife srrmi uncertain. He
iravcllerl through Brno to Prague, Leipzig,
Dresden, Berlin and Hamburg. He had
inteniioAs of guing on to London, but seetn«
to have left Himhurg at the b<>ginning of
Dec. with Righinj, probably for Berlin. ’ At
Hamburg in 1799 he worked at an opera,
‘Das troianischc Pferd’, which was apparentl)
never iinished.*
The next clear mention of Wocifl is at a
concert at l^ipzig, oi Oct. 1800.* Hu arrived
m />..«» t... <1, 4 Ml, UUIcrt rrvhi
i^t M all Mhrr l••«|tr«phrr». u*«ifw c« io«e«»i
ifcat Uodn rvmntfd w Vtenni, bai all oilirr Mni^n
u«tt that he went kam llamburu <9 Lond.ui. and rr«m
w fam. reKh>nf th« » tenth capiul mi jSui.
pw <a(U eiveit lo ihe ie«t show tliai thii aceovni C8flni.|
be (Otrvti, and u seen* improbable that WaclH weal
to UadM at all at ih» lime. thov«h I. VV. li^viton, m
ib« frefaec to hi* eUawa of ibe "Non plot gju**’
Smu. declare*, wuhoot fiviftf tny aMiharuv, tjiai the
.Mjl^rv t^certo • Op. el wai <omno*e.| in London
in IBM. Un the ocher haad. die follew me eitegnuiance*
jeem. taken to«eiher, to make lUonsb »K»\nu the
^ io I)ee. typy «iM n,»i,ini
•A.M.Z. IJ. elO). Now Riclim) almotl teriai-ily wai
•nf *•. ' Ticrane • io die early nan
9 f IBM lA.M Cm 11 . p, MOi.
Lej*' Vol. II, Inidl.
'if 'S lieeemb.
IS99 . wtucb HKevn* that he had left Hamburf and
was M a Momer in Germany, Thit 11 eaacily ilie .leie
**• «*t^( 40 (r <f> Deflin >ith Kiflaai.
til A ^lai Icitrr of Apr. iBog f.k.Vl.Z. II CjsI
iWarn that V,y \6 had been there three vnarate umei
une» ^ preeedme June; it o hardly likely cliai he
wtM ih^ time fmm London to Berlin irvJ back aeain
Sf l — «■ Jme W Dw. 1 7^9. * "
com ^"*^**“* *'» « fbrlh.
‘71^. f***'*"'®* ?f *« concert in London 00
V IMS, al which he ippeare.l. pomCc>llv
'A fif performance ia EnflaAd " (• Moro-
lu ClironKk*, ty May iBoj). ^ ’»-<u
Wolfl-.
$ 2 $
WOELFL
in Pahs in Sept. i8or aitd won began lo
attract great attention. On 5 Brumal re
(26 Oct,) the ‘Journal de Pahs’ described
him as “ Tun dcs hommes les plus ^tonnans
de I ’Europe sur le piano He speedily
assumed a leading position, and in the next
spring was reported to be writing an opera
for the Theatre Feydeau. This period may
be regarded as the culminating point in his
career. Henceforward he falls, in some
strange way, under a cloud. \Vhether this
was the result of a Jattx pcs cannot be exactly
determined. Fitts's circumstantial scor>' that
\^'oel^l struck up a friendship at Paris with
the bass singer Ellmenreich, who was giv'en to
card-sharping, travelled to BrusseU \vith him,
got into trouble tritli the police and went 10
London in 1 805. where VV'oelfl died in poverty,
sc< m8 to be incorrect in almost every detail.
That Woclfl was brought into relations with
Ellmenrcich by the project of the latter for
establishing a German Opera in Paris is
likely enough, but Woclft appears to have
been in Paris throughout 1804, whereas
Bllmenrrich IcIV Paris at the end c( 1803 and
was in Vienna at the beginning of 1805.
Moreover, U’oclfl had no reason to complain
of his reception in England in 1605; he
certainly did not die in obscurity, and it is not
likely that he dud in poverty.*
To return to ccri a inties : the three years and
a half (Sept. 1801 -Apr. 1805) during which
Paris was the centre of Woelft’s life were, on
the whole, years of success. In the early part
of 1804 his ojiera, * L' Amour romanesque
was produced at the Th^Aire Fe>*dcftu and
well recei>cd. In the next year he made hU
most considerable venture with an herok
opera in three acu, called ‘ Fernando, ou Les
Maurcs W’hich was brought out anony-
mously at the Th^itrc Pevxleau. ft vvas
produced in very unfavourable circumstances
and was more of a failure than it desen’cd to
be.* Perhaps ihU mischance led Woelfl to
conceive a disgust for Paris, He certainly
lel\ the French capital within a month or
t^vo without any other apparent reason, and
rcjiaired to London *, where he aerlv’cd about
' li mav br sdOftI that it >t rair ^ ^r^(n
tSWin anj EllfTtfnrekh ceuld have bm in Bnmrk
loeeihcr. At the bexmnine of 1B04 both were in Para.
In ih« spr»nK and summer Cllmrntekh went ie lA>Adon
4 A,M.Z.. ]V. w and 9B1). but WovM *u«ed in ?am
lA.M Z.. I\’. boa). However, in autumn of iSoe
SN'oehl Was in Amsterdam (A.hf. 2 .. V. M^) and w*a5
iliouiht lo be goine lo London, and ii may have bees
aboui this time that Um two got into trouble in Drusoeb.
'J'hry arc next heard oi in Seiu. tSo) fA.M.Z., V. 06 s>,
and are ilien both in Pam. but WoeM's poaiilon there
seems jwit as irood after this date *i belovc iL
* Sir On ihe -hole alTjtr A.Nf.Z.. 423.
* One of ihe siraiieru el (hr romanik taka current
about Woein mu't be mentioned here. SchiOinc ajseru
cJiai he was named musk master to ihe l^perw
plnne in 1S04 and foilowvd her aflrv Ivr disorte Iim. oT
coune. at the beeinrvinc oT ilio) to Swttaerland, t^r^*
ifir weary «f the lonely mountain lik. he west down the
Rhine b>' boat, and «o to England. Ths story seem 10
the beginning of May 1805, The first trace
of him is in an advertisement on 18 May of a
benefit concert by Mr. and Mrs. Ashe, which
States that he had Just arrived in England and
would perform a concerto at this concert on
27 May— “his first performance in England”.
Bttides the Concerto, a grand Symphony by
Woelfl was performed at the concert, and
pianoforte concertos by him were pia>^ at
other concerts on J June and 5 June, on the
former occasion by himself. He was received
with the greatest applause, and everything
shows that he retained his popularity through*
oot his seven years’ residence in London. In
j 8 o 6 his Concerto known as * The Calm *
created a positit'e fu/at. being played at
four concerts in about two montb^, and new
CMDpositions by him were almost annually
put forward as attractions at the most im-
portant concerts. In iSto the prospectus of
‘The Harmonic Budget’ presenu him as
the fashionable composer of the day, and
a portrait k one of the allurcmenu to sub-
scribers.
As a composer for the stage Woelfl did not
make any greater mark in London than in
V'icnna or Paris. Still, two ballets by him
were produced at the King’s Theatre, ' La
Surprise de Diane ’ on 21 Dec. 1805 and
’ Alaire ’ (founded on Voltaire) on 27 Jan.
1807. Both pleased, especially the former.
On 16 May 1812 a new Concrrlo of his was
pla>‘cd at Salomon's concert by Cudf7iorc>
A week later ‘The Morning Chronicle’ of
23 May contained the announcement,
Okd. on Thundsy morning l/.f. si M*v) sher i
ihoot iUnm. ti hit lodginfi in Cf«ii Mary«le*b«ia
Sirttt, Mr. Weoin. the <«kbralf<i iHsnofcuic plsyer.*
It is impossible, therefore, to understand the
uncertainty as to the circumstances of Woeifi's
dealh. An anxious discussion tvas maintained
in the A.M.Z. In 1815 and 1816* as to
whether he was dead or not. ft asserted that
'Voelfl had played at the Philharmonic
concerts, which did not begin till 1813, and
the matter wes considered as settled only by
the marriage of Woelfl ’.t widow to an oboist
at Frankfort o/M.*
\Voelll pcasessed remarkable qualifications
for making a success in society. His portrait,
about a year before his death, represenu a
b« x iHir* ficiton, WnrlM mxr hxtr bern misic
le (he eiupmo. bui ha wnt le Lendeo in i^.i
be feund in i^oiMlen even* frem that date t» tn«
tioM of hk dexih. tn i dio kf wxt ea<xnd on » mon iniY
publiextiMU ’ The Hxrmonk Budget ’, which njtoi Mve
peeeluded kog xtnenee Trom London. Finxil)'.
did iMK go to SwiueHxod in 1610. or xi xny tune
xAer her divorce. .. .
* A Miniiar notice, gising the tame date <*i wav;,
xppexn in * The GenUemxn't .Nfxgxxine .
XVJI. 311 : XVIII. 80 « and 7^ ,
* Sfie xDtiean 10 hxve been euxUished as a
Frankfort eiiKe 1804 (A.M-Z.. V2.40»)-, Exxrnmatiw
of the rfHihxmenjc ^ofrxinnwe nvexlt no trace «•
WeeUI xs a performei.
WOBLFL
\VOHLFART
327
handsome man, raihcr uJI, somewhaJ sioui
and ot commanding presence.'
As a composer WoeJfl showed souivd train-
ing but, like others of his lime, wrote much
trivial music, throwing oiT trilles to catch the
popular ear with extraordiiurN ease. At the
same lirnc he nev-cr lost hi«j rcspeei for liis an
and in his more *erioua uorks slrD^*r after a inorc
elevated style. Hi*, sonatas, quart* i». con-
certos and symphonies show great instrumen-
tal encci and a certain solidity attained b>
means of contrapuntal artifice <t.g. the minuet
of his C minor .Symphony;.
M a teacher he was evaciing. I’upils who
wished iiim to teach llietn to [das the d>ose>
sariatiorii run XaK' h * *iong * Fr*ui «'iMh do
Uheii'*'! \shkh com hide hi' "Non (dm
tdira ” Sonau alwass met with a felnjll ami
were not allowed 10 go on to the sariat Ions till
they had rn.^sieretl tlw 0|M'niAg Ihiv
w'ork showN arKl the limitations of
his virtuosity, since hi> inU' indiean's dial h**
regarded it ii« Uing as dillkuh to plav as anv
pianoforte musu tould U* etjMTied tu be.
It I1, as a matter of fact , far hum insintildv
dilTKull uiiordmg to iuch-fencur\ standards,
and ind«vi .sen in hh own time Dmsek
<lemonstrat«<l that it did im»i reach the limits
1 d<'nianfh l»y writing a *• I*lus
ultra" Sonata tontaining gnnier difri(uliH*>
-though even thew are not rvm ser> for-
midalile. Still, it is Hear that U'oHH was a
remarkable jdayer amJ a goorl teacher. His
‘"^•1 '^''''[‘K«»'hed [>u[>iJ Isas Cir»fianl l*oilrr.
Mie follossing is a sum mars uf NViHlfl*
I hief comixni lions, e*t(|it<ling llu* stage works'
^Ihere ore (if| .ijms numliefs, mans comaming
two or ihris* weirks, an<i w*inc duplicated In-
ddfehni publishers; also aliuui ihc same
amount svilhmil ti|>u5 ntmi1>erHi:
0 #.
<>K(:akS(R.\J. WORKS
*? 'i®* •.<; MO. ' ' tpChcr^WnL
41 . SvmpItnOr Na, 9 , <: nia. IM,
- <^crlwr». (; ma.
’ ltr«l«>ul«n-1'ahir.*
IMANOFORTK
4 u. ii ma. OAuai.
96. L ma. (i8^r.
'• J' ®
». ^ Th« C,»Jm O
O. *»iarMl (TtHurrm mrfinki * f* ms
*9. ;TI,e OiKk« I)
64, t nu, t? iar2>.
- • (:*-icrrio .(« •, ly 4
CHANtaCK MUSIC
6 PC Sonatas wj(h va. & ef\U>. Opp. 6 . ts.
S rf. Soiuiat •id) vn. or flaie & teho, Op. 48,
a Trim Im 2 dan. & hasM>oii.
Trio for 7 hono ti r^.
PUN'OrORTE WITH VIOLIN Oft H,U lb
4 * Son JUS. Opp. 7. J, 7.9, 1 1 . 1 3. 14, 18. (y. >J4. v 7 , a8.
S«. 3S iScms j<n;. 4%. 43 (ijrni. witli 411, ib
(S<«t» ji«i, 47, cj, 6a,
VlOLONCbl.LO AM) I'f.NNOFOft TE
'Grand l>uo\ Op. $1 '1B03*.
li Sona^. Opp, I, 3. s r Le Uiable ), nuaire 6 (dr*l.
to BrrUMsm.. 7. 15, ly. jj, v3 i.si*h ’ lhtro*lu>
iMw t AJae«o «ikI l'*M;uri. a6.»8, 33, A, 48
im Vor* aio , 4r (<,r Nr) |M*js ulus t,
I'* *? «*ilh I V. $)- 53 , fia. bi r U'lili
iW Manly Heaii bi.
74 Vis <4 S'siMUont.
K<MHlm. Pislinirv K 4 ia.a*«r'. M..r.i.m, &c, &c.
Pl.VXOIOKfE Ducr
6 Sonaus. Opp. *>. n, ,4. by.
Mhaml J)nsi • «,Mh fif., Op. 37.
Nonata huIi thin*. * Ip, i,j.
Dwrt a>iih pi., Op, 37,
‘''•J^^V****** * '**»li ao from Mor«t*'» • Cmi fan
VaoaUrmt <k«|h pf,
, . NOVt.S
b l.ndisb N«nf(.
' l)«(»eiUwJ*»Srm '.frmn Vhillrr I \iu.. nslinanAch '
•** 1799^.
»i Vmnand a viuri Mvmn Ksmlrrj fi7»yj.
J II. M., rev.
Bim . Kai ». k . • Imeph VVyin ' 1948).
WpUbricli. WilhtlM Avium. .Vrr M-rMlinrr
WOHLFART, KnrI Adrian (i. SuiJra Vi
•SmilaJKl. Jy Nov. 1874 ; rf. Stockholm, 20
Aix-* « 943 )*
SwedkJj organist and cuinixiirr. He svas
irametl at ih** Sir>ekJmlm Conservjtcry and
after qualifying as an organ kt in iBy„ mul
church mustemn in ib<jy, be siutlied counter,
point and composition svith f. IXnie I
Lir^gren. B. i:iJI>crg and U . '.StenhamiuaV;
and piatudbclc with Richard .kndertson i 8 o»-
*900. He became a irach.-r at the latter's
inujMJsehmd in lyoj and in :<,05-6 jiudietl in
BcHm svith K. H. Darih and H. Phizner He
was appoirtled organist of Sondbyl>erg church
in lyu and in 19:3 founded his ossn music
Kho^ in Stockholm, He published a ' Piano
Method m 1913 <5aih cd. 1930., and • Piano
iechnique in 1916.
Hb compositions include :
RLapwoly * (m ocds,
<ywrm*tt.<k * fgr pf. * of«h.
. • for w. ft orch.
Ballad foe baritone ft orrli.
Sotuu and ptccn for nf.
BiM.^Ankfot in • Mviikjogmalrn •
Pft. ft-9. aeft • SAn«Modninf«ii *, 1
K. D.
Mar. Apr. 1928,
9 M. Pl>. 1 3-14.
$28 WOHLTEMPERIRTE CLAVIER
WOHLTEMPERI(E)RTE CLAVIER,
DAS (Bach). See Well-Tcmfered Clavtcr.
W^Jeicld. Kaiimlcrs WUdTsUw. Sn Moonisiia
Kalka oixra)
W6JCIK.KE|;PRULIAN. Bronialfiv^
{h. Lwdw, € Aug. 1890 ; Lw 4 w. 1938).
PoIUh musicolofise. Sh« foUcn^ an
academic course at Lwdw University. With a
dUseriation on Johann Fischer of Augsburg as
a suite composer (written in German »), she
obtained the degree of Ph.D. in 1917. She
was soon appointed assisunt and later senior
assistant to ChybitWti at the Faculty of Music
at the aforesaid University. She wrote several
works in French, German and Polish which
include 'Johann Fischer’s Polish Dances*
(Warsaw, 1914) ; ‘ The Minuet in the Piano
Sonata both Classical and Romactiic ’ (1919) ;
* On the Musical Conception of Values’
(1923) : ' Musicological Sketches * (1993 ) ;
' Key in the New Music ’ (19*5) ; * Chain’s
Polyphony’ (Polish M.Q., 19*9); ‘Rhythm
or Metre' (1929); ‘The Literature on
Chopin in the Reborn Poland' (Polish M.Q.,
1929) '• ‘ Un Disciple de Jean-Baptisie Lully:
Johann Fischer ’ (Rev. Musicol., 1929} ;
‘ Melodyka Chopina * (‘ Chopin’s Melos ’)
(193^) > * Chopin’s Variations and his Tech-
nique of Varying his Melodies ’ (Polish M-Q..
193O ; ' Music of the Near East ’ (Polish
^ > » 932 )« c.a. H.
WOLANEK, Jaa Pawel {k. W'arsaw,
18951.
Polish violinist. He studied first with his
father, Rudolf Wolanek, teacher of the violin
at the Warsaw Conservatory, then under
Barcewlez, later under Rosd in Vienna and
finally with Sevdik in Prague. He began his
pedagogic career at the Cracow Conservatory
and a few years later he moved to Lwdw to
take up a similar post there. In 1920 he went
to the U.S.A. and continued his studies under
Knelscl. He has been touring widely in
America, where he is domiciled. c. a. h.
Wolcot, John. Stt linear. Pei«».
WOLDEMAR, MIehel (6. Orleans, 17 Sept.
• 750; rf. Ckrmoftt-Fcrrand, 19 Dec. J815).
French violinist and composer. He came
of a wcihto-do mercantile family. It Is said
that his real name was Michael and (hat he
assumed that of Woldemar at the request of
his ^father, the Marshal Lowendahl. He
received an excellent education, having Lolli
— whom Itc closely resembled in character
and disposition — to teach him the violin.
Owing to reverses of fortune WoWemar
b<^amc the head of a wandering company
of artists, who eventually settled at Clenrsont-
Fcrrand, where he died. ^Vithout being a
member of the staff, Woldemar wrote several
articles on music for the * Courrier dcs
' ’jdiann Fischer voit Aufsbtiri (1646-1731) ab
Suitrnbomponisc ia Z M.W., irits.
WOLF (2)
Spectacles ’, a theatrical journal of (be
revolutionary period. It was in this publica*
tion that his ‘ Commandemenu du vioioo
a facetious imiuiion of the Decalogue, was
printed. He also composed a number
pieces and concertos for the riolin, and wrote
a ‘ Grande M6thode de violon ’ (Paris,
Cochel) — which is to-day difficult to meet
with — * Le Nouvel Art de I’archet’ (j 5 td.)and
* L’Etude 61 ^entaire de I’archet rai^eme
Woldemar, like LolUi attempted an ex-
tension of the compass of the violin by adding
a lower hfth string (going down to c), and for
this instruiDeni, which he called a " violin-
alto ", he wrote a Concerto with orchestra.
Chretien Urban often played on this msiru*
mem of W’oldemar’s invention at the Paris
ConMrvatoire concerts. t- h.-a.
W^LDIKE, Mogena (b. Copenhagen, 5
July 1897).
Danish conductor and organist. He gradu-
ated with an M.A. degree at Copenhagen
University in 1990 and became organist of
the Marine Church there tn (got. He was
made director of the Copenhagen city school
of singing and of the boys’ choir in 1924, and
in 193 ( was appointed organist of the Chris-
tiaiuborg Palace Church. In 1937 he became
choirmaster of the Danish State Radio, and he
has conducted choral and orchestral concerts
in Denmark, Norway, Sweden, England,
Germany, Switzerland and Italy- In 1950
he was made a member of the Royal Academy
of Stockholm. HU book of organ chorales
was published in 1943-
WOLECKI, Domiallc (b. ?; d. Lwdw,
no5h
Polish organist and composer. He joined
the Carmelite Order at Lwdw in 1698 and u
a musician was held in high ateem: >n
arte musicali cxcriicns fuit, praedpue in
componendU nolis ’’- None of hU
remain. c. a« «•
WOLF (i). The dissonant sound of
certain intervals on kc>board Inslrumcris,
particularly the organ, tuned in mean-tone
temperament- As explained in the *^^'^**
TEsipeRAMfirm, any chord in which Cl,
Ft, G I or B ► of the black keys was played when
D>, Df, Cb, A* or A I was wanted would
contain an inietAal too large or too small by a
diesis, and sound unpleasantly out of tune.
iL. s. t.
WOLF (2). In howc 6 instruments the wolf
is due to defective vibration on one or mof®
notes of the scale. When present it is oti^
found iiKH-e or Jess m every octave
string. Different imiruments have it m
ent places : it is most common at or near tn<
fourth above the lowest note on
neat, in the violin at C, in the cello at r. t
more sonorous and brilliant the general tone,
the more obtrusive it becomes ; it tw tone n
WOLF (Aajoft)
WOLF-FERRARI
3^9
forced a dUagreeable jar is produced. Hence
it U idle to attempt to play the wolf down :
the pU>‘er must humour ^e troublesome note.
It is commonly beUe\ed that there is a wolf
somewhere in all hddles, and it b certain that
it exbw in some of the finest . The term ** wolf ' '
comes from the nature of the sound produced hy
the defect ; at iti wont a kind of earune bow).
The cause of the wolf was for a long lime
obscure, but Raman's work ' has throum a
tiew lixht on it. He concluded that the wolf
note corresponded to a natural frequerKy of
the belly and associated pans of die instru*
mem. Con>equently when that note was
pUyerl ihe amplitude of vibration of the string
would increase and might well reach a potni
St whiih sympathetic resonanre look energy
from the siring more rapidly than the bow
could rcpiare it without a marked int reave of
iKiuing pressure. I'hr fundamental \ibraiK>n
could not then be maintained and the vibra>
tion of the <irmf would leap to the octave
mode. The belly tv able to vibrate freely in a
variety of modes, but ihevc are independent,
and (heir fre<tuenciev do imt form a series of
harmonirv like those (»f the sectional vibrations
of a bowTsi sirinq lift Sound). Consequenily
.it I he oettvve vil>ratK>n of tl>e string the sym*
pathetic vibration of the belly dies away, the
withdrawal of energy from the siring berucncs
less, and a poim ii reached at w'hitli t)»e bow'*
htg pressure is suffi<ient again to excite the
c'lrnplele normal vibration of the siring. So
the wolf note is a rapid alternation between
thill of the ftindiinienlal and that of its <><iav*e.
I'lus conclusion Uiinian lunfirmcd by exjieri*
merit in whit h the vibrations of the belly and
the string were recorded simultaneously on a
strip of photographic lilin, Raman puinicd
<Ait that it would follow dial I lie wvlf note
should fall in pitch wlien there was a mule on
the bridge, and this he fourid to be true.'
’Ihis scientific work amply justifies the
opinion of violin makers lhat there is rvo
radical cure for the wolf in a stringed irutru*
menl, for a wolf is inherent in varying degree
in its natural properties, tisough it may be that
reduction of some of the thlcknewea and care-
ful adjustment of the bar, bridge and sound-
post will prow to be slight palliativei.
t. J. I*., rev.
WOLF, Aaron. St* Bciiijn, Akton.
WOLF, Erase WUbelm 'b. GroasgchHngen
nr. (• »iha, 1735; d. Weimar, 7 Dec. 17921.
(*< rinan composer. He was leader of the
orchesira at Weimar in i/bi and court
K'af^lltnf liter in i?Gfl. As a «»mpcuer he was
proliUr in nil branches of music. He was also
the author of a theoretical work. * Musika-
UicluT Llmcrr*tht\ and of ‘.\u<li vine Rcise’.
di'scribiog a musical journey. e. v. d. i.
• C.V. R.fTuii, Phw. Rev., XXXII. *91 (leik).
* A. J . Jones. * bound * (.Vevr Yort, iny|.
Bpu. — BaocKt, J., * Emu Wilhelm W«)f; I.cKen und
Werke * <Vieoisa. 19171.
WOLF, Ferdioand (L Vienna, 0 Dec.
1796; 4 . Vienna, 18 IVb. idOO;.
Austrian writer on music. He ivas court
librarian in V ienna and wTote an imjiortant
w‘^k for the study of mcdies'al monody,
* Ober die Lais, Ssquenren und Lciche ' ;
also an essay on the music of ihe Arabs,
y. V, d. s.
WOLF»FERRARl, Ermanno V’enice,
i2jaji. 1876; 4 . Venice, 3i Jan. 1948).
Italian composer. His father was a Ger-
man, his moiher an Italian, and he was
Italian by birth. He showed at an early age
great love anil apiiiuile for music, but hb
fa I her, w ho w as a d ist i 1 iguished pai nt rr , wished
the son to follow* in hisowm lb<>isiepsandtoihat
end sent him 10 an art schwd in Rome, This
decision was hastened by the impression pro*
duced on l.rmanno bv (hr Uayrcuili perform*
acices of N Vagner's <>|>eras, which stirred him so
deeply as to cause a si’verr illness. Thus the
bov hud no r<*spoiisibl(’ uiiiion in music before
he had reached his iifieenlh year. I'hcn,
Ituwevvr, lUc Signs nf talent and his devotion
iHxam*' *0 evident ilia I it was decided to place
))im under the guidance nf Kheinbergor at
Munich. Tlsere he soon made Juv mark and,
rciiirniiig to Venice In be had no difTi*
culty in per>uadiuu ihc J 'hi I harmonic .Socieiy
CO per form hiv oratorio 'J.a Siilamiie' for solo
v’okcs, clsorus and nrehevira at Ihe Tcatro
1lie ncalurio was favourably re*
crivrd, and it» success i>aved the way for the
production the follow ing year at the Tcatro La
kenuc of an of>rru on the subject of Cliniler*
Hla rCcncicniola 'j. Farily owing 10 ibe In*
adequate rendering the opcr.i was unsuccessful.
NVolLFiirari feh the failure of his hopes
kcralv and went back to (icrinany, where a
reviseil v'crsisMi of* (lenerenola ’ was given at
Bremen under the title of ' Ascbetibrodcl ' on
31 Jan. 1903, and favourably received. In
less (ban twelve months another opera. * Lc
donoe curiose*, was given at the Munich court
theaire, and a third, 'I qti.viiro rusicghi',
svas produced at Munich in looO. I’hesc iw'o
works w-cre the first of N Volf- Ferrari 's five
operas based on comedies by Goldoni, with
whom, as a Isorn Wneiian, he seems to have
had a special affinity. A cantaia on Dante's
'Vita nuosa' also belongs to ihis period, being
performed at Munich for the first time in
After these successful Aj>rras WolfiFerrari
set to work on the one-act comedy by which
he is l>est known in England. * II segreto di
Susanna ’ was first performed at Munich in
>9091 »ntl the favourable verdict of lhat
audience w'as soon confirmed by other Euro*
pean opera-houses. Although the plot Is
simple to the point of barrenness, the charm of
330
WOLF-FERRARI
the music, the odd mixture i>f modem effects
and a Moaariian framework, has been found
singularly effective. HU next effort, * 1 gioielli
della Madonna \ has also met with a fair
measure of success. It was first given in
Berlin on 23 Dec. 1911 artd for a time fre*
quenrly performed in England in London
at Covent Garden during the Italian season
and by the Carl Rosa Company in the pn^
vinccs. But the composer was not at his beM
in dealing with a subject which carries the
“ realistic *' tendencies of ' Cavalkria ' to
excessive length. The libretto U lurid in the
extreme and without a redeeming feature.
The music U passionate and picturesque, but
no beauty of melody can turn tite sordid,
revolting plot into a tolerable story. The later
operas will be found enumerated beloxv.
\ Vbir>Fer rari also wrote mUccll aneous works ;
two Sonatas for violin and pianoforte (Opp. j
and to), a Quintet for strings and pianoforte
(Op. 6), a Trio for violin, cello and pianoforte
(Op. 7). four ' RUpe It)' for soprano and piano*
forte (Op. rt}, a " chamber " Symphony for
Strings, pianoforte, woodwind instruments and
horn, a violin Concerto, and a number of cello
and organ pieces.
In all his music \VoIf*Ferrari reveaU a talent
of a very unusual kind. While his technique
ort the one hand U essentially that of his
day, his melodics are often reminascent an
design of the art of the past. He gives the
impression of a composer whose sense ^ beauty
is so deeply rooted in the past that he is most
individual when he can use the idiom of a
bygone era, especially the eighteenth century.
He evidently had a profound belief in the
power of lyrical expression and allowed hU
lyrical vein <0 flow easily and unchecked. In
his orchestral scores graceful touches are
frequent, and in the comedies both harmony
and orchestral colour often emphasize very
effectively points of wit or humour.
In 1902 Wolf'Fcrrari was appoirsted director
of the Licco Benedetto Marcello of his native
city, a post which he held until 1912.
After the production of ' L' amore medico*
in 1913 Wolf-Perrari produced rto new opera
for twelve years, but from 1923 onwards he
added another seven to the first half-dozen
which came out every two or three years
between 1900 and 1913. The later works tn*
eluded three more Goldoni comedies, which
represent a typo of comic opera in which Wolf*
Ferrari particularly excelled, although hiS
music, and his musical humour, is Germanic
rather than Italian. He lays greater stress on
workmanship and texture than any other
Italian composer of comic opera has done,
exc^t Verdi in * FalsmfT which he is never
able to match, his gifts resembling rather those
of minor German composers like Nicolai or
Cornelius at their best. His music never rises
to the happiest moments of the best Italian
comedy in musk, as in Puccini's * Gianni
Schicchi but his lyrkat vein never led him to
attempt the obvious and retained some of ihe
puniy found in the lyrical expression of such
classics as Bellini, Donizetti and Rossini.
In ' La dama boba ' (Milan, 1939) Wolf*
Ferrari forsook his favourite Goldoni and went
to Lope de Vega for inspiration, the adapter
of the Ubrelio, as in the cases of ' La vedova
scaltra ' and * II campiello being Mario
Ghisalberti. But in substituting the more
biting humours of Lope de Vega for Goldoni’s
genial humanity Wolf-Ferrari did not change
his style, which remained essentially clean and
straightforward.
In England UbirFcrrari’s works cannot be
said to have taken root — not even the Shake-
spearean 'Sly*. quaicro ruslcghi’ was pro*
duced in London, at Sadler's U'eils Theatre,
on 7 June t946 in a transiaiion by FdwardJ.
Dent (as * I'he School for Fathers '), but
although greatly liked by many of those who
went to hear it, it failed to become a general
attraction and did not maintain iiseif long
in the repertory. * 1 gioielli della Madonna
which became something of a favourite at
Cov'cnt Garden ader its introduction there on
30 May 1912, soon became one of these works
revh^ed at the request of some famous singer
in search of an effective part, only to disappear
altogether^ and nothing came 10 lake its
place. The graceful Intermezzo from it is still
sometimes played at the lighter kind 0/ or*
chesiral concert, but only shows hoiv much
better suited 11 would have been 10 one of
Wolf-Ferrari’s ai tract iw Coldonian comedies.
' Susanna’s Secret * has been perform^ hero
and there a* a delightful one-act operatic trine
and the neatly written and charming overture
will doubtless keep a place in the concert
repertory'. “•>
Gkmok. Assxaxbba Cawla. Lm»aao
FrtTsn: LffceiubwchwibvAf ■ (R*i»bo«, imO'
rwtt. RAFf ASbO a«, * Er*Mni»© N' «)r*PeftJri . !• *«•
viu a«a*K«* (Miltn. iMT)’ ..
rAMu Ebmt L., ' Erm*iu» W <»lf*F«i*»i
LIST OF OPERAS
TtiU
1 l**f*tt 0
‘ G«ner«ntQls 3 mU.
Msfis P««se.FMce(Me. sAcr P«rfauli. 1
' Testfo U Feni«. «*
1 * Le Jenn« «uriaM 3 xcu. 1
1 1
Lutfi Suesaa, bssed om Cetdooi** j
Mwkb (w’DjejWuzicT'SmFrsMen’),
99 N«v. 1903.
WOLF (Friedrich)
WOLF (Hugo)
33 '
7U« I I
' ] quatvo nwicshi ’• 4 MU. i OiuMppe haebto. basrd oa C o M flci** MuA>ch (a* ’ Ow ytrr Cnbiv\f’/,
I comedo. 19 ^tac. 19116,
* II sagteiodi Susanna 1 an. , Earkw CulucUni. MumcIi <ai * Susanntns Ce)ifimou *),
4 IVc. 1909.
* I «i«ielU Jeliu Madonna *. ' GnliKMi & Cailo Zancarini, Betlin. Kurlunun>On«r {«* ' Orr
S acu. Stfhmwck tin Madonna*). Oet. 1
1911,
’ I.' acivorc medico *, a aeis, (rtloeuM. baanl «A MoMir’s * l.'A* Dresden las* iVe Lirldiaber alt Aral *i,
wMur mcdeiin 4 Dec, I 9 *S>
* Cli amanu spun } MU. , OiotaMlimo Foriano, baaed eo Col. VntKC. lealiu La Fenice, 19 Feb.
I doni's comeilv * II t*enualto’. 1924.
* Dai HimmcUkleid 9 ku. [ Compotee. aliet Ferrault. NltniKh. ai Apr, t 937 .
* Sly 9 atla. ^ luriano. based «« ihr indue non Milan. ( eairo alia Vala, 19 IVe. 1997.
Shaketpeare'* * IW lamm* «d the
Nhtev.
' La vednta ttallra ’. 9 acts. Maeso Chnatbern. bated ea (Mtikru's Koene, ’I'eairo Keale. ^ Mar, <991.
etwnedy,
* II (.impielln 9 acts. <;bKa|h(Tn. bated nn LoMont't Milan. I eaiio alia Acala. 1 j FVh. lO^G,
I i—teJt .
' l.a dama hvba *. j aen. , (Iht^beeh. bated 1 eotnedt bt Mil.n. Icairo alia S«ala. l Feb. >999.
I'•pe lie N'rea.
* Cih dei 4 JrU’, 9 aetr, ' L«mK« Andeesm b liSttolbesn. HoMAer tat * Her Kurkuck in I he.
' ben *j, 4 June 11149.
^ WolF. Friodricb. .Vrr blaeUr .««ft w.ih orcb, ft |„. a,u.ftdcd from ibU^ lo iBbg. In
WOLF, Georg Friedrich (k HbiArodr < p|*>(d in a hogtrhold orrhetife
Mchwar/.burg, <, i?l>j; -/ SVrfftii{rftM|<«, apixaranrc* in 1 his
iKc.p. rtxnpjnv' m 186G at a fan(>.drm l>aU. A
(Jrrtiun lumjxAtT. Hr wm% A'a^f/mnUf at '«*•«'» iht cipifa-housr at Klagrnjurt In ht ar
Siyll>erg in 17O5 and in id 4 )j at \NVrnigi r<Klr. ' Hriuar.o' math a tivrp impmsion
Ilf rninpfitsrl moutt. |Man«doru< kmuus “*^'^^0'”**,,
wORt. etc., and wrutr InsUudiem bookt i<ir J« iWs? Plulipj) Wolfe houn and wntkaluips
puiit^,rtr and tinging, which appf.vrcj in hv hn\ amllfom iliis linio on.
Mvrral rdllK.ns: aU» a musical <Jhi I nna rs. '^ards hit lifr brca«w noihlng but “an un.
I V d « IrfiiLn chain of (arc's and h4r(hhdH*\aj \u*
WOLF, Hugo (Philipp Jakob) (*. Wtn* nT*«ic(l I a nr. Wry crsdiiahly,
dischgra/ Si>ria, 13 Mar, iWn; / Vtenna. '** ‘hlHculi circ umsiann s. Philipp did not
•jj FrI), loojn abandon I hr rendu I ion Ik h,id ukrn that Ins
Austrian comjxnrr, I Us birthplace was an ***•*' dKKjkl br g»vrn ihr (‘durational op|x>r-
oui|Hist of (iermanii ruhure m a coumrrsMJe i«t"Ur*s which had Ixrn Jniird tu hlmscir In
inhabited largely hy Slnv‘enes. |*hdipp >Volf, ^pi* '^ 7 ^ Hugocnirrrd ihr loscrsi class of the
the conipcMer's father. w‘as a Irathrr manu. " gymnasium *’ at Grar, the Siyrian capital,
facturrr of firrman c« tract ioA; his wife whlidrawn at ihv end of the first
Katharina had a pronounced Slas'onic sirain Kholasiic hair.)var. UU work being classiried
ill her com |MHi lion, her paternal grandfallirr ** ** "holly itrodequair In Sept, *671 he
ha ring Ixcn born an Orchovnik. tlMnjgh be .Siminary ait.'uhed in the Ikne*
had changi‘<l this name in Nuisbaumer, its dicllnr monastery of St. Paul, in ihr Lavani
(irrman eqnivalrni. The OrehosniLs came ol '‘•I**’)* Carmthia, There he sp<*n! two years,
peasant stork, lliilipp Wolf had \‘ery un. vnliapfiiU , at ihc end of which he left the
wdlinglv folhmed hU father in the leather <^iffi^ul(im eoitccrned mainly with
trade. He was musically gif^^'t) and taught his f.aiin studies. Musie was already his chief
himself to play ihe pTanoforie, vi( 4 in. flute. m life and at St. Paul he played the
harp jnd guiiar, Kathariesa was not musical, sciHxd masses and the pianoforte
hu I pcrsscfscd great enenr an<l vitality. Ksom **' lost rg mental trio which performed
tier I he composer inherited his temperament ofwaiic pot-pourris. He was ne.'ctscnt, in ihc
and the Iron will.jiosser without schich be of 1873, to the " Gymnasium '■ at
could newr hate fully developed hi< musical hfo^burg. where he wx>rked ntorc and more
iAicnily at his music and neglected all liK other
Hugo was the second son and fourth. bcKA In ““dies. He got lo know the symphonies of
4 lUnulyof fight rhildrcn, ofwliich twodted in Haydn and Keethuvrn and fell into a iran».
infancy. He RTcived at an farly age imnic of enlhusiasm. His first compositions
Ifssons in pianoforif and vIsJin fA>m bis fatlwr time. His Op, 1 was a piano-
and afterwards from Sebastian Welxlcr. the Sonata, composed In 1B7 5 and dedicated
l«al whoolniasifr. His «xlra*musi(al editea* father. He left Marburg thai year after
turn Ix’gan at the \N indischgras N’olksschulc, s^onny scenes with hU teachers. After a
**™*S*« "Ith his parems over the advisability
^>inc« «9i9SiwfijBf*d«.y„,«U»i,, of his adc^ting a musical career, he was per.
332
WOLF: Studio^ Early Struggles
milted in Sept, tdy^ logo to live with his aunt
Katharina Vinzeruberg in Vienna and attend
the Conservatory.
Musical Studies.— Wolf studied harmony
under Robert Fuchs and the pianoforte under
Wilhelm Schenner, and at firsc made good
progress. Outside the Conservatory the
concert-halls and opera-house introduce him
to a far wider range of music than he had pre-
viously known, and he threw himself whole-
hcari^ly into this wonderful new world. An
indelible impression was made upon him by
his introduction to the music and the person-
ality of Wagner, who visited Vienna in Nov.
• 875 to prepare performances of ‘Tann*
hauser ’ and * Lohengrin ’. Wolf haunted the
Imperial Hotel, where Wagner was staying,
and was not content until he had succeed^ in
inier\*icNv’ing him, armed with has oavn childish
compositions. Wagner was amused and spoke
kindly 10 the boy, but soon dismissed him. To
Wolf il was an unforgettable experience, and
he became and remained to the end ^ his
days a devoted U'agnerian. The figure of the
master even appeared 10 him repeatedly in his
dreams, as his diary and letters show.
During this time hv was busily composing
immature pianoforte sonatas, a violin con-
certo, songs and partsongs. Moat of the works
in the larger forms were abandoned in an
unfinished state, as was, after some time,
an early operatic project, ’ Konig Alboin
for which a friend had provided a libretto.
In his second year at the Conservatory
he entered the composition class <i( Franz
Krcnn, whose pedantic instruction irked the
very ambitious young composer, still occupied
with * Kdnig Alboin * and with a prc^ied
symphony. Early in [877 he announced to
Josef Hellmesberger, the director of the Con-
servatory, that he was leaving the institution,
where he was forgetting more than he was
learning. For this he was officially expelled,
but he himself always maintained that he had
not been expelled at all, but had left ^hb own
accord. He talked wildly for a time of Uking
legal action against (he authorities. A fellow-
student, aware of the situation, sent a threaten-
ing letter to Hellmesberger in W^s name.
Thb episode of the threatening letter u often
said to have been the actual cause of hb expul-
sion, but seems rather to have follotsed upon
it. It Mar. he was recalled to Windischgraa
by his father.
Hardships in Vienna. — In the fcJkrwing
Nov. Wolf was able to persuade hb parents to
let him go back to Vienna, where he hoped to
be able to support himself by teaching and
accompanying. On the returrt journey be had
the mbfonune to lose the score of his sym-
phony, which, after various changes of fdan,
seems to have been completed at Wlodbch-
graa. He owed much at thb time to the com-
poser Adalbert von Goldschmidt, the centre of
a group of friends, including the music critics
Gustav Schdnaich and Hans Paumgartner,
the artbts Viktor Tiigner and Julius von
Biaas, and Felix Mold. These men were
chiefty responsible for bringing young ^Volf
back to Vienna. They procured him teaching
appointments among ihelr acquaintances, took
him with them to concerts and opera perform-
ances, lent him books, scores arul also, during
his not infrequent financial crises, money, and
generally, by their kindness and hospitality,
did much to make his life in Vienna pleasant
and to widen his outlook and increase his
knowledge.
He did not find it easy to earn hb own living.
He was ilt-cquipped with the patience neces-
sary for the teaching of young children and
could never put up for long with aristocratic
employers who treated him as a servant. So
(he only tcaclimg-appointraents he retained
for long were those in friendly households
where the maintenance of WolTs income was
regarded as of more importance than tJtc
actual progress made by hb pupils. His
greatest benefactors in this way ^vere the
families of (he actc^ Ludwig Cabillon and the
well-known doctor and early collaborator with
Freud, Robert Breuer.
The next few yean were spent in a suc-
cession of cheap Viennese lodging-houses, often
in the direst poverty. At times he was reduced
to living on coflec and bread-and-butter, and
he could hardly have survived without the
parcels of eggs, sauMges and home-made cake
which he received from hb parenU. But hit
inner life was rich in emotional experience.
He passionately explored the musical repertory
and German and foreign literature, diwover-
ing affinities among composers and writers o(
the past. Hb chief literary predilections were
Goethe, KJebt, MOrtke, Keller, Unau and
Heine. In 1878 he fell in love and experi-
enced for the first lime the spasmodic creative
fever characierUtic of him all hb life rie
wrote later: “ My Lodi in Song b known w
have been the year *7^ ; in those days I com-
posed almost every day ov good song, and
sometimes two These songs included many
Ktlings of Heine, Leoau and other subject
r^nantic poets, such as in later
avoided. Hb models were Schubert and Schu-
mann. There followed a remarkable string
Qpanet, much inffuenced by Beethoven.
So far Wolf had taken no sides in the muMcai
oartv warfare which divided the Vienna 01
those times. lo spite of hb Wagneriao cnibust-
asm he admired Brahms as well. In 1879 i**
called upon the latter composer, seeking «
opini^i upon some of hb
was snubbed and recommend^ 10 study
eountcrptbnt with Nottebohm. Three fior^
a lemon tong more than he could afford, olf
WOLF : i88cH]86)>^CocDposition and Criiirism
333
decided Ke couid do without them and loM
hU father : “ It's only Brahnu’s north German
pedantry (bat makes him thrust N'otiebohm
upon me". It b likely that this episode sowed
the seeds of W(^s subsequent passionate
hatred of all that Brohim reprcseoied io music.
He was gaiheri^ many friends around him
— the Lang family, the Preyss family, with
whom in 1 880 he spent an idyllic summer at
Maierling in the Wiener Wald, the Wernen
and othen. It was to a relative of the Lang
family, Vally Franck, a young lady cf Frersch
extraction, that he had lost his heart in 1678.
Farly in i88< this lov’c affair was brought to
an end by the lady herself, and Wolf, after
intense sulTerings, returned broken-hearted to
his home at Windischgraz. ’Fhe six ' Odst-
liche l.iedrr * for mixed chorus, to poems bv
ICichentlorIf, were composed in .\pr., before he
left Vienna.
After months of idleness at tVinduchgraz
Wotr secured, through his old friend Adalbert
von Goldschmidt, a position as chorus master
in ilic municipal theatre ai Salzburg He took
up Ins duties in Nov. 1861 and was scon pro-
moted to the post of second KapftfmehUf, but
quarreUed with the director in Dec. and left
in Jan. He was not temperamen tally suited to
work of this nature. From Salzburg he re-
turned 10 Vienna. ’Hterc his old friends made
him welcome. He spent a second happy
summer at Maierhng, visited Bayreuth to hear
• Parsifal wrote a few songs and planr>ed
operas which came to nothing. No publisher
could be persuaded to show* any interest in his
manuscripts.
Composition and CaiTicjsM.--He did not
seem to he making much progress in his
mitsiral career, as his father often reminded
him. Dui early in 1883 he was stimulated by
the personal encouragement of one of his idob
— Liszt. Wolf played through some of hU
songs and IJszi confessed himself delighted,
embraced the young compoaer and kissed him
on the brow. He expressed, however, tlie hope
of soon hearing from him a work in one of the
larger forms. A few months later Wolf was at
work on his great experiment on a symphtmie
scales the orchestral tone-poem ba^ on
Klciit's poetic drama ' Penthesilea '. This
was composed partly at R Inn bach, in the
Salzkammergut, and partly at Unier St. Veit,
a suburb of Vienna. The manuscript full
score of ‘ Penthesilea ' is dated '* summer and
autumn 1883", but there U cvidenee fr«n
other sources to show that the work was not
actually completed until 1883.
Towards the end of 18B3 there occurred a
crisis in Wolf’s affairs. Unable unaided to
earn a living, unable to get hU composittons
published, aware of hb father’s grief and db-
appoint encni in him, adoring Wagner, but
oppressed by the thought that hb own ulents
were overshadowed by hb master, he fell into
a state of dejection. He announced suddenly
that he was going to emigrate to America,
then equally suddenly decided at the last
moment not to do so. The Kdchert family,
Ihe \ienne$e court jewellers, related by
marriage with the Langs, exercised ihoir influ-
ence and secured liim a position as music
critic to the fashionable weekly, the ' Wiener
Salonbljit '.
For nwre than three years Wolf's critical
re\'iew« of il»e musical life of Vienna were a
feature of the ' Sakuiblati '. It was not in his
nature to do anything by ha If* measures, and
soon his aiiaeks upon cvcr> thing that did not
mot I with his appruval brought the jiapcr to
the aiicinion of a much wider public than It
had known before. He began really to make
a nanse for himself - lliough in widely
dilTereni cirtuinsunc«'s from any he had
imagiikcd In earlier years. NVagner's journal-
istic opixinents in V'ictina, Hanslick and
b|>eide]. had been aitarking and abusing him
for mt.re than tweniy-five years. Wolf now
took lib stand in ojiposliion to them and began
to reialiaie by cos'cring Brahms and his
folhwvers with rMliciilc on every {xusible
occasion. Did tlw * Loltengrin' prelude sound
to S|*cklcl like •' a boxful of cockchafers " ?
Did Hantlick find the ‘ Mcisterslngcr ' over-
ture " a muucal (iroduci of painful artlficiaiiiy
and positively brutal in lu clfcci " ? Very
well, NVgIf would see what he could do in that
line, or Brahms's D minor pianoforte Con-
certo Iw said: ** 'Flirough this compuskion
blows an air so icy, so dank and misty, that
one's I wart freezes, one's brcaih is taken away.
One could catch a cold from it. Unhealthy
stuiri *’ Upon a performance of the 11 > Con-
cwo he wroi**: “ U'l>ocver can swallow this
pianoforte concerto with relish may look
forward with equanimity to a famine ; it is to
be supposed th.it he rejoices in an enviable
digestion and in lime of famine will be able to
help himsdf out excellently with food substi-
tutes such as window-panes, cork stoppers,
oven-scresrt and the like." I'he violin Con-
certo was *‘a most tiisagreealilc piece, full of
plat It and meaningless ' profundity ' ",
‘Striking 1$ the crab-like retrogression of
Brahms's productions ", he wtoic on another
occasion.
./T ** BMiliocntv. bui ti^ch nullny, wnouoeu
a. pr«*,l m iht F. minor Symehoay J»v«
10 |i(h( Ml fM oUmt of An work*. The *-1 of
<»«iJctll» C^nd iu most
It b easy, however, to make too much of these
attacks upon Brahms. NVylf also w rote much
sound sense about music with which he was
more in sympathy, and about conditions in the
^a-h^ and coocert-haJU of the Vienna
ot his day. He passionately adoured Beet-
334
WOLF ; 1864*1866^' PenthcsU^ * Slighted
hoven, Gluck and Moear(» l«>ved Schubert,
but criticized him with detachment and
justice, broke many a lance for Berlioz, List
and Bruckner, laid down the law on every
aspect of Wagnerian interpretation and
tested against indiscriminate applause, the
claque system, pretentious ** sur ” singers,
under-rehearsed operatic productions and the
limitations of the current repertory. His
writings added a good deal to the interest and
gaiety of musical Vienna in his time. Bui
U’olf*8 critical activities tvere deplorable in
their consequences in his own life and struck
to attain artistic recognition. He made many
enemies in l)igh places, and his misdeeds were
not forgiven him.
The V'ienna concert-halls and opera-house
kept Wolf busy until about June of each >'ear,
and he resumed his duties in Sept, or Oct.
He composed little during these years, except
during the summer months, when he was free
from journalistic preoccupations. In July
1884 hu visited Rinnbach again, w’hcre he was
the guest of the Kocherts. From Rinnbach he
moved in Aug. to Schloss Gsiaii, near Oblam,
where his brothcrdn-law Joseph Sirasser was
living. In Oblarn and district he composed
incidental music in another play of Kleisi’s,
' Prihz Friedrich \x>a Homburg *. which,
however, he never completed. In 1665 V^*olf
remaitird iit Vienna during his summer
holiday period, working on the instrumenu-
lion of his * Penlhrsilca *, which he hoped the
Vienna Philharmonic Orchestra would accept
foi public performance. He called on Hans
Richter in Sept, and left the completed score
in his hands. At that time new works for the
Philiiarmonic programmes ssTre chosen by the
members of the orchestra, who recorded their
votes, for or against, after trial-performances in
prisaic. Already in Oct. Wolf heard
indirectly, from the critic Hans Paumgariner,
that Richter considered his ' Penihesilea ' an
im(>oriant work, and would do his best to see
it through the irial-pcrTormance, in spile of the
hostility towards VN'olf of some members of the
orchestra. This hostility led. in that year, to
the rude rejection of his string Quariei when
he submitted it to the Rose Quartet. The
rcbulT look the following form t
Wc ditcAlu'cly pisrrd ihMugh your l> mmor
Qu.«rwt and iinsriime«uly fcwdwd 10 lesvc she Hort
Tor vov wi<K <liKM«liMtWT or she Court Oprrs House
(OpfrrtKawe). Will hav« ihe kinditev to seiul Im
I t soon pouibic f H« <o«iM nwsfsy u, WitK
heartiest grcet>nr«.
The Qyartee,
Ko«e, Lob. Bsehrieh, HMCBtner.
Sigismund Bachrich, the viola player in the
Rose Quartet, was responsible for thU docu-
ment, the original of which is wholly in his
handwriting. Including all the signatures. It
was hU revenge for WolTs scornful dismissal
of hU own compositions, including the operas
* Muazedin ’ and ' Heini von Sieier ’ in the
* Salonblatt ’.
The sumrncr of i$86 Wolf spent with
Strasser at Murau, in Styria. There he com-
pleted a new %vork, an * Intermezzo ' for string
quartet, begun earlier in Vienna, and he then
returned 10 the capital to attend the deferred
trial performance of * Pcnthesilea which he
had now been eagerly awaiting for more than
a year. What he endured on that occasion is
told in a Tetter to Suasser, written on td Oct.,
three days after the event :
Last Fridsr my * Pendie^ei * vss Mrrenn«0 io Uk
Inst of ibc fiovdtin. M/ ‘ PeAihmlcs * ? N», lA«
* Fenihmks ’ of a madmsn. an idiot, 1 jeiwr and toy
ibinc «lw t-ou pl«oM, bui my ‘ Nnihoileo * it was eot.
1 coB*i dfMfibe «o you how this piece ww idoyed.
AAerwards there was '' resounding laughter on
the part of the orchestra " and finally Richter
turned to (he players and said : “ Gentlemen,
I should not have let the piece be played to the
erkl. but 1 wanted to see for myself the man
who dares to w’rite in such a way about
AfeuUr Brahms
It is very difficult to establish the truth about
ihU tncideni. In later y'ears Richter published
an explanation and defence of his aciioiu of
twenty years earlirr. His account is full of
what are, at the besi, half-truths, and his self-
riglitcoua (one is objectionable. Performanca
since Wolf's death have shown how unjus'ly
* Pcnthesilea ’ was derided by the l*hllhar-
monic players, although the orchestration
certainly n^s revision. The composer seems
hiimelf to have believed that his work was
deliberately butchered to make a Brahmsian
holiday. It is unlikely, however, that Richter
himself, who had shown kindness to Wolf on
various earlier occasions, contrived this pe^
formance of ‘ Pcnthesilea * to wound and
Hdicuk him. The Philharmonic trial per*
formanecs allowed of no rehearsal. Tlw
orchestra were reading at sight, at the end «
a long programme, a s-cry difficult score, and
the hypersensitive Wolf would has*e found such
a perfwmancc a sufficiendy painful
ence in any circumstances. Then 10 the
unavoidabk inadequacy of the performance
were added (he jeers and laughter of M
encmia within the orchestra — Bachrich ana
his c^rfleagucs. It seems possible that Richter s
Utile speech at the conclusion was not actually
intended fof Wolfs cars at all. but was meant
to rehabilitate himself with the pJayen, when
he realized the extent of their hostility towards
the compcacf of ' Pcnthesilea ’. This would
be In accordance with what tve know from
other sources of Richter’s tendency to swim
wi.h .h. ..ream. But
Wolf did hear these remarks, and he never
forgave them. The trial ^
* PCTihesilea ' w» certainly one of the most
painful experiences ot his life.
\VOLF : First Nfacur^ f^ngs
335
11)6 winier of idd&^7 saw a re^’ival of
Wolf’s creative activitia. Besides a number of
fine songs, including some that were lo be
included in the EichrndorfT volume of iSSq.
* Chrisinacht \ a large'scalc work for $olo
voices » chorus and orchestra on a poem of
Platen's, was begun. Between 2 and 4 Ma> 1 867
the well 'known * Italian Serenade ’ for string
quartet came into exbience. Before thh \N’olf
had already Written his latt concert notice for
the ’ Salonblait *, The issue d* 24 Apr. con*
laincd his final contribution. On 9 May
Phihpp Wnir died at SVindischsTaz after a
short ilhiesi. His favourite son, on whom all
his Itopcs had l>cen centred, rearhed home in
time to clasp the dying man In his arim.
Wolf's grief os*er his father's death was
mea»ur«>leu. He had longtd to gladden his
heart and justify in his eyn his own adoption
of n muMial career, and it wav f^cclvcly this
nf which fate «> cruelly deprived iiim. Hw
suct i-vs came ju'l loo late.
Kiavr Mati'RI. Sonus. -In the last monilu
of 1U87 a friend of Wolfs nanH*<l Friedrich
l.cknein succeeded in indurmg ihc vjn.ill
V i<’iUK^' Urrn of EnnI \N>u]cr to undertake
the puhlicalioit of twelve of luv songs. 1 Jie
exciteim nt and happiness ai ihe jkosihii tJ*
seeing his work in print seems to have had an
cx ir jordi nar ) e iTec 1 upon \N’<>lf. hla rly in 1 B8B
he ohtainctl permission to make use of the
'N'erner family's uuuceupicd house in the litile
market 'tow n of Perchtoldsdorf, luilf*an*hDur's
journey by rail from N'ienna, on ihe outsklru
of lijc Wiener Wald, On b Feb. he set to
music ' Der Tambour a poem by Ilduard
Morike, and a few days laier new songs, all
(H ititjgs of this jKjet, began to pour from his pen
in an apparently endless stream. Ibc com*
jxner seemed lu have itecoine the hdpless in-
slforrtrni of a higher power and himself waiched
with incredulous joy while song followed song.
Often i\sY» were wriuen in one day, and some'
limes three. Of this inspired outburst of
lyrical c rea 1 ion he wrote to .Sirasse r on 93 .Mar. :
I am U(vkin« iivcwanilv *•** a shouMihf
deaf ffieiKl. I «»f,ie far poweniT w«. Tl« are nvMier.
Ai peevnt aniy M»ts. lu he sure, hul «.heA t
lell twii iliai III ftpiir of many m«*trvm>«m 4«e la oiv
alH^ce .n \ ^nna. ,[ttK ti ah«|»telr nwmsary hwkTZ
v^rk , . .. I ha«« fteve/iW^ «iiKe a» Fab. eattpMd
iwfhiy.five j„n„, of »|»„h ^,,1, ^ iIm
men »f minimal ilivernmeM . ihai share
^•1 noil„n< like «hem %mce Sehuhers and SrtwmaiM
ai: -»•
In all, fony-ihrcc Morike songs were written
m three months at PcKhtoUsdorf. After a
holiday with his brolher-in.law and a visit to
lUyrruth he retired again inio solitude in
Y pi, this lime choosing the country bouse of
the Eekstem family at fnteraeh on the
Aut rsce ir. ihc ,SaUkammcTgui for hh retreal.
I here more Morike and Eichendoeff songs
were composed in a similar creaiiNT frrnry. In
Oct. lie relumed to Vienna ami started olf at
tmee on yet anotlwr greai cycle of v.ngv, this
lime «o poCTT X b>' (^ihe. In three ami a half
munihs fifty GoeiJse songs were cornpose<l.
Reeogniltoh. although as yet cnilv in a n*.
sirieied circle, followed swifily. .Among his
friends w^re \ Ikinr Boiler. Joseph .Schalk and
Ferdinand Lowe from the V'ictin.t \ Vagner
Verein, and ilsese men in ir<xlucetl Ins wnrk
to a wider audience. Impromptu reritals by
Uolf of his own composiiions hecame a fre-
quent feature of the meetings of the ^fiCieiv.
On f, I)ec- Wolf appeared for ilic (ir'i time at
a piildic concert as aesompanisi to Im own
songs, w’hen Ferdinand Jager vjitg nine of
them wills great sucres* in the Bo'cndorfer*
saal. .At ihis ronrert ihtresi of the |>i<x{raniine
rtmsisled of Beeihoven votiaus, pL\ed by
Schalk. ami the thallrnging iuvupodtion of
the names VVolfaml Ib'cihoveii aroused much
criltctvm and u>mr anger. On 10 Jan. iBhij
jager sang two groups of Ws^f songs, with the
compuserai tite piancAirie.ai another roiicm,
and riere again ilse new songs achieved a very
great sMceett. Other Wolf rr< itah followetl in
M.ir. ai»d .Apr. In .Mas the composer returned
10 I'erclMoklsdorf, where he completed his
' Ohrivinaeht set lo music two songs froTii
• .A Midsumnwr N'lglu's Dream ’ - probahlv
fragments uf music inteiKled for an tipera on
this subfrcc - ainl ma<le orchestral v^erdons of
the aecompaninK’nis of some of his Morike
songs. The Morike songs \%rre published by
Weirler earlv in 1889; the E.lchendoeir and
Ooeihe volunses by Lacoin, anoiher small
Viennese firm, a Mitic later. In (>ct., after
visiii in the summer to Kinnhach, Bavreuih
and Wmdischgra?, Wolf reiurneti to S ienna
and rcK^ablidied himwlf w ithoul delay In his
IVrehioldvlnrf reireat. I here he lieg.sn hh
'Spanisches l.iederhuch settings of German
iramlaiions from tJse Sp.mish by- Paul Hevse
and Emanuel GeilH. 'rwentv*six ul these
songs were wriuen in ilw iwxt two months,
and after a break of two months, during which
only two songs were added, ihc volume was
compleied between afl Mar. and 27 Apr. hy the
addiiinn of sKtecn more. Ihe ^ Spanivches
Ueslerbuch ‘ hrouglii to a close ihis most
prolific creative period, during which more
than one hundred and Italy songs had been
composed in just over two years,
^^rRAtic Plans,— T he characteristic feat-
ure of the next period of Wolf’s life was the
crajeless search for a suiiable operatic libretto
— for the composer was by no means willing to
regard himself solely as a miniaturist. He
Wished to paint 00 a large canvas and achieve
a funding ps^ular success on ihc stage, and
with 11 ruK only fame but financial security.
Already in Sept. t888 he had been occupied
with the possibility cpf making a libretto out of
336
WOLF : St^e Mii^c — ** Italian ” and ** Spanish ’* Works
Alarcdn's ‘ The Thrcc'ccmered Hat I^rly
in 1890 he scornfully rejected an attempt by
an acquaintance, Rosa Mayreder, to supply
his need. For the time ‘ The Thr«*cornered
Hat ' was laid aside and other subjects were
considered. Once he thought he had found
what he sought In Shakespeare’s * Tempest ’
and tried 10 persuade the poet Liliencron to
undertake an operatic version of this play.
Liliencron was untvilling to re-write Shake-
speare and proposed Pocahontas as an alter-
native. Other suggested subjects included
' The Golden Ass ’ of Apuleius artd the life of
Buddha. These very soon followed Poca-
hontas into oblivion.
After the * Spanisches Liederbuch ' was
finished > 1890 saw the creation of * Dcm
Vaterland \ a patriotic piece for chorus and
orchestra, six Keller songs and the first seven
songs of a rtetv cycle, the ' ItalienUches
Liederbuch *. In the autumn of that year
Wolf visited Germany for the first time. He
made the personal acquaintance of friendly
correspondents, such as Emil Kauffmann at
Tubingen and Oskar Orohe at Nfannhcim.
whose attention had beets originally attracted
to Wolf’s music by Joseph Schalk's great
article ’ Neue Licder, neucs Lebcn in the
' Munchener Allgemeinc Zeitung ' of as Jan.
1890. These new friends did much to spread
the knowledge of his \vork beyond the borders
of Austria. The chief object of the trip, how-
ever, was to conclude arrangemenii with the
publishing-house of Schott at Mains, who
were to take over his earlier published s’olumes
and issue the new ones — the Spanish and the
Keller songs. It was Humperdinck’s recom-
mendation that had led to this.
Staob Music. — Back in Vienna, the com-
poser worked on some incidental music to
Ibsen’s ’ The Feast at Solhaug commissioned
from him by the Burg Theatre, but for this
sort of hack-work he was ill equipped and the
performance had to be repeatedly put off
owing to the non-completion of hb ic^e.
When, much later, the play was produced,
only a part of WolTs music could be used, as
he had scored some of it for a much larger
orchestra than was in fact available.
A second visit to Germany followed in Apr.
[891, on the occasion of the pcrfocmance of
' Chrisinacht ’ at Mannheim under Weln-
gartner. Wolfs letters of the summer and
autumn of this year reflect, for the first time, a
mood of depression and weariness. To Grohe
he wrote on 8 May ; “ I feel myself, bodily as
well as mentally, utterly exhausted. Of com-
posing I have no longer the remotest con-
ception. God knows how it will end. Pray
for my poor soul.” The * Feast at Solhaug
music was still unfinished. “ If only the
a/Ugn for the overture were written f Thb
thought lie now like a ton weight upon my
heart. But to compose without ideas —
terrible 1 ” At LJnteracb, where many splen-
did songfs had earber been composed, he could
now M)ly brood over the seeming failure of
his creative powers and over the elusive opera.
He wrote to Kauffmann on > June :
I ibould aifBMt like (0 betievc Uut 1 sm ewae M
th« of my Life. I csnnoi poctibly uaiioue for
thirty )'ean awre to write soBfi er reuue to llBen*i
dfsnss. And yet the eeterly deuxtd opesa wiJl never
coac. I am jutt about at aa end.
The ' Feast at Solhaug* music was finally
completed in time for the production of the
play on 21 Nov., but apart from this the first
eleven months 1891 saw no new composi-
tiwu from his pen. After the wonderful
achievements of the foregoing years it is not
surprising that he grew dejected.
” Itauaw ” Awo ” Spanish ” \Vorks,—
Then in the last month of that year he suddenly
produced fiAeen songs to poems from Heyse’s
* ItalicDisches Liederbuch which with the
seven written earber rnadc up the volume
published in 1692. This was only part of fib
projected scheme, but it was four years before
tbe second volume completed this work.
k^ly in 1892 ^^’ol^ visited Berlin, where he
gave a concert of his worb and made many
more friends, including Siegfried Ochs,
and Baroness Llppcrheide, Richard Steriueld
and others. Hopes that Sudermann would
^ovide him with an operatic libretto came (o
nothing. , ,
In Apr. and May the ‘ Italian Serenade ,
originally for string quartet, was scored foj
small orchestra, but original creative work
siill hung fire. He wished to complete the
Italian semgs, according to his plan, but the
creative mooJ continually eluded him. He
had returned from Berlin with his head full ol
ideas about ’ Manuel Venegas after another
of AJarcdn*s noveb, which he thought nughl
be (he operatic subject he needed^
friends were called upon to help him m mo
matter. Adalbert von GoIdKhmidt provided
a scenario which met with Wolf's ’
but could not be induced to undenake th
versification. A suggestion that Hermwa
Wette, Humperdinck’s brother-in-law, whom
he had met in Germany, should do tl^ 1^
differences of opinion which brought the r
friendship to an end. Dorens of 0^
atic f«pjecls were taken up. ^dcred or
lime and then abandoned. He seemed
almost at the end of his resources. From
Traunklrehen, one of hu
resorts, he wrote to his fnend
“ I could just as soon begin suddetdy
Chinese as compose anyUimg at all . ^
given up almost everything else in We ^
t bellied in hb talent, ^
have deserted him he could see nojustOicau
WOLF : iB^-i897^Srtc]etl in Vienna
attend the first performance, under Siegfried
Ochs, of his * Llfenlied ' from * A Midsummer
Night Dream ’ and the choral version the
Mdrike song ' Uer Feuerreiier Buth w«riu
were higltly successful, and the concert gate
SVoir cunsidcrabk' satisfaction. .Viter Berlin
he appeared at concerts of hU own mude
at DarnwuUt, .Stuttgarl. Maimheiin aixl
'rubingen, rt’tirwcd acquainiatite with hi»
friends KauHmann, (irolie and others, aiMJ
made some important new ones, including
Hugo haitsi, an amateur singer, and Frieda
iCerny, a professional one, with whom hr fell
in love. Piisst and Frieda Zerny a|>pearc<l
w’iiii the tenor Konrad Dieccl at the concerts
of biuitgari, Maimhemi and lubingen.
The months that followed Wolf's return lo
\ ienna at the end of Feb. sa\s u great crtsii in
hi> private aJIairs. For a time he |>Unned
llighl, in the eom|ian) o1' Frieda /erny, to
America, " to the land of gold, to lay the
hiuridaiiuiit «it a detrul existciur on 4 sale
basis of dollars". But laTore vety long ihn
exceedingly passionate love-uirair Isad burni
itself out and WuU, tint without acute em>
harraMmcni, extricated Uiiiuelf from this
cniarigtemem aiwi contein|>laicd atiriv tlie
prolonged failure of his creaiis'c powers. Iht
summer months of ihis year were spent with
the Kucheris at Traunkirchen and tlw cosik of
Ntatarn, near Brixlegg. m the Tyrol, with the
[.ipperliridet.
In Vienna in the winter of VV'olf
withered tlw* triumph of hit friend Humper*
dint k's ' Haiisci und (iretcl *, and it seems
nut unlikely that this had some clfect in help*
ing him, not so murh to overcome his own
operatic difTicuhies. as to convince himself
ihat they did not exist. 1 'he tlicn rhatrman
of tile W’agner Verein, Franr .Scliaumartn, was
persuaded by a mutual friend to undertake an
upcraiic version of Alarcon’s * Three-cornered
Hat ' fur Wolf. Ihis was not found suitable,
but in talking over the matter with his friends
the composer's mind reverted 10 that earlier
libretto, hy Rosa Mayreder, baaed on the same
slory, that he had rejected five years before.
He insisted on rc>examining it and. to tlie
amarement of everybody, now completely
reversed hU earlier judgment and fbund it
" the comic opera par exttUntt Sol all his
fricn^ were equally enthusiastic, but iheir
misgivings were brushed aside. It was hard
to persuade him that any aheralion at all was
nece&sary. With impalienrc and excitement
he awaited the spring, and as soon as the wvru
of the cold weailwr was over he returned
again to Perchtoldsdorf and threw himself into
me composition of his long-awaited opera.
Fromdx in the morning, or a Utile later, he
worked each day with scarcely a break until
seven m the evening. On an Ape. iSqs be
was able to tell his mother . ^ ^
I IhWT *e Miterm vm iH;>l I sp^ni the wK'Jc inonili
of .apni. (fOM esriv mvnuritf unol Uif jm ibr
vcekiAij hke a slave. ... 1 lia>c m i>ie siuir
from 1 .%peil lo '<nniiu*F<l ahnet'C («<i ycu of
MV ofwra ainJ ripni lo <(irM|>leic ihe Mivk l>v
(lie MiMnn; >l i» to l>e lli.ii ii hiU lo
pevfonis4*Be mi ihU verv «>4Micr. Ilui il»rh \iMi immm
(••file to VteMis lue the . m ««iII ni.ilr art
MMMOiir »mka(>OM.
In tlse (Middle of .Mav hi* vv 4 > lompi'JIcd i<r
leave FerchloIJsdorf, l>ut wasabli* to voiuiiiui*
his wxirk. in Hlr.d cirrumvtames, on Huron
I.ipperhctde's estate in the Tyrol. Uv '(July
the whole opera was compIcM*. dficr lourK C’n
weeks of inte nsive ellort. *1 he orilu slrivtion
occupied NVoir file the rest of the tear, uImI Im*
did not leave Mat/rn uiiiil his o^iera wus
ready fi« perl>>rni4tire. His heart vvus set <in
Its immeiliair ^irixiuttioTi, and ,ilier uiisucievs-
lul iH*i{(4i4iMiiis with S'lc'iina, IbTliii and
I Vague * IXt (kicregidur ' wa« atteptrd l«>i
fierforinaticc at die <k>url and Naiioiiul
Ihraire ol .Maiinlu iiM.
During aiMKlwr stay ui I'erchlublwlorl the
iwmiv-four songs ol die sxouil p.irt o| ihr
' Ita lien ISC Ives l.ie(b’rhu< h' were tornpcm'il in
Jitde more than a riir^iih tJ‘, Mar.-;jo .Spr.).
.\Uer ihiNilul -ccJMS at the relieaisals. dm*
lo VVolf's inrxperienre, impniierit r uiid nervous
irritation caused Iw bisoiiinia, and by ihr fail
that the hastily copud urdnsiral pans were
full of errurs. * Der Corregidor ’ receivevi its
first perfimnance at .Vfaniiheiin on 7 June
iBgC, under Hugo Uohr. .11 id achieved a
uitehf otim. Ihis was largely assurid by ihc
presence of \N oil's admirers uud friend', "ho
had come from all pans of (irrniuny and
Austria : afier they had lefi a s<'coiul perform*
ance met with a lukewarm re<<*pti<>ii, and ihc
opera was ihk afterwards revived at Mann*
heim.
SiiiLsu IS Vii SNA. --Ihiik in Vivnna,
Wolf look poMessimi of a (lai in the Schwind*
ga»u< • iht' firsi leal hi»mc of liis own that lie
had ever had. For iwarly len veaTs now be had
been dejiending on friends lo set* that he
liad a roof over hh bead; his l.isi rent had
been pakJ in 1887. .VocomjiosiT ever made so
little money out of his art, Raruu Lipperbvide,
Gfohc and others, however, had in 1895
clubbed together lo give him a small private
income and now, through the generosity of
Faiist and liis Viennese friends, he at last had
some rooms of Ins own, .\H his at len linn was
laken up during the rest of tByfi with the
revision of ' Der Curregidor ' and the collation
of the parts with the score, in which he received
valuaWe assistance from Hcinricli Toipc-
sehnigg, a friend at Gear. He was anxious
now for the opera to be produced in Vienna.
After playing it over to Johann Fuchs he
accepted the latter’s \Trdici that a cui in the
last act was necessary ; he was working on the
revised version of the opera in Jan. and Feb.
1897. In the second half of Mar. he set to
VOL. IX
y
33 ®
WOLF : Breakdown and Death — Early Works
music a number of Robert-T^now’s trans-
lations of poems by Michelangelo — his last
songs. Meanwhile Rosa Mayreder had been
persuaded to write for Wolf a * Mar)uel
Venegas * libretto. Her work was roundly
condemned by all the composer's friends and
adviser$> but one of these, Michael Haber-
landi, who had recently founded in Vienna a
society to spread the knowledge of Wolf’s an,
discovered in Moritz Hoernes, his frierid and
colleague at the Vienna Univ’ersity, a new
librettist. Hoernes's version of * Manuel
Venegas' was enthusiastically received ; Wolf
himself said that Shakespeare could not have
improved on it.
After a few days with the Koeberts at
Traunkirchen, Wolf returned to Vienna to-
wards the end of July in an extremely restless
and excited state, and at once b^an work on
his second opera. Some alterations in the
libretto were found to be necessary, and other
distractions delayed him for a while, but by
the secortd week of Sept, he was in the old
fever of creation. He then hoped to complete
the first act in a fortnight. He gas’c up all idea
of a holiday, shut himself up in his Schwind-
gasse Hat and Nvorked from early morrting
until late at night on * Manuel Venegas '.
Breakdown. ^ On 19 Sept, friends who
encountered Wolf in a restaurant were con-
cerned at his strange behaviour, live next day
it became apparent that he was mad. He
asserted everywhere that he had becorrve
director of the Vienna Opera. He called on
the opera singer Hermann Winkclmann acMl
demanded that he should appear at Mod ling
in the evening, where Wolf's friends w’ere to
meet to hear the new opera. It seems that
Mahler, who had recently become director of
the Opera, had promised to produce ' Dcr
Corregidor but that at 1 later meeting he
had withdrawn iiis promise, to Wolf's bitter
<jisa]ipointmcnt and anger ; and the mental
distress caused by this development, coming at
a lime when he was in the tliroes of composi-
tion, led to the breakdown. It had been
known for some time that >Volf showed sym-
toms of incipient general paralysis. The meet-
ing at Mbdling look place — a nightmare
scene. The mad composer played through hb
' Manuel Venegas ’ fragment and announced
to the whole company his appointment as
director of the Opera, the dismissal of Mahler,
Winkclmann and others, and his jrians for
replacing them with hU friends. A doctor
who was present decided that it was imperative
that he should be conhned in a mental home.
Wolf spent four months in the private
asylum of Or. Wilhelm Svethn. In a series o(
amazing letters he outlined his plans for world
tours with the personnel of the Weimar theatre
and for the production of his four operas (some-
times even '* four tetralogies ’*), of which only
Mie existed in reality. Besides revisions of
earlier works, orchestral versions of songs, etc.,
a corisiderable amount of new mi^c was
written in the asylum ; it is remarkable only
for its banality. Wolf himself afterwards
destroyed a new movement he had written
during this period for inclusion in * Penihe-
silea '.
On 24 Jan. 1898 he was discharged, one of
the perils of '' intermission ", characteristic
of the disease from which he suffered, having
been reached. There followed a listless and
unhappy wandering from one place to another
— the Semmering, Graz, CiJU, Hochenegg,
Trieste, Lussin piccolo, Cilli and Cras again.
During the Isiriin tour he was accompanied
by Frau Kochert and his sister. On 6 Mar.
he returned to Vienna ; a new home for him
was found in the Muhlgasse. The summer he
spent with the Kbcherrs at I'raunkirchen. At
first he seemed to be improving, but at the
beginning of Oce. was again attacked by
insanity. He tried to drown himself in the
lake and afterwards himself asked to be put in
an asylum. He entered the Lower Austrian
Landesirrenansult in Vienna on 4 Oct.; he
died there, nearly four and a half years later,
after appalling sulTrrings. He is buried in the
Central Cemetefy, Vienna, near Beethoven
and Schubert.
EARtv Works,— I n his youth Wolf planned
many large-scale works. The very early
pianoforte sonatas and violin Concerto, after
classical models, arc quite negligible, but from
about J077 onwards a succession of ambitious
projects for operas, symphonies, string quar-
tets and other chamber music, overtures, ton^
poems and incidental music occupied his mind
and at intervals his pen. Nearly all these pro*
jects were abandoned aAer a lime and the only
completed major works were the SympJiony
(1877), the string Quartet (1878-84)
tone-poem ‘ Penihesilea ' (i883-^5)» f
which cost endle« pains to bring to wrtft.
There survive only (ragmenu of the Sym-
phony; of the two complete or almost com-
plcie movements which have been publishes
the scherzo is cvmsiderably the more mature;
it already shows an independent mind at work.
The finale is a transcription of an earlier piano-
fone piece and of Iltdc interest ; Wolf himsc t
r^aced it with another movement, now I«t,
in his final version of the Symphony.
string Quartet, headed by a quotation from
Goethe's ‘Faust*, " Entbehren sollst du.
sedbt entbehren ", gives the impression, as 00
some of the early soogs, of bei^ a
work, a personal outburst of
It is very long and not too happdy •
ib chosen medium, the
and. in places, of Wagner is obvioiu .
all is said against it that can be said it
a remarka^ creation, bearing the stamp
WOLF : First Songs — NfasKry in Song
339
genius. Tbe verdict od * Pcnthcsika * is not
dissimUar. Wolf was entirely self*uugh( as
regards orchestration ; until the Philharmcnic
trial of i88C he bad never heard a note of hU
own scoring. Naturally his early writing for
the orchestra rellecis this lack of experience,
and he himself in later years recogniacd that
* Penihcsilca ' stands in need ^ res’hion.
Neverihelets the work has qualities of great-
ness. As mentioned abos c. the initial impulse
towards the composition of a symphonic poem
came from List I. and the lisrtian process of
theme iran.sforina(ion is employed in * Pen*
thesilea But ii is not a derivative work -^its
wild iioctry and ma;esiy arc Wolf's own. He
was wonderfully successful in finding a form
that is musically satisfying while ai the same
time relirciitig the devclopmmt of Kkisl's
drama, 'fhere arc no programniaiic pucril*
iiics; the emphasis is on the ssmplkonk
const run ion. But the form of the work w’as
quite ruined in the version published, after
the c<>mpoi<T*s death, by the \ ivnitj Hugo
Wolf V'ercin. home reviMim of the scoring
would have been more than iMribinahle, but
not an unacknow’lcdgnl eui of iGB l>jrv. as was
HCiually made, .SurnUer version, corresfiond'
ing exactly with the auiograph «curs’ in the
Vienna National Liliran. was published in
• 937 * edited by KoUri Haas. ThU represents
the work a< originallY plated ihr«»ugh under
Kichivr in iBfUi, except iliai it inclsKlcs ilse
parts for Lngii»h horn arxl ailditional per-
cussion adde<i by \Vnir in Kietlin's asylum in
1897-
First Sos’i.s, ~ Coniernporaneously with
ihesu vx^ieriments in tlte larger furms, each
of which represented a tremendous exercise of
Wolf's will, tliere appeared a succession of
songs whIcJi fluweti almost cfTortlev'ly from
him and revealed the born lyrical composer.
RefletlionsofSehulierl and Schumann abound
in these early works, but If he had not yet
succeeded in evolving his own individual
language, the authentic singing quality is
there, ft is otic of the rarest of musical gifts.
The little • Morp^entau’, composed when Wolf
was only seventeen, has it, as have the delight-
ful Kcmick sellings of 1882-83 and, above all,
the Heine and Lenau songs of 1876-80. These
last are subjective in nalgrc, the expression and
sublimaiinn of his vouihful passion for Vally
Franck. ' 1 ‘he phases of this love-affair are
mirrored in things like ‘ Mrnst ist der Fruh-
ling • Spaiherbsincbel ’, ' Mu schwaraen
begein ‘ Sterne mli den goldncn Fussehen ’
and \Mc des Mondes Al>bild aiuert’ among
the Heine songs, and * Herbst ' and ‘ Frage
mclit ' among the settings of au- This is
the adolesceni Wolf, of il»c pale face, the
ituensc gaee and tbe long blond hair ^ a
charming and most lovable personalirv But
9 ne understands why these palpiiaiiog and
cDou moving pages were parsed over by their
composer w’hen he came to make a selection of
his early songs for his first published volumes.
More prophetic were the sprightly ' Mans-
fallcnspruchlcin ' (1882I and ' Zur Kuh '
(1683k, influenced by Wagner but a great >ORg
in its own right, not surpassed by several later
essays in the same v^ein. About 1887 the real
^Volt begins more and more ig emerge ;
several trf tlse well-known Fithcndorfr snngs
belong to ihts lime. But it was with the
Morike soilings of ihe following ve.^r that he
really hiund lumself,
Masiibv is Song. — It mav Im' that too
much lias lieeii made of Wolf's liicrary turn of
mind, his faithfulness to his poetN and hU
general I y \cru|>nh>us treatment of their w'<»rds.
This was one mi|Mriaiu asp«<ci ofhu work, of
course, and one on which he himself bid ihr
gr«’ai«wt >tri*>s, bui the fintM deeUmatjon, the
rmwi sensitive htvrary r<‘<’iing. wouUl hate
availed him luithirig if lie ha<l not Iktii able to
produce a lk«o»l of uivpiretl musical intention
10 match the m.inv-sidediuss of Ills pouts.
Wlirn we turn die novv bmili.ir pages of ibr
• MorikelHder ' m<*relhaii fifiv songs, coin.
tsiihin a few months. • u i< abuvi* all
this astouiMliiig musical wr.ilih that rapii-
vairs us, logs’iher wiili the breath of nature,
of I lie -Suabian lor is it the Austrian fields
worxis aisd hills. This variety, ibis copious in*
veftiHin, (his frrsh-air feeling, arc |>osi lively
Schuberiian.
The traditional. folk«ongdnfluenced siylc of
earlier (iermaii song is clearly still one clement
in I lie Morike volume, which eon I ui its many of
Wolf'* nxisi (Kipular pieces. ‘ IXt fJariner ’,
* Fussrrisc '.(agrriied ' and others are simply
“ fine songs for singing, rare wngv to bear ",
wiilwHjt literary tcinplieaiions. The vein was
still fresh and drlightful. S«une of the pro-
foundcst things in the wdume, like ' Cm
Miilcrnachi *. are quite simplv < onstrucied.
' Auf einer Wanderung ' and Mm Fruhling ’
arc examples of wliai has been < ailed Wolf's
" siphon ic " style, in which (he voice
deliver* the jiocm In a son of free melodic
rhapsody over an elaborate pianoforte part,
built up out one or more themes, somcwliat
m the manner of a symphonic dcvelopmeni.
Wolf increasingly employ^ this method in hij
later works, but any suggestion that there wa*
asiereocyped Wtdfian formula for song-wTliing
wtxild be gravely midcading. Kew eompeuces
can show such a wide range of styles and such
variety of ft^m.
ticltendorff songs w*ere regarded by
their creator as a sort of supplement to Schu-
mann's sellings of this poet. Although in
^ Verschwiegesse Liebe ‘ Naehizauber ' and
®**"*^^^ ’ he evoked again Eichen-
dorlTs romantie moonlil world, in general
Wolf laid emphasis on the more matily and
340
WOLF : Mastery in Song
humorous aspects of the poet, which Schu*
mann had neglected. There is a liiile gallery
of objective character sketches. This volume
is full of captivating things, but occupies a
relaiivel)' mt^esi place in \ Volf's output.
The Goethe settings include a number of
exquisite short lyrics, such as ' FruhHng ubers
Jahr ' Die Sprode ' Die Bekehrte ' and the
jewcUUke ' Blumengruu ' and * Gleich usmI
gleich But the characteristic note of the
volume is a stern one, sometimes decidedly a
harsh one : there is an end to carefree singing.
Wolf neser used a poem that he considered had
been entirely successfully set to music helbre
him. Greatly as he admired some of Schu-
bert's Goethe songs, and particularly * An
Scinvagrr Kronns ' and ' Cchcimes he held
that in other cases Schubert simply had not
understood the poet. Hence his os%n * WiU
helm Meister ' songs, at ucll as the great
trilogy. * Prometheus *, ' Ganymed ' and
• Grenaen dcr Men%chheii *. arc like a drlilKT*
ate challenge. VN’olf s intelligence and ps\ch<v
logical penetration are c^ten allietl with
magnificent music, but he does not invariably
emerge suceestful from the contest. Aher the
almost reckless hrical outpouring that had
preceded it, there is an air of self-conseinus
cHurt about much of the Cocthe volume. It
is still (he least>known of Wolf's greater song
rolleclion'. The ‘ Wm^millcher Divan '
group, ^^hich romprises .*i third of the wJtole
volume, ran hardly lie saUI to he knossn at all.
borne have questioned whether all this
material was really suitable for musical treat-
ment.
After Mohke, JUchendorfTand Goethe Wolf
found, apart from the comparatively unim-
portant Keller songs and the Reinick * Mor*
gensiimmung no further inspiration in
German poetry. It is truly extraordinary that
nearly half of the mature work of one of the
greatest German song'ssritcra should ei insist of
s^'ltings of translations. He sulTered acutely,
we know , from a sense of being a laie-comcr ;
the great tradition to which he sureeeded
exercised a repressive, parah-sing cfTcci upon
him. Morike he had had, fortunately, almost
to himself; llichcndorff he could share with
Schumann, but already. In the Goethe >'olume.
he had been driven largely to repress the
natural lyrical side of his rtature, to emphasize
his imellectual approach, to cultwate the
didactic song and the '* pathological " char-
acter study.
Wolf'.s pa«ionaie striving for characteriza-
tion is seen again In the picturesque page» of
his Spanish Song-Book — a wonderful series of
portrait-sketches of men and women in every*
phase of love’s torment and delight. A
pseudo-Spanish idiom had been occasionally
employed in German song by Schumann and
Jensen, not without some incongruity being
felt. Wolf, who had a real feeling for things
Spanish, accepted the convention of wide-
spread, guilar-ltke chords and impetuous
dance-like movements without hesitation and
forged from them, in the h res of his imagina-
tion, a new style of remarkable flexibility and
power. Here the emphasis is less on felicities
of verbal accentuation than on rhythmic
vitality and passionate expression. The
Spanish Song- Book has been called Wolf's
* Tristar) *; its consummation is found in the
great ‘ Ceh‘, CeUebter. geh’ jelzt which
must be reckoned among his most inspired
creations. The lighter, humorous songs in-
clude some delicious things, all of which gain
from being considered from the dramatic
angle, as character studies first and foremost,
Tlie rhythmic impulse and the melodious
drooping phrases ^ the refrain of ' In dem
Schalten meiner Loeken ' have attracted in-
numerable singers, bui only the most alert and
intelligem treatment can bring out all that the
song contains. The wlv^e scene must be
imagined and each sudden modulation fell as a
reAcciion of the girl’s momentarily changing
thoughts. \N’olf in his search for dramatic
truth is seen at his most uncompromising in
some of the religious songs with which the
Spanish Song-Book opens. These tormented
sinners, these anguished souls, are porira>‘ed
in a style of intense dissonance and deliberate
rhythmic monotony. The composer look
brave risks here, but a song like ' Muhvoll
komm' ich und beladen * justifies him com-
^eielv. The power of W<^f's imaginaiion is
seen too in his portrayal, in ' Nun wandrr,
Maria of Joseph encouraging the
Mary on the road to Bethlehem and. in * Dio
ihr schwebel of Mar>‘ herself watching over
the sleeping Jesus. Comparison of the laitCT
sMig with Brahms’s ‘Gcisilirhes Wicgcnlieo .
a setting of the same words, shows the gulf lhat
lay bciss'cen these two composers Brahms
pr^uces a very lovely but essential Iv con*
vcnilonal German cradle song; Wolf brings
the whde scene to life, setting Marv's plead-
ing. anxious phrases against a baekgroynd ol
rustling palm-trees and fluttering angels winp.
Character study plays a large
the later Italian Song-Book, which is full ot toe
lis’eliest portraiture of the most varied iyp«'
Here \N'olf alloivcd himself complete freedom
in interpreting his poetic material and pr^
duced his most exquisite and original worr.
There is nothing Italian about these sonp.
e>‘erything has been refined and
in the composer s imagination. He .
in indicating, in his music,
subtleties that had occurred, ceriainlv, ncith
CO Hevse nor to the anonymous auihw oi tnc
original Italian poems. The
her inconstant lover packing m j ,
denn? ' appean to be zcoroful and indifferent ,
WOLF : Operai — Bibliofraphy
34*
Wolf shows that behind her bitter words is a
broken heart. In general the seniimenu c(
the poems became iotensitied in their musical
settings : a playful fancy or a lot'cr's compli*
ment moves us to tears in NN'oirs translation.
.*\nd yet in the Italian song-book this intense
emotion is generally expreued in the quietm
possible manner. The musical style b a
marxel of simplicity and limpid beauty,
purged of all dross, like refined gold. The
supreme art o( the vocal tsriiing is lr& a matter
of ** (leclamaiion **. as ordinarily understood,
than ot catching, in the rise aiHl fall of the
phrases, the \erv infleciiiim of ikse siieaking*
wicc, in the niost sensitive reading oJ liw pnern
imagmahh'. In Wo|| < Italian songs thr
atlaihs us cunumirnaiivn.
It has Ik'vii siiggcstsd that Wolf had prrliaps
exhausted the |><nsibihiies <tf the song and.
Ri\'vn m«rs' time, niighi well hate turned again
to hulrumonlal music. There is huh* in Im
life or work to supp>>n this sugcrsiton. TIh*
wHI-known 'Italian Serena Je * and its ahnosi
iinkn<Avri though alniiKi npiallv pleasine
(oinpaniun-pirf r, the ' IriieriiH’azo * for siring
quartet, arc' compositions gf iIk* prr*Morikr
period. sketch survisTs of an orchocral
piece c<Mii|>osrr| in tScji, for thr long* |>r<>^( ted
but never* completed MTucrtiofthc ’Serenade*
in several inovenu ntc Tlte Iniermerco in
’ [)rr Corregirlor * Is anotlwr uich orchestral
immature. At one time Wolf cunsldered
w’riting an orchestral work on Sliakrsjscarc's
* Temisesi Ijui ihen decided the material
was more iui table fur a n of sera . 1 1 is clear i hat
il he ha<| li\<<d longer with unim pained menial
powers he w'ould base gone on r<>mpoung
ojKrras, hut il is more than doubtful wlieihrr
he would ever have scored a real succesn in this
held. * Drr (lorregtdor’ is olniously a song-
writer’s opera, a succession uf sefiaraic musical
minialures, more or less happily joined to-
gether. sup|x>nrd by a rather * Meistersinger '•
like orchestral background, with a rather
elementary use of Its delights arc
innumerable, but llwy arc not of the kind
svhieh is effective on il>e Mage. Tl»e poor
lihretlo can only jiarlly be blamed fi*f this.
Wolf, like the other ^eac (rcrman song-
svritcR, who all failed in tlieir attempts to
ssriie operas, lacked the essentials of a
dramatic composer. The German song seems
to demand another kind of musical imagina-
• ion : the singer is ncs er hlmsHf or berwif the
impersonation of the character portrayed, but
only I he medium through which the elutracier
can be evoked in imagination. Schubert's
'Orciehen am Spin tirade* would not be more
elTecttvc in a stage-setting, sung in costume,
With a long bloml plaited wig. The same
applies not only to Wolfs ‘ fn dem Schalien
nieiner Ixk ken ’. one of the songs actually
embedded in ’ Der Corregldor*. but to almost
all the other music of his opera. His char-
acters arc seen with the inner eye ; his is music
of the imagination, not of direct rcpres<*nia-
tion. ' hlartuel X’enegas if he liad finisltc’d it,
would have bern iiodifTcmit.
The Continuation of Wolf's wurk iti the Itt’ld
of song would obviously have ih’iKndcd <>ti
his finding new fsoctical siintuh. He would
seem alre<^v to have reached the eiul ufall the
original (iertnait poetry cafuhiv <d inspiring
him to inusii . hur his l.tst sortg^. alit'r the
Spanish and Italian S<>ng-Bi>'»ks, Ik* turttsxl
to tramlaiioiw of Mu hel.utg« I" ami IKroti.
.Vrmmg hts pafw rv uvk* uipiv' iti ht> hand <>t
Grrtit.iti \<*rsMitts ol Ismi .SlKikr«]K'are luu’iti'
— > tertam evidence that he h.id intoiided
setting them tu tnuMi . For :i n Mlt 'sl\ Mnising
mind like lus ihrr<' wcr<’ sitll ttihnitr fxwsl*
Inltlsrs. .NiHitlwT volume <»l It.ilbh umgs was
Iw iiu tiM’aiLs out of iIm' i|ur%ti«m, anil, with
'Anakreons <*rah' itt ttitml, the uira ol o w ries
of vettings of theOrsrk Ivrli |>oei«. anioiig other
things, iv ungulatls ultraiiive. But iltew are
vain miagmitigs. Wsdf himw It, a fne-thinker
amj griHTalkv not Itt th<' h ast pr<>(M< to ittdttlge
in iti>silcal tdsas. h«*ld that a rnati t^ not taken
awav lx*lore hr his lulhIhxJ hiv nii^sioli in hie,
I. \v. tii),
tilUl KH.KM'ttY
Aa« K. .\ , * llweu tv*< J( » IVnt huuHiis Vv «>rL i ’ Ki \ .
il. •#«>. p. iao>.
.Nt>Tt*r, ' ( l.r vt lluc«* NV'otf iVcir.
M«rt. Aw.. Sul XXXVIII. imU'.
Biiu. i>roai., * Ihe I mter lluin* VVoJf Heme,
I.Sm*. * My|u tSolt 4 \ 1 J>. Perln* j> l.ripiJit,
4 i.
* H«Ka W'utf. bii l.ebeM ut>J .lat I.Mtl' «Serhu.
•aia .
£« I0IM\. fail IMUCK. * Alte aun^nhlaie ! ave ’ \ leuiia.
ijjfc'.
laiRUANv. Aviaeo vuv. * l|u«o WuH ,ejr> l.ilxn m
M4em • 1917..
roiiD. U'Aina. ’I(u<a VViOf m * Jhe lIrnuBc of
Mwwc*. Vul. II (uami, t 9 S 4 J.
(luRivoea. Kasi, ’ H«>c« UftW aixj FimIj vou t.iiiMr*
hehir. «nmr MOptiUikheU leuert' (Mui. T Ayr A
^eH. lyjk'.
C«cvi un i te AiifsaKr uiier Jluan VV'dU*, I «HerHn.
•<W»; II Hetlin, l• 99 > ; III. * Iter *
' peclih. ( 9 «ei.
<>Bi*xuiv, K*Bi. * lluen VV<»tf* 'Leip/i«. I'ljd'.
lUwajAvpt. .Mkhah., ' Ku»o \VuI|: l.mitieiuriKcn
«ml t.otonken * d.«>»pii«. 1905 anil leMUrvrd «\l.l
Damwudt.
llAtiiRca(it«.<;«AeofvtR. Mac.Ua sus. *H\i8u Wulf;
'••m \V«wn uiul Week de« ctowtrii I.irOw lio|)ret« '
• \ >enns & l.eipiie, 194H.
HKcArs. Ifcxu. * Mseor el intpiratiun mutuate ; le cs<
^VmdesvK. 19)4).
Hen vie R. Bom so vox. ‘ Nu^e tVulf; Brieluei uiul
Lrlautcltm iVieroj, 1911 '.
KsRt t*, RicitAaa. ' LriAimunten eiee* Bil»liui 1 i«b«(s '
^vvcimar. tarsi.
Lsom. WAure*. ^Huf« tVoir* AfterTlinucMi on |u»
Monk* Lmkr’ rM. Rev.. |i. lo.j, «. i»a].
Utieawiuw. Rkuaro. * Hufto VVwJf i'oxuiitr..
NleaoLo. %Ux, ' Hu«o Wolf rLe,p,,f, tju,.
>10111 R, P«t. • BrinoreuneeM ao Huro Wolf C IXc
aiiuik . Mir.-AiK, 1903).
^HucoW^r* rBertHi, 1904!.
11^ ^ A*m*Khrm Werkr * (Leipiig,
N*Rwji*v. £R.vt*T. 'Huco VS'olf (Uodon.
0«nB«a tr&u.. LeipiiR. lato).
• W;
342
WOLF: Worb
OKtL, ALniio, < Hufo Wolf* (Viraiu. im 7>>
Pltftti, R., * Hufo Wolf* (Turin. 1914),
RAUtcrieKocRcct, WALTNtn. * AhncsuMa b«ruhat»«r
OtuU(h«r. FunAe Folfe, LioCmiBf t. AhAmufd
det Kontpor>i<ieQ Hugo Wolf’ (L«tp<ig, *94o)>
RokkAKD. RoMAJM. *Musicieo9 d*«u)ouwip ’ (Paru»
1908; English iroiu., ' Mwcians of To-dty *.
ScHi4m, Evoc)*, * Hugo Wolf* (L«ipi«. 1906).
ScKourtH, Hm *Hugo Wolf, nooseh » c«m»OA0t'
(Amstofdocn, >0)4).
ScKui, CuTTAV. 'u^oeruBtcn on Huffo Wolf*
(R«lrtber>. 1911).
Tavscho, Amtom, * Hugo Wolb Mhrikdloder ' (Vioona,
*947)
VARaej, KvRT, * Dor Muslkkridkcr Hugo Wolf*
(Mkgdoburg. 1954).
Virinok Bona BcNvtNitn, 'Hugo Wolf* (Rome,
Walhoo. Filamb, * Hugo Wolf: • Kogro^y* ILoodoA.
195O.
* Hugo Wolf** SpAnhhoBd lulioa Songt’ (hi. A L.,
V^.XXV. t9«.p. 194).
*Hoco W^dTs Vknoa Diary, 1875-76* (M. & U
TUtvm. Jao. t9«7, p. is).
'The History oTWolTt luJiao Serenade’ (M. Rev.,
V<d. VII. 1947, p. i6').
Wuxaa, HtMOKK, 'Des Hugo WolT-Verelo lu Wiea *
(Raiisbof). igsi).
‘ Hugo Wolf ift Maieriiog * (Leipsig. igij).
* Hugo Wolf ia PerchieldKl<M * (Ratisboo. 1^4).
* Hugo Wolf uftd der Wiener Abdomiirb Wagner*
Vereio ’ (Radsboo. 1907).
Woks. Hooo, * Briefe an Emil KaufTmano * (BerUs,
an Hetorich Potpnehnigg * (Stuitgart. jpej).
* firiefe an Hofuieiie Lane * (RatiiboB. igss).
* BriA an Hugo Filial * (Stullgart, 2904).
' Briefe an Oakar Crohe * (Berlin, 1905).
* Briefr an Rosa Mayiedcr * {Vienna, igst).
* Bfiefe an icbwabiKhe Freunde * (* Suddeuurbe
Monatahefie *. Munteh, May 1904),
* Familienbriefe * (Lelpeig. lots).
* hlwaihaludM Kriuken ' (Leipeig. I9ia)>
* Ungedruckie Briefe an Paul Muller* (J.M.P..
1905).
CATALOGUE OF WORKS
OPERAS
TitU 1
iakr/fl* 1
eks^aarf
PrMbrr/«n
* Der Corregidor.*
i
Rosa Mayroder, based on Pedro de
Alandn'i scocy * £1 lombrero de
ireo pieos *.
169$.
Mannheim. 7 June 1898.
' * Manuel Venegai * (uaHnbhedl.
Moeitt Hoerim. bated oe Alarcd(i*a
* El ni*o de la bela *.
INCIDENTAL MUSIC
1897-
Tisk
CM^rf
* Prim Friedrich von Homburg ’
(uaAniihed).
j * Dai Pest auf Solhaug.*
Heinrich voa Kteui.
1M4.
—
IbKtt, Cemaan liana, by Emma
Klingeofrld.
1990-91.
Vieena, Burg Theatre*
SI Nov. 1891.
CHORAL WORKS
TitU
Wardi
SW/W
Cxnperrd
* D« Stimmo des Kindoa.’
Leaau.
Male-voke cborui, with pf.
*f7«.
—
* Im Sommer.*
Goethe.
Male voice chorua. uoacc.
1876.
* Cehleuruia.'
* Mail lad/
Goethe.
hlale-voice (hoeua, uoaee.
1878.
1909.'
Coeebe.
Male»veice oboru*. uoaee.
1876.
190 j,*
* Frohliehe Fahri,*
E^u^ Hoirr.
Maed chama. ucaco.
* (m iiillen Fri««lhof.'
Ludwig Pfau.
Muted chona. with pf
1878.
“
* Mailied ' (fragmeai). 1
Male»voiee ebarua. unaee.
'!!f*
“
*Crablied.*
Lena Lomui.
Mned ehoeui. uiwcc.
1878.
”
* D(« Stunden verrauaehen '
Cotllrkd Knbel.
Solo voxel, efaeeua A orcb.
1878.
* “
1 (unftnUied).
' *Aurblick.*
EiehiodorW.
Mined choeiia. usacc.
1881.
1909'
* inkling.*
fciehindoiff.
Mixed cbonta. unacc.
i88t.
I9®3'
1 * Retignadon.*
^ehiodoriT.
Mixed cboetiU. usacc.
i88(.
1909.
* I.ettic Bine,*
EtahioJorif.
hlixed cbeeue, unacc.
1881.
I9®3*
1 * Crgebung.*
Exheadoeff.
Maxed chorwo. usacc.
1881.
S9®9'
* Frhebung/
Exhendorff
Muted rhasva. usacc.
i88i>
1903.
* Chrtiioaiht.*
Plate*.
Solo vokea, ebeeua & oeefa.
1888-89.
1S2!'
: * ElCeolied.*
SKakea^eaee.
Soerano, wome**i cbonas
1689*^1.
1
1 * D«r Feuerreiler.*
1 ’ Dem Vaierland,'
tram. Schlegel.
Mer^e.
Robeii Reiakir.
& ortA.
Muted ehoews & ecch.
Mak-v^ aboeui A orch.
Idas.*
1890-98.^
!l|5 (vocal «««{ 1
& igoa (fuU 1
1
•core). 1
1 * Waohterlied auf der Wart*
Scheflel.
Malc>voac« ehoms A orah.
1894*^
—
burg * (uahnuhed).
* Morgenhymaus.*
1
: Roben Retnkk.
hlixed cbonis & «««h.
1897.*
1910.
t9$e.
> In Book ill of die * FoibUtiec sum 6. deutsehen Singetbundetfst * *9***^: afthesoosof
• In D*«ev*i • Hugo Wolf*. Vol I , * ol ow sou,
• Repeatedly revised by Wolf. Tbe fuD More of «he &nt vtfsroo (‘890) rA__^jBuaau« ’ of »®9*-
• An^rangemeni o< the aoe^ of 1887. 'An asrangommi of ibe »ni Mofg«n«u»“«W
WOLF: Work*
S4S
ORCHESTRAL WORKS
: TuU 1
1 FbNiiArd
Violin Coocarw loBliaiAcd),
TraBacriptioe tf Reeiboven't ** Meonlaf hr ” Soitau iiafiotihed).
Srmphoov. By ma. |U bi.) (ftadmettUi.
' Penibeailea lypbonM poem afiae ibe uagadv by Hetarich von Klein.
* Jultmiarhe .Serenade.’
Third * * Iialienoebe Sereoade ’ (iinAniihid)
1
• 875 1
1858-
' 1878-77.
rtat.*
iBgy,
1 — .... . .
'««>>
1903 & 1957.*
1 'W.
CHAMBER MUSIC
Siring ^Mrui. D ma. ifratment).
Ff. QbLMei 'fragment;,
1 Suinf Qua/iai. 0 oai.
InieriiMee^ Co ma., for elf. quanei.
1 Serenade. C ma., lee >i|. quartet.
1 1878, 1
.878.
*878-84.
1888.
1887.
•903.
>903.
RlANOrORTe MUSIC
Sooaii (iDcompltW).
Vahaimm /trfii H UO.
Sor«(t. I) ina. (wnfiiuih««l>.
Sanau. G mt. <xig— atclaj.
* * <u*<n>kh*a).
Marche Car pf. dwi (inaftaiahadj.
Saeau. C om. luidbutM),
* Rondo <aprK<ioao \ l| naa.
' Wrilanapw} ’ (mOinnliad ».
* VarlagMScii * (fracmasii
* HumornM.*
* Vhluinin«rltfd * (' Aya d«r Kutderteh * No. i).
' Srhm ynd ipit* ‘ {' Aw d*T Kindtr^ni ’ No. aj, t
Fantaue yb*r L««Uin|i ” C/w «od Zinwnrrmann ^ ’
Paraphraaa ubcr " Dw SUnirn^^ ««• VymSrtt " von Rnhaad Waiiwr.'
Faraphraw ** Dm WaUw* ' von Richard Wa<oer.’ I
Caaon. I
1875.
5V.V,.
187*.
l87«.
iti*
.87*.
•i»7.
•877.
1877.
1878.
1878.
t. 1 88a.
<- 188a.
i88».
I
(840.*
1810.*
I
8ON0S
<a) UnroouwitB on FotTmicocuT Pvaiiuiao*
Tub
I
Wmdt
‘ Dm «a<*W 8t«(Mvl«in * ifrodawotj,
* SoUaWAliH * i fraroani I .
* D<r Movtvn * ifragmrnO.
* t)i« Svnw * iwmI^ ««h>.
*Crbri* <iiMledr onlfi.
Prafownu U a MLad*lib« compoaiiaon
tM toofM*. baaiMM R id,
* Na<hi und C«ab.*
‘ Sfbnayihi,*
' Dar FiarhM.'
' Wandirliad '
' Ayf dam S«a/
’ D*r RaubvlMU
* F^iiKliniaffndM,*
* MaarvMiak.'
* LkborruMini/
* Enlav Varlioi.*
* Ab«T>4tU<cbkiA.*
* Mai * <Wn>ilMd|,
* D<r c*>d«nc Morgan,*
' Fwkn Ra thtr.*
* UaUiad* (wJtaMriwd).
* Horvh. wir Mill «a wim.'
Ala am unarfr^aadlkh WanocwMcr.*
(unAnubad).
I Fawdr iUi Kind,*
^M8«.
UoMha.
OoMha.
Gwilw.
Comha.
Lanau.
LOBM.
Lcnau.
Unoo,
OoaAa,
Vinrana Zioiwr.
C«r*a
>
Otw RoquaUa.
Laoao.
Lanaw.
CaBp w rd
(875 or aarlier.
(875 or earlier,
<875 or earlier.
1875 ^ earlier.
187s or earlier.
•’ ie75<
r 875 .
•}7S
•J7>
1875.
1875.
«4i$-78«
5 Jao, (878.
18H.
fRjao. iBTf.
SOlaa. 1878.
18 Mar.«e4 Apr.
U Apr, i8|«,
ay 1878.
5 May 1876.
I) Jone 1878.
lonoe >877.
1878 or 1877.
1878.
Mlohd
; Ihe OoblM in IP 05 •« revhed and eu*.
of a anM.loy « a. Ihe fc,. movemen.
; in.bil.i;:?:;" -f — s~>« <« sw.»h~, —1.
lieher VerUd in (8)6^^*^ ^f^V^****^ *“** **’*' pobhihed with ihe euly aoegi by Mu$ikwiucn»chafu
A KMmg rf*- Lebc, ^ ,
344
WOLF; Works
Tith
' &n Grab.'
' Ma4<h«n mil df m ro«a Mundcbca.*
I L>u brtt wi* «in« Bkimr.'
' VSenn i<h la drinc Auf«n »eh.*
* B««che)dene LMb«.*
' Abcrvdbildcr *. 4 odes.
‘ Siandchen.'
‘ Andenker^.*
I • An •••
' ' Wanderlied/
* IX« Verlaaene ' {vAfinithedi.
' Der Sehwalbrn Hnnikehr.’
' r>*< Uied der Waise ' iwnAruUiedi
' W’unKh ' iwnftntthedl.
‘ T raunfTf We^.*
‘ .So wahr die bonne tcheinci.'
* Ick sah die bUue unendikhe See
(fraBmrnU.
’ Naendiehe ^^'•nderunt.*
* Au{ der WaAderwbaK?
' Wu «eU irb UMn? * ( unfinished),
’ Das K»n<l am Brunnen.'
I ‘ Knabenlod.'
* .Sie hsben heMi’ Abend GeseUschah.’
' * Cbe' .Vaehi.’
' leh itand iri dunkeln Traumrn.*
* Dai 111 tin Beausen und Hewkn '
* ^Vu >eh bii%, mtrh rinfs wi^wnbrli.*
' Am meinen t^oiien Schmrrien.'
' Mir iraumie von eif>rm Keriiphind.*
‘ .Mem Liehchen, wiraauen beiumnen,*
' Cs blaaen die bliwen Kusaren.’
* .Vfaneh Bdd verdeMener ^i«er> ' (un<
finished!.
* Fruhlinf. Liebtier ' (unfinished).
' Liebeifruhliriir ’
' Auf der NVanderunf.*
’ Ja. die Schonti ! teh um' n alien.*
‘ Itreichers ver dem Andaehishitd dee
Maier Dolornu *
* \arh dem Ahiehiede '
* Ihe Nsehtifallen Mhwe>«en * (frafmeni).
* Ki war cm alter Kent*.*
' Mil uhwerrrn Scgcln.’
’ S^lhrrbUfsebel.*
' Tmti isi der Feuhhnf.*
* Kcrbsicnixhiuw.*
* Frate mchi.'
* Hcrine.*
* Hrrbeiblaee * (unfinished).
' NVie «|c« Monde* AbbiW liiiert.*
' IVr kriepilusiifT WtllmKhnsied * (fra|*
mem!.
* Nariiryf *
* Nachttruei ’ (wnfiniahcd).
’ fiierne mil den coMnen Fioskin.*
* Da* tribe Laub eriiiten ’ (feagiiMPO.
* Smchem Vofel.'
* Ar> die Wolke * (fraiiiMm)
Variant i« * Mir traumie von etneen
Koncsktnd'.
* In der Fremde I.’
* (n der Fremde II * (rratmeni, nol
idertiieal with the Mtilnt at the same
poem below).
* Woh in mi I der Freud* f '
*Ku<kkehr.*
' liarvirhen.*
* Naeht(ndi.*
* In der Fren^e VI,*
* F ruhimmleckcn.*
* l.irheelmuchaA.*
* Lirbchcn, wo but du? *
* In Her Premde II.*
* Die Tochier der Heide.*
* D*c Kleinr,'
* Die SneOde* (rrafmenl).
* nem Vaierlar^.*
* Frohe BoOehifl.'
Paul Peitl.
Heifsc.
Heine.
Hnne.
s
Lonau.
Keener,
Fnedrirh voe Maithkson.
Leaau.
From art old >onf>book.
Karl Heebeaadwi.
Friedrteh Sceinrbaeh.
Lenau.
lenau.
Ruekert.
Hoffmane von FaJlenkben,
Lenau.
Chamiao.
Ghamisio,
Hebbe).
HebheL
Heine.
t abus Siurcn,
leine.
Heme.
Heine.
HeiiK.
Heine.
Heine.
Herne.
Heine.
Ruckeri.
HoSlnaann v«n FalkerslebeA,
Holfmanei von Falleesleb^.
Moirsnaiits von Falkrsleben.
Goethe.
IMlmoMi veei Faltenlebers.
Hof&nattn von Failersleben.
Heine.
Heme.
Hewie.
Heine.
Lenau.
Lenaia
Unav.
Lenau,
Hewse.
Lenau.
r.khendoHI.
Ekhendedf.
HeiM.
Heine
Marike.
Lenau.
Heine.
FichendordT.
Bkhendoefl’.
Reiftkk.
EichendeeC
Rnnkk.
Retfikk.
Ekh e ndof ff .
Reinkk.
ReinkL
Reinkk.
EkbrndarC
Moribe.
Ckhendeedr,
Caesbe.
Rem kb.
Reinkk.
Compute
^10 Dec. iStS.
I? Dec. 1076,
iBDee, 1S76.
«i Dee, 1876.
or 1877.
eJan.'eaFeb 1877.
S) Mar.-Jt Apr, 1677.
a 3 “*S Apr. :B 77 .
ty Apr ,-8 May 1877.
U-'liune 1877,
19 June 1877.
Aui -»9 Dee. 1877.
10 Dec. 1877,
*8 Nov. 1877.
Jfto. 1878.
0 Feb. 1070.
13 Feb. (878.
19-* I Feb, 1878.
<^S3 Mer. 1870.
1 Ape.'s May 1878.
i8<t7 Apr, 1878.
3^ May 1678.
r8-S3 May 1878.
S|'44 May 1878.
90*99 May 1878.
it hfay iM.
3-4 June t878.
3 June i8?8.
«• J
878.
June
1878,
ea June 1878.
S4 June 1878.
»o July 7878.
9 Aup. 187S.
10 Auf. 1B78.
1 1 Aw«. 1878.
92 Au(,-9 Sept.
1878.
$1 Auf.'i Srpt. 1878.
10 Sepc. t878.
4 Oei. r870.
i Oel. 1878.
7 Oct. 1878.
• 3-17 Oct. 1870.
0 July i8|9.
I) Feb, 1880,
fi May c88o.
7 June 188a.
« Nov. sBBo.
td N^. 1880.
7 Dec. ID iMo.
«4 Dee. 1880.
7 Jan. i88f.
so Jan. I08i.
27 June 1881.
S Feb. 1882.
31 Dec.
laA.
■li
1882.
Ian. 1863.
fan. 1885.
Jan. 1883.
Feb. 1863.
Mar. 1B83,
Apr. 1883.
.L...
8 Mar. 1887.
r3>i4 Feb. 1889.
12 May >690.*
93 June (890.
PkMtfW
< 996 >
1936.
> 836 >
1996.
1909.
> 938 .
1936.
1936.
'B 09
1903.
' 9 ' 3 ‘
1936.
1903.
1903.
19SI
1997
1903
J903
1909
1903
1903
^FF 7
1997
l»>7
1898 .
1938.
1938 *
1990.
1998 '
ii:
J938.
:Kf
J9J«.
iM 6 .
r 938 .
1938 .
1938 .
1938 .
1938.
1938.
> 998 .
1936.
193 &
1938.
1936.
1938.
r936«
1998.
J 9 J$.
< 938 ,
P. Si2.
MS reproduced in Vol. Ill of Baika and Nattl's * AOteoeiiM Georhkhu der Muslk * (SruUFart. (909 *9^
* Reproduced In raesimJe in Heinrich Wen»cf*s • Oer Huso Wolf Vmin in Wkn ’ (Rausbon. t9>D; . t— ..
* Oriiinally written as a sor^r. 8ub*e«uentjy clabomrM iftso the puMiihed work of the same uUe for enofu*
and orcheslia.
WOLF: Work*
345
SONGS
K*taiSMC» •¥ TMe CoHKHttl
' S««lu L«c<lrr Cut «ioe Fr«u«miimn* publiihed tn 1888.
m*
’ MotfO)U«>’
’ Dt* Sfitfincnn*'
’ 1>4I VOf^.'
* Wifye&lM^ un Swwnrr.*
' Irt'i f << nil fri Lfn
HWf <
FmOI *n wM VMUt^lKNik.
Rw un.
IMRwI.
Slur •ft'.
RruMcft.
R<iiiKt
6-19 Jui;' 1B77
\ n Aur.
j %U\ 1B7H.
iSJut>« iKd2.
17 bee. iWt.
90 D«e. 1889.
* S««h> Gediehte v'oa ScKeAei. MonU. C«eibe und Keroer \ (Mbluh«d in 1888
* Zue (tuk. aiir Rub.*
Jueimoi Kemer.
16 June 1683.
' Dot Konif bei der Kronunt.'
ftUoike.
is\Ur. iBBC. ,
v4 Dec. (886. '
* Biterolf/ '
SfMicI,
* W*(ht«ry«d out der Worlbwv/
XheAH
V4 fan. 18B?.
* WeAdetm Noehtlied '
COTthe
y>hf- 'll?*
* Beheteifung *
Gof«ftr
Xiar, 18B7.
* G«di<hi* von CdtMfd Mvrib* pubhAed in 1889
Tkh 1
C»^«»rF
TnU
1 CanFe/rd
* Dvr lombour * 1
i4 Frh. 1M8.
' Frare und .\ni»ixi/
1 99 Mar. iBflO.
* Der Knobe und dM Immlrin.* 1
99 Feb. iBOa.
'Lebe^-ohl.'
1 SI Mar. i486.
' iMvrbed/ 1
* Ran Siundkin w«bl vm Tag.' I
97 Feb. iBBB.
' Iteimoeb.'
1 1 Apr. 1886.
' IF Apr. 1668.
99 Frh. iBBB.
* SFureer.'
' D«r Jotee.'
91 Prb. (BBS.
' Auf ein aim Rild '
14 Apr. 1688.
’ NiAMmou* Lkbe.’
94 Feb. iBBB.
' An Fine Anbharfe.'
' 1) Apr. 18B8.
* Awfuag.' '
94 Feb. iBBB
* I'm AleUrwMf hi '
90 Apr, 18M.
' Zur Wamung.*
91 Feb. iBBB.
* Aid FWiF Cliiiiibluate 1 .'
41 Apr. 1B68.
' lied vom Wimle.*
91 Feb. iBM. ,
' * ^FuriFia 1.*
38 Apr. 1888.
* Rei einet Teauung .'
1 A(*i. 1B88. <
* FFCFtrtoa II.*
su Apr. 1668.
' ZilronenlalWt im April.'
4 Alar. iB»,
1 ' Aciire.'
3 Mav 1B88,
1 ' Der Cenf ne an die HoAnung.*
4Ai4e. iBBB. 1
• Cr ill'*.'
SMav tB88.
* F.lfenlied.'
9 Alar. itBB.
' let der Feuhe '
i Alav 1B88.
* I>r CaeirMr ’
7 Alar. itBl
’ Im Pothling.'
iMav 1B86.
' Aherhied *
B Mar, 1B88.
. ' Nise Binielui*.'
11 Afay 1848.
' Uenk* n a Seek.'
to Alar. 1B8B.
1 ' OiF CriiiFT ant Mumntrhee.'
iB Alay 18B8.
' Avt einer W&ndrrung.'
11 Mar iBBB.'
1 * An den Schlaf.'
4 Ori. 1B8B.
''Oeftei/
11 Mar. iBBB.
' Neve Uebe.'
1 * duM neveei lahee.'
a Oct. 1888.
* VerWrgenfteii/
tl Afar. IBBB.
S Qet. 1888.
' Lied fiOM VerlOTble* '
ij Afar. IBBB.
1 * SrhlaleiHle* jeaiMmd.'
'SVoBnir •rb Trent r
4 0(t. 1888.
* SelfteiRMiftndni* ’
17 Alar. iBBB.
C fVt. 1888,
1 * Fntr* lerli^Fil clnn Madchem.*
toAlae. 1B88.
* Karnorkn.'
BOet. 1BS8.
'Pwrri>e/
«t Alar. iBBB.
* flFtang WFYlan*
lOti. 18S8.
1 * X*i Finer Alten.'
99 Alar. 188B.
• Dvr Feuertviter.'
loOei. 1888.
• Ret(r>ur<.*
9t Alar. iBBB..
' An die fiebebie.*
M Ori. >488.
1 ' lie! verlMeFne ftletdletn.*
\ * Sleet henbourbafl/
*4 Alar. iBBfl. t
9) Atae. 1B88.
* Auf FiiiF CJiriMlriunx If.* |
94 Nov. 1048.
* Gedkitt* von Ekhendorff *> iMiftlitked iUg.1
* BewariwM ’
* r>H NMh(.*
' D*r &eU*i 11 /
' Ikr %ct4*K 1/
' l)i< Ziftonenn/
* N*ehi(*wftcr.*
* Veoehwiet*** LivW '
* !)*• Seftfteft'nberto*'
* l>fr GI«Kbrihfr/
* Hdrtrmpa'Wr f.’
’ HftHrmeKter 11/
' H^efcntpkWf III.'
* Philinr/
' Kpoillifd.'
* AnikreoKi Gtnb.*
' Der SeheCer/
* Uvt R*iirnr*ntfr *
*<il«ich ynd Ckich.*
' f>ftnk dn Paeit '
* Fmti und Froh 1/
>4 Jon. iMo. ' Abacftied/
S ftk. iMo. < * Drr VMae/
u Dk. iBae. ' rvr M«ttikanl/
7 Mv. 1W7. i> * D*t LkbhAbvr.*
19 M«r. iM7. , ' i:nfaH/
mAm. 1B87. * Oft Frvund/
94 Mky I My. ‘ LiebMftkKk/
)i Auc. ittS. * Dm Sundehen/
I M S'fX. iBM. \\ • HeiM«i«ft/
I 16 Scfn. Ida*. < * I.Kbcr «Uei.*
* Ccdichtc von Cee«he *, puUntvd 1890
1 n 0 ( 1 . iMt.
I 99 Oct. IBM.
I soOet. iBBB.
[ soOtt. 1B88.
t Not. ittB.
4 Not. iBBB.
( Nov. cBBB.
Nov. cBSB.
4 Nov. iBM.
9 Nov. l< 88 .
14 Nov. I BBS.
I 'St, Neponniki Vorabmd/
I *<ivlmonn ynd
I * RfKcr Kura Broutrofttt.*
' ikw Sauevr.*
* Miflben ’ c " Keniut du du Land
* Mifnen IT,*
'MinonI/
* Fnihlu»t ubm JaSr.*
' Miv»on III.*
* CpiphaniM.*
' 'Cofthtwhn Lied 11/
9t
Srpi.
1888
as
Sept.
1888
99
S«pt.
1888
Srpt.
1886
•5
Sepi,
1888
ao
S«pi.
1886
Sept.
1B68
a8
Sept.
16B8
39
Srpt.
1BB8
' as
Sept.
iBaa
1 K
Vov.
tB86.
L 98
Nov.
1886.
1 0 Dec. <
886.
14
Dec.
1888.
• 7
Dec.
iflBB.
16
Dec.
18B8.
<9
Dec.
18B8,
91
Dee.
1888.
1
Dec.
1866.
’ 37
Dec,
1888.
: aO
Dec,
1888.
' Actofdinc to Deeiey. tl. iB*i4. (lui toot w»$ OM coa^««ed uacil • fortiushi idler tlu* dale.
346
WOLF: Wo^
TtUt
Cayred
rtdi
Cmyrid
' Ce^tiuhe* Lied (/
* Bcherti|un|.'
* filumenfniai.'
1 * Ehomedurui.*
' Koniflieh Cebei,*
* Grenien der Meaacbheit/
1 * Canymed.’
* Wai in der Schenke warea beuie.’
1 Selanf nun nuchtem in.’
1 * Ob der Koran von Ewifkeit tei.'
* Sit haben w^n d«r Trunkeohdt.’
1 Trunken muoen wir alle leio.*
' * Phanomen *
' Eruchaffen und Beieben,*
1 ' Nkhi Geletenheit maeht Diebe.*
»0 Dec. 1080.
30 E)ec. 1888.
31 Dec. 1888. '
9 Jan, 1889. 1
7 Jan. 1009, !
9 Jan. 1889. '
1 1 an. 1889.
10 an, 108^
10 an. 1889, k
17 an. 1889.
10 an. 1009, I
10 an. 1009.
19 an. 18S9. \
»l . an. 1009. 1'
ti an. (809. J|
' Hecbbcflvckt to dcioer Liebc.*
* Wie loUt* kb baiter bleibca,’
'* Ah kb auf deivi Euphrat tchifTie '
, * Dia »u dcuteo bin erbdtig.*
] Wenn kb dem gedenke.*
] * Komm. Uebchee, komxn.'
Halt’ kh irgend wohl bedenkea.*
* Locken. haltet mkh gerancee.'
, * Nimmer will ieh dich verlTeren.’
1 ' Fruch und Froh II.*
» * Der neue AmadU,’
' * Ceoialiaeh Tretben.’
* ]>k Bekelirtc.'
* 0(* Sprode.*
00 Jan. 1009.
$3 jan. 1009,
04 jan. 1889,
34 jan. 1009,
as Jan. iBSp,
s} an. 1009,
30 an. 1009,
29 an. iSap.
3oJan. ]00^
a 1009.
1 Feb. 1009.
10 Feb. 1009. 1
12 Feb. 1009.
8> Oct. 100$. 1
' Sp 4 fUKKe U« 4 etbu<b. uch H«rH uttd Gdbel \ publube 4 idfit
' NV«r icn hoUn U«b «wlcr«B.'
* ]eh fuhr gtvr Mc«r.*
* Pr««idu* SprtKhWin ircf«n K«pf-
•"th.'
! Blgmtn cetw.'
All« fifiiMt, He'S, sur Run/
* Nun windrc. Mnrii/
* Die tht ich«reb«( um 4m Fnlmen/
' Die Ou Got( du Reine.'
' Dedfckt rnieh Ait Btunken.*
' .$e]u*m iiT JuMAi Wrvw/
' Teeibe nur mit Lleben SpMi/
' Und KhlAbt du, mein Mftdehen/
' tn dem $ch«uen meiner L«cker>/
' Here, v«r»«r« n*rht fewkwiAd/
' Mft, leid |hr es. Criner Here.'
Klinr*, blirvte, mein P«r>de*»/
Herr, wm ir«|t dee hoitn hier.’
uiir>dc» Seheuen, duAbk Leucbte.’
Biu' ihn, a Mutter/
Wer let delnem Ftuetein weh? *
Aur dem irunen B*llion/
Sie bluen turn AbmacKh/
I ndOct lUo.
' )i Oct. 1069.
SI 0((. 1669.
I Nm. iba9.
t N«v. 1669,
4 Nov, 1669.
5 No*. (669.
S Nov. 1B60.
10 Nov. I0M.
14 \o»'. 16^.
15 Nov. <689.
17 No*. 1009,
I? No*. 1669.
• 7 i^ov. 1009.
If Nov. 1669,
19 Nov. 1689,
*0 Nov. I089.
S No*. 10^
Nov. r80f.
•0 Nov. 1009.
* Fuhe mich, Kaad. no«b Bcthlehen.'
* Wuftdee irofit du. mein G«liebi«.*
Ach, WM Uai dieBeele tchlummert’
‘ Aeb, da Kaabeo Aufen.*
’ Mdbvoll kootm' und belodcA.*
* Nun bin wb deiB.'
* Tr«u nicht dee Ltebe/
* ^Veinl nkhi, the Aufleta.'
* Srhmenltehe Woatmb und uonnife
Sehmerzen.'
* Ach, im Miiieei war'a.*
* Enle, M die Liebc Khwgr.*
* Ceb*. C^iebier, teh*
* L>iebe nttr im Buaen/
* DetM Mutter, suaei Kind.*
* hlofen aUe bOeea Zunren.'
* Soft thna, da« er tu mir bomme.’
* DeettMt. dereiaM, Cedanke mein.*
* Tirf ia Henco uae * ieh Fern/
* Komm*,oTod, vonNacht uaifebaa/
* ^ a«Kh Btutre Btkke |litien.'
* Oa Bor Laid uad Leidenaehaft.*
* Wche dee, die aiie vcnihekte.*
IS Dee. 1009.
10 Deo. 1009.
19 Dec. t009.
SI Dee. 1889.
10 .
‘4
fen. 1090.
jan. 10^
Mar. 1090.
99 Mar. 10^.
S9 Mar. i0^.
30 Mar. 1090.
31 Mar. 10^.
I Apr. 1090,
I Apr. 10^.
9 Apr. 10^
3 Apr. >0^
4 Apr. I0M.
I I Apr. 1090.
I* Apr* 10^.
J4 Apr. 1090.
* Alie Weben : Saclw Gedicbte veo KeHer ’, publobed 1091
Tirk
Cmvm 4
* Treiel cm, hnher Kricfn.'
’ Sinct mein Sebati w*e ein Fink.’
* Wie tianti der belle hlond.*
* Daa Kohler>«eib ht irunhen.’
* Wandi* ich In den Mortentau.*
* Du mikhjunier Knabe.*
73. May 1090. j
« June 1890.
3«*3i June r0»o. 1
7-13 June 18^
0*a3 * June 1890.
J0 June 1890.
* Italieniache* Lacdeeboeh. nacb Raul Hcne * (Pan IJ, publuhed 1699
* Mir ward ttear, du reiseet cn die Feme.*
Ihr leid die Allervehenite/
* Ceeefnei lei, dureb den die Welt ertistund/
* 3eli( Jhr Blinden/
* Wee rierdieh denn/
* Der Mond hat rinc tchwere Klaf* erhabcei.’
* Nun lam une f nedcn Khliesen.*
* Dam doch svmaU all detne Reiee wOrvo.*
' Du deiikit mit einem Fadchen nu<h lu bngen.*
' Mein Liebaier i>i m hirin.*
' Und wilbt du delnen Liebelen tlerben eeheit.*
' Wt« lan|e achoo war imener rnein Verlanfen.*
‘ Geaelle. wolPn wlr uni in Kuitcn fauUen/
* Nem, jurifer Her*.*
* HafTkriif leid Ihe. srhonn Kind.’
' Auch hleinc Din«e.*
* Ran Btindchen Cueh <u brinfen.’
* (hr lunirm Leuie.'
* Mein Lietnter lir^i/
' Heb* auf dein blonde* Haiipt.*
* Wir hahen beide Jat«ce ^It seachweeiren.*
* Mat) ugt mir, deine Mutier wall* es nieht/
03 Sept. 1690.
a Oct. 1000.
3 Oci. 10^
4 Oct 1000.
13 Nov. 1690.
tj Nov. 10^.
14 No*. t0M.
9 Dec, 1091.
3 Dec. 1091.
4 Dec. 1691.
4 De«. 1091.
3 Dec. 1691.
i Dec. 1091.
Dec. 1091.
9 Dec. 1091.
to Dee. 1O91,
M Dec. iNi*
IS Dec 1091.
It Dec. i09i>
10 Dec. 1091.
93 Dee. 1091.
I
I
I
‘ A letter to MeUnie Kochert of 34 June 1690 daews (hat (bcae three aenp were not compleied «o tbe data
indicated 00 the manuKripit ($, 7 asd 0 Juw).
WOLF : Worto
347
* luJicaoebcs Lwrfcrbudv bmIi Paul H«rw' (Part 11 ), (Mb 4 >>b «4 1896
7 ^
CMI^Mcd )
* Icb OK Bua RKiA Bro( oubl (rockee Bcbr/
tj Mar. 1896.
* Mein Uebeter bat su Tbcbc ouch fciadeo.*
to Mar, 18^.
* Ich Ilea air saftA.*
t8 Mar. 18^,
* Schoo sBcekt aus im Betr/
09 Ma*. 18^.
* Du aafti rnir. daet kh kciM Fumio aci.*
yt htai. 1898.
* La«s «« our fehn/
)e>8i Mar. 1898.
* Wi« «tck Zcii »«H« kh.*
3 Apr. 1896.
* Uod tichi Ihr fnih aoi Morica a^d/
9*4 Apr. 1B98.
* Wofal bm turtle $ 4 a^.*
9 Apr 1898.
' Wa eoU >ch CroUicb seia’
It Apr, 1896,
'0 ivar* dcwHoa.*
It Apr. 1898, 1
* %usV kh. to kMlU in Bhimee.’
1} Apr. 18^ 1
* Canin we deo Gruu.*
1) Apr. 1898.
* Wcfto du akh iHkt deo Aureei wreUiC.*
19 Apr. 18^.
'Wu »U drr Zom/
•vApr. i8m.
* Bcn«d*»i die eei’c* Muller '
»i Apr. 1898.
* Schweie riwiial edH.'
>9 Apr. ilw.
* NkKi lanftr bann kh taoreo,*
*9 Apr. 18^.
* Wenn du, eirio Lkbiie*. weifM turn Himme) auT.’
34 Apr, iS^.
* ]<h m Nona.*
3 ) Apr. 18^, 1
* Hful’ Naehi erhob kb aikh.*
39 Apr. iw.
* 0 Msmni du, wicvwl kb dckeimna.*
to Apr, 1896.
* Vcmhliof' drr Aberund.’
99 Apr. 1898.
* Was fur M Lkd im d«r fctunim werdcnf *
so Apr. 1B98.
* C«i*l(en(i« 4 .*
‘ Mort<(utifnfnur«.*
* Drti Gfdkhtr v«a Ratert RHnkk puhlUhrd 1897
I ti ian. 1 M 8 .
6 Cki. iAa6,
I I Aui. ie$».
*OriiC«ttu<tawi1b«MH*’l>MFeiiaurS«lliMir“ \ puMiM 1897
' CiMaf hfarfiH.*
'Cudaun* l.iXaac.*
' CudiBUftdi 1 1. Oaaaaf.*
Tjan. itei.
S<> 0 «(. 1891 (rwitrd it Nov, iB 96 ),
7 Mar. 1891 .
* Vic* Ccdkhif Mch Heine. Skaknpcare iumI Loc 4 *. publnhed 1B97
TtUt 1
IVerdi
1 Cm^rd
'Wo wird rinii.'
* tied dn irantkrkrien Zeitrl.* !
* Keinc flkichi von alien Sehoiini.*
* Sonne der Schlueunrtloien.* 1
Heme.
Shafceipearr. Warn. S<hkr«l.
llvroB, Irani. Olio OiMcvnrkier.
Byron, iraiu. Gddemekiee.
94 Jan. : 880 .
N May 1889.
3 ) Dec. 1896.
99 - 9 I Dec. 1898.
* Drci Uedkhie *«• MkbcCaatcIo * ». p^blkhcd 1B98
Tide 1
CknpMrd 1
* Wohl denb* kh ofL*
* Allei eodet, wae enciieb«(.*
' Fubli neine Seek.'
SONGS ORCKSSTRATCD B
18 Mar, 1B97. '
30 Mar. 1897,
3f98 h(ae. 1897.
Y WOLF*
TiMr
1 Scmf 4 1
1 '
fitMiM 1 Prtm
* Scvreer/
* KarvoEK*.*
* Uer RaitcnAnccr '
* F.r »i i/
' Ocwni WcylM ’
; SchUlndo jMcbiad/
MifTKc ‘ i** KcoAci du daj land
‘ Promcikfva.*
' In der f rwhc.*
* An den ScUal/
' Ccb^.*
* Ncu* Liebc.*
* Wo ftad’ icb Tm? *
*) C6rt( ««ni«o).
I
> 889 .
•8»o,
1890.
1890.
1890.
1890.
1890.
• 890 .
•890.
1B90.
• 9 ^ 4 .
1 Morihe sonfs.
' 994 «
f Menkesujiti,
1904.
MOnke loogi.
tpoft.
Goeihe lonfs.
1904.
hlonke eongi.
1909.
MOrike songs.
1904.
Mbrilie tonp.
<904.
Goethe son p.
1903.
Corihe songi.
* 994 >
Moiike sonp.
1904.
Moiike sonp.
1903.
Sforike sonp.
1904.
MOfike sonp.
1903 .
Mdrike sonp.
in
Translated by Waller Robert.Torsow.
' *«io<is of ' Jo de» $ebauon neiiKr Lnckea
***d ‘ Here, venafe nieht eescKwwd ’
348
WOLF (Johanno)
WOLFF (AJbCTt)
7^4
1 Semd
Fkl/isM 1 Fnm ]
‘ Auf cine Christblunie 1 ' (bm quite coapl«t«).
' HarfenipirUr I ’
* lisrrerqpiflei 11 /
' HsrIenipMler IN.'
' D«nk' es. 9 Seele.*
' Miinon * C Keiuut «lu das Land ") (sMoad vaisiM).
' Anakreens Crab.*
‘ NS’rr sein hnldn Lieb verinren/
* NV«nn <lu su den Bluman gehsc.'
1B96.
1890.
1 1B90.
(890. 1
1 1891. '
•fw.
1899.
•89?.
1897.
■
1 Morike Mngs.
Cocthetongi.
Gocihe songs,
Goeihe songs.
MOrike Songs.
Goethe songs.
Cocihe songs. 1
Spanish songs.
Spanish songs. |
r. w. (li).
Sit *U» Accenluation {d wor 4 <). Cri(k»fm p. $96.
Haas (K,. «d. of po«ih, wprki). <>r |C. W.. irsAi. of
Rrtrr (j>i. duel ttr. of * lialUo Serenade* ft
* KB«heiikA 'I, Sunf» pp,
WOLF» JohftnMt B^rlia, 1 7 Apr. 1 8G9 ;
d. Munich, 45 May 1947).
German muskologUi. He waa a pupil of
Spitta at the High School for Music in Berlin,
where he aUo attended the Unhersity. He
graduated Ph.D. at Leipzig (1693) with the
thesis ' Ein anonymer Musiktraktai des 1 1.
bis ID. Jarlihundert In 1903 he became
lecturer and in j 908 professor at the University
of Berlin, and emeritus professor in 1999. In
1915 he became librarian and curator of the
musical collection of the Prussian State
Library, where he succeeded U'ilhelm Alt'
mann as director in 1928; but he retired in
1934 to dc\’otc himself entirely to research and
authorship. He was for several years president
of the Deutsche Musikgesellschaft which pub*
lished the Z.MAV., one of the most important
musical periodicals. In the I.S.C.M. Wolf
was Germany^ representative.
Wolf was the editor of the musical branch of
the * Jcdcrmann'Bucherci for which he also
wrote the volume ' Die Tonschriften ' (1924).
From 1925 to 1929 he publislted a popular
history of music {3 vols. of text, one >'ol. of
musical examples) which has also appeared in
Spanish (1934, edited by H. Angles).
Wolf had various connections with Great
Britain. He published in igii * English Irt*
Buence in the Evolution of Musk ’. In 1931
he wrote and lectured for the R.KI.A. on
lialina nrrm/e musk arid was elected an
honorary member. In 1937 he delivered
lectures on medieval musk in the University of
Cambridge.
Johannes Wolf's works iiKlude the follow*
ing:
BOOKS
* Oewhichle der Mensur^lootJlSoo «oo iS>(^i4ft>*«
3 vob. (L«ipei«, 1904J.
* Hsncibuch dcr NolationtkuiHle \ s veli. tLeip^k*
1913 ft 1919).
* MuaihaliKh* SchrifttAtelr) TUr dm LTitterncht in der
NotAiionikundr 10 books ^L«ip<ie, 1932*99).
' Die 'I'orochnlWii ’ tSmlsu. 1934).
' (xochiehu d«r Mutik in ahiKmeinveraUndlklwr
Fom 4 voh. (Leip^ie, i^ 9 ' 39 ).
Also numerous articUs in vanous Kholarir periodicals
in Germany and elsewhere.
EDITIONS OF THEORETICAL WORKS
B. Ramis de Pareja. * Mudea pracika \ 1482 (Baibefte
loot).
Fr, Caaa. 'Tracuto «vl|are de canto fifurato *. 149s
I rail] Minch publications, 19SS).
U. Spacaio, * Diiuride ei pcebatislme demomiraiione ^
1991 IlM.. 102$).
O. L. Cenfiarso, * Breve e faeile maniera d' eaerciiani a
far paMapfi *. 1599 i9>«).
H. R>«mann. * GrunJnw der Xluiikwisteiuehan '1 4ih
cd, (Leipaii, I9>B).
EDITIONS OF MUSICAL WORKS
. R, AhW, * AwMewahhe Caanewerke * (D.D.T., V).
I’cfilK
(D.T.O,, XIV, J ft
rmemen
il. IsMc. MVerthebe Werbe
XVI, j).
* Neu« deuuche aeiiUiche CeUtnfe fur die f«r
. _S(hulen\ Wiiienhert, 1344 (D.DT.. XXXtV).
J. Obrcchi. Collected Edition Amsterdam ft Lelptir.
i9c4 SI).
' kfiMiea fiorcniiM net lecolo XIV ; La nueva muiica,
XV' |ia9e)«
'Muiica AorenUoa del •««. XV*XVI t La nuova
musiea. XII ’ (1909).
'as dnmemmi|c ^•fsederlcndse liederen uit het
eifMie der sijltiende e«uw * (Anvterdam, 1910).
Bnt.- Coupon. One. * Jrtannei Wolf (iM 9 't 947 ) '
IM.Q.. XXXIV, i94i.P. reW.
X. 0., edds.
WOLF. Miebael. Sft Lupus.
Wolfe. HuAben. JkrBridee t Frank, lent). Dunlop
<9 konfi with itet.i. Han (F., tosonfi). mad (lonf).
Hohi 1 13 soon). Mommc (a sonar).
Wolfe. Tftomaa. Stt Gould ('Time and River ' tbr
cliorus).
WOLFES, Fells (>. Henov'er, 2 Sept. 1892).
German conductor. He studied Brsi at the
Leipzig Conservatory with Reger and Tekh-
muJler, then at Strasbourg as a pupil of
Rhtznrr. He decided on a career as an oper-
atic conducts and made his dCbut in 1923 at
Breslau. From 1924 to 1931 he was at the
theatre at Easen and from 1931 to 1933 was
musical director of the Opera at Dortmund.
In 1933 he left Germany and settled in Paris,
where a number of leading singers studied
German parts with him and he made a name
for Jjimsclf as an excellent accompanist. He
took part as conductor in the i938"37 season
at Monte Carlo, and in 1938 he was engaged
at the MciropoJiun Opera House m ^e^v
York.
Wolfes was commissioned by Strauss,
Pfiuncr and many other composers to prepare
the vocal scores of their operas (notably
• Arabella ‘ Die schweigsame Frau Pale-
strina’ and ‘Das Here'), a task at wh^h he
part icu larly excels.
WOLFF, Albert (Loola) (*. Pafi*» ‘8
■^^rt^^eonduetor and composer. He w«
a student at the Paris Conservatoire and Icit
it in 1906 with a first prise for pianoforte
^VOLFF (Augusiet
WOJ.FF <H. C.j
349
^accompaniment. He became conductor of the
Opera* Comique m 1911, making hU lirM
appearance on 06 Apr. with l..aparra*s * La
Jota \ and of the Pasdcloup concert; in 1937.
He has loured widely in Europe and South
.America. Hts incidrncat music for Nfaccer*
linck's * L^Oisrau bleu ' was heard at the
Metropolitan Opera. New York, in 1919 ami
ac (he 'I'heiirc de la Monnaie. Bru^U, in
iQjo. M'oIfT is a Chevalier o( the Legiim tJ
Honour. j. o. P.
WOLFF, Aufusee (D 4 air 4 Bernard) -i,
Paris, 3 May 1631 ; d. Pans. 3 hrb.* 1887-.
Frrneh pianist and pianoforw maker. He
^«as brad of the hrm of Pti selAVold ^ Or.
At (Ilf age of fourteen h<' enured llu* J*ar»'
Otnwrvacoire. siuthrd (he pianofurir with
/miinfrman .md uxtk a lint pri^e in 1839. H<
was aliCf a pupil of la iMirne for couiKiriMimi
ami HalfNV for t um|M>utic»n. .uhI umhrilux
uuspuf^ <‘oMi|Miw'<| MNeral pt.irMitrle |»i<x«',
puhlidwd hy Kithaitlt. At lwmi\*oii< Iw
erilend the ^lall <>( the (amwrvai'Hrt .0
teaelar id fsopiJ^ in draiiwm
'tii^inR and kept it fiir li\f scan, when Iw
({aw up leathuig to lieroim ih< |hi|hI ami
parimr of ih* wfiUknowri piaiiolmu* inaUr
CMiillle Plfvel, who, being r»ld ,iml iiiIi*ni.
u.is lixAmg <Ai( for a (klaiHlahk' a^MM.int,
WmKI entered ihr Ijudnes^ in lUj^i. la .aim- a
tnemljer of die hriii in iHji aiul naiur.ilK
ui<c« ed<‘d to the heoddop it on the death
(tf Plrsi I in 1B35.
From that time hi> rxertnww wire onre*
milting i with (hr scwnliltr asMMame of hw
friend Li^'ajuus. tlie arotntirtan. Iw dewMed all
his atleniion to Inerrating the wdunic of tune
wKhoui lining swecincse. His rr (Mated e*-
(lenmeriU on the trivoon of Miingv. on dw
hcM (MMsilth* «|><tt fur the hatiuiier to Mrike ihe
Mritig so as to get the fullest lone- and the l>eM
" p.iruaU ". on the dam|>er, ctr„ pru^rtl vvr,
fruitful and ktl Jiim to patnit wvrral in*
genioiis rrinirivanci'S. . .
#/*• PIpypI 4 <;,♦ *
WOLFF, Edward (k Warsaw*. 13 Seot-
itiib: d. Pahs, i6<>ei. 18B0).
PoUih pianist and eomposer. Hr studied
under Zawadaki ^pianoforte) and FJsner
Uoinpirtttion) at the Warsaw Coosers aiory.
He (hen mosed to Vienna and rnnlinued his
Mudiw under Wurrfel. After hb dfbul there
hr wem in .835 to Paris, where he remained
until hts death, making his living as pianist
and composer. He wrote well over 300 eom-
pi^uions, eh jelly for pianoforte, whieh include
a Concerto (Op. 39), 3 sets of Studies ^Opp. 20.
!W, too. ; Xoetumes. Komances,
J aniaMes, many iranseripllom Snm oiwras
and a great number of duets for violin and
piane>forte ; 32 jointly with Bwloi. 8 with
Vteuatemps, 1 with Panofka and three duets
‘ retu, lupp., fives » Fet).
for cello and pianoforte with Alexandre
Bat la. His music was rxeessivriy in llu meed
by Chopin. c. R, tt.
WOLFF, Erich b. N'lenna. 3 Dee, 1O74;
d. New York, ao Mar.
Austrian pianist and r(>t)if>(/ifr. He wa; a
pupal of .\niun IToor fur the pianofortf and
ofj. N. Fuchs U*r eotiipinition at the Consi rva*
ior%* of the (ieU'llMhali der Mu^iklr(nm(l^ in
\ tenna. He Isccamr an excellent atrninpantsi
and hKr«|Mrl('tKe taught liim imtth af)(*ut the
writing of wmgs, ol which he (inMlured a
larg<* noiniHT, s<imr ul which hecame very
(Mifiular. not always (or the iK-st reaiotts, hut
ratlu r lur their wiixrlictal niehaite attradion
< ^r I Ik I r wn lui i<>n 1 a 1 1 1 v. .\t ti ni| >t s to r<*.
jireMiit Uidll a' Ikuk; in the surusuon of the
gnat <;«iiii.aii w.ng.wnters haie lelt 110 per*
inaornt maik.
fhlier works In aie ihe hanei
• /latofug *, piiMlmed m Prague in 1913, u
\N»|ln (aMwerii» ( Ip. ao and a stnng (^uartei.
He wroie a uwful loNik on the eariuus Mrs ions
•*f SKuiuJiui'i vngs: ' bduimatins l.ledt r in
rrsten und .p.u, un l .woingen 1 . li.
WOLFF, Helimuth Christian 1. Zurich,
4^ .Vlav louo .
<M'fiit.iri loiiijMiser ami tiiudiologjit. al*
though Immii ill Swii/crl.iiid, He wrm to
kIrniI at H.ilh* o S. and Mudiid r>iuNi(t>|«M;y ai
the I iihefdiMA ul IkHin and Halle, taking
die lli.l). degree at the former in He
was cIm* I If si h*( friary ol the Niedcr»achsjs< he
MusikgeMllMliafi 41 Brunswitk in 1942-44
and as'isiaiit |>rofr>sijr t»f cnttsicology at
I.eip8lg Limersity from 1947, His works
include :
* « a I * , s
‘ t>er klew uwl Oer KU,n \ ope»- afi„ Un,„
MjuU 'i rairv-uk ']).•,
' Or^Mwi *. op^ra.
fadwe wniM .adtwiio
«ime (or Hi*iNaK*Krt, |>,e *.
'lalrnw 19(4 'formth
xvmelMiHr \ ariotmrt fm 4r,h
I Hr.lrre uUr MlMjair Khyihn,rn * t»r <?tih
furotMT & ve<h. ' voo,
aur. 4tns. we I no
5«^*fcr o».. 41.1 .,11
9 *>«n«i« (or H>
i SuiMS for
Vsrral miU. ihamUr orrh.
^ nrtfrnwon*
piriSf^ H*i.drMlprr' .A.M.Z. ,
B-nickoprr ► DeiUMfU iS
350
WOLFF (JuJius)
WOLFURT
EDITIONS
J< G. GrauD, SoaaU& for vu 4 a aod c«nbalo (L«ipu(.
« 9 »^- 373 .
L G. JvtiDch, *' Ecbo *’ Scoala {Lcipsif, I 9 ) 9 )>
G. P. Telefnanoi vn. Sooata, viola Soteu aoa Mf, 4to(
(Cusci, imS-ss).
Sortfj irom ihe * LMhhetreor LMor^HXh’ U&tb ceat>).
modem eJ. with vn. and >k>ia.
Soo^ of (he Hamburf Opera, (irih-iddi ccoL (C«>el,
• 9443 -
e. a.
JnUno. Sif Sommer (»onfi).
Wolff. ?iu AlinnnJir. S*f Krewixr (K.. 'Adek
voo fiuiloy * I' Cordelia ’I, ir»cid. m.l. Precioaa {W'ebw.
play wmIi mj. Schuli (}. P, C.. do.; opera). Weber
(c*. ‘ [reciosa Ijb.J,
WOLFLi Joiepb. 5 ire NN'ofxfl.
WOLFRUM> Philipp ih. Schwaracnbach.
am- Wald, Bavaria. 17 Dec. 1854; d. hama*
den, Engadine, 6 May 1919).
German musical scholar, teacher, organist
and composer. He studied at the Royal
School of Music, Munich, with Rheinberger
and others. In id7S>84 he was music teacher
at the Seminary of Bamberg, and in the latter
year was appointed organist and musical
director at Heidelberg Univenity. He did
much for musical cultivation in the town as
\vclJ as at the University, received the Ph.D.
from [yCipzig in 1891 and in 1896 was nomin-
ated Professor of Musicology at Heidelberg.
Wolfrum was productive both in composi-
tion and as a writer on music. His * U'eih-
nachumystrrium ' introduced his name to
English audiences when it was given at the
Hereford Festival of 1903 as * A Christmas
Mystery The following works may be
named apart from that oratorio :
* Das t^osse Halklujsh* (KIcpsiock) fisc uaa<c««jK
men's chorus.
' Pcitmwnk * far bantona ft own's cborva.
J * Tendichiun(«n * fix oceh.
irint Quartet.
Quintet lof a vni.. viola, Celle ft pC.
Ntrift* Trie.
Honata for cello ft pf.
S .Sonatas for orfan (Opp. s, so ft 15).
PreluJn for orpan.
' Orgclvonpiola su Kirchenmctodxn *, 2 vela.
Kis books include:
'i. S. each '. 2 veh. KpaS).
' Die c«anpcli»h* Kirchonmuaik * (1914).
' Lulhcr und die Musik ’ < iSl?).
* Luther urwl Bach ’ (iBift).
\Vuirruni*a brother Karl (k. Schwaraenbach,
14 Aug. 185? ; d- Heidelberg, Aug. 1934) was
also a teacher and composer. He taught music
at the Seminary of Alldorf near Nuremlierg
from 1895 to 1993, and composed choruses,
3 nrgnn sonatas, etc. H. c. c.
WOLF 50 HN, Juliuaz (i. \Varsaw, 7 Jan.
(ddo).
Polish pianist, critic and composer. He
studied with Michalowski (pianoforte) and
Noskowski (composition) at the Warsaw
Conservatory, then continued his studies under
Pugno in Paris, Leschetizky and Friedman in
Vienna. He settled in Vienna and in (906
began to write cridcism Ibr the * Montag-
blatt'. In [993 he returned to Poland and
began work on the editorial staff of ' Muayka ’
and ‘ Rytm ’ as well as lecturing on the inter-
pretadon of Chopin’s works and on Jewish
music, Jewish folk music and generally on
Jews in music.
As composer Wolbohn started under the
banner of Jewish nationalism. He based his
early compositions for pianoforte exclusively
on Jewish melodies of the Warsaw ghetto,
convinced that they are the pure heirlooms of
ancient Hebrew music. He wrote * is Para-
phrases on Jewish Melodies ' for pianoforte,
* Jewish Rhapsody *, Suite for pianoforte and
orchestra, ' Hebrew Suite ‘ Study in Thirds
after Chopin etc.
In [926 he loured widely in the U.S.A.,
where he is domiciled. C. R. H.
WOLFVRT, Kurt voa (k. Lcttin, Latvia,
7 Sept. (880).
baltiC'German composer. He came of an
aristocratic family, his father being a land-
owner in Latvia. He spent his youth in
Russia, going to school in St. Petersburg, then
studied natural science at the Universities of
Dorpal, Leipzig and Munich. But he turned
to music in 1901, entering the Leipzig Cen-
ser>’atory and in addition studying privately
at Munich under Reger (composition) and
Martin Kruse (pianoforte). Later he worked
as a conductor in the theaues of Strasbourg
and Cottbus. During the war of I9t4*i8 he
was in Russia, where he was manager of a
paper factory. In 1918 he settled in Berlin,
where he heW the Invo posts of secretary of
the music branch of the Suie Academy of
Arts and head of the theoretical classes of the
Municipal Conse^^‘atory.
As a result of his stay in Russia U'olfurt Is
an expert on Russian music. He wrote m
1997 an extensive biography of Mussorgsky,
feeling specially dfa^vn to this composer, as he
had gone to the same secondary school and
served In the same regiment as Mussorgsky
had done long before him.
In his compositions \Voirurt exhibits neo*
classic tendencies iviih a special leaning
towards a contrapuntal technique, A decided
boldness In bU harmonies give* his works an
individual style. In 1938 he completed an
opera. * Dame Kobold ’ (aAer Caldcrdn).
Among his earlier works the ‘ Christmas
Oratorio ’ (Op. 23) is the most important.
It empIcA's many ancient German folksongs
and Strikes an original note by giving an
important part to Herod.
Wolfurl's compositions further include ine
following :
OPERA
1^* • Der T*i»* u»« N'arftn ' {aAtr MoI*ite>.
CHORAL WORKS
S. (U-mody frem Co«U« * ‘Faui*’ Cor tepruto.
Chens ft orcb.
WOLKENSTEIN
WOLLE
35 »
. ‘Lob0eucLs’(Kl«p»(wkJ for att'sekraft «*«!».
2. * Kl«t« 4 « * (KJop«tock) tot eberw. ofg*A A Ofxh.
D. * HyBuie as die Nacht* (NovaIm) (m oieoo-
v!>t>fapft cbonu & oetb,
9 - ' SMcctlied des Macs ' tor ca«r, dctibk <bofw.
at*fi A otcIl
(9. * H^TOaiu * (KJopttoeU for w|>ruo» cl^ru*. a^aa
16. * LandikjtMhtebonJ * tor uaaeeoa^ ehcfxa.
<6. 9 ueaMdaip, ehanuc^
ORCHESTflAL WORKS
It. 'Gnactfda Meeres/
16. Topic rupue.
• ?. * Vviauenea ub 4 CK4cakicmu<ke ubet eia TbcoM
von MciafL’
19. * Coocerto proud.’
CO. * Divenimeaid,*
97. Mtuic {or lift. A belileHlruas,
94 . Serenade.
SOLO INSTRVMtNT A.N’D RUS’t>fORT£
91 . Siriie Cor va. A chamber arch.
9 $. K. Coacerie.
CHAMBER MCsIC
97< Strinx Quanci.
AUw pf. pj«<ei, ««fift. &e.
a. «... adds.
WOLK£N$TElN, Dpvid « 4 . Hri’sUu. 19
Nov. 1534; rf, btraibouff, 11 Srpx. 1^21.
German composer. He wa* a nwilw’ma*
(ician at Strasbourg. HU v»orks includi*
' Trimum Musicum volumrn Hholarum Ar*
gcntoratcnslkim ' (4ih cd. 15B5). p«lme for
churehes and achooli in 4 parts fl'ulmrn
fur Kirchen uiul Schukn . . .'. and
' Harmonia Psalmorum Uastdis ’ for 4 voicn
O583). Henry Faber’s ' Compendium musi*
ca< ’ (Stcaibourg, ijjjb) gives NVoJkenstcmU
psalm tunes a» an addendum. r. v. <J. s.
W 0 LK£NSTE 1 N, Oawmid voo »b. Groden
nr. Brixen, Tyrol, <. 137?; g. Hauenstem
Castle, 9 Aug, 1445).
Austrian minnesinger. He was descended
a >ft 5 ghtly family long settled in tlie
lyrel, lived a very stirring and adventurous
life, in the course of which he had travdkd
over the greater part of Europe, and had oeis
vuiied some parts of Asia and Africa. In one
of his poems be boasu of being able to con-
vene m len dilTerent languages. From 1415
he was for several yean in the service of King
(afterwards Emperor) Sigismund, sometimes
one of his Immediate train, at other limes sent
on various embassies to Spain and Ponugal
On his return home, in his eomlant desire to
extend his own domains at the expense of his
neigh boon, he was from 1431 to 1437 involved
m various strifes and law-suits, in the course
of which he was twice subjected to arreu and
imprisonment. A worse fate might have
liefalkn him at the hands of Duke Frederick
of Austria, but for the inlerccssion of powerful
friends. The circumstances of the various
disputes in which he was engaged even up i©
the day of his death afford a curious picture
<rf the wild and lawless life of the Germanie
knights of the times. Long before his death
he had in 1406 erected for himself a monu-
menc» which still exists, in the Cathedral of
Brixeii, probably In connection with some en-
dowment for a pious purpose which he had
there Ibunded.
It is surpHsing that In so troubled and
adventurous a life from Ix^liinlng to end he
should have been able lu devote himtelf to the
cultivation of poetry* and mude. Many of his
poems arc spring and lose songs, and some
arc dev'oted to the gloriHcaiion of Margaret,
Queen of Aragon. There is In all of them the
strong personal note, and it is mainly from
his own poems that the details of liis wander-
ing and adventurous life are known. He
invented the melodies to his |>ocmi, an<l liiese
are nu longer in the mere rsYliatise style of
his prcdeei-ssors, but are real songs, many
of them very fresh and pkaNing, with a
popular lilt alxiui them. Oswald was not
only an inventor of melodics, but wa» also
skilU'd in dll the intriraries the mensural
noiation of his time, and set some of his songa
in two* ami ihree-pari eoiinierpolnt. There
an- oecaslrmallv dlght canonic imiiaiionSi
and a few pleect are expr«ss|y drscrllird as
fugiM's. Iiul the harmonies are very »iifr
and unemilh l« modern can, and so is the
(otwIiMi <4 the pans generally, though ii may
be that line or other nf the p.tris was only
meant to lie played <*n some Insiruineni, and
not sung, III whkh caw the harmonies may
not base lieen so dlvagrrrable. ’fherc are
two instances of apparently four* part writing,
but they arc mrani to be sung or played in
three parts, with one taken alternately with
another, llie most suceexsful setting from
a harmonic point of view it the i}irec*pari
setting of the Latin words ' Ave Mater, ()
Maria . . ,
The whole of ^V^Ikc^^lci^*s compositions,
lx>th literary and musical, have lM*cn edited
with critical apparatus and various facslmiks
in D.T.O,, IX. j. a.
Too bci Oiw.ld
von WolfceiuwHi * tKo(n«ih«rc, 199a;.
Stt otf Sane. p. 917.
JW. 5«fta»f*<»on|s). Vomiefc* (a ehoril
WOLLE. John Frederick (6. Bethlehem,
Penn., 4 Apr. 1663; 4 . Bethlehem, 12 \m
‘ 033 )*
American organist and conduelor. He
studied music with Rhein berger at Munich
11884-^5), and then, becoming organist of
[be Moravian Church in his nalivx- place
began his Ufelong campaign for the advance-
B music in America. 'I'hc St.
John Paasion was given complete for the first
lime m 1888. the St. Matthew followed in
logs, tile B minor .Mass in jgon. Durine the
period 1905-11 U’olk was in California as
pre*^ of the University, and there also he
organiaed perfonnances of the major works
$58
WOLLICK
W 0 L 20 GEN
of Bach. On his return lo Bethlehem (he
festivals were renewed. Their pn^mmes
were expanded to include a Urge number of
the church cantatas, the Brandenburg con-
certos played by the Philadelphia Orchestra
and other important woria. h c c
WOLLfCK, NicoUa (». .Kncervilk nr.
Bar*Ie-Duc» ?; d. ?).
French i5ih-:Clh-eemury theorist. As a
boy he was very poor, but he was taken up
and educated by Adam of Boppard, regftu
of the College of CorneilHan near Air. He
became master of philosophy, music and
poetry, and lectured apparently at ihe
Universities of ParU, Meta and Cologne, his
musical subjecu being miuiVe Gre*
gorian chant, counterpoint, etc. His puL>
lished works arc * Opus aureum* {Cologne,
5 eds., 1501^) and 'Enchiridion muslccs '
(Mets & Paris, 1508; and ed. 151a).
r. V. d. 8-
Wolihi, W. S» Motiiutiko (3 libvt,
WOLSTENHOLME, William <*. Black-
burnt ?4 Feb. lOb^; </. London, 3$ July 1931 ).
English organist and compoaer. As an
instance of musical precocity may be mentioned
the fact that when six years ol<l he used to
improvise a rni lody on the pianoforte, adding
an accompaniment on a small harmonium
at its side, playing (he latter half a tone higher,
owing to the instruments' differing in pitch.
He was trained at the College for the Blind,
Worcester, and obtained the degree of B.M us.
at Oxford, being the only blind musician to
take the Oxford degree sirKC John Stanley.
LIgar w’aa much interested in him and as
visiting teacher at the College not only gave
him violin lessons, but also helped him in
preparing for his degree, acting as his
amanuensis.
On leaving the College N>dlsienho]mc re-
turned to Blackburn, where fur fifteen years
he held the post of organist and choirmaster
at St. Paul’s Church. In i<jor he breame
organist at the King's VN’eigh House Church
in London, going thence 10 All Saints*. Norfolk
Square, and later to All Saints', St. John's
Wood. In 1908 he made a successful tour of
the U.S.A,
A brilliant pianist and organUt, Wolsien-
holme was also an improviser of outstanding
gifts. His compositions include about twenty
works for various ehamber*music combina-
tions, scv'cn for orchestra, one for military
band, many vocal works (including some
20 songs remarkable fur careful attention to
prosody}, some church music, thirty pieces
for pianoforte and nearly a hundred for (he
organ. Naturally it is by the last-named that
he is best known. Worthy of special men-
tion are the Sonata in F major, the Sonata
in D major (jn the style of Handel), the
Finale in Bs major, the Fantasia in £ majoc
and (he Prelude and Fugue. But the
general level through all this targe output is
high. There is a wealth of melodic invention,
fresh and natural harmony and, above all, a
finished workmanship which is far from com-
mon in modern organ music- A remarkable
characteristic of his choral music is that,
although the general elTect is by no means
contrapuntal, all the voice parts are definitely
melodic in style.
Wolstenholmc no doubt owes much of his
neatness in the technique of composition to
ha early training as a pianist and chamber
musician. Perhaps to the pianoforte, and
most certainly to the organ, may also be
ascribed a less happy feature — his over-
frequent use oi octave* in the right hand.
Tliai, however, is but a trifling blemish on a
large mass of organ music which has the un-
usual merit of appealing to the crowd by its
tunefulness and to the musician by iu quality
and skill.
Some of his best work was never published,
including a Sonata in A minor for the organ,
written for Alfred Hollins, in which ail the
principal (hemes arc based on the initials
“A. H.'* (B in German terminology) — one
of the finest of his organ compositions ; also a
pianoforte Sonata in Ek minor on a very
large scale. h. o., adds, s, k. (ii).
WOLTZ. Johaisa (k. ?; ?}.
German i6ih-i yth-ceniury organist. He
became church administrator and organist at
Keilbronn in 1577, for tm t May (fit? he says
lhai he had held these posts for forty years.
He wrote a book in organ lablature containing
motets, canaoncu and fugues by German and
Italian masters (Basel, (fi( 7 }. a> v. d. s,
Seuat v««. Stf Frucrwwt (Strsuu.
lib.). S<r*vtf (R., * Fru«finei *. wert).
WOLZOGEN, Has* (Paul, Freiherr)
von (i. Potsdam, (3 Nov. (848; / Bayreuth,
a June (938).
German writer on music and librettist. He
was the son of K. A.A. von Wolsogen ( • 623-63.
intendam of the Court 'Hieaire at Schwerin,
author of several pamphlets, etc. on Mosari)
He studied comparative phlloIc^V in Berlin «n
r868-7t. Later he eagerly embraced Wag-
ner's doctrines and wrote many boob, large
and small, about the time of the opening of
the theatre at Bayreuth in 1876. The most
valuable of ihc*e Is no doubt his ' Themati-
schcr Leltfaden’. published in English as
'Guide through " Der Ring dcs Niix-
lungrn"'. translated into very curious English
by his brother, Ernst von Woliogen. In 1877
he was called to Bavreuih to edit the ' Bay-
reuther Blatter the organ by which the
campaign v aa carried on between the festivals.
Among ^Volaogcn's many contributions to
Wagnerian literature his book on ‘TrisUn ,
whkh appeared in 1880, may be mentioned,
WOMAN WITHOUT A SHADOW
WOOD (Chirio)
3S3
as v.e|] as a ireatise, ' Wai ht Siil ? >Vas
will SVagnrr ? ’. He wrote ihe llbmitR ktr
Hans $om»net’» ‘ Schloss der Hersen ’
not performed! and d 'Albert s * Hjuio so»<»*
U9051 and revived the librruo of L. 1*. A,
Hvllniaor)*) ' UitJine’
j. » r -Ni.. n%.
WOMAN WITHOUT A SHADOW, THE
^opera by Klchard Sirauv^i. Sft Fr.M' c»h\i
SciiArrsN, Dik.
WoABCff «r, J. S*t lX«k<ai.W«liHi,
WOOD, Anne 6. Clrawky, Stiisex, 2 Au^.
' 9071 -
Knglish contralto singer. Site was edutatrj
at St. Mary's School, C^lnr. S\jI«vJiirr. 4n«l
Icami singing prhaivlv under (srorge I'arker.
KIrna (W rhardt and hva de K< u^n. In icijjl
she became ont' of the arlitiic dtri clors oj iIm
E nglish O^Kra <<riHip aitd in i<>4«^co*priricg!al
with Juan Cross of the btiulon <>|Nra NsImhiI.
.She IS a suctesshd leather ol singinc arid .tv a
concert artist she curls i»ariHularl> ttioraOHio.
where, although a distirigucsited sixxl^lrvi m
Hainlel, she lins lovend a wide i.iiigi >4
parts. She brmtdcasis fr«<|ucnd\ in lari>e*
scale |>erforrnan< cs and regular!) aigxars ai
uraioriu and oilier rojireru Md in jiiiIiIk.
She has aim given rrenaJs In LoiuUmi. m
various musical cenires m Hritain and m
U rinany and Holland, Her rej>rnor>' is by
liu means cunhneti lo classical oralurii* and
songs, (or she Is alscc a resourceful inler|>relrr
of modern inusu and has laken part iii several
iTn(>oriarii first iwrhirrnances of new worb.
WOOD, Antfaoey (ii) 4. Oxfc^rd. 1; IXt.
thji! d. Oxford, j 5 X«%. ilxjj,.
Knghsh mutual chrwiuler. He wav
hlsuinan lo the Univcr^ilv •>( Oxford and
adopted the st)Ie '•,\nilKMiy i Wi^od " as
h IS sign a 1 ure. I !<• I is ei | prac 1 icallv al I his life,
and died, in the huuw in wliicli hr was Uwn.
upjxwile die gate of Merlon (Allege, lie
inalhtuUicd ai Merlon m 11147 ami imik I he
M.A. degree in iC^y
Wood planned an exhaustive tieaiiss* on the
Cliy and University of Oxford, but that nan
which dealt with the cily wai never puldishetl
during hiv hfc«. That which dealt with Uw
Lniteoiiy appeared jnjuly 11)74 •Hlsiorla
et AiUicpiitates CnivcrMlatis Ox^mn-nsis * in
2 \ glumes, untler Che patronage of Hr. Ft II
Vice. Chancel lirf*. who hlin»iir |«,tv ihe
expense of publication and iranslathui into
Ulm, WwMi. Iwing drwalisJird wiili ihs
re wrote his work In English, and it wav this
later version that John Cutch followed in
* hundred years after WotKi’s dcaili
ibr History' and Atitlquiijes of the Univ^Tsity
gfC xford (4V0U.). Both the Ijuin and the
Lnghsh publications had contained * Fasii '
annals) naming the chief officers of Use
UnivTCSiiy in every year.
VOL. IX
To a sulisequcnt work, ‘,\ih< nae Oxonirn-
s« * la vok.i, containing ih<‘ biographies ol Uie
ImhojH and men of h iters of Oxford, Wood
^Iditl a iiiucii enlarge d \« rsjun of the ' I u^[i
ITiiv ('•Miidins biogr.iphit al non v on thove who
priMevdsd to digjvi s sear h> yr.jr, amj it U
to tlww ' KjsIi ’that wr owe the uifnrnution
.lUnit several chulorv unci hui helorv nl tiiuvic
ofU'n n-lirted lo iu ihiv .iiid oiher works
of muvMul rehtenrr. 'IV riuM generally
avudaW*' edition o( th« ' Alluoae Osooiensev'
with • Fast, • ,s ihai of I'hihp Ilfjss
'l*he * l.jfr and I'mn-s t>f Anthony ,1 Wood
tolhtied Iroin the diaries and other papers,
tv.*s iHddishid m volumes of the Oxford
HistorKul hcKieiv, cxJitrd bv .\ndtn\ CUfk
'llhi-ic|i»» . .\ MMgle volume of ilie ^ariie,
vVud from die \,i.| mj»> nf lo.Uerial made
jv.iil.ibli bv Clark, w.o publwlud uinhr die
nhtotslup ol l.leuehn rows, in ny^j.
Jl. l..
!«•»«. Niiov. If. tv sues. J trails lis,n» tieliwin A
tv .--I* „|
M A I.,. \N , jvn. |i I', 7 ,
▼ ▼ W\/4/i
4 as s I
ifHX>. */, Carol »r id ge, u Jolv i<ir(i..
Irish luiisi.al eduijliotust. louduilor jiuj
iotii|».*s- r. Ill Via- Ihr vin ofCharln Wood,
lav vital ol Armagh (‘alheilral. He began
his I due alum m huimouv and (ounierpoini
m iWlo-Hi Odder Hr. I, (>. .Marks, the
c-fganisi of .\rjiiagh C.illMxIr.il, From lUIW
to iH»7 V was .It the k.C.M, m l.oriduii,
wVci he won Ihe .Morli v S.lmlardup for
iwriiNniinm. He studied ihere under .Stan-
lord for com|)OMi*on, Bridge for counterpoint
and Frahkhn l.iyli-r for pianoforle. In iWJd
hr was afgioirited leatlu r of h.irmonv .it die
K C.M . where lairr he bet a me a memlHr of
the IVird <J Prtrf'isa.n and .yf die AswHJalecf
Hisinl <4 the R A..\l. and R.C.M, As te.ichcr
aisd rx.umiier he exert inti ;ui imporlxnt
mllutmcr chnHigh iVw' )M»ts.
In tUde \t«x>d look up hU residence at
CamUidgr, conducting the Cambridge Uni-
versus Musical ^>oviely from that vear until
'"“red Camliriclgc through
VJvvyn <a*JI<«gc, Imt nugralctl to Caius Coljrcc'
<*n hiv appoinlnmnl us organ isi-M liolar of
."imlle and Caius <k.llrgv, t«V|.i>4. In the
.‘Ulrr year he was nia.lr a Frllow, He was
li^dtiiaMer uf die rnjversiiv \ olunicvr.<
•iWhq?. In ibijj he w« niHde Univrrsily
htlurec m harmony and cuuntrrixoni. ami
on ^hcdcaih of Stanford in t*t?4 ho was elected
10 iV Prof^hlj). He look the dcgrcTS of
B,,V arul Mos.B. ai Chimbridge in ilk,o, of
M.A. and M us, I), m j 8<J4, and vva> given an
<l<^rce at I.,eils in iSu4.
Uood s ulent as a comjsowr, Im fastidious
laslc and his hnr srholarvhip vvxtc shown in
a number of shofi works for voices and or-
chestra which belong to his early years. These
z
354
WOOD (Ghaile)
WOOD (Haydn)
include ‘ Ode to the W«i Wind * for solo,
chorus and orchestra (1890), a setting of
Swinburne's ' Ode on Music ' for the opening
of the new building of the R.C.M. (1894) and
Milton's ‘Ode on Time’ for chorus and or-
chestra ( 1 698). Hb ’ Dirge for Ttvo Veterans '
(Walt Whitman) had a great success ai the
Leeds Festival of 1901 and was revived at
that of 1935 ; his ‘ Song of the Tempest ’ for
solo, chorus and orchestra was performed at
the Hovingham Festival of 1902, and his
‘ Ballad of Dun<lcc ’ at the Leeds Festival of
1904. A set of Symphonic V’ariaiions on
* Patrick Sarsficld ' was given at one of the
Beccham concerts in London in 1907.
Wood wrote music for 'Ion\ Cambridge
(1690) and for * Iphigenia in Tauris* (1894)
of Euripides, and essayed dramatic compou-
lion of a very different kind in a scene from
Dickens's ' Pickwick Papers ' taken as the
basis of a one-act comic opera and performed
by the students of the R.C.M. in 1933. His
works of concerted chamber musk include
three siring quartets (A minor. major and
F major) and in 1935 he reappeared as a
festival composer, conducting at Gloucester an
unaccompanied motet, 'Glory and Honour*
(8 voices}. Among his smaller compositions
may be mentioned a book of Iris!) folksongs
publUhcd in 1897, many partsongs and solu
wngs, among the last being the very remark-
able 'Ethiopia saluting the Colours* to tvonK
by Whitman, j. a. >.-st. & h, a c.
During his later yean ^Vood became
increasingly active as a composer of church
music and of short choral ^vorks c^ the part-
song and school-iong t)'pe. Many examples
appeared posthumously. The church music
comprises the following Kivicc settings:
Holy Communion, four ; 'I'e Deum and Be^-
dictua, two} Magnificat and Nunc Dimlttss.
about twenty; anthems, over thirty. Of the
evening services two are for double choir, and
one is for double men's choir, A.T.B.
The best of these services are as well estab-
lished as those of Stanford, to which they
show some afhnily, especially in the consistent
use of a simple basic motive. ‘Fhis is especially
marked in the three early seilinp of the
evening Canticles (D major, C minor and
major) published in 1898-1901.
It is in his later church works, however,
that food's individuality b more fully Usown.
'I'hcrc the chief influence is one that has
alfecicd no other British church composer to
any considerable degree — that of the metrical
psalm-tunes that may for convenience be
covered by the term " Genevan ". In ih^
sterling melodics \Vood found fruitful material
for development. The first imporunl result
seems to have been the set of 16 organ Preludes
“ founded on melodies from the Englbh
and ScoUbh Psalters”, pubibhed ia
and, ac about the same dme, 3 Preludes of
a umilar type, and a set of Variations on
‘Winchester Old*. Subsequently Wood drew
largely from thb and similar sources for choral
purposes. Among the works written on these
lines are four Evening Services and the ‘ Nunc
Dimittb ' of (he 8-part Service in P major ;
also a number of anthems.
There are four admirable Communion
Smices, one of which, a simple setting largely
in the Phrygian mode, is widely used in
cathedrals and parish churches. I'he best of
the group is also the most difficult^a beautiful
setting in C minor for unaccompanied singing.
The consisiendy high level of quality in
>Vood’s large output for the church makes it
the most important modem contribution to
Anglican church music. Hb most important
work for church use is his setting of the St.
Mark Passion whkh appeared in (931. If U
shows the composer at hb best, a likely reason
is that hb natural inclination to gravity and
austerity finds fuller scope here than elsewhere.
Characteristic, too, U his avoidance of
specially written or already popular Anglican
hymn-tunes on the one hand and of German
chorales on the other, in favour of two plain-
song melodies and (wo examples from the
metrical psalter.
A discussion of (his side of Wood’s output
would be incomplete without a reference to
his share in three treasuries of old church
melodies edited by his friend the Rev. Dr,
C. R. ^Voodw•ard — ‘ Songs of Syon the
‘ Cowley Carol Book ' and ' An luiian Carol
Book ’ — a selecdw of /eudi ipirityaii. To these
collections he contributed harmonisations and
settings that arc models of fitness and luic.
H, o., abr
W«W. CaH»c*pW. Sit Cohn (' Too tsu to die *.
inetd. m.).
WOOD, Hsyda (^. Slaithwaite, Yorks, 35
.lar. 1883).
Englbh violinist and composer. When he
vas two yean of age the family went to Jive m
he Isle of Man, where he appeared as a boy
irodigy until he was fifteen, when he was sent
0 London 10 study at the R.C.M, Arw
avc him hb finbhing (raining on the vidin
nd Sunford aught him composiuon. Hu
Jaying impressed both Joachim and Satasate,
nd on 13 June he played at the opening oJ
fie R.C.M. 's new concert hall. He com-
4 ctcd hb studies under Cisar Thomson at
IrusseU, went on a world tour with AJoam
nd some years later, having mamed D^hy
Jourt, appeared at music-halls with her,
siting ballads for her which t»ecame e«iiy
ery ^ely popular. But be had by then
omposed several senous works, induding a
anra^tring Quartet which won the second
riJc the fint Cobbett Compeution and a
ianofcfte Concerto.
>VOOD (Henry J.)
S5S
Haydn Wood’s works are extrerocly numer*
our. They include 4 for chorus and or-
chestra (' The Little SUps ’ [Dunkirk, 1040) I
' Lochinvar ’ fa scene from Scott's * Mar-
mion ’J ). 9 Rhapsodies, 8 Overtures, 15
Suites (‘ London Cameos \ ‘ Paris * East of
Suez', ‘Three Famous Pictures *. ' I^ndon
Landmarks eic.L 2 sets td* Variations and
t. 40 smaller works and pieces for orch. ; 7
Marches for military* band: pf. Ousctrio,
vn. Concerto, ‘ Plulharmonic \’ariaik>ns ' lor
cello & orch. ; Fantasy sii(. ^tei : J 3 vn. pieces
& other insl. solos : 7 song c>‘clet ; <. 300
songs and ballads (‘Roses of Pjeardv', ‘Lose's
Garden of Roses ‘ It is only a iinv garden \
' Rird ofLo'c Divine', &e. ». r, 0.
WOOD, (Sir) Henry J. (Joseph) 6. I^on-
don, 3 Mar. i8l^; Hitchin, Herts, 19 Auf.
Knylish conductor. His father kept a shop
for imxiel railw.iy engines in (}xr<»rd Si reel and
a small faciury* at Uatlersea. Hu I allhiMscrh the
family wa< not one of professional musUians.
I><>ih his [M rents were niusic.iL Hr was first
Utnthi by his mother, who nursed lu> eacrp.
lion.il trtlems with such elfrei that at llsr age of
ten he was able to act as depuiv organivl ,it St.
Mary's Church. Alderisianhuis : and at iliir-
tevn he performed the same funrtioA at 81.
S(|j Ilk lire's, HoHxKn. where he learnt mush
from the organist, Ur. l.dwjn Loit. MKas|,o>
r<'st in that shurrh and a menKirial window
coinmcmuraiinR his early work there w.is uii*
veiled on 26 Apr 1*^6. At sc\ enter n he Isad
his firs I appointment as orvanist of St. John's,
f’ulham. Ikfore this Ise ha<l given <^an
recitals at the Fisheries and Insmiiotis Lx-
hi hi I it MIS, in 18U3 and *88.^ re^pet lively. He
sluditHl for >ix terms at the R.A.St.. ssorking
with I'roMi and Garcia, and upparenlly aiming
at I he career of a composer, for he wrote
several the.itrical and oilier pieces; but
thcNe were comigned to oNhiun as wion at
the main object of his life was found to l>e
conduediiK.
A four months’ tout with the Anhttr Kous-
lH>y Opera Company in 18B9 gave him liis
first experience of responsible s'onduriing. artd
in iBtjo he was engaged by Sullivan and
U'Oyly Carte to supcrinlend the rehearsals nf
' Ivanlioe’. He became awisianl conductor
at the Savoy ‘Hicaire for a short time and con-
dncied opera at the Crystal Palace on at least
two occasions. In 1891 he conducted * Car-
men’ during Marie Kobe’s farewell tour with
the Carl Rosa Company. In 1892 he con-
ducted for an operatic enterprise of Georgina
Hums and Leslie Croiiy, where be peqiared
;in Ltiqlidi vemon of Rossini’s ' Cenercntola ’.
His next mm e was to the Olympic 'llteatrc in
London, where he conducici'l Iuigo‘$ interest-
mg but unfortunate season of Italian opera.
The engagement was most important for bin,
for it not ordy brought Itini under iliu notice of
London muwians, but the first work per-
formed. I'chaikovsky's ‘ Eugene Onegin was
his first introduclioii to Russian music*. After
the collapse uf the ujiJeclakiiig \\'<t(>d taught
singing and fonned operatic tJassl^, en,, until
in i6$t he came iniu conut 1 wich FVIlx MonI
and was appuinted musital acls'iscr lor the
Wagner corwcrls tirgniii/i-d b> St I ml/ Curilus
at the newly built Quct ii's Hall.
Ill *8t#;, he was t iig.igccl by Kobfrl Xcwiimti
to conduct a series of Eroiinmnde Ctmteris In
that new hall, and from that inuincui }>cgan
an assoeiaiNin maim.mirtl unbroken lili ihu
death ofXcwjiun in which had the most
jm[x.r(.uii <*(ln i on the muncal life of Ixindon
tw PkostiSAOt CosuRTS ,md Xi.w Qi m.k'j
Hali. OarmsiNA .ind iiuiflmully made
UcHxl the riMM litornimnt iK’rsonaliiy in
Ixunion inndc. In he conducted the run
of Sianfiied's ‘ShaTnus O'Hiirn’ .it the Opera
Cumiqur Thrjire, hut Im c.ircvr ss.as now
shap'xj in tlw* (line lion o! symphonic work,
and not only ihai at f^iieen's H.ill {including
wiih the Promrn.uJcN the Symphony CA.iurrts
and Sunday c<Knetl^ IriMn iHjj? onwardsi. hut
mam other oppoitimjiies he found i»r rn.vic in
imwitKial cities. absctrlxsJ liis energies, In
t8<»7 a ccrfitnund |KTfornMncv of ihc (i»ern‘!t
Mali Orclustr.i was given Iwlorc (^ucen
S iemria: in the v»ine ye.ir Woe.d w.t^ ap-
pointed director uf the XotlinKh.'im .Sacred
Harmonie. Nxjeiy and lie founded die .Xoltihg-
ham City OrelM-sir.i in rfVjej. He was made
ruiKluciur of tlx* 'N'oKcrharnpton J- estival
Chuf.il S-xieiy in ir^eio, of the Sfufrifld
Fesnv.ll MH)a-i ij and uf ilie .Xorwie h Frstiva:
in r(jo 8 . Hi is last he was able to revive after
the 1,1 pse (d* ten >e.iis in irjj.j. In ityiC |>c
ermdvKted the H.mdcl iVsIis.il m (hr Crystal
I’aloAc. and hliiiM'lf the wliuk of (he
innsic for a three ei.ivs’ progr.iimm* lor ,ni
imtnenseorthoslra. i I Usui In I (o Hande It style,
it is trm*. IhiI |»ro|Hirnonrd to Ihe si/e of the
choir ami the Imilding.
He cunduviitt symphony converts u( Hir-
mingham in lejei- the Festival (here in in I a
and cIm* Festival CIhma] Society in 1919-23.
Other i in|> mi ai n |m*\ inc iai » ppoi n i ments
included tlw West nuirl and Festivnl'. Cardiff
orchestral ce^cris (J911-13), the Manchester
Genilein^ iA Concerts and Hrand I.ane* con.
!><»"• I*hi I harmonic and .socle iie&
ai Sheffield, Ix'icesicr and Hull.
In i8e,8 W'oexl married Olga, daughte r of
I’rincess Sofie t'rusv.v /lK>rii Xarlslikitn, a
iojwano singer whose charm of v oice and stvle
adel^ distii*rtkin to numy of her bus bund's
eyher festival iKrfr»ri»ianccs. She had Ijccn
Ins pupil and Itrcame 10 a rcrtairi extern his
U aeher, few he owred much lo iier accompli di-
ment fine lasic. She was no doubt partly
responsible for ihe direction of Wood's alien-
35 ®
WOOD (Henry J.)
tion to (he great wealth of Russian orchestral
music which was still pracdcally unknown in
England in the 1890$. Another who con-
tributed to the enlargement of Wood's musical
horizon was Rosa N'ewmarch, who became
attached to Queen’s Hail as writer of pro*
gramme notes and whose knowledge of the
Russian and other Slavonic scliools was used
to enrich the repertory. These influences,
together with the fact that after the production
of Tchaikovsky’s " Pathetic ” Symphony the
London public was ripe for the vi\kl colours
and rich imagery of the Russians^ contributed
to found \Vood’s reputation on music of this
kind. But he was never a specialist in the ex-
clusive sense, and his constant aim was to make
his repertory the most contprehensivc to be
heard anywhere in the world. Orchoiral
music of any age and school was drawn into
it, and it wa» constantly enlarged by the intro-
duction of new works of any nationality as soon
as scores and parts were published, as well as
manuscript compositions mainly, in the nature
of things, of the BritUh school.
In iQii Wood was knighted. In the same
year he married Muriel, daughter c^ Major
Greatorex, his first wife having died childless
on 20 Dec. 1909. Of this sccorid marriage he
had two daughters. The yean immediately
before I he lirst world war were remarkaNe for
I he great number of important new works
produced under hii direction at Queen s Hall.
Richard .Strauss, Debussy, Keger. Skriabtn,
Scltncnberg were among the mr»re famous
continental composers who visited England
either to conduct their works with his orchestra
or to hear them under his direction. LIgar’s
second Symphony was first giwn at the Lon-
don Festival of J91 1, and the works of native
Composers too numerous to record were pro-
duced by him both in London and the pro
vinces. After the war. when the armistice
made postibic the rt'-esiablishment of inter-
national relations among artists, ^Vood was
able to carry English music abroad. He con-
ducted with Nikisch and Pirrne at the iiKcr-
national festival given at Zurich in 1921. He
was invited to conduct English music ai
Wiesbadeti in I923» and in the same year
visited California for the same purpose. In
J 926 he received an honorary* degree of
Eioctor of Music from Oxford, and the same
year the French government made him an
Officer of the Legion of Honour for hb services
t<> French music. He had already been a
Chevalier of the Belgian Ordredcla Couronne
since 1920. Other degrees held by him ss’ece
(hose of F.R.A.M, and F.R.C.M., and he also
had doctorates from the Universities of Cam-
bridge, London, Manchester and Birming-
ham. The Royal Philharmonic Society's gold
medal was awarded him in 1921. He was
made an Hon. Pieemait of Worshipful
Ccrtnpany of Musicians in t$gB and Com-
panion of Honour in 1 944.
Wood made a great many orchestral ar-
rangements of works ranging from a suite of
pieces by Purcell to Mussorgsky’s ‘ Pictures at
an Exhibition’ and Debussy’s ‘La Cath^dralc
engloutic'. Such transcriptions, as well as his
editing of the older classics, especially Bach and
Handel, in a way he comidcred to be necessary
for a largc-siaed modern concert-hall, were
often adversely criticized on the grounds of
taste or historical scholarship, but nev'cr on
(hat of effectiveness, for he knew the orchestra
most intimately from the Inside and regarded
no detail as too small or unimportant to study
with a specialist's ailention.
From 1923 he found lime to undertake the
training in orcltesiral playing and in conduct-
ing at the K.A.M., an imtilutlon in which he
took the must generous practical interest. He
made it a gift in 1938 ^ his immerue library
of orchestral scores and parts, together with a
collection ofbooks and insirument:<, stipulating
(hat the hiring-fees for orchestral materials
charged to outside organisations should form
a fur^ for the furtherance of the professional
careers of current-year students. During the
first ten years t h is fund mounted tosoixie »ooo*
Wood was always a man of hobbies, among
which painting in oils and carpentry were
conspicuous. Alike In his hobbies and hU life-
work of music the quality of thoroughness
underlay all hb activities. He was never
known to conduct a score without knowing it,
or to conduct without a score to show how
well he knew it. He look infinite pains at
rehearsal, was a firm disciplinarian and culti-
vated so direct and indicative a style of con-
ducting that his requirements were never in
doubt nor his beat indistinct for an inunnt.
In later years, it has to be admitted, hb
syvlemalic and itcccssarily tltne-saving methods
of rehearsir^, without which the daily change
of programme at the Promenade Concert*
could not have been maintained at all, some-
times resulted in rather rough-and-ready
performances: but even these, though they
could be criiicizcd for lack of sensitiveness,
were never w*aniing in that extraordinary
vitality which Wood, apparently tireless him-
self, always knew how to draw even from an
overwork^ orchestra.
The death of Robert Newman in 1926 began
a change in the conditiona of \Vo^’8 work
accentuated by the transference of the Pro-
menade Concerts from the management of
Chappell & Co. to that of the B.B.C. in 1927.
For the time being the same orchestra wa*
employed, but to avoid infrit^meni of cop>^
right in the name the concerts were announced
as liN-en by “ Sir Henry Wood and hb Sym-
phony Orchestra ". The orchestra, but not
tbe conductor, was superseded later by the
WOOD (Henry J.)
WOOD (J. M.)
357
formation of the B.B.C. Symphony Orchestra.
The name of the Queen’s Hall O^hetira was
revived m !933 for the purpose of making a
him and some records tor the Decea Company.
W'ood directed a series of Sunday afternoon
concerts in 1936 t^ith (hb orchestra, which
included many of his old players. In 1927
Wood conducted the Norwich Festival lor tin*
last lime. But in 1933 he directed a two davs’
fcaliial at ShcdTield which was opened with a
perfirrmance of Mahler’s eighth Symphonv,
Another ami in<ire comprehensite programme
was given there in 1936.
In 193B \Nood cclehranxi his juliilrx' as a
<nn<hutor wiih a coticert at ihrAllten Hall ot
ilie (omhiried urrhiMra^ and < hoars of Unithm
(hi.). The mcasioii called forth manv
Irihutf's to his pnhiit work, oto'i r)o(|ur»t
aniom; them llw tomposiiioci rd* ' .\ S< renade
10 Mioii ’ lor iC> M>lo vwiies and orrlHxra l)>*
N uuiiiMh NVilliaths.
The proceeds ol this cihkiti jiid \aiimis
coiuriliutions W«hhJ dr\ oted to ihe enihtw*
mrni of T)ine U'ds in six lauKJmt hmpdaU lor
the use of orslieoral musnbiis, in p«<r|M>ton\ .
nt a lost of £itin,o.
When the >ctur>d world war br<»kr mil hi
I he Promenade Comerts were ai hist
lorithiueil normally, even ihrough the Inst
air*nihh, Jiui ii had l<» Ih* rei ognt/ul ili.ii tW
ri sfx.iisihiliiy of assenihllng large amheno's in
om huilding rath mi;ht could ma U' jiisiilie<|,
and when lh< IIJI.C. kft lauwlmi no miiiHiliate
proviMun Could Ik* made r«>r thnr tontnmjmr,
WiK-l, however, loumed them in i«#p» uiuh r
ihe managecnritt of Keiih IXmiflas aetd Owen
Masr, ;n\d afier iJie dcslrmiMMi *4 Qvieen’s
Hall in 1941 they were moved 10 Ihe Allicrl
Huh, where VN''nM| agreed to I'miiiime in Im
own name for the seasons ot Hip proni
however, the |i II.O, .igani niaioiged the
c oncer l «. Beg i 1 m ing lo Uvl t he weig I it ol s ears,
Wood had agreed in h) 3«». lor the hul tiinr in
hi» life, to share hh work with Minaher con*
due tor lUasil C^iRic*ron', lor hr had never in
curlier years thought i»f lightening his eiior.
1110U1 task in this way, except by asking a
mniiber of living composers to ioikUiiI tWir
own work' whenever that vould be arrangeil.
Karly in the vastm of 1943 he was taken ill,
at«J hr could appe-aronlv h^iis last Uw witIis.
On 30 June 19^4 the Promenade Com rets
were < leased down 1»> order on account i-f n\ii«2
bombs, hill Ihey were replaced on i july l>y
br«*adrasis from lledhwd. It was tli^re ihai
Wood conducted his last performance .m 28
.July. ]'ha» was his liftieth season, hekl in hb
seventy-fifth year. On that seasonMasl nighl,
on 10 Aug., he was iimi ill even to Ikirn to dir
performance by wireles?. but he sent a messaije
over the air which was delivered by Siuart
Hibberi. Wood died in InKpital ai I litelnn wi
19 Aug., and in a funeraJ service in St. .Mary's
Church there on 24 Aug. the B.B.C. Singen
and Orchestra took part.
To cdebraic NVood’s seven ly-fifih birthday
and the jubilee of tite Promenade Concerts a
committee had been formed under tlic chair*
manship of Lord HorJer. and NN’ood had
decided to let the bulk of the gifts offered him
Isosne £12.000) Eo towards a fund for the
builcling of a new concert-hall in London.
’Ilw* site on which he ho)n*d the building would
be erected was Park Square, Regent’s J'ark,
approaclM’d from tlw* south by tin* wiiJe road-
wav of Portland Phice and served by Its ow*n
tulie si.ition: hiii unfortunately ihi* proirci
Ml ihnniqh l.iu r, so far as Park Sc | nan* was
ttintvuied. Ihe luml was nam«'4| tlir Hrnr>'
WVkisI \atiiHt:il Mvm«)ri.j| Tru'l.
M. adds. f. b.
BIHI.Kli.H \I*MY
I ' I^K-rit’k M«ll. ia<i| 1^41 * '(.olliioii,
i««kl*.
* I bills Pn«'fili \\w»r (JUiirarv .Vrlule ,\Jm. T.,
V|M. MJ 44
Jliii. Ksim a Hm‘, t;. H., • llrc»r\ U««kI ; f ift^
\ c.*rs .a ihr ' l'ri>Mi» *' ' C.oimIoh. i 444 K
StuusKi M. Hm.a. ' J1«M% i. Vv.-.l ' I* I Masien
«a VIh>b oi.,^ .
^AUIM.\, t.ioHM . ’linos I. ijf 'll* ViPy
\f, a I V\V, 41)4 1. p, 1/5 .
\V<M,D, Hi SMS j , ' \b l.ilr Miitii 10381.
Um..,. (i . m . * ji,r t_k.| V« /n <>l Mi.'iirv J, tSu<K|’
l.—Svt IM’.J
Wr •/.» \,l<Uii.44j| Btitwli
« jMM, ' t .Hwa iixx^ C l,uk^ ) , I nimit'i V t.luhcnn,
. Mdixh 1 1 < M1S4I iHi |i^«ii«iMMikf 4 ir . '* Kleiiiwshv "
K. ixesKhwi ni . %<•«, % IIjIi f Wh*
•MAfili IVoohhmI^ tiHMrrn Qwixn'i Hdll.
WOOD, John Muir -t). l.dinhurgh, 31 jnly
il-**, : J \nn.ui<J,ih*. <!,iM*, Jonv ibc^ui.
Stmusli rthisK inilihsher. Ih* uas the >on
4»l .Smhi’w ^\iiih|. ,1 inusu publisle r In Jahti-
borgh. Hlmnahw'il him afier his parlm r, John
N I III r , h »lm ,\1 ui r \ V (M M I w as t losi-ly asstx i.x 1 ed
viiili the imisMul life of .Ntutland and took a
knn interoi in .SiMtiish ni usual anii(|iiuies.
He iihtnl a hew edition of (Iraham’s ' Songs
i 4 Stodaml * iilWg', in wie volume 'the
miguial was issmxl W.khI & Co. of l.din*
iHugh in 3 voh., 1U48, 1 1< . .
Wooil A (Ui., the a}»i%e*nienlioiu’d Jinn of
inosu imMishers, was siarttti It) James Muir
at tU (JexirgeStrs'i t. iMimhufffh. in May 179b.
l)illHiihi<*s having ajisen, the business was
taken .rtir shortly afu r hv his brollicr, John
Muir, an Irontnotiger, wlm, acKmising (or a
partmr. ass4« iai«*d hitiisc lf with Andrew Wood
and ollwrs. Muir, \N<hhI & (Jo. were ai t6
<U'<tf%r .Street in I ami were " Musieal
mstfumem niakrrs to His MajcMy In 1803
tin y removed to 7 l^ idt Sinei ; In 1810 the
nurnlKf was changed to 13. imd there they
nmained until i8i«. ’Fhev w<*re very active
(HiMisher^ and |KiMidi<*d qnamiiies of sheet
music and colleriions of airs initftly Scottish
I'Jwy uere uicccediHl l»y NVvhkI, Small & (io
al 13 Uilh Street, 1818-22, and at u Waterloo
naee, kalinimrgh. »8ij -30.
llie survivors of the lirm were Wood & Co.
35^
WOOD (Mu.)
WOOD (Thomaj)
of 1 2 Waterloo Place, Edinburgh, and sufase*
quent addressee up to 1 9^9. and J. Muir WocnJ
& Co. of 42 Buchanan Street, Glasgow, [84^'
1899, with additional premises at 15 Princes
Square, t. 1859-65. These two firms were
intimately connect^, and tverc issuing in the
1840-503 many important Scoiiish musical
works, among which were Graham's ‘ Songs of
Scotland \ Surennes’s * Dance Musk of Scot-
land ' and some others, whleh in their subject
may now claim to be classic.
r. K., adds. w. c. s.
WOOD, Mrs. S<f Patos, Mary Anns.
WOOD, Ralph (Walter) (i. London, 31
May (902).
English composer and writer on music. He
was hrst taught mu«ic by his mother and later
studied the violin, hrst with a local teacher and
then with James Loekyer. He has pursued a
business career for the whole of his adult life
and is mainly self-taught as a composer, but
he had a few lessons from Richard Walthew,
Herbert Howells and Cordon Jacob. As an
author he early established himself by valu-
able contributions to musical periodicals, and
although he has so far published no com-
plete book of hU own, his contributions to
the Tchaikovsky (1945) and Sibelius (1947}
volumes in Gerald Al^aham’s * Musk of ckw
Masters ' serlr^ Iiavc made his name more
widely known. AItJiough his compositions
were long in coming forward, the earliest pre-
served work of his is dated 1920, and the fact
that a second Symphony of hit caistt, but not
a first, indicates that he mutt have disowned
or destroyed some of his early attempts. This
second Symphony was commended by the
Carnegie Irust adjudicators as “ full of a very
remarkable promise ". No public perform-
ance of any work of his was given until 1 936,
when the Erhari Chamber Orchestra produced
his Concerto for string orchestra, arranged in
1933 from a string Sextet of 1932. The work
was given by the Committee for the Promotion
of New Music In 1946, and the same organlxa-
(ion performed the ' Three Songs ' of 1936 in
1944, the ' Resurrection of Martyrs ’ for or-
chestra in 1945, the Divertimento for clarinet
and strings in 1945 and 1947, the * Nocturne
and Dance ' for two planoTories In 1947 and
the Suite for small orchestra in 1948. The
* Six Elegies ' for pianofurte have been played
by Sidney Harrison and Frank Merrkk, the
three Studies by Ilona Kabos (including a
Swiss broadcast of English musk) and Freda
Swain (broadcast In South Africa and Austra-
lia) and the Sonatina by Marjorie Alexander.
I'hc three songs of 1936 were given by Peter
Pears and Benjamin Britten. a. a.
CATALOGUE OF \N'ORKS
INCIDENTAL MUSIC
Music for Shakespeare** 'The Tempest’ foe voka 4
pf. 4 uet
CHORAL WORKS
|$0e^’ (fhebe) foe chorus & ereh. (r^so).
A Madriial * (Shakespeare) for uoaceemo. cbona
(ipse).
' To Bfoeeenu * (Herrick) for uoacconip cberui (1930).
4 ^vnfs for cbo(^ 4 orch. (1939)
z. CaU for tbc robin redbreast aod the wren 0.
Webier). ^
3. The unCa/ihTu] shepherdes (Anoii.).
S. WahcB, fords aod Ladia (ay (Scott).
4. Hey Donay d« \ (Anon.}.
ORCHESTRAL WORKS
Symphmav No. 3 , G al. {i 9 « 5 ).
* Symphonic Vartacfon* * (>939).
’OcnoAC’ (t9J3).
Overture (193$).
Cencereo for ttfs. (19}}, arr, of it*. Sexiei. I 9 ja).
* Sacehanal ' (1937).
5 «Hie foe unall «*th. (1939).
’ Kesuerectioe of Mariyn ' ( 1 943).
* Ftw Draoiaiie Studies' (1943^
MILITARV BAND
* Overture to a Tra(«dy * (1937).
PIANOFORTE AND ORCHESTRA
Ceneeno (194B).
CKAMSER hfUStC
Sirini Quartet No. 1 (1933).
birint Sextet (I 933 >.
Divenwnenie for cfor. 4 st(. 4lrl {1937).
Qisariei for vn,. viola, eelfo 4 pf. (1941).
Tno foe vA., viola 4 celfo (1943).
Sirirx Quaciei Na 9 (> 94 $).
VOC. 4 L CHAMBER MUSIC
t Vocaltfcs fee vote* 4 vfola (1939},
3 Sormrti fee voice, (lute, oboe, vn,, tiela 4 «)lo (t 94 S)
I. Co from me. Yet 1 feel thai 1 shall iiand (£. B.
BrOwniof).
3. Week.* nd (Harold Moore).
* La Vuion * (Aim d« Musset) for veiee. Auic, oboe,
vn., vfola 4 celfo (1943).
riANOFORTE WORKS
* Ek«v* {l|99>.
Prrliide<i 99 «l.
*Su Llefia* (193$).
Seoalfoa (1937).
3 Studies (1939).
*^Sol.fooui*s^ 0939 ).
* Three Little Fiecei (>941).
TtVO FIANOFORTES
Dance Suite * Fastichm * (1939).
* Neciume and Dane*’ (1941).
SONGS
end Campaspe (). Lv)y)<
«. To ask fee alt thy fote Ooho Dewlasd).
I. ^ l^ye a-«bynkyn(e (Barham (Inpoldsbyl).
V. (foontel to (iris (Herrkk).
3. T>e noble naiure (Jeosea). , _ .
4, How like a winter Kaui my abrenre been (doanet
97) (Shahonearc).
i . hlrliwholy (i. Fletcher).
. The lua coftie s (Anon,).
Senes (19*$)
I. Tak*. O take (Shafceepeare).
2. Tht Thrvsifo (Tenoyteo).
^r* 1 t w^^fover and W* la» (Shakespeare).
2, As h fed upon a day (BamcRe)d).
Senes (193S'
I. SofWKi 64 (Shakmpeare), ,
3 Sonnet d’autaawte (Baudelaire).
^ Epiuldi (£. B. Browniox).
WOOD (Wode), Thomas ^
Scottish i6th-cenluf7 rousieiAn.
• editor of the ‘ Scottish PMlicr
?).
He was
of 1566.
CQIIOi v» -
know little or aoihijig of him bdore
WOOD (TlMRUs)
35d
the 1 560s. Laing thought that Wood had
previouily act«d as R«ader id one <it oclwr
of tho churches in Fife ” before he >s‘eni to Sl
A ndre>s3, where we lir»( have trace of him in
a church post (1562). Wood himself tells us
ihai from that year until 1566 he was busy
rollrccing the material for, and copying with
his own hands, the famosn holograph psalter
which has come down to us, iIk treble, tertor
and ba^t pans being preserved at lidinburgh
Univerviiy Library, while the U.M. has a
later edition of the conira*tenor jvart. Ah
though we have, with the later duplicates, all
the part* books, no complete set of the same
date exists, and the cvntra>tenor is defecliw.
'I'hc missing pans of the duplicates are ih^
it'iior, coritra*ienor and thr iifih p«trt, aisd
^PjH mU have i>*en made several timev with a
view to their tliKOVcry in some |>rivatf lilirarv.
Although W ood says that his wi^k w^s com*
picled by Drr, there are addniorit, and
even duplicate <opir>. dated 156^, ijro,
rU . Then there is thr s^calhd “ fifth lxx>k ",
dated 1^1^, at 'IVinity College, Duldin. which
contains much setuUr mnsir. We hnd Wood
later (i^j at Dunbar, and in Mar.
he wav presented to the " V'warage of St,
Andrews " by the |j»rd Regent. Frtmt a later
entry in Im own hand in the pvalter wc kitow
that hr was still living in 1^2. M, c. r.
Bill. fARstra. IlrNRv ii . ’ </ \rt»(r ms IkiM*
<l.<<n«lon, mi?/, pp. tai*a4,
I.AtNi., Davio, *A»k A<<o««il of W'MiiOi fulwr ol
A.M. t^Ui* IWcHuMR : OmwW of AMHiMArm
i>f MQiUnJ iSUr. p, 44y.
.VlAcmrMM, J. VV., Wli<twr of tSr NtMiiiOt Mnris«l
J'lAino * itrsi, P9,
WOOD> Thoraaa Chorley, l^iKadiire.
ad Xuv, id^i ; d. Hurvs, Lssex, rg .\w. 1550 .
Kngiish composer and author. Me was the
sun of a master marinrr. with wh«>m he spent
tnany of ihv years of rhililhood on Ixiard ship,
thus finding the inspiration of must of his
musir In thr sea. D)s fini teaching was frum
Dr. J.dward Brown <if Barrow, and he couk
I he degree of Mnt.B. in ujij before g«iing
up to l,x<'iuc Clullegr, Oxford, Kejectrvl for
military service on account of M'rioudy de*
fective cyesighc, he Sjirnt the period of the
Mj 14-18 war in ihe Adinirolly. In tjjiS hr
wnt to the R.L.M. tu work with Sianh>nJ.
and with Herbert Fryer for pianoforte. In
lyro Ur pmceetUd to his M.A. and to his
doclorair. His |im appointment was to
tlirect the muslt at Tonbridge .School. Out
of his live years there (1918-^4/ came a
practical bock on education, * Music and
B<»v hood •, ' 'riw Tonbridge School Sf/ng
Book ’, and indireedy the srcuntl v'olumc of
the • Oxford 5 <mg Book *, for whkh he was
etiitoriall) rcsp..nslblc. In 1924 he relumetl
to Oxford as lecturer and precentor of hh
old college. AAer 1928, when he went to
live in Essex, on the border of Suffolk, be
gave up academic svork, except for examining,
and dev^oted himself 10 musieaJ and literary
composition.
The Outbreak of the second world war in
1939. Iiowes’cr, made a break of ten vital
yran, whkh lie devot«l 10 public service in
various fc^ms, inclutling a st'inl'olfieial mission
to .\usiralia. On the rcsioraiion c»r peace he
iransfernd his whuI service io music, b<>*
coming chairnMn of the Koval Philharmonic
Society for a while, founcling 'itjf?) In con*
junction with his wife pri<^rs lK*aring that
Society's nanse |«.r new l.nglish orchestral
compositions an<l, in i94</, snrci'Hing Sir
SianUy Marcliant as chairnian ol the \Iusic
Panel and a nienilHr of die Executive Com*
miller of die .Xris CouiMil.
Hs’lore dlls break In Ins trcaiive activity
M’ood's principal com imkIi I ons w<Te three
cantatas, which, though written at dilfrrent
limn, form a iriptsih nn the subject of ships
and Aadors. ' Fortv Singing Seamen * (words
Its .MIrixl was written in ty^j, and
after a suctvssful career attiong r)u»ral sueieiles
aiHl <i»tM]M titton lesiivals di.^t rei|iii'ed some*
thing secular. clHerfitl and iinagttiative, was
revised and relssncxi < 4 v\en sears later. In
the (tteantiate* .Nbivter Manners* hail followed
»l in i*ja; .stnl * MiTcliaiitmen ’ '<om|H>ser’s
own w</nlsi in 1934. luith of which are choral
song cycles, Worthy sueeeisors to Stanford's
* Songs «if ihe Heel * Forty .Singing Sea*
men ', loiweirr, is of a eoniiniious anti highly
c«>l4/urr<i texture hkr its iinnicdiatt* successor,
lliv Ballad of llamiwivad Heath * 'words by
I I.. Hpfker , W'huh is a riot ofgiHid humour,
funk uinefulnest aiwl orchestral e)iii|>s. An
antlirm and some thirty porisongs complete
ihc tale gf works for (ommunal singing up to
the mitbreak of war in ry^rj. |t i» signifttaid
that W’cohI wrote no solo songs, alihougli
several that are ilesignaied for unison singing
go as well or better as solos — 'A
Cmintrs' Lullaby for instance, with an
optional string aeromfsaidnicni available, is a
gem in the pasmral tradition that has per*
sisteil dm/ughout the hi>toryof F.tiglish music,
few earlv pianoforte jmxes ami ‘ In the Hill
(luuniry ’ for organ slnnv the same feeling for
the ilngtish (mmirysMle,
On rrwiming compodilon in 194O Wood
made ivti, experiments in thntal writing on
a large scale, this time uiihout orclic'sira.
‘Chanticleer' (1947^, dedieaied to the Fleet
StiXTl CJmir and I*. U. Lawrence, is a cantata
a eapfittU. three-quarters of an hour of un-
accompanied singing, divcniJIed by solo
singing, allusion and exclamation.
In this way he maintains the impctu-s of the
l<mg narration of Chaucer’s ‘Tlic Nun’s
Priest’s J ale’ fadapietl by .Ncvill Coghilh.
’ Over the Hilh and Far Away ’ (1949) docs
not present quite such a challenge to the
3^0
WOODCOCK
WOODHOUSE
sing«R, but calk for the same relish and gaiety
m unaccompanied perfonnancc throughout
the sequence of twelve nursery rhymes.
For the Festival of Britain 1951 the Arts
Council commissioned from Wood a work for
brass band and men's chorus. ' The Rain-
bow ■, founded on a true storvof the Dunkirk
evacuation, was the outcome. In it Wood is
still grappling with the problem of sustained
narrative in scmi-dramatic rather than ballad
form and is considerably helped by Clhristopher
Hassairs text. From massed and subdinded
brass bands and the use of broad melodies,
some his own, some with assoc iaiiom» he
delivers powerful assaults on the emotiems by
frontal attack. This was his last work, for he
died suddenly before doing more than sketch
' Norwich Fair ’ for the Norvieh Festival of
1D5I' * Dogwatch also for unaccompanied
voices, and * St- George’s Day ’ for orchestral
and military hand, which also belong to this
period, show that he never strayed far from
patriotic nr maritime subjects as the source of
his inspiration.
^Vood was not only a composer, but a man
of varied capabilities; pedagogy, Kholar*
ship, journalism, broadcasting, authorship,
publishing all at one lime or another occu*
pied his active mind. Of his very successful
books, * Cobbers which has gone into
thirty-five rtliiions, was the outcome of a pr<^
longed examinaUun tour in Australia under*
taken in 1930-3^ for the .Nssociated Board of
the Royal .Schools of Music. ‘ Ckibbers Cam-
paigning ’ was a ihghicr sequel published in
1940 ns a war book. In 'True Thomas’,
an engaging auto biographical discussion of
the three principal interests of his life — the
merchant scr\'lcc, Oxford and music Wood
shows acute powers of observation which his
deplorable eyesight had filtered rather tJian
impaired. TJiesc varied interests and a strong
social sense combined to limit his musical
output in quantity and, curiously enough, irt
range of subject-matter, which did not include
instrumental musk without a programme.
r. s. H.
him. Nevai., * Weed: itas*
lO'lo* I Si. ft U. Vel, XXXII. tnt. fK i*B,.
ObSlusry tpprmstien,
WOODCOCK, Robert (*. ?; rf. >).
English i8th-cen(ury flautist and composer.
Little ii known about him save that he wrote
twelve concertos In eight parts for flutes and
strings, Tltese concertos seem to have had
considerable popularity, as they are atlveriiscd
in Randalis’s list for 1776; they w'ere pub-
lished with (he imprint of \Valsh and .Joseph
Hare about 1728-30. Alfred Moffat arranged
one of the slow movemenu {in D minor) of the
concertos as a violin solo in Bk. ii of ' Pieces by
English Masters of the lyth and 18th Cen-
turies
Hawkins also refers to Thomas ^Voodcock,
an excellent perfoTmer on the violin, who kept
a ctrfFee-housc at Hereford, and who died
about 1750; but whether the two were
related is not known. y. k., rev,
WOODES, ? Michael. St 4 Woods.
WOODGATE, (Hubert) Leslie {h. Lon-
don, 15 -Apr. 1902).
English clioral conductor. Early experi-
ence, beginning as a chorister at the London
CJiurch of Holy Trinity, Sloane Street, and
continuing as organist and choirmaster of
other churches at Chelsea, Jed to his special
work as a trainer of secular choirs. His
appointment as chorus master to the B.6.G. in
1934 gives him the control of various sections
of singers a$ u'cll as of the B.B.C, Choral
bocH’ly, which lakes part in public concerts.
The thoroughness of W’oodgate's training
has shown itself in a number of performances of
outstanding imporianec. notably Beethoven's
' .Mivsa solemnis ', conducted by Toscanini in
1939. H. c. c.
Btm.—* Interview with Leslie W«odf*ie' (Mui. T..
July ia>Q|.
WOODHOUSE, Charlea [h. London,
1879; d. Bcare Green, Surrey, 2 May I039)-
English sioimist. He was an artist of
singular t'crsatilily. He gained experience by
]j!a)mg violin, tioia, planoforie, orchestral
ami chamber music, composing and arranging,
with occasinnal conducting, and became one
uf the examiners of the Associated Hoard.
Best known as an orchestral pla>Tr of the first
rank, he was leader of the Nc^v Queen's Hall
Orchestra for many years and a pianist in a
small ofehestra directed by Fre<Jcrl<k Cassa no.
He tx’longed to se>rrul uclMcnown quartets.
tv, w. c.
WOODHOUSE, FrodaHck (Erwin) (i.
London, 14 May 1H92).
Knghsh baritone singer. He studied at the
T.C.M, in London and was engaged to sing
at various musical and operatic festivab:
Glastonbur)’. .Norwich, Cambridge, Bath, etc.
He subsequently toured with the British
Singers’ Touring Club In Yugoslavia, Austria
and Germany; but he is best known as
founder and director of the Intimate
Company, which from 1931 gave through-
out the British Isles delightfully fresh and
finished prrfnnnances of those operas (par-
lieularl) j8th-eeniury ^vorks) which arc l)cst
suited to production with small forces and
ttmide staging. He shared the principalparts
ill tl»«c pcrfonnances with Ccoffniy Dunn,
tenor, and Margaret Ritchie, soi)rano (me
latter succeeded by NVinIfred Radford).
company made tours of Spam in 1936 ™
Canada and the U.S-A. in 1937-3®-
p, S.-T.
WOODHOUSE, Violet (Kate) Gordon
(bom EgliAioa) (*• London, 23 Apr, 187* i
London, Jan. 1948)-
wooDnviss
^VOODWARD
English harpsichordbc, clavichonjisi and
pianist. After studving with Oscar Beringer
she began a long career cf puUic conceru,
during which she placed for many years on
the three keyboard instruincni^, l>ccuming
particularly ccirbraied ns an csporumi of
English harpsichord playing. .Slsr was ilir
first artist lo make gramoplsoiie records iif
lur|KicliorJ music and aUo the hrsi to brnad*
ca<t it, I. w. r..
WoodiMi*!, iob« C. s.f |)ui>lur> ’IllMHrt*’.
in, .
WOODS (Wodds, Woodea), ’ Michael
lA. 'I.
English ihth*(rhUir\ orKaiU'l .ind (««!»•
poM'r. I Iwrc an* niords ol pjvinmn u» a
Miclui'l \Noo<K riN orRjnnln ” >4 ChHlx'iler
Caihrdr.il from 1567 to i.'jB*). H..M, .Add,
MSS U a colIrriMin of itilh*cenlurv
moirtv cIimIU In l.nginh ^mh as
r.ni’rnrr. J.ilhv KnrUx aiKl SlK|)hrrd.
.irmugnl in luluti ubUturr. .md «oni.iins
ihi’ riillMS\iiiir hs \Vi>rvis:
' r.lTunde ’ * t.iurwe !)•>«»»•»' * ; ’ feitm
liliKl * . * VVrbi tm *, .Ml for j
J hc hr»i of ih« NO IS also m IVrih. 3*, pH. ami
a rfon* of the vrond n ui IJ,.\|, .\i|<i. Mss
*7 A. Copies *>f 3. g aiwj ,in m
K.O.M, JO JV also in the flomiminpUi r
lhH*k of John IhiUhsin. ihe R.C.M. manu-
script alv> roni.iitis jrKsthrr imsirt hy UihmJs
* Igitur fhrsu \ d 3. aiul the EUMwiri IsthsIc
still another. ' l.sto E.sirr e 3,
WOODSON, Leonard A, \N'imhrMr'r, f:
it. i i.ioo.
I.nghdi orgaiiisi and fum|>>iw'r Ik b
drvrilad in ihe lUurn Orgjn Jhi..k as
*' orgiihisi r»f Odkgc, ami one of y
i|uirn of Wio/ur who ssas liocri at Umclsrs-
ter Ihui he was a smging-inan at Si,
<i<orKe s aiajH, W imW, umkr Njihannl
fiiks, who was urganisi .jsmI master of ihi*
fhlUIrcn there from jjfl5 lo 1^33, is cem-
firnii tl hy thr ful lowing miry in the ChapUr
,V Is f<*r 5 At*r. 1603 :
1 1 •« as ilw af .\a«l.jw*ra Oiks
►wnujr. Skwrr .g (ihwfiswn af ikis tr^ C;kac«|
lhal L<«»*Jrd on* of ilv mm ./ iW
isme, ihall liasr lirt l«..ikinK. ke*tm,n. eokrwic
•. I **"' kM »mrAs
II ilulJ iK l!«ou«hi mttt by Il.r l>ran and tiiaiHrr
Ahd wtiCTiwsf r uhI l>«aa ami (3um<i dial mn~
likf llicrrwKli ihtn unoo a»« •i.Mi.eiH «an»HiK iTMn
I i«jn »ir lovn, ly d-- Saiban^el W dtall ukf
4 |taiii Im ho owi, unkrine and eiwinnsm as
M IS prohdhir (I1.11 WmwJsfKi roniinunl as
di piuy thoiriu.isur until ihi-,. wlim Iw Ih-
Came organise ,4 lUon Utdhgi . Hi Jwki ihk
|«wt uniil ib4i and prnuiiiaNy dkd m this
yi'jr. as a • '!> Utniin * Jn Jilm is ]>rinird
in Bjrnar<l‘s ' Sekcli'd Clhiirrh Music \ dc
rJarstlh a eolhelion of music by cofn|«nrrs
dead lit die time of puldicatMKi (1641). An
' In Xoiuinc ' h> Woodson is at Oxlbrsl Bodl.
36 J
Mus, Sch, I, a j.part ‘ Ui n* mi fa ’ is in the
Commonplace limik of JoJin Bahlwin and a
treble solo, ' ’Elw mary gould of golden hew \
is in Ch. Ch, 43'*,
AtMithrr Leonard \N'<xm{m>ii, jM>ssil>|) a son
of the above, was ssvorn a O nih m.tn of ihr
Clupi'l RovaJ on li .\ug. iGHj. H<- ssas
apiKHiiial •* 10 tlw vw.ill music k ” on 17 July
HtBij and sidl held this j»osi in iUc,t, imdrr
John iBow jN '*<ompos<T 'V r m (li;
WOODSON, Tboma 8 6 * : 4 .
l.nglidi r(jdi-i 7th-renturs cnm|>oser, ^
fjihi i of iW preceding. He was a (k nilcinan
of the Clu|Hd Royal in London in 158k and
c'mtmuixl as vmh, .u anv rate until 1603,
wJum Iw was cmh* oI die gentlemen who had
an " allots a i*re of tmiuitiing livcrie glseii <mt
to them on ilw funeral oftiurrn l,hyal>cth
U,M, .Vld. MSS 184 A contains a
coniiMtMtiim for organ by him deurlhrd us
' lofiv waves of j parts in one on the •' Mi$e.
rere (>nlv io was.-s " .ire given, but
aiudlier co|»v is m <;h. Ch, 371.
•yooM Nkb'.
A. Dublin,
Mis jathrr.
W#«4«»ar4, Keurr. Wf Buriips
MKet r»
WOODWARD, Richard
• 7lk Dublin, a* Nov. 1 777«
Irish orgamsi and
ako Rich.ud UchHiwarsi, was a vicar choral of
Christ Churcli and M. I'atrick s Caihedrab.
‘IV younger UmHlwanJ was a i hornier of
(Ihnst (.hufch Catludral, of which he was
afirrward* appoinnd organist In 1763, Jn
degree of Mus, Bar. at
IriiMts College, Duhlin. and in 1771 he
\*ftXmU'<\ to the IhKior s degree. Me wav
af»p..inl«sl a sii ar ihoral ol .Si. Ealriik*
(..iihitJral in 1 77a.
WiMKlwardX Op. 1. consisting of 'Songs
(Ui>on« mul (Utrhes'jor t-H voiew. dedirated
t<» l.ord Morningion, was puldishrd h>
Uehker.rf/a.ndonm I7fi7; a copy of this iv In
the John I. (.illwTl colUxiicm. Lihrat)' of the
(V|>oranon of the Cli\ of Dublin.
In t77i Ju* published In Jxmdon (wlih
Weickcr of (krrartl Strcei. St. Anne’s, Soho)
a foJm volume of his church music, with
a dedkalion to .ArcJtlhvhop Smyth. It is
< nliilcvl T
msr«, tr^nistint of i*ne rnmpleai Srrsjo*
Ahdieim. ^ST.al Ckano. .n,| \>„. Cffa,.,;
III »'*e{ g.je. ,Ho. tlifcr. fuc an,i
WW ward’s anthems aie m, longer often
hearrl, aJdmigh some of hk rhams (notably a
douUe cVnt in D) arc well known. He also
published a collection of his songs, catches and
Church
t.a«hrdral, Duhhn. On his monument In the
t-athedraJ i$ engravTd Ids Canon (4 in 2)
’ /ViK **' tUufc^iK or Njiojc. a,, ch,
H. C«t«K The Kins * Mu.ick'.
362
WOODWORTH
WORCESTER (MASS.)
' Let the words of my mouth which had
been awarded (he gold medal of the Glee and
Catch Club in (764.
L. u. L. D., adds. a. l.
WOODWORTH, George (Wallace) (i.
Boston, Mass., 6 Nov. {902).
American conductor, organist and lecturer
on music. He studied at Har^’ard University,
where he took the M.A. in {924 and the A.M.
in 1926, and at the R.C.M. in London from
J927 to !92d, ^vhrrc he was a student under
Sargent, Henry Ley and Kitson. In (923 he
conducted the RadchHe Choral Society, and
in that year also was made a teacher at
Harvard University. He has been a Professor
of Music there since 1946. In C933 he becarne
conductor of the Har%*ard Glee Club and since
2940 he has been organist and choirmaster
at Harvard. From 1930 to 1938 he acted as
assistant director of the Concord Summer
School of Music and in 1940 he was assistant
director of the Berkshire Music Centre. He
gave a series of lectures at Boston in 1947
on the choral music of the Renaissance and
Baroque periods. In 1949 he was made an
honorary member of Phi fkta Kappa, Har>
vard. He has edited two books of music,
* RadclifTe College Choral Music ’ and 'The
HanartURadclifTe Series of Choral Music '.
u. K. w.
WOODYATT, Emily (b. Hereford, 1614;
d. ?).
Lnglhh singer. She was the daughter of
a confectioner at Hereford, was taught singing
by Sir George Smart in London and hrst
attracted public attention in Jan. 1834, ai a
concert of the Vocal Association, and later
the same year at the Hereford Festival. She
became a favourite singer of the second rank
at the various festivals, oratorio and other
concerts. In (639 she became a member of
the Female Society of Musicians, on its founda^
(ton, and in 1640 was elected an Associate of
the Philharmonic Society at the Instance of
Smart, Cramer and Loder. On 37 Oct. 1841
she married William Loder the eclllst (d. tdst)
an<i retired soon after her marriage, a. c.
WOOF, Edward Rowsby (b. Iron
Bridge, Shropshire, 18 Jan. 1883; d. London,
31 Dec. t943).
English violinist. He studied at the R.A.M.
in London with Hans Wcsscly. In 1909
he was appointed professor at the R.A.M. ,
where his teaching proved so successful as to
induce him to give up solo playing and devote
hi$ whole time to the training of students.
Among his pupils were Paul Beard, Jean
I’ougnct and Sidney Griller.
Woof’s publications include * Technique
and Interpretation in Violin Playing’, ' Elc'
moniary Studies ‘ Scak Books *, short
pieces and arrangements of Bach and Genu*
niani. p. a.
E. (Hairy EUla)
1845; d. London,
WOOLDRIDGE, H.
(b. Winchester, 26 Mar.
13 Feb. J917).
English musical Kholar. He was Slade
Professor of Fine Arts at Oxford, a man of
practical ability in several arts, especially
painting, and a profound scholar of the
medieval period of polyphonic music. He
revised and edited Chappell’s ’ Popular
Music of tbe Olden Time ’ with the title * Old
English Popular Music’ {1893) and colla*
borated with G. E. P. Arkwright in his
researches. But Wooldridge's chief con*
tri button to historical knowledge was his work
on the polyphonic period xvhich forms the
first two volumes of the O.H.M. and traces
the de\’elopments of such music from organum
to the end of the 16th century. k. c. c.
WORALECK, Joaepblno. ^mCannamck
( 4 ).
WORCESTER FESTIVAL. St 4 THaee
Choirs FrsnvAt.
WORCESTER (MASS.) MUSIC FESTl*
VALS. The music festivals given by the
Worcester County Nfusical Association annu*
ally in the city of Worcester, Massachusetts,
arc the olTspring of iniiitutions called musical
conventions, which did mud; to raise the
character of church music and its performance
in the U.S.A., especially in New England, in
the earlier decades of the I9ih century.
At these conventions there were gatherings
of singinf*teachers and choristen sometimes
to the number of several hundred, who, under
the guidance of teachers of experience and
better training than ;vts the rule, wen t out from
Boston and other large cities, studied sight*
singing and some of the simpler principles
of voealiaation, and made (he acquaintance
of sdecUom from the oratorios, especially
those of Handel and Haydn. AAer or
more days had been spent in study and dis*
cussion all the members of the convention
would join in a concert, at which the
music that had been learned would be
performed, with scanty and imprmjscd in-
strumental accompaniments as a rule, but
frequently with good effect so far as the singing
was concerned. ,
Worcester had long been a centre of cheral
culture when the first of these conventions was
held there in 2858. Indeed, inspired by the
example of the Handel and Haydn Society
of Boston, singing-societies were in e.'cisience,
one of which, the Mosart Socicr>*, organised
in 1850, had been founded for the cxprws
purpose of performing oratorios. But worU
of this kind were then associated m the pub ic
mind with the notion oflargc numbers m tlic
choir, and Hide was done in tbc way ol
oratorio until a union of choirs w« i^eci^ in
the conventions. At the first Musical Con-
vention held at Worcester m 1858 hymns,
WORCESTER (MASS.)
WORDSWORTH
3S3
gle«4, a cantata composed by the conductor
(B. F. Baker of Boston) and choruses from
‘ Messiah ‘ and * The Creation ' vrerc sung at
the one public concert which was given. In
iflbo there V.CTO two concerts, and by i 860 il»e
meetings had taken on so much of die festhal
character that four conceru were not iliuushi
loo mans, and the new conductor, Carl
Zerrahn, vcAiured upon an entire uraiorio!
Han<J<T> 'JucUs Maciahaevs For four
yi*ars the organisation which arranged the
cunsemit»ns a loos** on<*, but m ilVij tJ>«*
\N<irc<'Stcr County Musical Convention was
ronnully <MubIi«h<'d v\iili r<'pr«'w*niatives Inon
twenty < itii-s. town^ and vill4g4*s.
In 1871 ihc name was changed to ihr
Uorir>ur County Musical .Vssuriaiion. and
u w,is rornully de< laK'd that ihrwnfler tJw
Convent should lx* lalUd festivals an
ambiiion to inuiaie the I’nglish fesjivais
hasiug found jn .u tie iitc cling
c*f idl»'), ivlien 1 1 had also Ix^c-n r< w»Ive«| n>
IJvrfonn or. i (or ju> m their entirety. It u.is
long h if (re* this ri'sohiiiun could In' carriid
out, iur ev*c>u after dw cluur, ihui mode
up of singers fr</in V\«>f<tstt r .in*! vie initv hIk*
clidir is riow ahnosi uhulK local , was able to
nuist. r one of ih. works of Handel or Haydn,
the* uisirununt.d comp.iny was Jacking. ,\i
lirsi the pianororie alone' was used, then, whrn
in id(i{ u line organ wjs presented liy psibJic
suhstripllou to the Mechanics’ .SswHiaucxs. m
whose hall ihr rnmings were heltl, that was
also I niploy ed. \Hwn /errahn hrvl liccaiglM
forward Judas Maic.dueus* the orrhc'stra
‘cuisisied 1^ sit idasits- the* McmUlssoJin
Uuiiilri i>f Itnlim and u double Imss, the
next ye.ir there was an orrhescra of ten, in
ilki}| of eighteen. I alter lieiween lifiy and
wxly iiiciuixrs c^f the lio»ion Ssnuilionv
Drfhesira look pan,
/err.ihri w .is runcJutlor of the M ore ester
fcativals from 186C to i8«*; inrlushe. After 1868
he had the Jielp of di lie rent men to conduct
the smaller works and the arcomfianinM'nu to
the miscellaneous solos. I tv was succeeded
after his rengnalK.n in 1 807 by George M\
Ghadwick. who olhc lat< d in illcj8-t^i,
M.dJ.ite (MMxIricH held die {Knt in J9oi>y.
and was wicccctUsf hv Arthur Mces. who in
turn w.ii followc'd by .Nelson R Colhn tn tijtu.
' iclor lUrbiTt was .issue iam conductor from
dUJi, lo MJ<|| and I- ran* Kmis- I fmn, lecja to
iqn».
Since 1 8W, a wide rrprrloe y of large choral
works has Ix'cn given, including most of the
classics and many modern svorks. with those
of native coftnwser* such as llc^atio I’arkcr.
Chjwiwiek, Converse' and Hadley. In tgji
Nelson P, Ck^fBn was succeeded as conductor
hy J, ,\rthur Bassett, who was folhmed by
|. S c emm Butler < and Henry Hadicv
(iya 4 J> In tcj/j Albert SloewJ became
musical director. He enlarged ifu* scope of
the Festival considerably, six coiicc'rt^ are
gisrn annually, usually during a wirk in
<>ci, Participating in these cunc<*rl» are the
NVorccster Fciiival Clu>rus. a full symphony
orchestra and eminent soloists. Often the
presentation of an opera uke> the place- of
one of the* concei is.
II. K. Hi N, It., adds.
WO ROE. Wyakyn d« b. ,\Uaiv, J.
Lfuwlott. .' t^jf ,
.Msaiian iirinler. He was » idl'd m l.oncluii
and svas the- Jirst lt» print music ihere,
I . K.
Sm tit* rciniinf.
W*r(l«wer«h. Williftm. s./ Kjni.nk |s.iin«Mi|;» ,
Dask's It yv., i hirui ' h»iiMiAliatw «il
ImMaul.K cW^I -<>^1 . MilltxU iluklreik’*
CAMiJia a lyxc ■. SMisir Mxinci hM »«,|o \w<<> &
4
WORDSWORTH. William (BroehUa.
by) b, lauHluii, 1; l><'r, iijuKi.
I.JM;lish c omiKiser, a drserndaiu of die poet's
brut hst. H is li rsi cduc a 1 ion w as rc-c vi\ <*<1 fr« uii
Ills fadirr, as Ik* was too ilelkah' u ehdd lo
aiiciKl wIhhiI at llw noniul age J|i< inivresi
in (HUSH* Ih-( ante piidoiubiaiii wlo-ii hu was
alHiui iwvUr years ohl, and il was decides! that
he siMHild siudv it wnh a privau leac hiT at
Croydon, l.'nd* r liiiii, Inun ig2r 10 193:, hr
studied liarniohy and (nunirrpoiiii, singing
and ihriv insirunirnts viola, piancrforu* am!
organ . ,\i (Ik end <>l dus ^ktIikI his lirsi pub.
lidird work, the * I hrec Hvmn.Preludes ’ for
organ, wav (o<n|>oseO.
In K|'t4 he went (0 I Jiuburgh lo coinilUir
Im sludirs with lovey, in whose* ic.uhiiig hr
found "an alwding iiHpiralion Hr stayed
at lalinlsurgh umil 11136, when he- Irfi wtdioul
caking a dcTjecv m the L’luKTsiiy, He (hen
dev'c^rd hirnwlf iu composuiuii, living in the*
couAiry in order lu give all Im (ime 10 ii, and
he Iwgan to produce works on a much larger
scale (han he had prpviousl) alteinpled {t.g.
the piarioforir .Sonina, 1 938-3(1 1.
Ikiring the second world war hr worked on
the land, and this mrarii dial hr had licilr time
lefi for comjjosiikm, although ihr works then
wriiten attracted much more nit<*niion than
his earlier coinptwj lions, P.irlicularly well
recriyed were the first Sym|dic)iiy (1941) and
tlw first twx* siring (Quartets (15^41 and 1943).
“nK icj4i Quartet won the fir*l priac in (he
Qemenis Memorial Comps-iition of 11)41,
.Xfier tlie war hr eotnposcd incessantly, and ihc
publication of many earlier works while tliesc
later ones were produced gave the impression
that be wrote even more quickly ihan was
actually the case. Of hU postwar works the
«ring Trio In G minor and the pianoforte
Concerto have been singled out for special
praise.
His music b deeply serious in thought and
expression, hU slow movements being most
364
WORGAN
successful, and hU style — in whkh the influ-
ence of Tovey's ideals has been traced —
shoNvs a background of tradition and his lack
of belief in originality for its own sake.
CATALOGUE OF WORKS
MUSIC FOR RADIO PLAYS
Op.
3^ ' Pvih«a< ' (>947).
$?. ' Th« Hawk Md (he HsikImw ‘ (1946).
CHORAL WORKS
5. koiiruli in a-^ psrts lor unacconjK cnual v«ica
• 4' * TJie^ousdes Dead ' for v««e«. chonu a web.
18. ' Die« Domini ocaiocin for «olo roket. ebona R
oreh. (1947-43).
a6, 'Hymn of Dedaotion * (Q. K. C>M4i«rion> Iw
ehorus & arch. {1943),
ORCHESTRAL tVORKS
6 . Sinfonia. A mi., far itm. I 1996 ).
in. * I hree ra*(oral Sbeuliea * tifST)*
I9«. ' (;An2ona * fee t(|». (19)8).
isL * ballaile * foe tigs. HMij.
t9. Theme and Var>aiioni ter mwuJI «rch. <1943).
»4« Symphony No. 1. Pmi. (1944I.
34. Symphony No. a, 0 ma. Iie47>4a).
PIANOFORTE AND ORCHESTRA
:fS. <;aiieerto in etvt movement 1 1946).
CHAMbLK MUSIC
iC. Sirine Quartet No. 1. l> ma, <i94t).
17. 4 Lvrict fur vawe ft lit, 4iei 1194I).
an. Mrint Qiianel .No. 9. E7 im. 119131.
93. SiriM* Jria, (* mi. {I94$V
3u. .Strint Quanei No. 3. \ ma. OM7h
39. Tlienie aiwl \’«riaiiurw ter reeo^drr ft kaepakhord
(I947t<
33. *4 lie Four Seawm ’ lUlakei foe voice 4 tic. irte
(1947).
SS. Quartet. D mi . ter pf. ft iiit. (1948).
VIOLfS A.\D PIANOFORTE
90. * Iniermesto' (1939).
3. ' I'hanUty Sonata 1939-33).
93. Sonata. B mi. (1944).
VIOLA AND PIANOFORTE
9S. * Inieemeito * <1934).
CEt.LO AND PIANOFORTE
0. Sonata, £ mi. (1937).
99. * Nocturne ’ 1 1940) (oeif. tet vwW da caoabo ft
harp'ichoed).
PJA.Nt)FORTE SOU)
4. * I*rclude. Rhaptody and Scherio ’ <1934}.
13. Soiiaia, D mi, (1939-39).
t7. * Chcewembc Suiu * (1943-46),
ORCAN SOLO
I. 3 Hymn -Tune Preludei ( 1930 - 39 ).
SONCS
3 . 3 fytmgt (i 93 })«
7. 9 Songs (1936).
(I. 3 Son» (i9')6).
13, 9 Son«> <I039)>
9t, 4 Saeretl Sonneu by John Doone <1944).
99. 9 Sonffi (1944),
33. 4 lUake Songs (1948).
K. A.
WORGAN. Knglish facnily of niusieijns,
{a) Jftmes Worgan {^, London, 1715:
d. London, 175s). organist. In 1737 he
became organist at Vauxhall Gardens and on
Dec. [738 he was elected organist of the
London churches of St. Botolph, AJdgate, and
St. Dunstan in the East. He resigned the
Vauxhall appointment about 1751, and on
1 1 May 1753 he was succeeded in his post at
St. Dunsian’s by Mrs. Mary Worgan, pri>
bab)y his widow', and at St. Botolph by his
brother John (z),
(ft) John Worgu (F. London, 1794; d.
London, 34 Aug. 1790), organist and com-
poser, brother of the preceding. He studied
music in London under his brother and
Thomas Roceingrat'c. He became organist of
(he church of St. Andrew Undershafi with
Sc. Mary Axe. about 1749, and of St. John's
Chapel, Bedford Row (1760). Hu grailuaied
as Mui.B. at Cambridge in 1748. He
succeeded his brother as organist at Vauxhall
Gardens, and in 1753 also as organist of
St. Botolph s, Aldgatc. In the same year he
was appointed composer to Vauxhall Gardens,
continuing so until 1761. In 1770 he was re-
appointed to the office and held it umil 1774.
when he resigned both it and the organist's
post of the gardens. In 1775 he proceeded
Mus.U. He died in his house in Gower Street
and was buried in Si. Andrew Undershafi.
He excelled as an organist, and whrnever he
played, crowds of professors and amateurs
resorted to Itear him. In a satirical song upon
Joah Bates, written by Marlin Madan and set
by* Samuel Wesley, he was placed upon an
e<)ualiiy. as a play^er, with liandel t " Lei
Handel or ^Vo•gan go thresh at the organ 'V
Worgan's composilioiu include an Ode on
the Rebellion in 1 745.6 * Dirge 10 the Memor)
of Frederick, Prince of Wales performed
at Vauxhall Gardens, 17 Apr. 175)1 An
anthem for a thanksgiving for victories (i759);
oratorios t * The Chief of Maon ' Gioas
(incomplete), ' Hannah ' (to words by Chris-
topher Smart), product at the King's
Theatre, Haymarkct, on 3 Apr. 1764, and
* Manassch ', produced at the Lock Hospital
Chapel on 30 Apr. 1766. An undated se^
nata, * The Royal Voyage * (words by Sir
James Marriott), is in the King's Library at
the B,M. Many books of songs composed for
Vauxhall Gardens, psalm tunes, glees, organ
music and harpsieht^ lessons are also among
hb compositions. A treatise on composition
was lefl unfinished.
tv. H. H. & w, a. s., adds,
Bni.— * Mvoeal QuirteHy Review*. V, uj. (Full
WcOtuphy »i(d BuiMite «n4 Jsudato^ t^yiK of
hts worto.)
(g) John Wor^o (^. London, e. 1 J'O i
d. ?), composer, son of the preceding. He
wrote marches foe the pjanoforie and some
songs about the turn of the tgih cemury.
On I Sept. 1733 he married Sarah NfackJean,
whom hedixorced in June 1768,*
• F- Ptewden, ‘ CWmteal Court . I (* 85 «)'
WORKING-OUT
(4) Thomas (DaAVOrs) Worgan
London, 1774; rf. Croydon. 18321, chi-oriNC
and comfKKcr, btodicr of the preceding. He
was ihc inventor of a musical game with cardv
ii 807 ) and author of • The Musical Reforni.T'
^829) and other works of a technical charac-
ter. He alvo composed a motet, M>ngv. ' N'oeal
Sonatinas ‘ I'he Hero‘5 \Velronte *, etc.
(5) Richard Worgan b. luxMlun, ?;
</. ?i, f niii«u'ian. l>roih«r Of the pn'ceilinK.
He pubiuhed a M’t of sonneu in 181 u.
(6) G«o^« Worgan b. UHidon. iflor.
<J. WMlingioh, j Apr. 1888 . cr»mp.wer.
}{randson <^f ' 2 ' , «on of i(r went to live in
\ew /edlan<l and composed (walm and lieinn
tnnev Mjmjv, e«*., and in ilt|i a com*
j>ilation entlilrd * (iems of Sacred M«hKJy
» k..,adds.
Uiei. -OWiuar, noucr, M«i». T.. iM. p. 4^,
WORKING-OUT. .Stt l>>\ii0PMkM
SrC.TION, StA.M.V
WORMSER, Andre {Alpheoae Tous-
saint) b. I'an». i \<h 18^,1, 1/. V^r,s, .
\0V,
I rent h roihiM^xr. Me the I'arw
ComervmtHre uiichr Ri/m .mil Marinminl.
yhwitiid Ou VrW de in \Uj-, »ah Ins
‘ (.1) lenuKNtr** * .iiul won mm < ess wiili man\
"IHniv .iml oiler works t* Adi It de Ponthi.11 *
wa* Kivvn at .Urhen in 1BB7, ' Kiv<d, • u,
Paris in ilk^i. None of tiusr acUu vetl tin-
sneccM <>f the ^Mntonnrnt or wt>rd|<vs pLv,
' l/Knfimt pr.KliKue |>r.Hluied in P.iris in
Itkjo r,,< di,. (;<r, I,. I'tinarTibide«|ur, 14 Inne,
<m«i at till* Jli.'AtK lilt Bontres'i’ariMriis, 31
.I’mei. (t was M ihe Prime of \\aW>
V Mar, i8i|i. J^jmlfm
KoTi.dd plauiiK die tonspKUOus fuanofortr
|>.trl.in Kerhn in lUiftiaml at iM'wleA in 1903.
a |KK m for itnci* ami <^hi-stfa
was |H rfonm.l at the [.anxMirnu comeru in
r^iJ. An cttraii Ironi ii. • Solim.k *, was
pnlilislwd h. tffj, j. ,v. r-w., adds
WORNUM. Robert <i) > Iferkdiife,
I T }2 . 1/. M'ndoii, idi3».
I«n«hsh inuMC iHihlidter and inMrimwni
•»«ker. Jie .ante of u HtrWiirc famili.
onKinallv Wornhain, an<l suciceditl to the
biiMnev, enablishcd in Ijrfxlon by J. A G,
Noisier, in Glasshinne Street. He published
inaiiv sma?l W.ks of dances, and airs fr>r flute
or tiohii, >ir niosTd <0 4,^ Ujgimur .Street
in 1777. iMid accord ing to tln< 'Musical
nf 1 7«j.j, was a matter of s iolins and
' lOKHK.'llos.
WORNUM. Robert (il) 4.
• /»*» ; d 1852J,
Pnglivh pianoforte maker, son of the pre-
teding. Hr W..S intrmUxJ for the <a»uf<h,
*•«! the rmxhanKai Uas fwevaiU'd, and he
wrni into partnership wiih (Jeoege U iJkimon
in a pianoforte business in Oxford Sirret in
WORSHIPFUL COMPANY 365
1810. .\ lire in tftir caused a dissolution of
this fiariiH’rship. He ultimaic l)' <‘stablish<<i a
warchi.tise an<i < onc< rl roont in Store Street.
\\ orn uiii w as the inven lor t .f di agonall v and
u|»rigi»t-strnng low uj)ri(»ht i)ianofort<-. in
181 1 and 1813, winch he named. r«*>|>erthelv,
llw •• L ni.|ue " .iim) the " H.irnionic He
patemetl ihe aciH.n in i8.'U. iliou;:h it wa^ not
com(dei.«| until the “lie'’ was add<t| in tliid,
that iif.Klutrd cottage pianino H<tlon, He
brought out Im*' piccolo ‘ pianofoite in 1827
and hnaliv ]>crfe<iid his crank in iKjci.
Hm Mil»sc*qwenl head ot the (inn ol Rolx ri
U.rt-iium i. Sons, A. \, WoriiUTii, smc clerl
lo Ills ijranciraihtrV iiiirntii. talent.
WORONIEC, ArauK b. f ■. 4 . ?
I*olivli ii{ih-]c(ih*cc'nlur>' ilieorist. He* was
an eccIcMastit ami |Hd>li>hid at Wdiio in 1(^)9
a ifcansr cniided: ' PcHr.pk) iimriki tak
hgiiratnrgo j..k i clw.ralmgo kanlii ’ f J he
Ih-giniNtiK' of Music Unh JiRurrd mid
Clhical * , e K n
WORSHIPFUL COMPANY OF MUSI-
CIANS, THE. .Vn l.ndisli jiwinntion wnli a
liwiotv xml .wxMi.iiioiK uhnh c.nrs hack (he
mind to llw imisic .il Iili .*f thr iniddJr ft«es, (lie
d.is* .4 cIm troiilMil.Mtr* and iimisin k ||m-
(a»jMei hv scinch the Compani. which h.id
iscem a Cits <hiihJ since the sear i'jIK*. hfsi le-
mved iW corporate existence and leK.il stiitii«
dat<-» liack n» farther, il is trnr, than 1004, in
which scar It was granted hy Jamci I. Thiv
w at not , hr.w e\ cr , \ hc> first insi r u rnen 1 1 ly w hi ch
Tniiisirc ls in l.nel^fttl h.id Ikx o empowered tn
form tbcmselivs into kuiMs or fraternities, for
tl»r Paten I Red! Rices uv i|ic< Charier gfanted hy
lalward |\ m i |tM»t(» Ins • k lovid iihnstrejs "
einjKmrfinR (Iwm to convlitiii. thernselc c s into
a Rwild and make ruli-s and reRuUtions for
the- Rosernnwni <4 the cr.ifi t»i " masters " of
music Mils and to adopi iix aMirc^ to rc oiedv
Rrieva.M .*> ami improve* ili< estate itiin
which ilw call I OR had evjilenilv then fallen
Ihe high cMrrm in cviiich it had been
held in lin e sous centuries. Tins Chant r
prrsened l>y Rsmer m his well-known
Fordera , wJtcre the original l,atin text is
jp'xn, po»ews grrai interesi. l)> reason of the
light It throes s upon the musiral prartitionew
u ** Charter that
the Drolhcr* and Sisters of du- Fralernitv of
.Mtft«reU had established and ordained
ttmdar Brenherhoods or Ciuilds in times past.
This odouhiless correct as tl,r Minstrels would
nn|> havj l^rn folloscmg tJie fashion of the
any such
Pellow^ip has come to light exeejst the record
of a small Fellow'ship of City Minsircis cvhieh
a^ars to have flourished in ilic latter half
<M the .4,h century. This Guild appears to
have been formed for benevolent purposes
and not for any rogulaiion of the craft
366
WORSHIPFUL COMPANY OF MUSICIANS
This first Charter wu granted in response
to the prayer of the King's Minstrels, whose
names are given. They were Walter Halliday
(Marshal), John Clift, Robert Marshall,
Thomas Grene, Thomas Callhome, William
GhfT, William Christean and William Eyii'
sham. They complain of the wrong done
them by
certain ienorani rustic* aad csaAniwn oTvariots calla^.
who fahcly icpresont thcms«lv«s be cniannlt ; ilUHwgh
they are in thni an by no in«»iu learnt *r skiBcd.
they net'erthdeis move from plaec to place pa festival
days and collect all those pronts by meaei of whi^ the
Kiet’s MinsveU should obiala tbeir liviof ;
and, furthcrnsore, that thus “ much disgrace
is brought upon the art or occupation of
mjmtreU ”, To remedy the grievances thus
complained of the minstrels named were
erected into a corporation with perpetual
succession, and were given powers of examina*
lion. Supervision, control and correction of all
minstrels throughout the kingdom, the County
of Chester excepted, for there the minstrels
were under other special control.* What
measure of success attended the cAbrts of the
new guild to improve the condition of the
members, or what was its eventual fate, is not
recorde<l.
It may be remarked in passing that the
term ” minstrel ” is a loose one and has led to
some confusion, a notable instance being the
Henry Walker, ” citixen and miruirel of
I.ondon from «vhom Shakespeare held his
house in Blackfriars. >Valker's connection
with the Musicians' Company is mentioned in
his will with codicil proved on 30 Aug. 1616.
where he clesrrihes himself as a ” Musiiian of
l^ndon ”.
The Fellowship of the minstrels of the City
of London have many complainu to nuke 0^
precisely the same character as those raised
by the minstrels of Edward IV, ” the povTrtie
and decay ” to vvhlch they arc brought by the
*' coniinucll rccorse of foreign minsireb daily
resoriiog to the City out of all the Contra)‘s of
England For the remedy of this, and for
ihe bcitcrgov'ernmcnt of the London minstrtb,
the testing of ” cheir sufficiency In their art "
and the control and regulation of the teaching
of music and dancing, wc find that rules were
continually enacted and re*«nacted, but with-
out, as it would seem, any permanent measure
of success.
Eventually the Fellowship appears to have
licen reduced to such a condition that it wras
deemed necessary to reconstitute it upon a new
basis. This was furnished by the barter of
James I, which brought into existence the
Worshipful Company ofMuskians. It was in-
corporated at the prayer of the above-men-
tioned Fellowship the Minstrels of London
(of which it was consequently the direct
' St< 8 k Pet«t Leyccsicr** * HutMkal Aaiiquiiks of
Chc*hir« '.
successor and representative), under the style
and title of” the Master, ^Vardens and Com-
monalty of the Musicians of London It
was to be governed by a master, two wardens
and a body of assistants numbering not less
than thirteen and not more than twenty, and
it was to be Invested with full powers for
the ciMtro] and government of all minstrels
and musicians in the City of London and
within three mild thereof. In accordance with
the authority conferred in the Charter, the
Company drew up an elaborate scries of by-
laws for the regulation of the teaching of music
within its Jurisdiction. I'hese rules, which are
too elaborate and extensive to quote here,
afford some interesting matter for readers of
to-day. It must be admitted, however, that
they exhibit a business-iike and wise regard
for ibe interests of Its members, their pr^
ficiency in their art, and also for the training
and morals of the apprentices.
The arms of the Company were granted by
Camden on 15 Oct. 1604 and approved by
Sir Henry St. George Richmond, 1634, Philip
Ptkeman being master, ^Valter Clarke and
Philip Janvrin wardens and Nicholas Pinny
clerk. We may add that the principal charge
of the arms is the swan, the bird of Apollo and
emblem of the musician's or poet’s song.
The Charter of James I was declared null
and v‘oid by his successor Charles I as 1 result
of proceedings in Scirt /aria; (1634). It was
contended by the musicians of Charles I that
the Charter of Edward IV had been granted
10 the King’s Minstrels, and that it had been
wrongfully claimed by " a pretended Societie
of Minslrclles in the Clitic of London ” as
ground for the granting to them of the Charter
of James I. The actual ground upon which
the Charter of James I was Impugned by the
King’s Minstrels was that (he Charter of
Edward IV was already in existence when the
Charter of James I was granted and therefore
the second Charter was repugnant to the first
and accordingly invalid. This was upheld by
the Court. .
The king’s musicians not only gamed their
case but procured for themselves by leiic«
patent a new corporation by the name of
“ Marshall, Wardens and Cominalty of the art
and science of Musicke in Wesrminsicr m the
County of Middlesex”. The Wcsimiiuter
Corporaaon was granted far
than those conferred by the James I Charter
on the City Company. The latter s area cJ
jurisdiction had been within the City «
London and over a radius of three nulcs out-
ride iL The W'esiminsier Corporation ^vas
riven jurisdiction over musicians chroughoui
the whole country with the exception of the
County Palatine of Chester.
The Ovil Wars. leading 10 the detrucuon
of Ibe niwurcby itself, prevented the >vesi-
WORSHIPFUL COMPANY OF MUSICIANS
367
minsc«r Corporation from attempting 10 exert
ite powers until after the Restoration. It held
iu iir>t meeting’ on ii Oct. iCCt. with
Nicholas Lanier, who had led the attack on
the City Company's Charter aiuJ had hr«*n
appointed .Marshall for life, still appearing in
that capacity.
The vvrv plenitude of its posrers rendtTcd
the CorfKtratiun's action nugatory*. It had tlu'
right to iiu|>os)' Unes on all musiriam nito
might <hsobry its ord« rs, and to appiv tlw
lines to iu own u'c. .\ nunuit* of lOCj record>
that Matthew l.ockr, Christ<i|>lH*r Ciblion^.
(Charles (!olman and U iliiani Gregory were
ordered each to l>ring c<'n pounds to the
CWi Miration ofhre in J>urham Sinvt. hiich
junyiii nun ot er a uide area which could not
pONNihk he ellHiiNelv {v>licrd was l>ound tv
he impraciicahle.
Of more im{>i>rt.tn(« to our purjMnc here
k> 4 minnie of the \Vi Niminster Curj>orat*on,
dated }'{ NUv ihpp
Onlrre*! i),ai tl«rir> Juho
lliciKU>>n amt t.illv d'- inrrt t*Hrr of the Myuour
«it lh« CiltK yi I.oimIma lo irr*l u|ma M»ih m^lwrv 4 Ih|
(hiMtis <<rfi<«rr> ilif e(>e<l v* llir mkI GxfwsaiiM.
Mut «liows die Ciiy Ci>m|tany lo In* siill in
hring ct eu though ditposs«'Ssrd of iu (Starter.
In Get the City K •‘Curds are i|uite rlear as
10 du‘ I mi I ion sH the City (iuihl, .Mier ihe
Charter was revoked the Musicians went back
10 the CoriK>r4ii<m and tdiiained a ikw Act
of Common OHinril which rcM-vialJUhed
them as u Guild wnhm the City. IIh* history
of the Musicians Coin|>any as a Citv (iulld is
uiihrtiken from a.d. 1300 to the prese nt day.
Ihe t.ol meeiiug of the \\<s|iBnwier Cor-
P>r.kiioii hs'UI i>n j July ibjy. at the
I liree J ims 'l avern.
On rj 0< i. iGGII James II eaecnied an
Imtrucni IK wJierek>y all tlu’ Charters granted
I'* City (Jumpanies after a certain dale were
divim‘<l 10 bv null and void, and all the said
City Comiuriics w-ere rrsiored to their ’*.in<ienl
lilwfty and franchises h> ilwir Charter* there,
toforr to them rc5|)eeiively granted ", This
was supplenii'iJted by an onkr of the Court of
Common (knmcil restoring members of the
l ivers to their tirivilegc-s, and the list of the
Livery O/mpatiies in this Crder inelucles the
iiani<> of the .Mnsician** (kwopany. Although
no a< tual rk storalion of the Charter has yet
^*<'0 irared, it is evident that at tliis date
the Musiuanj’ Company was acccpird as
duly cmistitijied. Momwrr it is found in
the following century nourishing and cxerri*-
nig wime measure ©f control over musicians
pracliving their art within thk‘ City boundaries.
In fjoo the Company wav authoeixed by
an At t of Common Council to exercise juris-
diction over dancing • masters, h likesvivc
appears tliat the Company's juresdiction was
• T^. «k (kp H«rleljn MSS are
prunwl bv • Huwrv gf M-k th.
enforced as late as 1763, in which yvar an
action was successfully hroiigiit by ilic'
Musicians* Ovinpanv Iwfore the R<'<<»rd<‘r of
London against Ryrtun HueJv^n for emplovirig
persons not free as musicians at a l.ord Mayor’s
banquet,
TIunigh the Company L still hi active exist,
ence, it jmssssM-s, iinfortunali'lv, no rsxorkU of
its history and acts dating farther back than
177a. These have been lost and with them,
of course, many mieresiing details ol the
musical life of l<ondon during that jM’riod.
However* some j^imptes of the Company’s
history mav be found in the Records of the
City of lxmdt»n.
limes are 1 hanged sinie the guilds wire
f^Menl factors in tJ»c political and social life of
Lnglanil, wh<n it was fteei*ssary for those
living in the City 10 take up the freedom
of the City guiUls m order to be allowed
10 carry on their trade nr prufesNlon in the
ccmlim-s of the Ciiv. Wvertheievs many nf
them still exivt, and allltough ihev no longer
discharge to the fitU ilir finiciiotik fur the
exercise of which thev wne uiigiu.dly fountUsl.
PMist of dieni e adajm d theimeKis to the
new tundiimns ami «Tk l<> llie Ikwi of their
lamer tu further tlw mteresu cf dtr calling
with which they have (Hen so ]c»hg as'Ot j.it<‘d.
.ScKh Is the case with the
It IS doing all that lie* within Its limiuxl means,
by the institution of sc hnbrvlujw, competitions,
the award of im'dals and in other ways, to
stimulate ami promote the- siiwL and practice
of the art which it was estabiblicd to >uper\ be
ami control. ]i may Ik* added in pasdng,
however, that the Miisicuns* Ca>mi)aij\ has
never (msseued any gr«*at wealth.
The prinriiuil award which th<‘ Companv
has m Its gift » that of the Col lard Fellowship.
Thb was hjunded by the Company in the year
1931 gjwn a large lirnrfactlon reieiwd from
the estate of John Clemenil Col lard, twice
Master of the Company .-ntd I'rrasurer from
1904 ki 1918. TJie Fcllowdiip prov ides a
substantial annual sum for a period not
exceeding threi* sears to a British musician of
proved ability selected by the Coinjiany in
artordance with the rules for the Fc Ibvvship.
The practical value of the Fellow ship is every-
where recognired hv British music lam.
Other periodic awards comprise the follow,
mg:
Tvvxj Sciwlarships at the C..S.M., onr
handed upon a gift by the late Andrew
Carnegie to the Company, die oilier upon
a similar gift by the lai<‘ Lord Palmtr of
Heading.
^ annual prize for Composition at die
G.S.M.
M annual prise for an ouistandin?
«u^nt selected by the Principal at the
K.A.M, (Pfcndergast Gift.)
368 WORSHIPFUL COMPANY
WOTTON (T. S.)
An annual prize fi>r a student of the violin
at the R.G.M. (Wolimann Memorial.)
An annual prize for a student of the cello
at the R.G.M. (Leo Stern Prize.)
Two scholarships in pianoforte technology
at the Northern Polytechnic, Holloway,
London. ( Evelyn Broad wood Scholarships. )
In addition, the Company awards the
following medals:
The Company's Silver Medal, presented
to outstanding students selected by the head
of the Khool concerned triennially at the
R.A.M., the R.C.M., the G.S.M., the
T.C.Nf. and the Royal College of Organists,
and annually at the Royal Marines School
of Music and the Royal Military School of
Music.
The Cassel Medals, a silver and a bronze
medal presented annually at each of the
three services schools of music, provided
from a fund donated by (he Rt. Hon. Sir
Felix CassrL Bt.. Q.C., on ihe concluskm
of his Mastership, which was prolonged
throughout the i 930 '* 4 S
The lies Medal, presented annually to the
handmaaier or other selected member of the
band winning the National Brass Band
Championship.
The late \V. W. Cobheit endowed a medal
to be presented annually to a person of any
nationality or kx " For Services to Chamber
Music
The abov’e is a list of the continuing awards
and does not inclutie the many instances of
single gifts and prizes bestourd during the fint
half of die present century, notably the Crews
Prise of 1904 for a Grace, the Cobbeit prise
compositions and others.
bpreialiy worthy of mention is the exhlbi*
tion held by the Company at (he Fishmongen*
Kail in commemoration of its tercentenary*,
wbicl) was opened by (he Prince and Princess
nf Wales on zGJunr 1904, under the patronage
of the King an<l Qpecn, His Majesty heading
the list of lenders. Then was brought together
a remarkable collection of instruments, books,
manuscripts, portraits and other objects bear-
ing upon the history and practice of music,
probably more complete, valuable and instruc-
tive than anything of the kind that had ever
lH*fore been got together. A finely illustrated
catalogue of the entire eolleeiton was pub-
lished subsequently.
In order that all possible advantage might
l>e derived from (he exhibition, a series of
lectures on the exhibits, with musical Illustra-
tions. was delivered. (These have since been
published in book form.)
At the present lime (1954) Musicians'
Company consists of alMut 150 members.
Eleclion to the Company rests with the Court,
which consists of the Master, two Wardens
and not less than thirteen assistants. The
Fines and Fees payable on taking up the
Freedom and Livery of (he Company amount
in all to ^54 : 1 7s. The Livery of the Com-
pany carries with it the Freedom of the City and
the right to apply for a \’ote for civic elections.
The Company, as regards members and in-
fluence, is at present in a stronger position
than it lias been for upwards of a century, and
the greater number of the liverymen are con-
nected with and interested in the art of music.
The majority are musicians, both jirofrsslonal
and amateur.
It will have been obserN*ed that for a great
many yean the actual status of the Company
has been in doubi in consequence of the
revocation of (he Charter granted by James I.
To remedy this state of affairs a pclitlon was
with (he consent of the Court of Aldermen
prefrrred In the year 1930 by the Master,
\Var(leru and C^ri of Assisianis 10 His
Majcsiy King George VI for the grant of a
new Charier, and to this Petition His Majesiy
was graciously pleased to accede. The new
Charier was duly granted to the Company on
•29 Dee. 1950.
A. p. H. & II. c. c., rev. & add.
BiK.^OarwesoM. 11 , A. F.. * A Sh«ri HhCM> of (he
H’oAaiaful Comnany of Muueikru' (pnntcc ler
nrivaie cusuUit^. I 9 } 0 ).
WORZISGHEK, Johaao Hugo. Sft
VoAtsfcK, Jan Huco.
WOTQUENNE, Alfred {b. Lobbes. Hai-
nauh, 25 Jan. 1667; d. Antibes, 25 Sept
* 939 )-
Belgian musical bibliographer. He was a
student at the Bru»cl» Conicrvatolrr, under
Brassin for pianoforte. Mailly for organ,
Dupont and Gevaeri for iheor> . He became
in 1004 librarian of the mslliuiion, and
under his care (till 1918) the library became
a model of organisation. It constantly ac-
quired w'orfcs of imporianee. l»oth original and
manuseripi copies of rarities in other libraries ;
and in no institution of the kind is a warmer
welcome or more generous assistance given
to research sludenU. He also published the
following biblwfraphical work«, which are
Indispensable to all students of musical
history : .
*Cai 4 fc«ue <le la du Coiuenitww dr
BcmmHm’. $ *ob. (isaa-uoa),
• £iwd« bibl.0«rr*0l«iqwe lur ks <ruvr» de
• Ca(^«!?des IlwvO d’op^ro* et d'ofator>«i julirns du
• rawe de t ’Rcl, •
• Caial««ue ibemalwv* de 1 <ewre de C. r. £.
d« "sprer*"
aAttsln «u«Te» rfrsjiwnaves de Z«bo. Meu*»«w
• £i«ide atblicfTa^iqwe <ur Luifi Rocsi (tpee)* ^
WoetM. (Sir) Tkeoiaa- (’ Serenade ’► bar.
• WOTTON, Tom (Tbomas) S. (A, Buxton,
IS Jan. i86z; Paicham, a Jan. tgag)-
English bassoon player and writer on music.
WOrrON (William)
WOYTOVVICZ
He held various orchestral pc^ts and in his
later years he did valuable wort ai a writer ort
musical insirumvnu and orchai ration, and
the study of the latter svUjeci led him to
become an admirable specialist on Berlioz.
He published ‘ A Diciionar>' of Foreign
Musical Terms and Handbook of Orchestral
Instruments* flx'lpzig & l^ndon, 1507).
bcrlioz: Four Works’ f Musical Pilgrinr
series; Oxford, 19^9) and 'Hector Berlioz’
(Oxford, t. a.
WOTTON, William ?; d, ?).
Lngitsli t^ih'Ceniurv organ maker. De<
sfribi*d as " orkyn maker he Injili in i^»>
a " pair of organs ” for Magdalen College.
Oxford, for £iQ, and in 14B7 agreed to make
a sitnilar instrument for Mvrion College.
»liich Nva< to be completed In 14S9.
WOTTON, William (Bale) h Twqlliiy,
0. 5epi. fbji; J, Deal, 3 Mav lyr^;.
Fnglidi l>a%M>on and saxnpltone |i)a\<r.
ills father was corporal* maj«»r m iW ist I.ife
Ouards und he was thus lirought up among
the Ihm regimen I al mudi , lli« roiHln<*ss
for the art showed itself verv earls ; i*e
the flute ami cornet, aiul at tiie age
of thirteen entered the Iwncl r/tlie regimi nt.
I he liasvain hr learned with J«ihn Harris, an
excellent player, under v.lK)nj he laid the
fourtdauon of that ariUilc stvlc aisd charm of
tone which disiinguislwd him. He studhd
orchestral playing at the K.A.M, under Charles
1. ufas. lbs lirst appearance as a solotst ssas
at (he losvn Hall, Windsor, svhere hr and
WilJiam Crozier (a most admirable pla^r
who iIm d on 30 Dee, i8?o, after basing been
(or many years first oboe at the Crystal
I’alaee) playetl a duel for oboe and Iwssuon
untler the direction itC EJsTy.
fin the ticalh of Ihtumann W’olton would
have acceptetl engagements with Jullten for
ihe I'.oimnade Conrercs. and with .\lfred
Mellon for iJie Orchestral Vnion, if W'addell,
1’!', had rurt iMremjKorily (ue-
l*i<l<len it. He was then transferred from the
(•as«,on to the saxof))K)ne, of which he was the
e.irhest player in l.ngland. About i$7o, bv
ai permission of the colonel of his r<fi.
Hienl. he joined the orchrsira of the Crystal
I a Lee. ill which he played first bassoon for
nearly ihiriy years. He was aho a member
of the owhi-stras of the Philharmonic, Albert
rlA)l and many others, and was wofi-ssor of the
Inwsoon at the R.C.M. until his retirement in
MJ04.
Ills J>rother, T. E. \V.«ion f*. 1852). who
wa's awwiated with him at the Crystal Palace
fr<*m i8?9, succeeded to his various nosis
li)' son, b. Wotlon, was abo a bassoon
player.
WOYR8CH, Felia (F. Troppau. 8 Oei.
1660, d. Aliona, 30 Mar. 1944).
VOL. IX
— 369
German condtseior and composer. He
siudinl under Hidnrich ChevalHer at Ham*
luirg and in 1894 iHfamc cftoirmasjir ai a
church at .Aliona. Later he conduct'd al'o
the Hamburg Singakademie, the muni{ip4j
symphony concerts and the popular folKr^l^.
He became prt^essor in 19**1 and a ni<'inl>fT
of the l*russian .Academy in lOJ?. The
Ibllowing is a condensed Iwi of hi% wry
nunseruus coniposiiion% :
0*.
OPERAS
M. ' Der Pr«rrer vm ^feudMl *
* 7 . * Oex tsVibrrkrint ’ ' ifWi.
- ' tViLiAf rrfsh/i ‘ 1 1 $9^;,
CHOR.AL WOK Kb
Jt. ‘J>«urh« HmlMtin' for vui«e», men's
<Mrus « er(h.
S9. *D« Vs^xlrn Auixug' for men's rhoius & orvh,
49. rMMM« OrjMio for vcices. chwiui, ortan &
4«. Ode sn AMieodnc '. fwi »ol» tenn
w«Mnen * ih»na & urih.
57. 'C»Je Ah den loU* (((vl<ieriii> twi nien's cKorus
A Mch,
6 j. • *.rf t, 4 «H x«ni ' f«r solo vgn«, rhoros,
Un*' rk-w. Off M * 41* h. '
69 1 .bl«Heis luf a<p4rf ( kuryi,
Ahn (knewtn for miaeJ. wnmen's k men'i \oir«i.
ORCKLMRAr. VNOHKs
10 lijnif's • |)w Id., tvnimedia '
it. btMdionv Xo. u. laoflr.
S). S tSytUin PaniAMn ' ifiv).
£ . ^Miw w bivjkespexre*. • J1,ml<i ' daijj.
w. Wmfdwny .\o. 3. K7 nut. fiajs>.
71- \p, 4, f flv,. ts9,3i.
7^ ^mphortv .'So. 5, U ma.
TV. inemeuw s sriMions ^19x1),
VIOLIN ASO ORCHESTRA
3*. C«K«r«o. L) Mi.
CHA.StaCR MLbJC
iF -Vo. I. A mi. * i9«9t.
Sf “*»*"‘PHam ' (of uomlxme Jiec (loio.
57 . SuiBf <^ut Xo. o mu . 1916 . ’
*4. ^irm* Qtrtriei .Xo. 9. t> ms. , *419..
it 71'*' ^ *71* ^ * 0 x 4 *.
ti* viu., viols, cello * tf. 1*0X1)
7f. S«rin* V**el. B>ms. <19x6),
34. Suiot Qwsnet Ng. 4. ht ms. *jox 6 j.
Ah# tf ft ofgAA wgriu. wAfs. *e.
WOYTOWICZ, BolevUsv (*. Dunajosvee,
Podolia, jDec- 1899).
Pedbh composer. He was a mcjnbor of a
musical family: his grandfather was a com*
poser, his father played the pianoforte and
organ, and his mother possi‘»sed a beautiful
J^ice. The sacred music of the masters <.f
byg^c ceniuno he heard his fatlier plavinc
impression on him.
^ he first studied philology and mathematics
« the Lniversity of Kiev and later law at the
L«jv;en„y 4 ty„«w, in ,9,.. A. .h« ,ime
Cdhu academe course in W'arsaw he also
^ed music under Michalowski (piano*
^e), Sz^ki Staikowski, Surzyrtski and
School of Musk. His love of music appears
370
WOZZECK.
WRANITZKY
CO have become so strong that he toc 4 ii up as
his life's career. He went to Paris and for two
yean studied under Nadia Boulanger (i 93 C^
1933). AAer his return he was appointed
teacher at the Chopin High School of Music
in Warsaw and began to appear as pianist on
the concert platform. In 193a he won the
first prize of the W'arsaw Philharmonic with
his pianoforte Concerto. The same >‘«ar hb
* Cantata for Small Children ’ ibr 3 treble
voices received iu first performance at the
I.S.C.M. Festival in Vienna. In 1935 hb
' Cradle Song ’ for soprano, Aute, clarinet,
bassoon and harp was performed at the
Prague I.S.C.M. Festival. In 1937 he won the
State Music Award. Again in 1949 he was
awarded the State Music Prize.
As a composer NNoytowicz belongs to those
whose main Irtterest U directed towards the
problems of construction, polyphony and
great thematic economy. Very many of his
compositions written before 1939 were de*
stroyed or lost during the second world war.
His works include the following :
BALLCT
‘ KoHrdi’ t* Clw Return*), 1437.
CHORAL WORK
' l*rur«>k ’ (* riie ymirhn *> r* PvUtkia *) S»r •»!« vek«.
clioru* & M(h, uOst'SO).
’KaikiAia •Isiccinna’ (* C.hiklrcM*» Caniaia ') for S
treble wttn itSDi).
* Kaniata na p<>thuakc * <*Cmuu •« of
LslMur’) i r. Mdr«k) (vt mIo v«w««, chorus &
wrih.
0KC:HR$1'RAL tv’ORK^
’ HuitA koncertOMA ' >' Coacrrt *) t*OS)).
* I'ermat tstobny * Fun«r*l Rocm *> on she ikaih of
Manhol hhuHAi, toss.
* CnnrcrtMW ' for imAll orch. UOS^).
yn in ihc form of s symphen)* ((93$),
Symphuny No. y, " Waruw** (IM)!.
nANOFOKir AND ORCMLSTRA
Concerto (193^).
CHAMBER MUSIC
* Kelv tanka ’ (* fIraJfo Son( *) for •opraoo, Rulr, <br»*
{let, tMttfUMi ft liarp (1930).
’rrio for tluio, rlar. ft baaioon 1 1930).
Strinfi Qiiarier (193O.
N'JOl.lN AND PIANOFORTE
Fantasy U9S0).
* Uecilativo * (1949).
PIANOFORTE kICSIC
Variations jn B ma. (<9381.
Variation* in F? mi, t'99fl)>
Sonata (t9y9),
9 Marurkaa (t93o).
3 Dances <iO)o).
* Recitativo ed arietta * (1947).
SONC5
ty Sonzs (I 99 a> 89 >.
C. R. H.
WOZZECK. Opera In 3 acts by Alban
Berg. Libretto adapted from Georg Buchner's
play (1B36). Produced Berlin, State Opera,
14 Dec. 1925. 1st )>erf. abroad. Prague (in
Czech), tt Nov. 1926. tst in U.S.A., Phil*
adelphia (in German), ig Mar. 1931. ist m
Ei^laod, London, f^vent Garden Theatre
(m English), 23 Jan. 1952.
Gurliu (H.).
WRANITZKY (Vnasek^), Anton (Aa<
tonm ) (A Novi Rile, 13 June i?6i ; d.
Vienna, 6 Aug. 1820).
Austrian Niolinist and composer of Moravian
origin. He was the son of an innkeeper and
larmer. Having been educated at the Latin
School of his birthplace and trained in violin
j^aying by his elder brother Paul (rer Se/fiur),
he completed his studies in philosophy, law
and music at Brno, where he had already
been recognized as a violinist and composer.
Later he went to Vienna to study under
Haydn, Mozart and Albrechisbcrger. In
1794 Josef Franz Maximilian, Prince Lob*
kowitz, engaged him as conductor of his
orchestra at Roudnice Castle (Bohemia).
There he had to conduct, to play the violin,
to compose and to arrange compositions for
the players. Later on, when the prince took
part in the reorganization of the Court
Opera in Vienna, hb orchestra moved there
with Wranitzky as iu leader. He was an
excellent violinist and teacher as svcil as a
composer cf some distinction. He wrote
church music, a few symphonies, but partJeu*
larly about 30 concertos (tj for violin, i for 2
violins, I for 2 violas. 1 for cello, 1 for violin
and cello, 1 for 2 violins and cello), many
chamber*mu$ic compositions, 6 very good
' Hunting Marches ' for wind msiiuntenu,
dances, etc.
Hb daughters, Karoline
married name Seidlcr, and Anna Katharina
(1801-51), niarried name Kra us, were eminen t
opera and concert lingers (Karoline «*«
first Agathc in Weber’s * FreischUlz ’ in Ber-
lin). Two of his sons, Anton (celliii) ann
Friedrich (violinist) were memben of U>«
Court Opera orchestra in Vienna. 0.
WRANITZKY (VraoJeh^), Paul (PaveO
(*. Nova RUc, 30 Dec. Vienna, «fl
Sept. 1808).
Austrian violinist and composer of Morayi^
origin, ^iher of the preceding. He reced ed
hb education at the Latin school of the Pre*
moASiraiensian monastery in hb birthplace
and later at JIhlava and Olomouc. At aH
these places he diligenlly perfected htr^H
in music, tor which several members ol
family had already showm a considerable
aptitude. In 1776 he went to Vienna, uftere
he studied (hcol^ at the imperial seminar),
took lessons in theory and eomposiucn from
Joseph Martin Kraus and made his earlics
attempts at composition. In 1780 he jomeo
(he suffof Prince EsierhAzy’s famous orchestra
at Ebenstadt, where he became acquamceo
with Haydn. He was appointed lM«r ol me
Court in \ ienna in 17^5
CHECKERS
WRIGHT (Daniel)
37 '
post until his death. In 1793 he joined the
Tonkunstler-Socieiat, became ils scTctar^* and
reorganized its aHairs.
Haydn had a great regard for Wraniirky,
both as a man and as an artist. Wranii<l.\
^va» a prominent violinist and a vvry* prolilk
composer. To give an exact account oi his
works is impossible because oT their disptrsal
and the numerous inaeeuracies in numbering
them caused hy the com]>o«er hiniMirand bv
his publishers. He wrote no K'v» than U
operas, liic most widely known and tongs^si m
surs'lve being ' Oberon. Kunlg dsr tlfcn to
K. 1.. (Jii'seke’s Ulirciio. foundr<l chu’lly on
\\*ifL«ul’s pot in, and produced at ih<* Theattr
an iliT \N'len in V ienna on 7 \«v, 1789.*
t)iher stage works were the comic opera
' Die gute Mutter ’ 'T7rj3 . the ‘ iVr
Srhn iner ' 1 1 7 ck) , the /.udrnpic/ * Mii|p fuhl *
< 18041, ^11 priKlused at the court ihealres, as
were also uuny i>allets, inrluclmg ' Dis* Wetii*
lcs«' * Du' Vrteil des l^aris *, * D« r bahiru'e*
rauh ’ 'all Ixnween 1791 jnd i8ou . He alvi
svrote Incldenul music to 4 jdass a ranuu,
several cations, inasonit »<Migk, eu. In the
lie Id of inviru mental iiuisis the r< blowing
works should be menttoned : Ji sym|ilionH\,
5 loncerios ifor siulln, (lute, cello, 2 Holes,
tiutc 4n<i olxK'j. several marc ho, C uritif
quintets (including «nc with flute and another
with oboe I, 47 string quartets, u quartets fur
lluie and strings, 5 pianoAirte quartets ansi
many iruK nnci duets fi^r various combina*
tions of instruments. A considerable nuniWr
of his works were (luMivliecI at OllenlMch,
ISiris, \ leriiM and elsewhere: mans compusi-
liohs base Iwen pr<^efsl d in \ ienfta f National
l.ibrury, fJesdlschaft der Muslkfnumle , ji
Koudm<e <!,istle 'lh>lietiiij«. etc. o, i ,
Ihwi.-.lkAirn, V.. |lohFin*r» mi «h* Ar<ki*r> •<
LoUomu Caok as K»uUuHe tV»4. I. 10 Cmh.
** i. collaU. Ml uiki . ^
WKECKERS, TiS. Opera in 3 acu b>*
I-lhcl Srnyih. Libretto (in French, as * Les
Naufrageurs '} by Harry Urcwsier, Prcid 'In
German, as * Strandrecht Leipzig, Munl.
<i|)al Ihealrc, ic \*ov. 1906. ist perf. in
UngUncl, U.ndon, His Majesty's Tlieaire, a 2
June 1909.
ChrtwW Srt Gaiden
riipjKc. Holder tS , bro<hFt.in.|a» '
WREST PLANK mad WREST PINS
I he wresi plank or pin- block of a (nanofoctc is
ilie carrier of the wrest . or tuning-pins. U is
constructed of a numlier .T layers of wood
glued t<^eihcr so that the grain cf anv law
IS at right angles to that of coniiguow layers.
I he pUnk so fornuxl is rigidly Axed to the
svooden framework of the (nanoT.irlc and the
• I'here b no loumlaiioe Ur iLe tutemrni ,Amm.
metal frame which carries the strings is plaretl
ovxT the plank.
I'hc tuning-pins are In reality grip|»e<l by
the sxoodcn plank, thi* object <»r llie cross*
graining in which is to (nsucs' suniii'mt
friction lo prevent the lunlng-plns slatkcning
oil and so g^^ing uui of luix'.
S(>in<'tinu*i .1 sjiaie \> provitleci In di<' inctjl
frajiH' 10 <h‘ar the luning-pins, 1 llj^ 0 known
as ilir •• <»i>en plank fu gcnerjl. the pi,ino-
r«*fte franM* is <onuiui«>iis and has holes drilled
ill it fcr iIm' tutiiiig-pins i<» pj»s ilirougfi. ilu’sc
hrih-» Ixiiig geiHTallv bushed with wo^xj. the
sdijsHt I wing lo lake some ol the (hnjst vet up
bx the vtfing unvxm on ili« pins.
Ihis iiieilKMl of ({ripping the Uimng*pins
m a xv<N>d«^i plank, altlKiugh of roiivider.ible
amiqiiiu, is geiu rails* sonsidiriH] to lx* the
jsMAi vjtivfa(ii>rv «>f ,dl nil lliosls,
.MMliaiiH.d (H xsoniwgi arH pins ns us'-tl on
»u<h insironientvav guitars or ihaiulolines hiixe
l>een tried. Uit are urivatisf.iciur) loxing to
die Urg<’ A»r<<^ in ubuh I hex are subjected ;
nwmvxii, on .u count of the inexitable b,ark-
l.wh IjrixsM-n dir worm ami ihe worimwlivel.
ilw pnaevs •*( iiimiig with sui h tontrixances
IS ( \(ee<|im(l% diliuoll locarrx out.
A. J. H.
I*i.iavl'<le M<K|<*n< FiAine .
WRIGHT & WILKINSON (Wright &
Co., H. Wright). I.iiglisli music sellers,
jirintecs ami pubiivhers. They wen- estalv
lixhed in Ixmdirtj iK iweeft 1783 and iGoj. As
Unghi & Wd kills. Ml, CadieriiK or Cniliarlnc
Stfs'et, Si rand, tiiex succeedtHl lu tlie business
of l.li/alK’tii Randall nlxiul .\|ir. 17113, adver-
lixing die iiiwls'i's as *’ Successors i<> Mr.
\Nabli Handel's publisher, wlum' business
ultimately pavwii to |.Ii/jIh ill Randall. From
June 1781 the hnn was known a« ^^'n^dll &
Go.. aii<] from Feb. 1783 10 some time in
1803 as II. Wright, vsIkiw <!hristiaii name
was Hrrnioivd or llarioah and who gave his
address as 13 Catherine .Street, blrand, until
he movrd lo 3Ht) Strand in Jlkii.
Ilic firm is noialde for the mssuc of man v
of Handel's works from die WaKh plates ami
the hrsi publl< aiioa iA a mimlK'r ofhis oratorios
in full K<^. ,\fi<r Wright ccau il business his
entire Sloe k </ plates was purchasftl by I'homas
Preston. 97 Sirand, and swiir of these plates
fended lo J. A. Xox cllo, who republished a
few of the Han<lcl oratorios from tliem, xsith
Riodirccatiuns. c s
WyiGHT, IkaAMl. lUrly i8th*ceniury
London music puWuhcrs. whose proprietors
weiT. in turn, Daniel Wrighi, sen., and Daniel
Wright, luft, Hawkins sum* up the character
of I be eWer Wright as a man * who never
primed anything that he did not steal Hoxv.
ever ihb may be, the two W rights published
many now very interesiing musical w-orks.
* HiMory, Navello ed., p. 8S4.
37 ^
WRIGHT (Geoffrey)
WRIGHT (Thomas)
The elder Daniel \Vrcgh( was esiablislxed by
or before 1 709 at the corner of Brook Street,
next (he Sun Tavern in Hoi bom, his s^
being ** The Golden Bass Violin He died
or gave up business about (7$s* Daniel
Wright (he son had a business on the north
side of S(. Paul’s Churchyard, under (he »gn
“ The Golden Baas ", from ( 730 (o abou( 1 734,
when he changed hb sign to ” The Violin and
Flute From about 1735 his addre« was
next door to Temple Bar, He probably ga\‘e up
trade about 1 740. and there seems some likeU'
hood that John Johnson of Cheapside founded
his extensive business upon that of the Wrights,
as he issued some worlu from their plates.
For some years before the elder Wright’s
death or retirement both names appear on some
of the imprints ; the elder at (cast claimed to
he a musical* instrument maker. U’right, sen.|
C ublished instrumental works by G^miani,
ivaldi, John Humphries, J. B. Lccillet,
Robert Valentine and others, besides half-
sheet songs and many curious books of dances
and airs for the flute or violin. Hb son
followed on much the same lines. The elder
Wright was also notorious for publislung
musical works under the same or very similar
title as and in a style similar to those issued
by Walsh. For instance, he published a
• British Miscellany ' (t733)» a ' Merry
Musician* (1730) and a ’Monthly Mask
of New Sonp * (t7t7)> the latter with a
rudely engraved pictorial ti(lc*p^e copied
from Walsh. Hawkins speaks of the ^er
NS'riglit’s impudently publishing a set oflessom
fur (he harpsichord by Greene without (he
composer’s permission.
Besides the two Daniel \Vrighu there was a
music seller named Thomas Wright ”Ai the
Golden Harp and Violin, on Lon^n Bridge **
( 1 73:4-34), who published half-sheet engrat*ed
songs and a number of w'orks in exjunction
with the two Daniel Wrighu, to whom no
douhi he was related. Another early music
seller with the same surname was E. Wright,
who, according to an elab^acely engraved
trade card (e. 1 740), " At her musk shop under
St. Dunsian's Church, Fleet Street, makes and
sells all sorts of musical instrumeais
r. K., rev. w. c. s.
WRIGHT, Gooffrey. Set Song, p. 956.
Wright, ThvBuM. Set CourtrvUlc (a. tone u>
* recnsle Virluoso'i '). Pureell (4. <!«.. uwid. m.).
WRIGHT, Tbomaa {^. Stockton-on-Tees,
18 Sept. 1763 : nr. Barnard Castle, 24 Nov.
iSaO).
English organist, composer arsd inventor.
He was the son of Robert Wright (a pupil of
Avison of Newcastle), who was organbt in
Stockton church from 1 766 to 1 797, the date
of his death. Robert was the son of Thomas
Wright, sen., the 6rst organbt of Stocktx,
about (738-60.
Thomas Wright, jun., was iostructed by hb
father, and at the age of eleven went to John
Garth, at Sedgeficld (nine miles from Stock*
ton) as organ pupil. He succeeded Garth at
the organ, 1784-85. Before hb appointment
as full Ofganbt he had been apprenticed to
Thomas Ebdon at Durham Cathedral.
Wright soon became famous for hb extempore
voluntaries and was in high repute as a teacher
for the pianoforte, violin and organ. He
succeeded hb father at Stockton in 1797, re-
signing the appointment and leaving Stockton
in 1817. After a period of residence and an
organ appointment at Kirkleatham near
Redcar, he returned to Stockton and resumed
teachir^. 1 1 was wh lie he was on a professional
engagement that a sudden seiaure caused hb
death, at WycHffe Rectory titsr Barnard
Casilc. He had married in 1794 Elizabeth
Foxtx, a lady of some literary attainment,
who survU^ed him.
Besides the hymn-tune " Stockton he
composed ' A Concerto for the harpskhord or
{Man^ortc . . . dedicated to the Hon. Mbs
Dundas * (1795); ‘An Anthem for Thanks*
giving for Peace ’ (of Amiens, rSos) : ‘ Over-
tures and Sonp in a musical piece called
Rusticity * (1600, written by his wife '} s * A
Muskal Primer ’ and * Supplement etc.
The Concerto it remarkable for being (so far
as (he present writer can ascertain) the first
music to contain metronome marks, indicating
speed value. In the preface Wright explains
hb system and claims that for simplicity and
effectiveness it U superior to the </if«fionims of
Louli^ and of Sauveur, and to the
of later invention.
A simple pocket metronome consbting of a
weighted string swinging across a wooden arc
marked from zero in tern, was of hb invention
or adapulion. One bearing hb name and
(he date (795 is still in existence. Each
movement of the concerto is marked with a
speed mark ; and he explairu that ** 28*^
indicates (hat one oscillation of a ^veight^
string measured over twenty-eight keys of the
harpsichord goes to a minim. Wright also
invented an organ attachment to a square
pianoforte, which plays a set of organ pipes
at will, without impairing its use as a piano-
forte. 'Hus invention does not appear cvet
to have been made public i hb own ‘"^‘f***
ment was in the possession of Mbs Edith
Wright* of Wakefield, hb granddaughter.
In 1769 he built for himself a chamber organ,
constructed two orreries for illustrating and
caJcalaib^ eclipses and sent to the Society 01
Arcs a model of a machine for rabir^ coal, ror
vAich they had offered a premium,
• 7^ aUy wm aeitb^ pwfonned oor h«"
A vocal »ew« of caiaic appoar^ about „
• Br of ike mfortwtioo above '•»*
tuppIM.
WRIGHTON
WULLNER (Fwtz)
373
WRIGHTON, ?, Mr». (i. ?, Fell. 1751 ;
d. U.S.A., n'Aug. *796).
Engluh singer. She war a favourite vocal*
is I ai Vauxhall Gardcni in London about
• She was much appreciated for her
Mftging of ballads, and was the first to sing in
public tlic popular ' Within a mile of I'.din*
burgh town ’ ; thi' was in the season uT 1 780,
She v, 4 i alnt famous in the huniinf>x>ngs of
(he |>eriod, vshosc extended range and hea\\
imcrumenial accompani menu demanded gre.t
SJir made her dfbut in “ Ihe Rccruitnig
Oflurr ’ in 17711. Her lir%t husband was .1
]>r<»hiphT at one of die lamdun dwatm. Sin
v\.m to .\mirjta, wlu re in she jottied
John l{enr>» New York (^>mpanv and
marrk*d ,\. M. I’cmnall,
» K S: vv. M. /, t
WRONOWIC 2 , Maciej H. {Hvacin.
ihua ?> '■ rf. '
I'ulisli rumposrr. From 29 Nfay 1O80 nlJ
.Mar. if)H4 he acted as chorus master at
WlocLwck (;a(he<lral. In the National
Library of Warsaw there are iwu woricv b>
VNVoriowk/ : a • t> prt>fun<hs ’ for a sojtraoos.
hass and cuniinuo (organ*, and ‘l.audatc
puen • ft.r a sopranos, bass, a violins. >iola
and soniinuo Morgan). q, h, ir
WnohfSKI, Adam (L C>ac<»w. iRv) • d '
"Ii5);
Hollsh < <>n<Ju« UH aiui rump.»MT. He Itegan
his catrer os con<lucior of a military l>and. A
few y< jrs later he was appointed director of
me Mouiusiko Music .Society at K**.niyja.
l or St vetal years he acted a» contiuctor of
j primjenatk orchestra at Krynica, a MUh
lealiii ren^n. Me wrote incidental mime to
l ohd. dramas: ' Bicdnc ogniki ’ CUdl o'
the Uisps ;. • Cr.irmwjka Uwa ’ f The
Devils huHd and ' ladeuss *. very many
'ougs, marthes, polonaise* and above all
bond ret |s of nta<:urs which enjovTd great
|)o)>ulanty. 1 1, welled as conductor of
hRhl music and was nkknajiKd the ** Polish
Strauss c • «
WSZELAC 2 VNSKI, WladysUw U >
•h|?; 4/. f. iByb,. ^ •’
Polish pianist and composer. He lived ai
lartiojHd and later at Lwow. He wrote wry
IvD* pianoforte accompaniment
wli ch, (hanks to their simplicity, dixeetnen
and sincerity, enjoyed popularily at the time.
Wt)£RST, Richard Ferdiaaad Berlin
<.ernian critic and cotiiposer. He was a
mini of Kim^rnhaKcn at llw Berlin .Academy,
M.n.icU.ohn .V,,... ,^.rtng
.l. c. ;,n.I lKc.mc m 1O5O clirrclor. in
18,4 prof.-..or al and 1877 mnnlHT of Ihe
.Aeodtiiiy of Arts, lie was for tnany years
teacher of composition in Kullak's Conser-
vatory. He contributed to the ' Btrllner
Fremdenblau ' and in (874-75 '“(h'wJ the
‘ .Neue Bi rliner Musikxieilung His w(*rks
com|>ris*« 7 opera*, 3 symphoiije*, overt iirvs,
quartcu, etc, r:., rev,
WULFSTAN i>. </.
linglish loth I till -century iheorlvt. He was
a iiM»(ik and |»r»ienior of St, ,S\i it Inn's, Win*
clHstcf, about iotx>. Will id m (ff Malmeshury
astrlbcs lo him a iiraim . * He (tmorum
haimonla ’. 1.. v. d. s.
WULLNER, Fraoa MutKur, Wesi-
idi.iha. dH J.m. d. Braiinfeb o l.dhn.
7 hept, lyox*.
(ierman jiiaimi. <<dHlu4 0»i diid <<>in|H>ver.
Me u.is the %on id* a dwUiiKuidwd phiJoIngKi,
iliKitor of ihe " (ivninaduni " dl Diivwldtiif.
He dtliA<Uii (hr *' (•vminoiiim " of Muusier
till ill4« diHl the liiial ex.iiiiuidlion.
studs ing the piaiinffoii and (oni|Ki»liion with
Carl .Arnold up to i<l4Ci and afirrs\ard< with
J^hindler. In tUqU In followed Sthindler to
Frankfort « M. and lootlnmd hiwtudjei uiih
him and F, Kiwhr till id-,.'. Ihe winter of
185^-53 he |*asd-d m liruss. Is, frei|uenil>
pjaying in publu and enjoying the sotiety
of Mils, Kuller.ith and other niuikiatw.
As a pianist hr conhn* d hmiwll .ilniosi emireh
to Beethoven's lonvixuis an<l l.uer son.it ii>,
He then made a lomerj lour .ind spent
hide time at Hanover and l.ejp/ig, In SUr.
1854 he arrived at Munuh and on 1 Jan. 1836
lircanse piaxsoforie at tin- Conservu*
U)ry thi rr. In 1858 he brcaiuo musk id
director of the town of .^a<hen, where h.
eonduchd tisc suburlption cunccru and (lie
vocal and oeclscsiral unions, In i8lit he
welved the title of A fmiidif/chr to the King of
I russia, and in 18C4 was joint cundncior with
Rieu of the 4 1 St Idswrr Rhine Feuival.
In (he autumn of 1864 Wullner returned lo
Munich as court Hi, duty was
lo conduct the service* at the court church,
and while tJscre he rcorganiaed the choir and
added to the re|>erlory many fine chuith
wwk*. etpecially of the early Italian school
He also organized concerts for the clioir, the
j^ranmie* of which included old Italian,
old German and modern music, sacred aiul
secular. In the autumn of 1867 he took ihc
o^anization and direction of the v’oeal
cla^ in the king’s new Khool of music, and
^ Bulow * resjgnaiion the whole production
department came into Iiis hand*. During this
lime Ik wrote his admirable ' Chorubungeu
dcr Mu^hcncf Mgsikschulc an English
cV?" ^ Spengcl, was publislied.
Uhen Wullner succeeded Bulow at the
Munich court theatre in 1OC9 he found himself
plunged into per»na! difficullic* of all kinds
connected with (hr produedoo of Wagner’s
WYDOW
374 WOLLNER (Ludwig)
* Rh^ingold ’ i but lii$ tact and ability sur*
mounted a11» and the mult was an unqualified
success. * Rheingold ’ was follmved by * Die
Walkurc’, one of the most brilliant achieve-
ments of the Munich stage, and in (870 ^Vul]•
ncr was appointed court KofiellmeisUr in chief-
He also succeeded Bulow as conductor of the
Concerts of the Academy of Music and carried
them on alone till Levi was associated with him
in 187a. In J877 he left Munich with the
honorary doctor's degree from the Univer-
sity, succeeding Rietz at Dresden as K«pftf‘
meuftr of the court theatre and director of the
Conservatory ; but afier five years he was
deprived of his post at the Opera, without any
reason given. On 1 Oct. 1864 he was ap-
pointed to succeed Hiller as head of ihe
Cologne Conservatory and eonductor of the
Gurzcnich concerts there.
Vv'u liner's works include ’ Heinrich der
I'inklcr cantata for voice and orchestra
(>664), pianoforte pieces for 3 and 4 hands
and chamber music ; several books of songs :
important choral compositions, with and
without orchestra, such as masses, moieis,
a ' Stabat Mater \ a ' Miserere ’ for double
choir, Op. ^6, I'salm CXXV for chorus arul
orchestra, Op. 40, etc. He made a new
arrangement of \N>ber*s ' Oberon the
additional recitatives being compiled from
materials in (he opera (ihe libretto by F.
Grandaur of Nfuntch). u. r.. al^.
WCLLNER, Ludwig {6. Munster, \Vest-
phalia, 13 Aug. 1838; d. Kiel, 19 Mar. 1936).
German actor and tenor singer, son of
the preceding. He studied philolog)', etc.,
at the Universities of Munich, Berlin and
Strasbourg, took the doctor's degree and
became a lecturer in the Munster Academy
{ 1 884087). After two years’ study at the
Cologne Conservatory he wnt on the stage
at Meiningcn in i88g. In 1693 he adopt^
the career of a reciter and in c8g6 that of
a singer ; notwithstanding his many vocal
shortcomings, his perforiziances called forth
great admiration for their dramatic intensity.
u. r.
DiSL— Luewio. Fmnz, 'Ludwtf WuIIam: Min trbfn
und MirM KunJt * (t.«ipti(. t9)o).
WUNDER DER HEllANE. DAS (Opera).
Stt KORNOOLD.
WURM, Mary (^. Southampton. t8 May
i860; d. Munich, 91 Jan. 1938).
English pianist and composer oi German
parentage. Her father was a musician at
Southampton (rf. 1899), who had two other
musical daughters, Maihilde and Adda, who
adopted the name of Verne. Mary studied
(he pianoforte and composition at the Stutt-
gart Conscrvaloiy, also with Franklin Taylor,
Clara Schumann, Raff and oihcia. She
appeared in London tvith Schumann's
Concerto at the Crystal Palace in t882 and
played at the Popular Concerts in 1884^ in
which year she gained the Mendelssohn
Scholarship. She gave successful pianoforte
recilaU in London and in Germany, which
country was her residence for a go^ many
years. On one of her later visits to England
she gave a concert consisting entirely of music
extemporized on themes given by the audience.
She composed a pianoforte Concerto and
an orchestral overture, a string Quartet, a
cello Sonata, many pianoforte pieces, etc.
A. p.-M.
WURSTFAGOTT. S« Rack£TT.
Wyatt, <Slr> Tkauas. Srt Cipps {4 Gooucu
MAC wtih ttg. 4 TeT). (mac),
WytkerUy, Wtlltiio. Sit Vaoiscer (}., ‘G«nir«niiB
UaAcifte-Mztftr *, muHC Tar). Humfrrv (* Low in 1
>^'OQd *, MAft (ot).
WYDOW S Robert (». Thaxted, Essex >,
? ; d. Chew Magna. Somerset, 4 Oct. 2303).
English poet and musician. He was
educated by his stepfather, the master and
proprietor of a kHooI at Thaxted, who
ultimately sent him to Oxford to complete hit
Mudici. >Vhilc there he distinguished himself
in literature and the arts, especially in poetry
and music, Anally taking the degree of B.Mus.
His is the first recorded degree of the kind at
Oxford : he was incorporated at Cambridge
in the same degree in 1503. Afier his step-
father's death Robert NVydnw succeeded him
as master of the school, and is said to have
turned out several illustrious pupils. Among
his patrons ^Vvdow numbcri^ Edward iy>
who appointed him to one of the two chantries
in the low chapel under k Croft in Christ
Church, Canterbury, on 2 a Jan. <474.' As
Edward bad some connection with Thaxted,
being lord ofa third of the manor, it i' not un-
reasonable to suppose that it was owing to iHa!
monarch's good offices that IVydow obtained
the presenution to the vicarage ofThtaico on
93 Dec. 1481- This living, which was then
worth about £ 9 d. Wydow resigned on i Oct,
1489. . .
It was probably at this period that ke
iras'elled in France and luly for the purposes
of study and added to those stores of learning
whkh gained him the appellation of '' Gram-
maticus " ; and it was perhaps on
from the Continent that he was made rent-
(cntiarius •• in St. Paul's Cathedral in London,
if. as is generally bcl levied, he really held mat
post. On 19 Nov. 1493 collated r«tor
of Chatfoot Si. Giles, in Buekmghamshi^
a place aAerwards associated with
illustrious names of John Milton and W.l liam
Penn. After enjoying that living for
mort than three years, he was 'ostalW b>
proxy canon and confraicr of J
in ^VelU Cathedral, on 37 Mar. i 497 ;
• AiM Wi4^pw^ \svdc-e Mrf
^\'YK
UTLDE (Henry— i)
375
a re\v months later (ro Sept.) he was ap*
pointed succenior m the place of Henr>’
Abynfdon. On 21 Sept. 1499 he obtained
the vicarage of Chew Magna which he held
till his death. In (499-1500 he wa^ made
one of ()ie reiideniiary canons aiMl on
May in the latter year installed sub>dcan and
prebendary of Hnlcombe Burneil. in Devon-
shire.
.\boui the same time W'ydow was mads*
deputy for the transaction 4^ affairs brlween
the pop<' and the C!athi‘dral chapter of UelU;
he WAS also granieel the ad\ow»on oTft’ooke)'.
In Somerset, the rniory and \ irarage of which
were lot!<'lher \suclh aliout 1 1 5- He also heki
al>out ilii» lime the olfwis of Scrulaoir
Doinoriitn ” and Ulir.irian in liw chapter
house. On 21 S<‘pt, 1502 Im* was made
seneschal, and shortly after auditor, t/ the
i ha pu r house. t>n \ <lci, he was pre*
senU'd to the perpetual vicarage of Buck land
NVwtoii. in IWhI. whkh h the last cvriii
rcror(U*d tti his life.
\N'y<iow was a man of some wealth, if we
may judge front hi« bcncrac lions to the
(hirihusUn priory of llenum. iw’jr Hath,
wl>i<h were so trsndderahic that a Krquimi
was ordered to be sung for hU loul In ever)
house •.( the ur<lrr throughout the kingdom.
Ixiwanl Lee, .NrclilHsliop t>f York, who in his
younger days had met Wythjw, called him
" facile princejM " among the jigets of his dav .
Ilolinslu'd s|K>aks i 4 him as an ** excellent
jHjei " and classes him among the celehritu*>
of I U (try V I IN re ign , \ Vydow > c h icf por lira I
work was a rhythmic .il life of KilwarO the
Black I’rince, to which ladanrl refers in these
wortls :
Oaiiula IWiMrisartui* »«<♦ mi*mphiv
laluFtilgm \ i4luin ilnctiMinnis ilk .NirMum
r.i facu ptruum Utla •fnievridk
Mils work is sai<l to have been writ ten by
VN^duw a I the Instig.uion of his royal patron.
Me also wrote a IjtMjk of qHgranw. No
rnusieal lomposition hy him U extant.
A.
WYK» Arnold vaa (baptized AmoJdua
CbriacUaa Vlok van Wyk) f*. nr. CaJxinw,
<.apc Province, 2C Apr, 1916,.
houih African pianist and composer He
h«*gan to atuily the pianokwic while at school,
hut di<i not immediately take up a musical
career. In ipjy, jM>wcver, he was cum-
intvsioiied to write music for the centenary of
I he \'oorirckkers, and in the folJow'ing year
he w.in the l*crft»eming Right Society's
scholarship 10 the R.A.Nf. in London, where
he SI uehed composi ti<m wi ih Theodore
llvlland and pianoforte with Hartild Craxton
He vYon the Worshipful Company srf
Musicians medal m 1941 and was made an
h..nornr, A.R.A.M, in 15,5. During IhK
pcnwl iie also worked for the B.B.C. as an
announcer and producer in the Afrikaans
service (3939-44). After that he did free-
lance broa^asting and film work until he
returned to South .Africa In 19^6. There he
hasgivnt many pianofurie and I enure recitals,
and in 1949 was appoinied senior leciurer in
music at the L’nlversiiy of (iape 'I'oisn, a post
he still IwWs U9 j 4'. J he South African
Broadcasting Coqtiiradon commissioned his
' Christmas Caniau *, and l>uih hU Rhapsody
lor orchestra and Symphony .No. 2 were
commissiunrd, the lanrr hy tiic van Rii bi^eck
Pesiival (Jonnnlitvr for ilic l‘<'rcrntcnary
Pcslival. Hiv Symphony No, 1, first per-
formed l;y Sir Henrv WWI in 1943, was
rr|>eaird w’iili sonic su<r<*st at the Ohelienham
Ki*siival in 1951.
’]>< following is a list of van Wvk's prlnripai
works :
( JiOKVI. SMJkK
'(Jawiwji (aiiiais* Pif »<ik» iliorui i utth.
I0»6 *« .
ORC 'lftMK AI. KOHKi
S>*H|>I.>M> \.., |,,S MM. 1941 4J,,
• Vfwilxru t !<•» *. >u)ir (..r 'mjll otcli, lOty-
’ r<><r|u<k<UHi * l<«ii>Miu(iv>n, V'Aruihrfl* mid hinalcj
jy jIw icWMiH pf. duet ,
Rkjpw-U 14*, I .
S-inpk«<v i (-isi U-.
Mtli.lN .SM> imt KI.&rK.V
’ NaiwSudc ’ 1942 .
( M.\V(BJ,K Ml SK.
* r.kcm' l«r «i<. 4tri I44i* (i .
'•ttin( quAriei ,Si». t ^il^U .
|•l,\Ml^tlKIJ, NOi.n
* Pa-Kaak am] tkpewoo' ' if^n ,
|•|.VS<IIC^K lJ. J)t.J.|
’ 1 here ImpRniiAtHMn uti |)ui< li Folk Sonr\ * 1 I9 a«i,
»Vn*»*kiJ*«' 1444 4 '• K»ihrt)i«licwt*nVutk»i.
SONt.S
* Wf Uerttaordice * 1*11* 181,
<;. M. (Hi).
WYLDE, Harold i^, (ilciielg, S, Australia,
7 May 18BB;,
Australian organivt, pianist and rum poser.
He first karni music in England, as a cliorisier
at Uncoln f'aihedral. and later under Parratt
< organ) and Charles \\'t>od (compt^ition).
After holding various app< liniments in England
from 1909 u. 1915. Jte returned to Australia
and became tcaeher of pianoforie and organ at
I he Kldcr Omsert atory, Adelaide, in 1919.
jn i93» he was appoinied organist at St.
Franck Xavier's Cailietiral ihcrr and in 1932
City OiTt^nisi. His compositions include
church music, partsongs, pf. and organ pieces,
and songs. n. o.-s.
^ WYLOE, Henry London, 17 Apr. 1795 ;
EogiUh tirganist. He entered the Chapel
Royal in 1803 as a chorister under Ayrton and
remained tlsere under John Stafford Smith,
376
WYNNE (Joho)
WYLDE (Henry— ii)
who succeeded in July of that year, and frttm
whom he had lessons in composition. He left
the Chapel Royal in 1810 and studied under
Henshaw. In 181 g he was appointed organise
at St- James’s church at ^\'atfbrd, Herts. He
was a gent]eman>in>ordinary to George IV,
and was popular for some excel lent glees.
WYLDE, Henry (b. Bushey, Heru, M
May 1822; d. London, 13 Mar. 1890).
English conductor and composer, son of the
preceding. Though intended for the church,
he had so strong a bent for music that he
became organist of Whitchurch, was placed at
sixteen under Moscheles and in r843 became a
student, under Cipriani Potter, at the R.A.M.,
at which he was later appointed one of the
professors of harmony. He was organist of
St. .^nnc'l, Aldersgatc Street, and St. Agnes,
Gresham Street, 1844-47, and in 1651 he
accumulated the degrees of Mus.B. and
Mus.D. at Cambridge. He acted as juror in
the musical instrument seelion in the Inter'
national Exhibitions of 1851 and 1869. and in
1 663 was elected professor of music at Gresham
College, London. In 1859 the New Philhar-
monic Society was founded on Wyldc's advice
by Sir Charles Pox and others. In 1856 he
assumed the sole respomibiliiy of the under-
taking, and he conducted its annual series of
concerts till 167^. In 1861 Wylde founded
the Lonilon Academy of Music (at first at 5 l-
Jamei’s Hall) and for its purposes built St.
George’s Hall, I.angham Place, which was
opened in the summer of 1867.
^^’y]dc's musical romposiisons include a
canuta on Milton's ' Paradise Lost ’ for solo
voice*, chorus and orchestra, performed by the
New Philharmonic Society on 11 May (853
and I May 1834; and a cantata, * Prayer and
Praise for the same, selection performed g
June 1830; pianoforte Concerto in F minor,
performed 14 Apr. 1852; pianoforte sonatas ;
a ' Rhapsodic for piano ’ (Op. 2) ; * Fantaisie
sur un air favori ' (Op. 6) ; English songs from
Goethe and Schiller; English sonp * The
Sea Nymphs ’, vocal duct, etc. He was also
the author of ’ The Science of Music ’ ( 1 885) ;
' Music in its Art Mysteries ’ (1867) ; ' Modern
Counterpoint ' {1873) ; * Occult Principles
Muuc ’ (t88i): ‘Music as an Educator'
{1882); ‘Evolution r»f the Beautiful in
Sound ‘ (1887). A. c.
Wylie, EU««r. Sir BcoiAmin ftecif). Bhu (wnfi).
*l*Fiompion (H.. sonr).
WYLKYNSON, Robert. Stt WjuimsoH.
WYNGAERDE, Antoniua. Set Wjjn-
OAP.aoR.
WYNKYN DE WORDE. See UoaoR.
WYNN REEVES, Herbert. See Reevas.
WYNNE, Dmvid (pen-name of David
Wynne Thomaa) (^. Hirwaun, Glamorgan-
shire, 3 June 1900).
Welsh composer. He was educated at the
Council SchocJ at Cilfynydd near Pontypridd
(1904-13). As a youth he worked many
yeare (1914-35) at the coal-face, and he only
began to take pianoforte lessons at the age
of m*cniy from T. Llewelyn Jenkins, a local
teacher. A schclarslitp enabled him to enter
the University College of South Wales and
M^mouthshirc at Cardiff (1935-38), and he
later spent a year studying for a diploma In
education at the University of Bristol (igsg).
He graduated fi.Mus. in 193d and D.Mus.
(Wales) in 1938.
Since 1939 Wynne has held the post of
music master at Lewis School, IVngain, and
during the winter sessions from 1955 to 1939
he served as a part-time lecturer on the
teaching of music in Khools to the Glamorgan
County education audtofiiy.
Wynne was rooted in the classical tradition
of Bad) and has come stylistically under the
influence of Vaughan U'illiami, Holst and,
latterly, BaritUt. Although six compositions
survive from an early period (t934'43)'
composer’s more significant work began in
1944 with a string Quartet, which was awarded
the Alfred J. Clements Chaml>cr Music
Prise. I'his and some other works hav’c been
heard both on the Welsh Home Service of the
B.B.C. and at the recitals of the Committee
for the Promotion of New Music in Ix)ndon.
The Sonata for violin and pianoforte (1946)
haa been heard on the B.B.C Third Pro-
gramme. The cycle of songs for tenor and
harp (1950) was commissioned by the Arts
Council Ibr the PesiitaJ of Britain. This
work reveals the composer as intercsied in the
setting of poems in the old Welsh strict metres.
In the ’ S^uenee of Six Bagatelles ’ for harp
< 195 1 } he again uses the traditional insirutncni
of his native land- His work is mainly in the
sphere of chamber music, but he lias also a
number of oreliestral and vocal works to his
credit, as Ihe following list will show :
* r*«((r C4r»l UMCcvmp. m«t«l Tvr dovWe chonit k
bert' reket (l«7). .
•Th« Samda* ' for n«r»*tor, lenor, &**’■
<horv« a or<h. (lOSr).
Rhjpoodv CM vn, a orth. <19)0). , ,
* SMtoofSoUtude'rorWikvMeawi.orrh. (iQ99-4S><
Foniiw QuiMei (or mc*< & pF ( I99t)>
Xirinc QiMrlM TCo. i OM?).
Trio No. I ws., cdlo i pf. (miat.
Sirote Qv^iei No. S {I944l>
Sfrine Trio (lasS).
Trio No. « for ro . mIIo R pf- (iSJVi.
Srpwt for lluir. rUr., bwooo & ii«. 4(ri (tesfl).
Sirif^ ^ortet .No. 9 (t9i9).
SoMiA wr vn. A pf. <19^)-
bOMtino for vwb A pf. (tOSO).
SooMo Cm viota A pf. (t9si)
pf. SoMlo (1947. P*** «•'*). . , . .
* of Sis Boaotrlk* * for horp < >93 • >>
WYNNE, JohA < 4 . ?; d. ?)
English I Bih -century music seller
and
WYNNE (Kaw)
WTZEWA
377
mmiciao. H« at Cambrid^ at the
middle of the ecaiury. Hb address \sis in
Regent’s VValk, and his name is found un
London itoprints as selling particular musical
works. His compositions comprise * IVrt
English Songs set to Mustek*, published bv
John Johnson and dated 1754, before which,
c. 1 740~+5* Lad been an earlier set of ‘ Twelve
English Songs ’ issued by John Simpson.
WYNNE, Kale HoJ)*w‘clb Flintshire, ?;
rf. Birmingham, ?j,
\N'eUh i<iih*c<ntury contralto singer. She
Itecarnc a great fasogritc and w^s calkd
"Unos Ctvynetid” (‘the Webh linnet",
her sister Sar.ih being - tUe WcKlt nightin-
gale She retired in 1877, on her marriage
with llarrj Maiclilson of Birmingham.
Tltcir daughicf was ihi well-known acinns
Kdiih W>nne-MatthiHKi iMr^. (a>arh-s Kann
Kenn-flyJ. ^ ^
WYNNE, Sarab (Editb) Hob well,
rJinwhire. ti Mar. iHfj ; / lamtfon. .‘ijan.
i«y 7 i.
^\VKIl Hoprano driger, sjst* r of the preced-
ing. She was taught unging by Mtv .Scafi».
hrtek of Liverpool and l>y Pinmii at ihr
K.A.M. in l,on<lnn. where »hc wms West-
morland .Scholar In 1663-54. I^ter she
stiKlIed with Rnmani amt Vannuccini at
Flore nre. She Tint sang in the prosinco. and
made her <Rbut in London (St. JamiVs llalL
at John lliomas's Welsh concert on 4 Jidv
idfu. She sang with great mkcos in ihe
follow mg yiMt at Henry 1^1 lr\ Welsh cim-
reft, 4 IVh.ai Ihe Cr^.tal PjU.r, ^3 .\pr,.
i'll IhomasN concert in his c.iniaia ‘ 1. less oi-
ly n\ 2CJ June, and as the lierolnr on the
producijon of Macf.irrcn's ' Ji'ssy Ua ’ at the
(iailery of lllustralion, j Nov. .She pj.tyed
f.ady Murlmicr at Drury \j,m *1 heat re oa
the revival ^Sh a kes)»ca re’s ‘ King Henry I\' ’
in lW)^. She played a few times in Lnelish
opern at ihe Crystal Palace in 1O69-71 as
Arline, Mariiana, etc. ; but she was chiefly
noted for her singing of songs and balladt and
npreially m her own Welsh sonjr; site was
rernarhuble alike for her passionate rnnrnsion
and the simplidiy of her paihoi, and she
canie to lie known ai " i:« Cy.nru " f" the
NWKh nightingale- She sang in the C.S.A
with the Pairvs, Cummings and San I lev in
1U71-7?. and at the Boston Festival of 1674
\\u r her marriage with Ailit Agalirg. at ihe
Savoy (,tia(>el in Ixmdon on 16 \w. c87^
.she .lang lew fre<|ucni|y in (mblic and devoted
herself to teaching. Her Inu amiearam „
wc*r at John Ihomas's concert in j8t>4 and
at .\hrr\btwvd» In 1806, a
WSOCKI, Kasper Napoleon Ih. Pin.
^^^1 Switzerland, 1850).
loluh pianist and eouipowr. hUiucaied at
i.racow, he continued hU studies under
Arnold In Berlin. He appeared on the
cooceri jilalform in Warsaw anri Dre>flen, but
he frequently went abroad for reasons of
health. During a visit to Swiurriand he
caughr c<Jd ami died shorily afterwarefs.
He published se\*eral works for f>ianoforic :
‘4 Krakenviaki’ fOp. n, * 4 Krakowiakl ’
(Op- 31. • Rhapsody ' lOp. 3., ‘ Krakow iak ’
for pianohirte and orchestra lOp, 81, a ho
several songs. .Nfany short pieces for piano-
f<’rte suth as mazurkas, fantasies, as well ai
sotne reiigiocK song«, r<*niain in manuscript.
c. R. II.
8. S-t Fii«)l«crv •' PtolrMl<-uc and
l.jilMa,. MArri^Hcb «nc-l, cn. r»r rJas.i, Mdcff
< ef.UtMU<M , <aniAU>, .VIurAUtb ‘ Wr«l« !•••«*, »nn<l.
•n,., ,*\ai« i;rr4i<»r‘, cKmm! ^-ork*.
a... Su.ll.r Vlf
5*vmaiM««b •'\rh, O.jior', thot^l mi.r'd-
rnMhesik« , vc»w« K <0 h .
WYSS, Sophie b. .V« mrsilh . (;ant<»n
Ihme, iJuly i»ct7i,
Swi>s so|ieas>o singrr. SIm studied music
at the <k>AscTvalnr<4-c of IkwH aii<| fieneva.
where <i\> won a (101 prize for singing, hlw
X tiled in tairiifon on lu-r itiarnaao .iiul gave
iKr first lierKvIcast and rental in lu^:, and
once then she has sung frtcpieiiilv iHnh in
l.ngtami and on the Camiineni. Not glftecl
with a great sWe and oficn noi fully ariiculule
and incisive as an Interprete r, she has made
• name for herself hy her keen interest in
inodern music and her rniczpriv In IntrcMiui-
mg a great varic iy of ni w works, she has
given lirst pcfformanrcs of voral works hy
niaiiv of ihe Jiving Hhiish in.
rludmg Rawstlsorne, Jlriiiifi, Th rkth y, Lli/a-
l* ih Ma.omhv, Racine Frickrr and .^nlf.h\
Hopkins. She h .dxj a wm|>ail|riic mm.
peeler of die w.»ks of .Milhautl. WilJv Ihirk-
hard. Frank Martin, Kfemk, RoIh rio <jei.
hard and Matvas Sclbct. mariv of whose
compoMiMms she introduced into Lncland for
the lirvi lime, „ ^
WYSSENBACH, Rudolf b. Zurich ’•
W. Zorich, ?),
Swiss 1 6ih -century lype-cuti< r. music printer
publisher. Hr ccunpilcd a lute l>ook in
Ubiaiure (1530). .Wrher rdiiion. iirlntcd
and psiWished l>y Gessner. apjiearccl at
/urwh m 1563. Uyssenhacli is mentlunnl
only m the pefoer of this editiun.
Teodor d« <b
Mbl. l..u.ifoto^i„. Up ,,„j. .
■ founded VMII, £.|„uar.l Dujardin ,l,o
''w^rirnne- tiOaj-W) nnd wilh
Ado^ ,1,. sofirif Nfcart
He began hi« journah'tk career on ‘ Jy* I'j.
garo w^ih articles on Ihe socialist movement
ou^e France, and in 1890 became a con-
tributor, mostly on questions of contemporary
WY 2 EWA
378
European literature, eo the * Revxje des Deux
Mondcs ’ and to ‘ Le Temps *. He brought
together a number of hU mmteal ankles in his
book ‘Beethoven et Wagner' (1898) and
published in the ‘ Revue des Deux Moode ’
(1903-4 and 1909) articles eniitJed ' Recher-
che sur la jeunesse de Mozart ’ and ‘ Unc
Crise romantiquc dans la vie et I'oeuvre de
Jos. Haydn Shortly afterwards appeared
his monumental work ' \V. A. Moaan, sa vit
musicale, de I'enfance i la pleine maturity ’
(Pm, a vols., illustrated), of which a second
edition has been published by his collaborator,
Georges de Saint-Foix.
Wyaewa also published a number of trans-
lations of Stevenson, Lang, Tolstoy, J. de
Voragine, etc., and edited a collection of
twenty sonatas by Clementi (ist vol. 1917;
and vol. posthumously published with a
preCacc by H. Expert). j. 0. p.
But.— La LAvasMCit, L oa, OMtwy notice in BuD,
Sm. rranf. MwieoL, No. i, July pp. i^sa
X
XXNORPHICA. Su RfiixiC (K. L.).
XtavphM. Sft HaAd«l T Choiu oC Hetmks *.
choral vork'
G. Stt K«lo« 8 »r« (incKL iib (er 3 plan).
X£RS£ ( Opera 1 Stt Ca valli .
XYLOPHONE AND MARIMBA. Two
percussion instruments which originated in
the concinenu of Africa and Asia, the name
xylophone having been dcriv'ed from the
Greek (1^ (wood). The Javartese have
engraved tablets showing xylophones of the
14th century. The xylophones ai>d marimbas
of these ancient periods were merely tuned
pieces of wood resting on hollow gourds for
resonators.
Although the xylophone has been in almost
corisiani use .since those da)‘S, the earliest
written composition in which it occurs seems
to have been the * Danse macabre ' by Saint*
Saens (1674). There is aho a report of 1630
which sa>i (hat a wonderful old man toured
the Continent as an exponent of the xvlophone.
He was a Russian Jew named J. Cusikov, who
apparently enjoyed " vast popularity
Until 1933 the xylophone was used in four
rows of wooden notes laid on straw (for re*
sonators) and played with spoon^shai^
wooden hammers, with (he player facing the
four rows. However, the invention of the
areuatc notch (an are cut underneath each
note to improve the tone and dcftniiion of
pitch of the note) by Hermann E. WinterhofF
in 1937 marks the beginning of the modem
instruments.
The xylophone and marimba^ as we know
them lO'day, have hard wo^ (specially
selected) notes cut with the arcuate notch,
laid in pianoforte formation, with resonators
ftrmly Axed underneath. Each resonator is
in sympathy with its respective note. It is
possible to raise or lower the whole compass
of resonators, thus sharpening or flattening
the whole compsiss of the imirumeni. The
whole instrument is set on a firm stand with
wheels, and the usual compass is c'-c" ' for
the xylophone, e-c‘" for the marimba. The
marimba is thus pitched an ocuve lower than
the xylophone, and a marimba*xyIophone has
the compass of a xylophone with the excess
marimba compass added to the bottom of it.
When the xylophone is played with two
hard sticks it is capable of considerable speed
to execution and a very penetrating tone, but
the marimba h at its Iksi when used with
groups of four, six or eight rubber, felt or
wtxA Slicks in a quick pulsation producing a
fascinating chord base for /iigani efTcci, much
used in ^all orchestras,
Many scores include the xylophone, a few
ctf the regular repertory being Dances from
* The Three Cornered Hat * by Falla, ‘ The
Fire^bird ' and ‘ Petrushka ' by S(ravir>sky,
‘Job’ by Vaughan Williams, ' Owrlure to
Picaresque Con^y ' by Bax, ' Sabre Dance ’
from the suite ' Cayaneh * by Khachaturian.
i^ihough very rarely used, there is a piano*
action xyl^honc which has a miniature
pianoforte'keyboard with little hammers strik-
ing from below from the rear of (he key with an
upward mMion- As there arc no resonators,
and control from the wrbt is impossible, the
tone tends to be thin and uninieretiing.
<H. N.),
X\LOR 2 MBA. A percussion instrument,
a small marimba made in the U.S.A.
XYNDAS, Spyridon (ft, Corfu, $ June
1814; d. Athens, 95 .Vov. 189C),
Creek guitarist and composer. Me began
hts musical studies in July and completed
them in his native island under N. Nfamiarols.
He became an excellent guitar player and
composed several operas, mainly in Italian;
but ‘ The Parliamentary Candidate ’, a
comic opera to a libretto by N. Makris, was
Use first <^ra to be set to Greek words- Ic
was produced in Athens under N. Lambelct in
Mar- 1888. Xyndas died blind and in great
poverty.
His Italian operas include ' Anna Cuintcr ’
(• 055 )' ‘ W Conte Ciuliano ' (1837), ' I due
pretendenii ’ (1878) and a work based on
Dumas’s ‘Three Musketeers’ (1885). He
also set numerous Greek poems, both as songs
and as choewes. « «
379
YALE UNIVERSITY. Set Degwu
M usic. Parker (Horatio)-
YANG DAHJIUN. Set Chinese Music
(modern).
YANG TZAYPYNO. See Chinese Musk
(modern).
YANIEWICZ, F«U*. Jakhwice.
YANKEE DOODLE. Wlih an obsokic
tcxi, ‘ Ytnkc« Doodle ' can hardry be called a
national song> but ii is still one of (he current
ntiional airs nf the U.S.A. Its vitality has not
been impaired by criiicbm of iu musical de-
meriis, and will not be as long as there is room
in patriotic folk music for humorous, indeed,
burles<)ae utterances.
As ' Yankee Doodle * the air seems first to
have been printed in the first volume of James
Aird’s ‘Selection of Scotch, English, Irish and
Foreign Airs’, Glasgow, as Frank Kidson
pointed out in his ' Old English Couniry
Dances ' (1890). Aird gives this form ' :
Slightly difierent, it appeared as ' Yankee
Doodle ' in Arnold’s opera * l\vo lo One *
(:784), and was sung there by John Edwin in
(he character of Dicky Ditto to the words
“Adsooks, old Crusty, why so rusty.’*’ Again
slightly diiferent is the Ncrsion in Charles
Dibdin’s * Musical Tour ' (1788), to the words
" 1 smg Ulysses and those chiefii **, and en*
titled * The return orUI>»C8 to Ithaca ’. This
burlesque song Oibdin is said to have first
introduced in his ’ Reasonable Animals '
(•780).
The question of the earliest American aj^
pearance In print of * Yankee Doodle * is still
open. In Moore's ‘ Songs and Ballads of the
American Revolution’ (1855) it Is cUimed
that ' ’I'hc Recces ' appeared with this air as a
music'shect in 1779, but no such mtoical
broadside has been found ; and the hisi^ of
music-priming in America renders it doubtful
if (he air found its way into print there before
* A TuM <liscujMon all powUe so«wc<^ nf ihu mac
aiMi a suAimarv of ihe bibtiggraptiy rebcinc Uwrm
apprsred in ilic rUiikn «< ikb Dkima.wt, The
re.-ider i« rererrcil tn * Keixwt cn “ The SUr-MaiwM
Banner "Ifail, (idymW* ", “America". "Vilic*
'*r SoAAWk (Libcarr cT Conerm
I nUiication. WailiinctAn. 1909}.
forming an ingrodkni lo Benjamin Carr's
medley 'Federal Overture', composed 1794
and published 1795. The earliest printed
American venion extant U that published by
G. WilQg. Philadelphia (1798), together with
the President’s March {* Hail Columbia ’),
in (he following form, to the words " (!lolura*
bians all the present hour ” :
Afier ihis ‘ Yankee Doodle ' became frC'
quern in print; but, cuKously enough, for
decades nearly all versions differed slightly,
and they differ also more or less from two early
American manuKrjpi versions, the one dated
1790 (in private hands), the other, possibly
written as early as 1775, at the Boston Public
Library. The form now used officially is the
one given In Sousa's ' National . . . Ain '
(1690), and the smaller notes in the above
example illustrate the differences from the
\Viliig version, 0. o. s.
el** AiftI (hi appcirsMce). Ktfr* Major (nippoHil
rofUMtiiion}.
YAreow, Swm. Sn SalseOo (} poenu (hr Mprsao «
lAili ).
YASSER, Joaepfa (L Udi, 18 Apr. id^).
American onanist, conductor and muslctw
legist of Polish birth. He was educated at the
Imperial School of Moscow, from which he
graduated in 19(0. and he studied at the
State Conservatory there, becoming an M.A.
in 191?. The following year he was made
head of the organ department of the Moscow
State Conservatory for two years, during the
last of which he was also chief organist of the
Moscow Grand Opera and of tJie Moscow
Art Theatre. In tgaa he became musical
director and conductor of (he ' Shanghai
S<mg$ter» ' and from 1917 <0 ^93® be gave
several organ recitals in Russia, China and
the U.S.A.
After bis emigration 10 America Yasser
became organist and choirmaster of Tempk
Rodoph Sholom in New Yoric in 1929. In
that year he directed the choir for the produc-
tion of Stravinsky's ' Les Noces ’ at the Metro-
p^itan Opera House, and in 1938 he was
organist for the Transamerican Broadcasuag
380
YATES
YONGE
and Televisioo Corporation ui N«w Yo^.
He has been chairman of the research com-
mittee of the Jewish hfusic Council since 1944
and from 1934 to 1^0 was chairman of the
Musicological Committee of the American
Palestine Music Association. In May 1950
he received the honorar>' degree of Mus.Doc.
from the Conservatory of W'nt Tcaas.
Vasser has lectured at Xew York Vniveniiv
and the University of Columbia, ami he has
written a wide variety of articles for many
jountals, inclutling ‘ ‘I'hc Musical Quarterly *,
• Musical America ' Moslem Mmic
• N*oies ' Jewish Music Notes '» ' Die hfusik '
(Leipzig) and ' Revue muskale * Paris .
He has also written two Isooks, ' .\ Theory of
Evolving Tonality* H 932,1 and * Medieval
Quarul Harmony’ {<938', exf)oundinf ex*
ircniely interesting if eoniros’crsial iheoni'S on
(lie evolution of tonality bevonri the clasviral
mcKlal diatonic and (hrurnatic w ales.
YATES, WilUam {b. f ,
English /dtihceniurv c«unp<»«i r. He ap-
peared ill I.ondon at a soiucri given li) himself
in I76j. Irilxrntiit Mar,. 1 7<**, hiMuawpM .
'The Choice of Apollo', was performed al llw
Haynurkn I'lieatre.' He a rinmWr rj*
songs for Yauxhall anrl Marylrbooe Cardens,
a collection of moral wKtgs or hymns, 0 cass
sonatas for the harps icluml. Op. 3, et< .
Ykitrvtch, M. AVf HjljWirv* »./.« .
WllUun 9jr»i<.4k
^ .V'"* . ' V. j v.««. . Brikas
lV4i»^\ tUtio L voh Ko.,A .
.Hahk, w,s . t lwk. lb .•« aial
SW, UM,r-l , l.U,k« iK., i l.o-.W».
llolUmI 't 4 ,nK Wiili ooh.), (WmII 1 lc*t
I and l>iani»ar, incMl. M. .. (;yt>*r>
UdUr iP., *J,nhrn»«ra\ *.mf k •hamUr wd.
Marn-.n ' U • OmI. frjIosMv U l.mtt Ila«i
r .. I.aoa of NeAO « |W«tr«\ «Hirr4 . Jh.vhr, 'V
Majrr Quren .irakl, m.». IfelaMi i|., WyV-
tu,tix I U.iue \ loOi
P*iii 4 .|.i . v,iicp a uNh : i «.nf. i,
• I ."fa I KUinro. S^aMi .--rj-
lijrpot .l.hSM, vn. ft i.,
ifierr /» (harul»fr in i.
YEOMEN OF THE GUARD, THE, OR
THE MERRYMAN AND HIS MAID.
Operetta in 9 acts bv .Sullivan, Eil»reiio In
William Schwenck Gillxri. IWuced Lon.
dun, .Savoy Theatre, 3 Oct. 1888. isi prrf.
abroad, New York. Casino. 17 Oei, 1888. ist
oil tUeCrmtlnent, Vienna, Carl Tlsealre rtram
as 'Cdpjtim Wilson’ by V. LCsm and C
t.md.'iu.. 2 Feb. 18B9. EhU wu a pirated
v'cision; a legitimate one was given in Berlin,
KrolN Theatre (tram, as ' IXr Konigsgar.
divl by K Zrll and R. Gcnfel, 25 Dec. 1889.
YODEL. SrtFotK Mmc: Ai-strus and
S wus. Tysou?.N:«K .
‘ Store prnmMi at the R.C.M.
• • wo 381
VON, Pietro (*. Set limo-Vi none, 8 Aug.
1886; rf. Huntingdon, l.</ng Island, U.S.A.,
22 Nov. 1943).
Italian organist and ronii>ov<r. Mr studied
at the Cunscn aiories of Milan and I'urin ; in
*904 he entered the .Vcatlriny of Santa Crtilia
in Rome, to study organ with K< n/i, pianoforte
with Sgainbatl and composition with Dr
Sanctis, For two scars he versed as deputy
organist at tlsc Vatic an and ihe royal church
In Rome. From H(<'7 he u.is orgaciio and
<l»osrma*tcr of the church of Si. Francis
Xavivr in New York, and he wt.ti a wide
reputation a* concert organist. In 1921 he
was made Itonorary organist nf the Uasilica of
•St. I*cicr, \aiican, Rome', His eumposiiions
ifwiudr a ' Concerto giegoriano ' fcjr organ
and orchestra, masses, choral muvie, manv
organ pieces, pianoliirie pietes and songs.
YONGE (Yoog, Young), Nicholas 'b.
Ixwft, ?; d. la>n<lon. <>c(. tbin).
I.nghsli singer and neisieal editor. He is
prohahiv jclenliial wnh a Nicholas \*oung « I10
was a vlngingonan at St. I'aul s C.uliecira) ut
the nine of Edualielh |. Burnes, uiiNled hv n
(savsage m the dedication to the liro ho<»k of
• Musica Traiisalp.na , a collection c>f 07
inadngals, translated and published in 1588,
w>s that lie was an Italian merchant, uher<*as
all that Yongc says is:
We 1 fcu t*^dn 10 kerjw le«u«r m clio « ili«, a vt^al
iumlvr <4 aiM VIpoIumu
'** aeH ul ih»> realmr as ^4 t«Nteii»r jiauntui lisc« lolcn
m ^ RMC kkIi rhleriaiiWHi «f (*V-»Mrr *. my iit-ife
^..hur .as aWe ».* all..w,| ct-rm. l,<Mh
^ *UiV uafti m mx h..Hvr, arvJ In fyrni«inhi
t^I" " veeiely me oul vf
(lal, pla<e>.
Vonge s motlicr's maiden name \va» Brax.
During (he greaier jiarc of his life hr jived in
Uwsdon. in tlic parbh of St. Michael, Cornlnll,
H« had nine children, most of whom survived
him and settled in the same parish, where his
descendants remained until the i8ih century,
when some v( them are found in that of St
James, Clerkenwell. His wife's name was
Jane, and he was pn.lwbly married alHmt
**'*•'* vf the first lx>ok of
MuMCa IransaJpma' \i shown under that
heading; that of the second Iwk uf >4 scinsR
(1597) runs as follows:
»^l«, lo Md 4 VMCn: irAnv]jcc<l oui •<( iuB<itie
t««w. Al UcMlon by 1 lioms* E,cc. I $97.
Usts of the conienu of both volumes arc
pnnied (with many mistakes) in RImbault’s
BtWiotheca Madr.galiana ' (1847). Both
ow(c<^ies of which arc in the B.M.. R.C M
artd Huth colleciions) seem to have been very
!ir*^r'L "«rds of
ih^ yf I be madftgaU in ' England's Helicon’
rS!* ^'dham Heather, in his portrait
in the Bodl. Mus, Sch,, u represented holding
38a YORK MUSICAL FESTIVAL
YOULL
a ^olumc lettered ' Musica TiansaJptna
G. \V, Budd began a complete rei»ue of the
collection, but issued only six of the St pieces
( 1 843) . The text of 1 he hrst book was issued in
Arbcr’s ‘ English Garner *, \'ol. III. Yonge’s
will (which was proved by his wife on 1 2 Nov.)
is dated 19 Oct. 1619, and he was buried at
St. Michaei's. Cornhili, on the 23rd of the
same month. w. a. s.
YORK MUSICAL FESTIVAL <1791-
i&3$). The hrst festival was in 1791, and
meetings were continued annually till 1803.
After that no other festival took place until
1823 \ when the performance was revived for
thr benefit of the York County Hospiut and
the Infirmaries of Leeds, Sheffield and Hull.
'I'he scheme consisted of four sacred concerts,
including ' \fessiah * in its entirety, held in
the mtnsier on the mornings of 2$ to 25 Sept.,
three secular evening concerts and two balls
given in the Assembly Rooms. The vocalists
included Angelica Catalan! (who usurped
” Comfort ye ”, ** Every valley ” and intrtH
duced Non piii andrai ” from Mosan’s
* Figaro ' !). The orchestra and chorus con-
tained lOo instrumemalisis and 285 vocalists.
I'he festival tvas rendered noteworthy by the
receipts, which were larger than those at any
previous meeting. The sum of ^7200 was
divided among the charities. A long and
voluminous account is given in a 410 vxilume
by John Crosse, F.S.A., York, 1623,*
Another festival was held in Sept. 1825, on
a similar plan and for the same charities. The
orchestra and chorus W’cre increased to 600,
and among the vocalists who appeared for the
firi^t lime were Maria Caradort* Allan, Maria
Fc I kill Oareia (later Mahbran), Braham,
Fhillips and De Begnis. The receipts were
still larger ; but owing to the cost of a concert-
hall fur the evening concerts the profits were
not in proportion. jC*900 only being divided
among the charities.
At the next festival, held In Sept. 1628,
Catalan! reappeared, and Mary Ann Paton,
Margart'ie block hausen and Edward Taylor
sang for the firs: time. Beethoven’s Symphony
in P was a novcliy 10 the audience, and not so
Successful ai the C miner had been in 1823.
It was described in ‘ The Harmonkon ' as
** ecccniric and very difficult ”, and was coldly
received. The receipts diminished and
only was obtained for the charities. A last
festival ivas given in 1635, A. C.
YORKE TROTTER, Tbomaa Heiu^ (».
London, C Nov. 1854; d. London, tr Mar.
'934)«
English musical educationist. He was pnn-
’ Sft ' t>c^r»ptian of lh« Cresi MusksI FcUivsl hrU
jri York ilurini Sept. leij. by (be cdKoe of lb« ** Yeek
Courifx " ' (York. 1C21).
* A Htire on ha vw>e«»hsi becnbAlie style was
^iblohed in London ih« same yeae. by as aaociyasous
wfitee ■* Ouu*
cipal of Ihe London Academy of Music
(Incorporated). He devised a successful
system for the practical education of children
in the elements of music. Teachera of this
system were trained ac the Yorke Trotter's
Academy. His pKnciples are embodied in the
fi^lowing publicatbos :
* Coastruetiee Hsamooy ' ; * khychmic Crsdus * ;
‘ Ear rraiAiag and S)|hl Reading * ; * The Makuif of
Muiaeia#a * (i^ts) ; ‘ .hlustc uhI hUad ’ (lass).
It. C. C.
Sf< ah* C^Tempcriution.
YORKSHIRE FEAST SONG, THE. An
ode or cantata by Purcell, ' Of old when
heroes for 2 altos, tenor, 2 basses, 5*pari
chorals, flutes, oboes, trumpets and strings,
words by Thomas Ourfey, composed in 1690
for the annual reunion of Yorkshiremcn in
London. The celebration was intended to
take place on 14 Feb. (690, but owing 10
parliamentary eleciioiu it was postponed to
27 Mar.
YORKSHDIE SYMPHONY OR-
CHESTRA. An orcliestra first planned In
1945 and launched in 1947, with head-
quarters at Leeds, under the chairmanship of
Alderman George Brett, O.B.E. It serves a
large pan of Yorkshire, in much the same
way that the Scottish Orchestra covers a
considerable area of Scotland. A permanent
conductor, Maurice Miles, was engaged
from the ouuei, and the orchestra is managed
by a joint committee, on which the ten towns
which it ser»-es are represented. Conwris are
frequent during the winter, averaging just
over two a week during the months of Sepi.
w Mar. By far the largest numbers are given
at Leeds, where the orchestra is resident.
During the 1947-48 season, for instance, 24
were held there, the other towns receiving the
following numbers of visits : Huddersfield 7 ;
Hull 6 ; Rotherham 6 ; Donesuter 5 ;
bury 4; Harrogate 3; KcIgWey 3;
held 3; Halifax 2.
YOST (Joat), Michel (I. Paris, e. 17541
d. ? Paris, 5 July J 76®) • . .
French clarincitlii. He studied under Beer.
He appeared regularly as soloist at the Coneeri
Spirituel in Paris- He composed a numl»r oi
concertos, trios, duos and solos, ivhich M
simply signed Miclicl ; nearly all remuneo m
manuscript. t. *. n*
YOULL, Henry (*. ?; d ?)• ..
English 1 6lh“i7lh-cenlury composer. •>«
thing ia knoAvn of his personal history wcept
what can be gathered from the
his »et of caneoneu to the four sons of
Bacon, who seems to have been his patron,
the title-page he is called a ” Pracuuoncf m die
Art of M^lcke ”. This volume of 9*^^“
to three voyces’ was published
Copies are extremely scarce;
RM., one in the Cambridge Uiuversiry
YOUNG
383
Librar)', and iht baas partbook \s in (be
Ekxilciaii Librar)’, It coniains some
very a((ra<tive pieces, notably * Pipe, shejv
Iterds, pipe a setting oT Ben Jonson's ' Stow,
slow, fresh fount \ and Sidney's ‘ Only joy,
now here you are There are sis ballet is at
the end of the book which are as good as any-
thing of the kind for three voices.
VuukI composed music for Ben jemson's
■ Cynthia’s Reveb * (1600). t. h. v., adds.
’I’lie fullowing arc Yooll's Canaoncis for
3 voices, published in ibo8 ' :
k. I, 4 <h <J«V •f ihlM.
I i t.'oinr. luvs. ks’s Pi, i>,
I \ In c<in 4 «r dak iPt. m*.
I I V<* kkk«re ihit o>in|»h Pi. mj.
Pi|M*, ilKphertIt, |M|w,
6. Oi.h iuf.
? m snJ (ijMiis
M. iIbm, frr>h (mm.
In itkjMni «kiniitK7'>
I ' » i Um e J ilkvuK III Sa ili« for to« r.
M .\wAkr, tw<n lii«F.
I < l'i(> iiK. nuf« uo(» \urn jcbfI.
M I r«'lllN> l>IOW«l|U.
I I Plivlln «uv,
115. I liF %liF|il>rr«K' ilAii^hiFr* Pi. i .
tiU. IJijl l>r|i.ilil ilwi rciwh h U'.
(It Viv. \|,F|>lirr«l ‘iV 1 * 1 . I .
i III HiK ihixivh pii.< ih frp 1 Pi. n .
I'l III i>iF nMfr> iintnili ^
CO. < 4 JM«r. iMirv
ji. tVhik« ivifut ^fwinefiiiM.
j / t.jrlv brfiKs ihF <Uv <l<«ih tpr.M.
(rfj. WliFir afr iH»» il«n^ ivth Pi, » .
lv|. Noiv (hr itMinU) m .
YOUNG, [\nglish cAth-century familv of
niuii(.ian<,
( 1 ) Anthony Young 6. ?; / fj. nfgannt
and «f>in poser, He was organist of S<.
Clement Dane^ in Umdon in 1707 and at
some other period of bi. Catherine Cree, near
the I'cmef of tnrMlon. He ssas probably the
AiithoMs Young who left the Chapel Koyal at
Nfirliaelinas i?oo, when his vuke broke *, m
which I use he muM have been born about
1 685. It is even ;>ossihle chat he may has'e
hmi the wm of William Yosing. who was
violinist in the king's private band. Anthony
^ oung composed songs, one Iwing a setting of
•Send home my leng-sirayrd e)^*'. which,
along with Ixvcridgc'* tune, was published as
lialMiect mu'lc aWi 17*0. He has been
errotieously credited with being the composer
of ’ CikI III,. King '.
(a) Charlea Young (*. ?; rf. ?), organist.
... 1 '!^..'^'^ ® organist in London, at
^Ul Hallows, Harking, and has generally been
supposed to be the son of Anthony fi), but it
si rrns more lik« |y that they were of the same
generation, probably brothers.
Iher,- were six Misses Young who sang
ptrifosion.-illy during the iBlh century. Tlse
thriT elder - Cecil ia ;Mrs. Amc), Isabella
Mrs. I.ampcj and kUlher or Hester (Mrs
joncs) - arc said by Hawkirw and Burney 1
^ '1^ Kia.'.
» 1 li« Uncr m Km's • CiTkpMdia *.
(o have been the daughters of Charles Young
<3), and this as almost certainly correct. In his
‘ HisKwy hoss'Ov'er. Burney gives Anthony
Young ‘ t ) as their father, I'hc three younger
— Isabella (the Hoiu Mrs. .Scotii, Muabnli
(Mrs, U^manJ and Marv or Polly (Mrs.
Barthelemon^ — were the daughters of
Charles’s son Clsarlcs, a clerk in the J rcasur) .
lliere has been pardonahlv ct»iifusion alHrut
this remarkaye family of lingers, for thvlr
careers overlapped and cadi sang as " Miss
Young " until her marriage, and sometimes
even after inarriage.
(3) Cecilia Yeung 1^. London, prob. 1711 ;
rf. London, b CJct. l?»yi. the most trlebrattd
of the elder generation. .Slir i» ^aid to hasr
been born in 1711, alihough no record of her
banh or baptism has been found, Hurnev sa>s
dse was a pupil ^ Crrniniaiu, and her lirsl
retoeded public appearancr is at hrr briielit
performance at Hrury l.anr I'licatre on 4 .Mar.
1730. bhe iM'tansi' well knois'ii as a soprano
smger, fwtwuUrly at Hrnr^ Lam-, i.arly ni
i?33 sl»e was In JJandd'i opera company
.* Ariodanu' Jan,, * Al< ina ,\pr.,k, and
she sang .\ihalia in tlw tlrsi London perform*
anre uf that oraiofMi ihe iiame sear. (In
ry Apr- 173C she wmg at a iK ueht lor “ Mr.
Young, organist o( St. Clenienis ”, pre-sum-
ably Anthony Young i >, her uncle, at llie
(»rrai Room in York Jluildnigs, She married
T. A. Arne at LImoln's Inn (:ha|nf on 15
.Mar. 173?, Her singing seeiH' to have been
at US best from 1733 to J7j*„ but her caree r
was lrequenil> interrupted by atutks ol
illm-ss. Buraev jn a let nr wrnieu after
her death to Iser niece, Mrs. Ban he lemon)
says there was a time when ” her \ oice, shape
and manner of singing were suixtior to those
of any female smgrr in the country ”, and he
gratefully acknow Ittlgt** that he learnt more
from accompanving lier in her \-ocaJ exerciser
than from the Insituc tions of lu-r husband. She
aho had ** a parental attmiion ” 10 his morals
aihJ conduct. In 1 74a sh<- went to HuhJin with
her husUnd and sang ihcre in hts ’ Comus
Rosamond \ * Judgment of Paris ’, ' Alfred '
and varwus interludes and cantatas. I’liey
returned to England together in 1 744, and she
^iinued to sing frciiuenily at Drury Lane,
Vauxliall and riscwlw-re. She was again in
Dublin in 174^-49 »nd hatl a Iwnefii thrr •
•ti • -Vis and Ualaua ' with her sisu-r
Mrs. Ijmpc, on 7 Feb. .749. |n 1753 Ou-
Arnes again weni lu Ireland K^elhvr, taking
with them her sister LsiIut Young (5) and
her nieces Uisabrih Young (7^ and |*olly or
Mary ^oung 81.
It wms to hav-c bern about ihis time that
the Arne marriage came to grief. Arne re-
^n>ed CO England, leaving his wife and PoHy
y^ng m Dublin. During their slay there
•Mrs. Arne supported herself and her niece by
384
YOUNG
giving le&son&. U was during this period that
Mrs. Delany spoke of her as '* an objeci of
compassion " and made the ofi*quoied state-
ment that "the race ot* Youngs are born
songsters and musicians In 1762 aunt and
niece returned to England for good. Mrs.
Arne had viriuali)' retired from public life,
owing to ill-health, but on 16 May 1774 she
sang in public " for the first time for twenty
years ", for iho bencht of Mr. and Mrs.
Barthi4cmon {Puhy Young). It is also some-
times asuTfcd that she sang Mandane in
• Ariaxerxes ' at a single performance in 1769,
but it is possible there is here some confusion
with her dattghter-in-law, Mrs. Michael Aine.
In 1777 she was reconciled to Arne, and sJie
(livd at ilie liarihclcinons* huusr on b Oct.
1789. She seems to have become a Roman
Cathulic upon her marriage to .\me, or soon
after, and in iliai faith she died.
<4) Isabella Young <i) {*. ?; V.
She was nut as talented as Oedia. but made a
goufl raroer both as "Miss Young " and as
"Mrs. Lampc ", after her marriage 10 J. K.
Lain pc in 173U. She sang in ‘ Mk and
Galatea ' wiih her sister, Mrs. .Nme, in
Uublin nn 7 Fvb. 17491 I'4)inburgh with
Lampc on 35 Mar. 1751, and had a benefit at
C !ove n I ( ia rd cn i n f .ondon on 2 M ay 1 753. bhe
waa a regular singer at Cvvent (harden 'flteaire.
Her (iaughu r*m* law also sang as "Mrs.
l.anipe ", thereby creating furlhtT confusion.
(5) Eather or Heater Young ?; d. ^).
She also sang at Covent Garden as early as
1739, at Kuckholt House, klssex, in the
summer of I7 .m« was in the original cast
of Handel's * hcmcle * (1744) as Juno and
Ino, and of ' The Choice of Hercules * as
Hercules (1731). She was a contralto. As
menliunrd above, she went with the .\mc'S to
Dublin in 1755. .After J. P. Lampe’s death
she seems 10 have lived w’iih her sisier Mrs.
Lampe, and they frequently shared bencDts.
She married a Mr. Jones probably some lime
in i?52 and continued 10 sing at Covent
Garden and elsewhere as *' Mrs. Jones
Her husband was not John Jones, organist of
the I'empic, Charterhouse and $t. Paul's, as
is ofien slated, but was probably also a
musician. He kept a music shop in Russell
Street, Covent Garden, in the cyte.
(6) Irnbella Young (li> {b. f; d. ?, 1791).
She hist appeared on 18 Mar. 1751 in London,
at the New 'I'heaire in the llaymarket, when
she was described as a " scholar of Mr.
Walt/ ". She sang at Orur>’ Lane, Covent
Crarden, KanHagh Garden*, elc. She also
pla)'cd Handel's organ luncvrlo* in public
at some ol the rontcris in which she sang.
In Dee. 1737 she marriesl ihe Hwi. John
Scott, but continued to use her maiden name
for some years when singing in London. It
was as " Mrs. Scott ", howxver, that she was
best know*n. She was a distinguished singer
of Handel and was in Handel's company in
his last oratorio seasons, singing the pan of
Counsel in ihe hrai performance of ' The
Triumph of Time and Truth ' (1757), also
in ' Messiah * at the Foundling Hospital in
1758 as Miss Young and in 2759 as Mrs.
Seolt. She W'as a contralto or mezzo-soprano
and commanded high fees, as we learn from
\\\ Hayct and J. H. Mee (see Bibl.).
(7) Eliaabeth Young }; tf. ?). She
probably made her hrst appearance on so
Mar. 1 756, in Dubim, whither she had accom*
panied the Arna (sec ab^vt). She subse-
quently sang in London, at Drury Lane and
elsewhere, iMih before and after her marriage
(176a) to Ridley Dorman, who played the
viedin.
(8) Polly or Mary Young {b. London, r.
1749; d. London, 30 Sqir. 1 799^ She seems to
hate been brought up almost entirely by Mn<
.Arne. She was apprenticed to the Arnes, and
I his apprenticeship was a cause ol dispute
beiiveen the compoKr and his wife. After )icr
return to I.ondon from Dublin with her aunt
she appeared ai Drury l^e on $0 Sept. 1753.
singing and playing the harpsichord in *The
Conscious L^ere She was introduced by
^ard " with a few occasional words" and
described as ** scarce in her teens ". Uicr she
sang aliernaiely at the King's Theatre and at
Cov'cnt Carden, and in lyW married Francois
llippol^te Barth^lemon, violinist and com-
poser, who was leader of the orchestra at the
K i ng's Theat re. They frequent ly a ppeared t n
public logeiber, both in London
Dublin, and in 1776 they went abroad. Mm,
Barihdemon took part in her husbands
Italian oratorio ' Jefie In Masfa ' at Florence;
at Naples they performed in the queens
private concerts, and at Versailles she sang
a bra^M^a air from Jefic’ with obbligetP violm
played by her husband, before Queen Mane-
Antoinette. On their return to England m
*777 they continued to appear in public (or
some >ears. In 1784 tliey V'-erc in Dublin.
Mrs. Barlhdlemon sang airs by Sacchim ana
Handel at her husband's benefit on 38 May
1792, with Haydn at the keyboard. She had
then been nearly thirty years before the puOdc.
Like her husband she became greatly intcres wo
in the leaching of Swedenborg. Tiieir oiu>
child, Cecilia Maria (Mrs, Heiulowc), lang
and plasxd the harpsichord at an early agr ana
later composed both for harpsichord and
pianoforte, hfrs. Barthclemon hertcif com-
posed some songs {' The lA rav^ Pm>«r
and ‘ Ode on the Late Providential VretetM
lion of our Most Gracious SoN'creign ).
St. s. (n).
BIBLIOGRAPHY
Mstv* Chaw to. ‘A C«o«aI Hiitorf
(LMkdOO. lyBOh
of Music'
YOUNG (Alexander)
YOUNG [?. M.f
385
C»iMi»i<u, \V. H., * Dr, Afne “ Rwk BriuonM ! *' *
(London. 1912).
Db 4 .aw. Mm.. Auwbtcfvapby asd Cormpondoace
(LofMlon, tS6u.
Jomx. ' A G«o«ral History of ihr Soence aad
t'tKiKe of Music ‘ iLoadun. 1776).
H AVM , \V. . ' 4\n«cdom »( « 2klimL«>lrr«ui«s ... *
lOxTorJ, I ;(*&>.
Mtr, J. H.. * Ills OWnt Mvuc Room ie Europe*
(Oxford, 1911*.
l>OHL. C. T.. ■ Mown and Hoxde ia LoadM ' (L^tdcm.
18671,
Inforinaliun kmdlv lupplted bt ,Mr, K. C. Row or.
Stt 4I19 Arnr iM. .Nrne J. .\.r. Basdtclrmon,
Lompe,
YOUNGi Alexander LtAdun, 16 (Xl.
19^0).
Kngtisli ii’Hor singer. Dr MuJk’J singing
under Waller Hyde «i the (j.M,S. ni
NaiioivnI service during ihr uar id Kigif*
1945 rriabled him 10 wurk fi>r a shiirl pt riiuj
under an lullan master ai Napk-s. and
on bring derT><ibiUiiHJ ho enlerrcl iho R.C.M.
m Jamdun isiih an u(«ra sih<darship.
lAAving thal instiiuiioA m i<>4K. he Ixgan
6 prcdosional career, Ihji at ilu* same
lime suppiriiieiiied hU Studios uiirh>r
maim al the Sutr .Ncailrnty of Mmic in
\ ii'nna.
Voung gaiiii'd valuable ofxTaik expofiriHo
niih ihc CflyndebiKirnc Oiiora (;mnpanv> at
first AS a member of llio chorus anil afirruards
in such pans as .Scaraiiuicciu in Siiauss’s
* Ariaiiur auf Naxos’ (brlinburgh ^rstisal.
1950^1110 High I’xiesi m Mozari s’ Idumcnm’
iind Ixilh JX»ti Uasilio ami JXm (lufini in
* Lc nouxe ili kigaro ' i(il)mleiffnsmr Ft'siival,
1951;. He has also a|>|Maml as |)rinci|>al
lennr nmiIi ihc LonrU>n (Jpera UluU: os
Taolino in Cimarusa s * .Matrimoniu s<t*riii ’
{Uhrtier 1‘Wiioal. I9y>», (><co m Haydn's
* Mundu della luna* iScahi Ihealrr. l^ondon,
1930— kxdh in bnghdi iranslalkars - and
in ilic liile-pan of J<*lm UchVi *Jg<lgnHnl
of Paris ' (liainpion Court Palace, 1951 .. In
i<>!y^ he appeared with ihe Moran (^ra
Company in an haghsh version of die
original form of “Der Vhauspieldirrkior* and
in Hobi's *S 4 viiri*. As a concert singer lie
appears in oratorio and in such performances
of historical interest as the scries of Uacli
cantatas given at the NterniaUJ Ihealrc in
Sept. Ipjy, His broacicasis in the U.b.C.'s
Ihiid Programme liavc included such rare
works a« Moxori's unfinished opera * Zaide
Uameau's ’ Daixlanus ’ and • Les Fetes
ti lled •, ^edUt s ’ Uly of Killamey ’ and
Stravinsky s ‘ Ihe Kake's Piogrs'ss *, in nhich
im pirformancc os Inm Rakewcll was
exemplary. Jn 1953 he advanced at Clyode-
iMiumc to Ferrando in ’ Cow fan lutie
Young’s voice, if not powerfuJ enough for
heroic parts, has a mom than commonly
agrecabe lyrical quality and is admirably
scliooled for the performance of a great
diversity of imaiv. His muskiaruliip is
unmistakable and he is an accompli 'bed
opcralic acicic. r,, u.
YOUNC» Anne, Set Gvus, John.
YOUNG, John’ '6. *: «f, lAindon, c. 1730).
English music printer, publivh<'r and
" musical instrument selU'r ”. Ho was
esiablidsed in Loitdon. at the sign of the
'* IXdphin and Crown ", at the w’lui end of
St. Paul’s Churchyard, Ihc earlk-si notice
the present writers have found rt'garding him
is an advertivemeiit in tin* ’ London Ca^etie ’
of 30 Jan.* i F< h. tfH)(|, of
rtie (jMitrOpat Tuior iw tl>e JoIia il.>rMiiv
t«r. , . l*wbli«lieJ aid «>U bv }. Vown(, ai a.e IMi»Kiii
and (Ovviv.
He alvo inihlidnxJ ’ .\ (Choice C’olirciion of
.\vres for il«* Harjidchnnl ’ by llluvv, J'jggc/i,
Clarke, liarnit and <iroft in 1700 H.NI.i,
’lh<* Flute Mauer (kunpleal Improved, or
'Ihe CMNithiiMu'} Hueruon * in 170)1 .Ihnll.j,
.SnnjHon's ‘ Com|>< mlium ’hi *714 an<l other
wifCkx, some in runjuiK tioii with oilier
publishi’rs, such as Jeremiah (darke’s ’Choice
l^sooi fur t he H ar|>dch<>id or Sjii ii« it ’ L 1 7 it ) ,
eic. His hlwd is old n found |>asu'd on wurlct
isMied by Walsh I laic, and lus name
apinars in the Imprint' ol ' Ihe Darning
Master* from 1:13 to aisout 17^^!. It iv
prolubir ih.ii h<' gave up huvin<’s<i or died in
1730.
In Can dc lotfootaine’s * *J'he King’s
Mijshk ’ u a record of a John Young lieing
a|if>ointed inumian in iirdinar> to the King,
for the viola da gamlM, ‘m U3 May ibjj, ni
place of otu\ Paul Hridg^*'. ]l is qniic prob-
able that Jolvn 3’ogng, ibe music •seller, may be*
Ibis vaim* |H<rson. ». k., rt-K. w. r.. s.
oTm ( asdr S.,. lew < <>M«cri<,
YOUNG, NtchoUa. i’er Ytixi.s ,
YOUNG PEOPLE'S SYMPHONY CON-
CERTS. Set Nlvv York.
YOUNG, Farcy M, (Marshall) {*, Nurih-
wkh, Chn., 17 Mas tyiuj.
Lnglisb musKal cducaiioiusi, orgaiibi, con-
ductor. composer and author. He was edu-
cated at Christ’s Hospital and at Cambridge,
where Ik was organ scholar at Sciw yn College
He Hudied under C. B. Kooibani and 11. J
Dent, took ihr M..S. and Mu».R. degrees
there, and later ilw Mu«,D, at J’riniiy College,
Dublin . Ini 934 he went to llcifasi as Dircc i or
of hfusie at Siraninllli* I’raiiilng.Ovllegc,
which he left in 1937, when lie returned to
F.rigland and was appoinied Musical Mvi»cr
to the F.ducaiion Committee at Stoke. on*
Trent. He resigned that appointment in 1045
and liecame Director of Mudcal Siudies at the
Technical College of \N'olv iThampion, where
1« also formed a choir, with whiciv he has givrn
many interesting performances, particularly of
less familiar works by H a ndel . I Ic Iiad al ready
been in charge of a children’s choir at .Stoke
with which he visited Belgium in 1939, giving
VOL. IX
$8(5
YOUNG cTalbot)
concerts in several loivns as welJ as a broadcast
in Brussels, and tccciNing a medal from ihc
Corporation of Ghent.
As an organist Voung disdnguisJred himself
while still at school, when he played Karg-
Elen's * Chorale Improvisation * lo the com*
poser and was presented by him with an
autographed copy, He also began to compose
about the same time, among hU earliest works
being a setting of Masefield's ' On Eastnor
Knoll ’ for voice and orchestra. He also set
N'cats’s ‘ The Stolen Child ' for solo voice,
women's chorus and orchestra, and Padraic
Coluin's * Cradle Song ’ fur unaccompanied
chorus. His instrumental music irscludts two
suite» for strings based on 1 7th*centurY music,
a ' Fugal Concerto * for pianoforte and or*
cites tra and a concvriu, ' Au mo>'en*ige \ for
viola and orchestra.
Young's writings include a number of
articles in hi. & L, and elsewhere, and he has
published sr\eral books; 'A Pageant of
l^ngland's Music’ (t93f)), 'Samuel Pepys
Music book ' (1943), ' Handel ' (' Master
Musicians* series, 194?), artd ' The Oratorko
ofHantlvl ’ (1949). t. a.
YOUNG, Talbot (^. London, ?; d.
English i8ih*century music publisher and
violinist, son of John Voung. I|r helped, with
Gretme and others, to establish the Castle
Society Concerts ^before 1724). at first held at
his father's house and afterwards at the Quren
1 lead 'faxern, and (hen at the Castle Tavern,
hoih m Pule rooster Row. Ho was a clever
porformcr on the viulin, and a witty catch was
made upon father and son ; tl is printed in
Henry Play ford's 'Sreond Book of the Pleasant
Musical Companion ’ (tyoi), as follows:
A n 1 roH Mr. Vot.No Aiie Mn D*, Cmm
Yuu i«rjc*ert (iMt a koqJ fiJJIe MrH «irun«.
You fliiMilO 80 to n»p miu Uist e eU wkilc hcH Y«wn|b
but if II tjmc hitOIr tug f«»n weu'J |s(*r
You mon to In* wn. «ho'|| b« Yeunc when h«'v oM.
'lliereS (»l<l Yugni jiul vwun« Youne, bMh incn ol
rc.iwwn.
OI<) 'elU, anj vouMC the hnl AJUte m ivwn.
YounH siul oltl live lucediee muI msv ih*^ Ine Ioimc.
VvuM*( lo pl 4 y so okl ImIUIc, Old lo leH a new Mne.
r. K.
YOUNG, Thomas (f. Canterbury’, 1809;
d. London, 12 Aug. 187a}.
Enghsh alto singer. He receis’ed his
musical education at Canterbury, and from
i8$i~3li vvas first prirKipal alto at the cathe-
dral. In 1838 he became deputy and after*
wards lay vicar at W’eM minster Abbey, and
on 3 Mar. (O48 first alto at the Temple. This
last post he held until his death, with the
cxcvpiion of a year's intcrs’al, when he
married the widow of a Canterbury alderman
an<l wetit into businvv^ without success.
Young was an excvlleni solo singer and was
succcsior in public favour to Knyveit and
Machin, being the last male aho soloist of
eminence. As such he was frequently heard at
YOUNG {\VilJiam)
the Ancient and Sacred Harmonic Concerts.
\N'ith the latter Society he sang for a period of
ten years ; he first appeared on 14 Nov, 1837,
in Handel’s Dettingcn Te Deum and the
“ Twelfth Mass ” attributed to Mozart, etc.
He took the parts of Hamor and Joad on the
respective revivals of Handel’s 'Jephiha’ and
‘ Aihaliah ’. He also sang in the revival of
Purcell’s 'Jubilate * and in various anthems
and services. a g
YOUNG WiUsam (f. ?; d. London, fit
Dec. 1671)-
English violist, violinist, flautist and com*
poser. Nothing is known of his life in Eng*
land before his return at the Restoration in
tOGo, when he entered Charles H's private
band as a llautist. Before that time he was in
service ai Innsbruck, at the court of the Arch*
duke Kerdinand KarH, for he published there
on I Apr. i 6$3, and dedicated to the arch*
duke, a set 11 sonatas for two, three and
four violins, viola da gamba and continuo,
with 19 dances for a similar combination. It
appeared at the printing-house of Michael
N Vagner, and Young is dcKribed on the (ilk*
page as ” Inglesc
Ollier deiacJied pieces by Young occur in
Playford's * Muiick's Recreation on the Lyra
\’iol * (1653), which argues that he must haN’C
been known in England before he went (0
Innsbruck. HU employment there as well as
hU depariure from lus own country suggest
that he may have gone into exile as a Roman
Caihdic and returned in the hope of greater
tolerance in the royal house iJian he could have
expected during tlw Commonwealth. In 1 661
he was appointed to the violin at court, m
addition to the flute. In this early stage of hU
royal a]>$>oiniments he appears 10 have aroused
some ill-feeling, for Niehola* Lanier, the
Master of His Majesty’s Music, was ordered to
allow him and other musicians to use the prac*
Ike chamber from which he had been excluded.
Young was among the best play ers of (^
roy al band and on some occasions was selected
to aiiertd the king with ceriain violinists. In
1664 Jsc was allov\rd, with oihers of the band,
to attend at the theatre whenever Kiiligsf"’
desired it. On the death of .S'ieholas Staggjn*
in 1 703 Voung advanced to his place.
He may have been the father of John
Young, the music publisher, and of Anthony
Young, the organist and composer.
U hittaker {#ae Bibl.) draws acrention to the
* He rmay Have b«n m the N>ther(siHi. 'J*
•rthdyke wtec* ihe bciw wu there. Ms
Sell., L. sSS, « rwarfced ** hemg br
Kai • FWmuh l«ek. .
* TW mIv nvv known M b« esunt « it me
fiwrmitv UhsK k t'wHjIa. AnoUsee «« kn<«o
v» hov« beloRfrd 10 Deillen. the
ma* and E.if»cr caulo«ocd we as l>e^«
at (^intcn. but both ditawwared. ^ w
(ranwrifM tl at the B.M. the snnataj, hul
puWWwd in a modem edtuon by
Whittaker (OvfQeO. 19)0).
YOUSSOVPOFF
YR/AR'JJ;
3»7
modcrniiy an<] importance of Young’s sonatas,
which are true vio)in as distinct from viol
music, and asks why ** the most important
figure in the port^ immediately before
Purcell ” is so Uitle knoven, even in his own
country', a question surely amwrred in part
by the comparaiis'e inaccessibility nf Young’s
work. But this has to some extent been
removed by the edition of cite sonatas pub-
lished by \N'hii taker, t>hu appertds lo hk evsay
a list of printed and manuscript uorks, of
which the following is an abstract ;
i'HCNn:i»
I Ar luhibtuck »rl > iCsii >0 •fir«*p4 jImc
'Mv in B \t.*
Atrr. Altruiii and 2 Sjr^KifxIt m
Oh Ihe Ia fi V .hi ' .
FjnLu«ft fnt 1 ihdi. in * Jrr^uiri W Mu«« ’
' inp> kiM*.>«>',
NJVNt'SCRirr
fh>i>ttr«s t mBMiv OHr>.«D
SIN .Mut. •>. h . I.. 41?. ^ |urib.«4i. < uT iW iBiK
"r liW |)|U (fMl. r»,uihinv «« 4. f.K 2 u^lrfn
a ' IKr lir<i a u( ibe-* jrr lr«>m ibr .Imh^
<u I
MS Stu*. S. S . F.. .1 M . II ju fs.fi J t .d ' • Mr V-m.j. ' .
Aiidf|x Aim ’• U ill* woie sx «|,r
' Im Mn M«i. S<h,. |>, 2t} are U#l4r |wrU
uf pirtft b> an wn«,4inrd n«in«
AppFjriii« m an-'iher ll.^ lKie4: 7 «(
III itx Ilf I., 4M.»
M> Mh>. Sxh. I,. >-j. s»me fm.>-l. i< .\n .\\U-
ni,ini|p and an onn.iwi |Mne. • t< ireWr ...J
iharkp*! "Y.rtineb" .< "J.-inch ". .uW im.u
rn.MMiir. isj fi^tx ( ,* ihAi iU i4inUa, ~ Wrfh,
J'jiir b " ; < XK wi numb^ix 1 1 . 2 1 ,
• ■H. OlliPf (kirt. nM.««iv. IIh> 'xho.mI m ix
<|rx|}>trul, lirarihf ihe mhic "StaM^dr* «l iU
rnil,
Mn S<b. II. 4,vy6. 4 "t ’ n...|.|?ifc^rt,t.
MSN I'll iH<.r\ m«rknt " Mr. V«m^V fw
iMh Kra Vh>I< 1 b<Mh |.22l4. <Mn,Mm- VK I
jM iht.uin. ilr^ Iki.. fwi. mjrknl " Mr.
Y^Mitiyr. .ru ' I 2. M,Hlrni*k.
ibu >X4l . ’Iktb.T'Hi. rvwxirn^M) rxm’ * |li«
\Mmi« ilrlitflittMlI Svijni.r* 4n*i ’l>«MiU -ibii^
V:*'*' M f*w*. I hr. .i.r
marbeil Nounx bw1 ore iku <rtmn hr be Lx
\N llllACn ) MI2MX,
Ok>uUii <4J.4n,i , l./isiH>^
•} Kancm in j pwu,
i t.nro«ATh»s Mum I (■»«■«. M.Miir.rin
Viola ,U (virt. m a 1 tih^rM. odIniMM inrludmi
a rrrlo'lr ami 2 SarabaiNW »Kh Vmi«\ n- rr
None oIriKKal with any Ii.ie.| »U»ve. «
Ihi. <ollrt.hMi» in i|,e U S|,,
l>M«i t.Ml fxHUV Coilil IH>y
(If Some iiol.i xamU pine, ropreij (Wmm a M*
• nllrclih .1 in rolarvt. 2 ) Prehnle IW xn^a d.
X4ml.a.
lhai • Mumal Srxx^\ .a W 1912. b, |)r
lhH,il^rii,T'^* *'*' ^ U. t:. F
"“'wT“ x^' SW *
W illiam N ounx ’ <(li6>rJ.
\N Illiani Youmx ’ hi CoUeeied l-i»xx* (Oshrd ttut.l
pp. D-i«y8, • w '
YOUSSOUPOFF. Set Yi«i w?
YRADIER, Sebasiiio (i. Saucirgo, Alv»,
VO Jan. ifloo; rf. Vitoria, 6 Dec. 1863).
Spanish ci.m poser. He was very successful
with popular Spanish songs, one of which
Bi«i me<l tn 'CUrmen' with conskleralile
improxcniintt, for the Habanera in Act I
The key is the same, D mitior, and I) major is
also retained for the refrain. Here arc the two
strains as they appear in Yradicr’s song ’ F.l
arregliio ‘ :
i I ? -7 ? *7
.\ roller lion of iwrni^-fiw uf Vradirr's inoii
popular MUtgx with French words was pub-
lidti'd by Hcugi l uf Pans in ilki.i as ’ Fleurs
d'l.s|tagne *. But 11 was not from ihis ihai
Bi/cl had the luiic ; lie w‘*n»s in luvr heard il
sung ajMl I u hate iinagmesl 11 to lie a folk m rig.
On Jeanung his tnwiake he added a note in the
vocal wore of • <o»nwo ' ’ iimtaicd Irorn a
.Sjiainsh song", and acknowledged its source.
j. .s. p.-xT,, rev.
YRlARTC, (Don) TomAb dc f>. I eiit rilie,
lb heiM. 1750; rf. Santa Mjn.i nr. (i.idi/, 17
bept. i7rj|..
Sjiantsh pM'i and lom poser. He was
M'crrtary of the arc hi vci in Mail rid . H e w roic
poems under the anagram Tirso Jmareta and
comjwned s>mplMinii>. i|iiarieis, songx and a
” i^inodrama ", ‘ Gu/man el Inieno '. Hrs
chief work iv*t,a muwia’, a hpAnixh poem on
raii'ic puhhxhctJ in 1779. It » in irrtgular
metre and divitJed into Itsr cantew, I hr first
two di‘al with elerm^nis such as the noirs,
scales and ornaments, and with musical
expression in its sarfoiii hranches. In ihc
third, which treats of church music, the w'riicr
distinguishes ihriT principal sjsecies; ij; the
Gregorian, having r>o measure of time in us
five varinirs; i^j the .Mixed gr Florid,
measured b>' common or triple time, admiliing
of various cadences and ornamrius; 13) the
Organic, to sense cxicni a lomhiiiation of the
two former, in which Imih voices and insiru-
menu were einployrd. Here ihe writer lakes
wca^n to praise the .Spannh comiKxicrs
Patino, Ruldan, Garcia, Viana, Guerrero,
Victoria, Ruiz, Morales, Duron, Uteres, San
Juan and .Vebra. The canto closes wiih a
description of else examinatiiins fur admission
to the royal chapel, from wlilch it appears that
candidates were required to sliow proficiency
on the organ, violin, flute and oboe, and to
play sonatas ai sight. 'Fhe fourth ran 10 ireau
of theaincal m«sk: ihc shade of Jomimlli
appears, and afier assigning ilic palm lo Spain
for pure vocal music, to fJermanv and Bo-
bcm.a for inslrumcnial, lo France for science
YSAYE (Euginc)
and 10 Iialy for the opera, give$ a lengthened
description of the orchestra, of recitative,
greater than declamation, less than song
tvhich he limits to the compass of an octave,
and of the aria with its >'arioti$ graces, (he
rondeau, cavatina, duos, trios, quartets, etc.
Among dramatic authors the palm is assigned
to Gluck, whose rivalry with Sacchlni and
Piccinni was distracting the musical w’orld.
The fifth ami Iasi canto, which treats of cham-
ber music, contains a long eulogy of flaydn,
who is said to have enjoyed special apprecia*
lion in Madrid, where prizes were given for the
best interpretations of hi* compositions. The
poem concludes with a svish for the esublish-
meni of an academy of music. It was irans'
laied into French, German and Italian; and
an F.nglish version by Juhti Del four, who ack>
nowledges the assKtanre of Durney, Calleolt
and S. \\>s!cy, was published in ido?.
a. j. e.
IlcM.,— Si'BiiA. Soit. ' r.l <Amp<>4ttAr Itiaric v e) culiivft
•Id mdcliwo *. 9 toK (MftdiMl. if^).
YSAVE, Eugene (fr. Li^ge, j€ July 1858;
d. Brusseh, I'j May 1931).
Delginn violinist, conductor and composer.
His earliest lewons were gis'eo him by his
father, Nicolas Ysaye, when he was five, He
then joined ihe Conservatory of his native town
and studied under Lamiseri Nfa»<art (violin)
and Michel Dupuis (harmony), gaining a
second prize in 1667. Two years earlier he
had already made his first public appearance
at a small concert given at Montfgwfe near
Liege, but it cannot be said that his youthful
pcrrornianeos attracted much attention. Then
came two pieces of gomi (brume the one
in 1873 when he had the opporuinity of study*
ing briefly under NN’ieniavvski in l^rts, the
other in i8?6 when \’ieu:(iempi, aficr hearing
him play one of his concertos at Antwerp, and
being much impressed by the taicni displayed,
used ins influence to obtain a special lub^y
from the go>’ernment which enabled him to
study at the Brussels Conservatoire for another
three years. During that period he received
many private lessons from Vieux temps him*
self.
In 1879 Ysaye play’cd at the concerts given
by Pauline Lucca at Cologne and Aachen, and
made the acquaintance of Ferdinand Hiller,
who introduced him to Joachim. Hiller took
great interest in the young actisi, and after
obtaining for him an engagement in Oct. 1879
to play Mendelssohn’s Concerto at a festival of
the Gurzenich concerts at Cologne, advised
him to go to Frankfort, where he enjoyed some
fruitful intercourse with RalT and played Beet-
hoven's C minor Sonata with Clara Schu-
mann. In 1H80 he was appointed leader of
Bibe's orchestra in Berlin, an engagement
which lasted a year, in (he course of which he
gained his first experiences as a conductor,
after whkh (in 1 881 ) he loured in Norway with
Ole Bull's son as manager, and (in 1683)
played at a concert of the Paris Conservatoire
under Colonnc. He remained in Paris some
tim, gaining the friendship of his fellow-
citizen, C^sar Franck, and moving in a circle
including d'Indy, Chausson, Debussy and
Magnard. In 1^6 he accepted the post of
violin pf^essor at the Brussels Conservatoire,
holding it till 1897. In 1894 he founded the
Ysaye Orchestral Conceru at Brusseb, at
which famous artists appeared and where he
introduced many modern works, restricted
mainly, however, to the French and Belgian
schools. The same year he founded his string
quariet with Crickboom, van Hout and J.
Jacobs.
His subsequent tours were very numerous.
In England his 8rsC appearance was in 1&89
(in Bcethov'cn's Concerto) at a Philharmonic
concert. In ihe autumn of that year he
appeared at the Popular Conceru for the first
time, and in 1896 gave three concerts of his
own (one orchestra]), and another in 1899, etc.
In Feb. 1900 he led quartets at the Popular
Concerts (with Inwards, Gibson and Ludwig),
and ihe same year played trios in Queen’s
Hall (with Busoni and Decker). In 1901 he
brought from Brusseb his own quariet (now
Marchot, Van Hout and Jacobs) and Intro*
dueed several modern chamber works to
London audiences. I'hough the virtuoso cle*
mmi in hn playing tended to undue promln*
ence of the lint violin part in quarleu, his
readings of the greater works of the chamber
music repertory ncN'cr failed 10 reveal a
musical personality of remarkable iniemt.
Subsequently he gave many scries of recitals
and sonata concerts at Queen's Hall with
Pugnv and others.
America he first visited In 1894 and toured
there subsequently with great success, but
declined an invitation to succeed Scldl u
conductor of the New York Philharmonic in
J89B.
Until 1914, when the first world war made
Ysaye an e*ile. Brussels remained his
quarcen, where he was the centre of a devot«
circle of admirers and carried on his wofk»
teaching and conducting. He subsequently
went to America and accepted the conductor-
ship of the Cincinnati Orchestra In 1916. ovi
he returned to Belgium in 1932
aciive part in the country's musical life. He
succeeded Tinel as mnUrt de (hapfllt to the
court. _ |.
He played successively upon a O- *>•
Guadagnini vidin, a Stradivari of lar^
dimensions and late date and an excepiionajly
fine Cuarneri dd Oesit, which had been for
some years past hb solo insuumeni, me
Stradivari being kept in reserve for conoa-
geocics The latter was, most unfortunately,
YVAIN
3 C 9
YSAYE (Th^)
lose, lor it stolva Trora die arcists’ room of
a concerC'haU in St. Peiersburg m 1908. He
wa« the owner, it may be added, of a fine
collection of French vit^ins.
He composed many concertos for violin,
which remain in manuscripl, and published
>omc smaller pieces for violin with c^cht'Sira
or pianutorie, incluOio)^ $ Mazurkas, 0 |>. 1 1.
and a ' Fm’tnc elcgiaque', also G sonatas for
unaccompanied violin. .\n ojiera by him, in
ihc Walloon dialect. * Plere b Houyen *, was
produc ed ai Uvrc and ItruweU in
Y>h)c received many orders and decora-
tions, including that of the l.rs;ion of llorkMir
vv. vv. rev.
Bi»c, CiikuftH, I.nsuf. fH Of r.*r»Wi*
<t««tl«Vil, lu|l> .
'J.uKfhr Vvktr' l**<s*r 4 |>hHtwt (I
YiAft, AviiMNV I. Kau iM>t. * Ymw: k*»
l.ite, W’wrk Aii'l lhllu<m«' I
dcd. <rf |>l, *,ou. PiJiAk '<* . «W. </
Vfl. SoMaIAIi
YSAVE) Tb^o(pliU«) S ervit rs, a Mar.
•Obj; */. N’ue, j M.ir, iytd .
lb Igian pianist and cmnixivT, broilK r of ilie
pretedirig. lie siuthcd at the l.u*gr (a»nser>
vaiory, in Lb rliii under Kullak and in (H83 in
Paris \Mih Onar J ranetc. In lUlb^ h< bream**
piant>rnri<' pmteisnr al the (ienrva <a>ns<'T\a*
lor>. He aitaimsi eimsiilrrabh* skill as a
pianist and made a suttewriil liTst ap|icaraiite
In J/mdon at a concert of his licothec’s in lln*
spring of iBijG. Al laur tl.si.v he a|»p<ared
there in sonata itrogtaimnes ssith his brother.
I|< also touri'd widely elsewhere, either akme
or with Lugene. Sstlling in bruwH, he
assisted the latter with tin* manaics'ment of
Ills concerts and <levolt*d himself iv coin*
penition. but during the first world war he
was a refugee in l.ngUnd, and hr died before
ils ronehision.
Ill* works inch ide a Requ lent , 2 s) m|>l ion ies,
3 sympiionir pomes atKl a 'Faniaisiewallonnc*
lor oreh. ; a pf. concertos; |>f. jicl ; songs,
|. A. res.
YSORE (tsore), G. ?; J, ?).
French (?) ibth*ii*iiiujy coinixwer. He
wrote chansons, of which 5 were pulillshed in a
collection by Aliaignam in 13^5, followed by
later editions, tme in (iardam/s ccJItxtioo in
ifiriy stnd one In .^rcadclt•» ' Madrigal i* for 3
vokec in 131^. fc. s. d. s.
YSSANDON, Jean ff. Lciari, Arwfe, ?*
d. ?). ’
I* rend I lOth-cemurv theorist. He listed at
Acignon in the jialace of Clardinal d’.k/ma.
gnat. He svrotf • J raite dc U musniuc
prati<;ue, divis^ cn deux jiarties . . * pub*
lislK*d by Le k<*> & Ballard of Paris in 138a.
YtJPOJS !BN SULAIMAn AL-kAto^O
al-Medina,?; d. ?,<, 763).
Arabian musical historian and edinir. He
was the firsc to make a collection of .Vrabie
songs, together svlih an indication of the
melodic and rhyibmk nuKles lu which they
were sung, as well av to give information con*
ceming their authors .'ind composers, fit* was
taught music by Ibn Muhru, lUu Suralj, .Al-
Oharid and others, and hrst made n name
during the reign of Caliph Hishjm f7Zf-43)
and was at the L>ama&<us court ofAIAValld 11
1 743*44 ^ He was ilu* .lutlior of a * book
ab^i the Songs' (* Kiuli irbagh.ini '/ men*
lioned above, a ' IkKik of .Mchijy * Kit.ib
abiiaghm and a * Book <4 the Singl/ig-girls '
''Kiiab al'qi)an’i. HI* most fatuous pupil
was (brahim al*Mau>ili. 11. u, t.
B»u. -*IjKS<l«p««(lia Al IsUtn*, IV’, I.pvUpm*
LMtdw*!, ISO J .
Faiuia. i. , «4 .Vrjliijii AIusk', pp.
aj^a^ ij.ixi«4i. .
' a«nM<rs ul .VraLiAM Mmmi ', |) 14 lli^rsden,
YUSSUPOV Nieolay Borisovich,
Prinee k. .St. IVU Ti^lniig. iUj;; rf. Baden •
Bach'll, 3 .\ug. ilk|i ,
Rusw.i n I nu'H ,il ch lc*i Mule. 1 h s 1 ucl led 1 he
viciliu ssiih A'li'usiemp' and luaiiuaiiud an
..rtliesira m his palate. Hr was the author of
live iikoiwigraph '«n ihe siolm mliiletl ’ buchu*
monographic hisioriqu** < l r.ii'oniiec ’ '(ir»(
eduHKi. I racikl«»ri o M., pnriletl al
Munich; lilih I’ditioii. Paris, lloiihniire, n.tl.;,
a ssill*im*an>iig Ini I fauliy iw), dedltaircl m
IhTMU, illusiraivd with lulhuml drawings of
insirumeiits, winch are, ]K*rlia|K, the inosi
salualih* pait of ihe work, lb* ,ibo projected
a work eniiiled ’ liiN<oire d« la nunir|ue et tie
wm ateiiir en Kimir of w huh ihe lif>t part,
' Musique ucret* sihvir tPun choix dc inor*
teaut de chant d ’Ugh sc * Paris, idlij^ alone
ap|naf«*d. He <oiTi|Hnr,l a vi„|,n Conirrio
and a pfograrnuir >v m[>Jion> w iih a \ lolin solo
eotnled * <;rKiialvo de (lordovu hi he
|Kiblis)ied a R) sterna lie caiah^gue o| the
iMKiks tonialned m the Im^serial l.ibrar>, 81.
JVierdiu^. His ’ Anaixsf coitiparee dcs
cumpositiuns des siolinisies toniecnporains *,
announced fur pubJuaiion lu iH*^, never
appeared. Behoi wroie a wl of six violin
duets <m motifs taken from lYuice A'ussupov’s
• Ballei d'l.spagnr *J he* tliJr*page of the
later editions of his • l.ulhojnouographlc '
announces him as ” Maitre <Ioinj>ou(eur dc
fa Socktc Philharjnoni<|ue de Bologne, et
Membre hooorairr de IWcatlt^mie l^hllhar*
nionique de Sainte Cecik A Rome ”,
K. Il.-A.
YVAlN, Maurice (Pierre Paul) [k.
Parts. 13 Feb. idyij.
French emnjiosor. The son of niu'jeal
parenii, he w^nt to the Paris CAWscrvaiolrc in
• 903 and studied under Louis Diane r and
Xavier luroux. appearing sliorily aficrwjttds
A>^ wwei, M x^riog, (rAMsl»ln«t>wi«, )(>«iiAnM>«w,
Y,»ift*owfKrfr, Yim.|KrV, etc. '
390
YVAIN
YZO
as soloist at the Monte-Carlo concert. la
1914-18 he served in the French army, and it
was not until after the first tvorld war that he
was able to continue his musical studies. He
devoted himself to the eomposition of light
music and soon proved himself an adept at this
difficult art. His first operetta, ' Ta Bouche '
{1921), was acclaimed on all sides for its gaiety
and charm, and it was rollotsrd by the equally
successful * Li>haut \ * La Dame en (kcolleie
• Gossc de Riche ' Pas sur la bouchc
• Bouche 4 bouche', ' Un Bon Carbon ‘Yes',
‘Ellc est 4 vous\ ‘Jean V', ‘ Kadubec *.
‘ P^pe ‘ Encore 50 centimes *, * Oh ! Papa
' Vacances ‘ La Belle Histoire * and * Au
soleil du Mcjciquc *. His ballet ‘ Vent ' \ras
given at the Paris Exhibition in 1937.
Like Aadr^ Messager and Reynaldo Hahn,
Yvain has shown in the best French tradition
that “ light music " can amuse, delight and
even incorporate the characteristics of “jazj’'
without thereby losing dignity or failing to
deser\*e the name of true musk. o. s.
YVROGNE G0RIUC£, L* (Opera). Stt
GLtX^K. LARUETTe.
YZO, Pierre. Set Iso.
z
ZABALETA, Nicaoor (A. San .Vlia&ii.in,
7 . 1411 .
Bascjui’ harpist, Hl* received hi$ earliest
music Icsyms at San Sebastian, olaainrd
further instruction in Motlrid and finaJI)
perfcctcil hiniseir in l*aris ssith Marti I
'I'ournier fharp^ and Iluernr (a»oK (cocnpmi*
tion). fn 1034 ••'•i •‘»r ,\mrriia, havinj*
already toured the L*.S..\. as well at the
Latin*American re|Hihli<s iruny iirnrs. He
ha% made hmiself a repuljtion in Kurofie and
Amrriea us an can'tundini* siriuoso leaser
ihonjushly cunNcisani v\jih the restnirec-t of
ills insirumeiii,
/alialria espi’Mally uiens ai rnakini^ knimn
Anti rniurKiiiR do* original rrperinry for harp,
he mrevses the iin|>orirfnte i 4 harp music
ssritleti l>\ liii* S|>anish and i\*rluR«>«'sc
lOtniHisers of the ihilt aa<I i;ili rminrni atwl
als<i eoriti rns luinst ir ssith the revival of ihe
.driiost forRoiten original <t>tnpo»ni<>os for
harj) In masters Uhe !« lomaiin, C. I*. !>;. Bach.
Krumpliol/, Spohr, Iheihmen, Riisi. Dussek,
\ iotii, ete. ^urlhrrRKm^ he stitiniUies eon*
U mjKirars totntxnrrs to urite Rood inusie for
his insirumeni. J hanks to his efforts rrun*
t>o«n hkr (iinasirra. AmenRual.
I.rnma, KiH|«df<> Halffier, I'egRy Olanvlllr.
Mirks and (Wniainr I'adlef* rrr have made
inieresiinR rontrihniions in the liarp rrriertnry.
At Zahaleu’s mpiest D.irhrs Milhaud aiKl
.)t*at|ufn lltKlriRo are rath ssriiimc a Ctmrerto
lor harp and orchi-sira . whiJe Salvador
Baeansse has liiiisherl a ‘ Kuntasla antialuza
also (or harp and onhestra. /alialeu has
also edited a $eri« of slastiial works for llte
harp. j ^
rf C«aar« d« (*. Cremona, ?;
1 1 a I lull I <i 1 1 oce Rt ory < omposer. He lived al
Munich alxnit lyto. In t ',94 he si.Rns from
’ Sthera " i.Srheer] on the Danuljef where he
ssus proha hi y a I the court of IVincc Henrv of
hurMeril)rr|f. J|e trim|wd caoconetle ftir 4
V oiees ( t.c,t)o] ; • I'airocinium musices', hymns,
Mms.eu fi5op, hymns. 5 v. (j^) ; and
lahurdens, liianies, etc., in collective volumes.
ZACCONI, Ludovico (». Pesar^ ti June
* ' htorenzuola, Ps-saro, 23 Mar. i0a7J.
I a ha II thwwui. He spent die Rteaier part
of his life at Wnice, uhrre he was admitted to
the pru-st hood, received the tonsure as a monk
of the order of St. AugtMlne and nffieiaicd as
>n<uffrt> di ce/r^//« in the great church Iselunging
!? I. ' 50 a he was in the service of
\Nilhelni, Duke of Elavaria, as »w»i<», and in
•5D3 1*^ tnviicd to \'ieitnu h> the .Arch*
duke (diaries, u*ho made Jiirn his KBfKlh><iiUi
years laler. In iCiff he relumed to
Wnke and devoted himself 10 the compleiiuii
of his great ibeoreiical work, I he first porn on
of sshtcli was pu Mi shed Iscfore his d<*pariurc
to X'ienna.
Tlic work on sshieh Zucroni\ fame is hused
is emit let! ' l^ratiica di musira mile ci neces*
saria si al comjKr<iior<* , , , si aneo al cun*
tore and is dedicated to " (iuglieliuo (ionte
Palaiitio del Reno, Dm a ilell' altu e hussa
Jhaviera”, etc, 'Ute first part w as puhlishnl at
Veiike in t;,Q 2 and re|>fimitJ m lyih. 'Ihe
second pan. also printiHl at Wnice, first
appeared in iCin. The com rn is of the work
aredisMJnl inio four Ixwiks, vs hen in the treat*
nwtit ofeonsonant uiid (hssoi>,sni progrevsions,
ihetompHcaiiwisofnKMle, ilmeand prolaiion,
1 1 le la ws of nwftn fx/m, wi 1 )i ina 1 1 1 1 i ke m\ . 1 er ies.
are ex(dainevl with a degree of hicidiiv for
which MT s« k in vain in die works of oiju r
throfriK al writers of die |kiIv phoim jxTiod •
the ' Dodccaclmrdon ’ of (;l,irc,imis and (he
• Muskar atltvae Mkrologm * of Ornitlio*
parrus alone exee|>ied. It ma), imleed. \k
confidrmly asserted I ha I we are indehted to
tlwse twv works, in conpinction with the
* l*raitica di musica ’, for the most valuahle
informaiion wr (misscss nn |}||^c suhjects -
infonnaiion. in theahvrncc of which Josquin’s
‘ Mis^ dkladi ' an<l |>ortioii< even of P,t)es.
trinas *Misva I’ltornme arine', to >ay nothing
of the enigmaucul canons of ihe earlier
Flemish schools, wxmld Ik* *|uiie iindccipher*
able.
The eon ten IS of the ‘ Pr.tttica di musica '
arc as Ibllows :
L4*. t. So diAfMfrt
mj. OiswtuiMXH on ihr ociein aiol liuiory <4 mu'M,
•nicr>f9rrsnj «iih <lrlin«u«>io ami uiIitf mirv
4 l«M(<w maiirr n<i crcAl wacorjl udinv.
t|. I he liaanhiuc haiHl
»V hfucet ai rxxaiHA.
M. Ihe tus« of five him,
»t. 11 k <k<\, of •hxl* Kve«al f^nns are civcu
aa-1V Meawee. mne aiMl satiinn li>rno of rhsdimic
«lisis«« lakKra, M/M t i 4 lUta,.
r».n* uUf. bevKNMMc Che acol
e«Jinf St , 11 . ihf
Time tnmaOKr*
a«S». r-fav m tmwral mi cwulh the Duiiii t>r
au«mrnuiHHi.
rvtw l.•ralyt«3 in cmnmMt use lottards the tluse of i)i«
I tub ceniiwy.
47. Kesu.
4^49. B mM mkI 0 fMiVa,
Dkms.
51. Sswcmk,
SS-S5- ConahWilwn of wiain OinKulurs imirvectcd
«\(h fiKiwn pressotAly Jiwiw^l.
4 ^', 7 . I iiK K and the JilTrtcia »avt of tineiiiu ii.
301
302
ZACCONI
ZACH
59-66. Rule* (0 b« obKr.^ by tincets. illiifttratcd by
many rKampIn aix) fxerchn and
)i$h( upon ihr ruin of r«Ma ifims fmmsiea
(he Tnanaermrni of complicated rhxhntic
comb»na(iom and other ni>'Mrrin.
67*71. Duties of (he m 4 *ili 4 A cep^rtfa and smgm.
79*75. N’ilianella and canaonetta.
74-do, Quabfirarions of singers and con^osen.
Lib. II. sd chaiMtn
1*5. DilTereAi tperies of mood, lime and prelaiMA.
6>7> I'einU ef division, alteration artd perfecsiea.
d' Prevalent errors in ihe maiieror peefeci liane.
0*37. Mutual adaptaiioA of mood, time and prolalion,
artd ditFerent kind* of prepociion,
38. Examples from P.slestnna'* * \(i«sa I'homme
arriM * in illustration of ihe (oeetousi ehaptm,
with full Jireciinn* as to (heir mode of
performanee.*
39*(9. Continiiatinn nf ilie same subject.
Lib. III. 77 chapters
t*77, UifTerent kinds of proportion.
Lib. IV. 56 chapters
1-37. 1*he turU'e modes.
38*46. Iti'trumental musie as praetiseci durkic the taiiee
half nf the (6ih errttu^'.
47*35. Tunine of musical mstruinents.
36. 'I'aUe of instruments,
[ft the first 37 chapicn of the fixirih book
Zacconti in common with all the
rciical writer! of the polyphonic schno), admiu
ihv use of 6 autheniic and 6 plagal forntt, and
no more; and. not content tsiih expunging
the names of the Locrian and Hypolocriaii
model from his lt«i, he expunges even their
numbers* dcicribing the Ionian mode as
Ttiono XI and the Hypoionian ai Tuono
X(I. C^hapters 38*46 are especially valuable
as deK ribi n g t he com pass and ma nne r of using
the various orchetiral instruments as written
for by Peri, Monteverdi and their immediate
successors, in their early essays in opera and
orainrio. The table o( instruments in the
cone lu d i ng cha ptc r ex h i bits on a grea t st ave of
eleven lines the compass of " the instruments
which arc usually employed in snaking em-
tirti They arc as follows :
Oirnrni. bUnchi li ncfri, t i«a"
V'inhnt. c M V*
1 yilsri.
Dolisinr.
(lornn inrio,
(•*m«muti torti.
F*C<Hio chorht*.
Trombone,
Flouli, carUo,
terxirc,
bauo.
Viok, canto,
tenerv,
liavu,
Doppioni, baMo.
CAfltO,
tcnorc.
dio d"
c (o d’. or r'. f*
e or d «a ir'
r lor <**•)
C to b
• to A*
*(• r
c loa
Plo b
F toe" (? Aio«'>
I> (O A*
c;, 10 d’
<’ i«a
tod"
« lod*
{r.r. CAmriKi mute ond ordinary : vMin — hr mmtMnt
in Adiliiion (hr rarer of two lowrr mrmbrn of thr eMm
or iiWf dr From# fAmily. the imoc {romixM^ F *0 a'l ond
(hr b««« fft?. 10 d'l. Iioth. likr ihr vmlin. hovine four
finrtjrs luncj in firtht. ihe top note brine thol pivm by
Ihe liiilr hrierr in thr first posiiion on (hr hichr«t Unmt ■
nrr iransvrrsr dui^, ihrir compou brine ti
vrntionsllr «rl down, like ihal of ihr merdm, an
oeiAve hrlow the rral •ouml : eW^oiar h»\'e not brrn
ifleniiiiesl (ut Siiawk. Ill]; rerao OMr n ihc irnor
* With tlir aki of Zocconi's rxsdanallom Bumry wot
ahir lo wore thne; rrr Durnry, ' Exumu’. B.M. Add.
Mb 1 15S1.
conwti. gjting thr low e if provided with • key : <«fM.
^ «em Ar« probably crumhorru. and as in th« toxt
Zaccooi sayn that they have only the nine notes from
c or d. the r in thr (aU« ntay br a misprint for d' :
besides the ft**** c4arii(a Ik mmiioru ib« eustrnco of
bofffcr and smaller uces of ihe early bassoon : (he lowest
note of ih« irembonr is not sui«d; (he pilch of ilie
lr««ordrrsJ h civen in the usual i6ih*ccnlury
ushroii. an octaxY below the real sound ; ih« curiously
deep Innings for the viob are also given by some other
eartv wTitm. while Zarconi's preliminary rcmarla show
that ibe eompas of (he com* is set a third too low in ihe
sable, perhaps due «o the omiulon of a clef i 4tpimi are
woodwiivd imtrumenu of which notliinc furiher is known,
other weiten tnereh’ repeating Zacconi).
The foregoing synopsU gives but a sUghl
indication of the value of ihc ' Prattica di
musica \ which supplies information on every
important subject connected with the music of
the 16th century, information in many cases
obiainable from no other source. The work is
now extremely scarce and costly ; complete
copies will, how cv'cr, be found in the B.M. and
R-C.M. H. s. a., adds. a. a.
Biol. — Ku»kmuaii, H.. * L. Zacconis Leben auf
Ofund seiner Auietxegraphle * (j.M.P., 1910).
Variriai. P.. * NotiiKM la vita r Ir opece <11 L. Zacconi '
llksaro, 19131.
*lJn imiskiKa pesarew ncl secele XVI* (Belogna.
19131.
ZACH, Jaa (Johann) ((. Ccidkovice nr.
Prague, 13 .Vov, i6<>j; d. >, ? 1773).
Czech eompoeer. After haxing received a
good initial training in musie it his birth*
place, he settled (probably in 1774) in
Prague, (vhcrc he worked as a violinist ai
St. Mariin*in*thc*\ValJ (under S. Urixi) and
at St. Callus in the Old Towti, becoming at
the aame time a renowned organist. He tvas
deeply influenced by the high standard of
Prague's musical life in general and pariicu*
larly by Cernohorsky. In 1737 he unsuccess*
fully competed for the post of cathedral
organist at St, \'itus. Lmbitiercd by this
failure he left his country for Germany,
where he was appointed conductor of the
^n<e*elector’s orchestra at Maine, succeeding
his countr>*man Jan Ondriick (Ondrawchek)
in 1745. He visited Italy in I74^> *
short visit to his ©(x-n country in 17471
on temporary kax-c owing to a mental
collapse in 1730 and lost his post on haxing
become insane in 1756. The later cx ents of
his life as well as the date and circumstances
of his death have remained unknown, DIa*
baca*s siaterrwnt, that he died in the asylum
of Bruchsal (Baden) in i773* ** incorrect:
there never was such an institution at Bruen*
sal, and Zaeh's name is not to l>e found m
she death registers of that town.
As a composer Zach is a highly lnd«vidual
master of the prc-<lassical period, passionate
and fanuxtic in his early organ preludes (3I
and fugues (*), surprisingly vivid and magni*
fkently wal in bis later church compos) uons
(16 masses, 2 Requiems, ‘ Slabat Mater ,
etc ), and paoicuUrly Interesting in numerous
imirumenial works of various kinds (s>m*
ZACHAREWITSCH
y.UX'iR
phoftif^, divcrcimmii, elc-). ''b*‘re his mink
is pcnciraicd by chr spirit of Czrrh folk
music. A clolHilcsl list of Zach's prncncd
compositions appears in Konmia's mono*
graph txrr Bibl.V r.. t.
BiBi. Kokm a. K. M . * Jobftiw Zac h nod u* Ivi U*
»<hrii Nfiiukrr nn deuU>lwn Umbcucli det it.
Jdlithufxlcru ' i'jsSi.
ZACHAREWITSCH. Se< Zakiiahevich.
ZACHARIA. Sf< ZaC 4 .ajiia.
ZACHAU (Zachow) \ Friedrich Wil-
fa dm •». Lripaig. 19 Xov. iCh3; tf. Ilallr. 14
.\ug. 17121.
fknnan organist and composer. Ihs failirr
seas StA<ifr»uuiiis at Lciprie. Cndcr his direc*
lion Zachau KarnpcJ lo plav oft many of ihe
instruments then in use. indudmg siolin. ulsoe.
harpdcliord and organ, devoiing los chief
aiu iuioa lo the last tiso, on vshirh lie aiiaiiictl
gri ai prolicietKV. When Ik* uas al>oul ten
>ears old the ticinily rensosed lo l.iUnlnjn^i
iK'tsseen Halle and Ixiprig, where he con*
tiiiucxJ ItK studies. In il>fl4 he was H.Mrd
orKanisi of Our l.ads’s Church < l.ieUraueit*
kircluv at Halle.
Here it i| Mai ||s^ .Utile's ariouni is tube
irusied. I hat H.iiiiM washes! taken iv Zacliau
for instruct mil in miwic "while lie was sfi
under seven years edagr**; that is iosas,s<>nK’
t i m«« Ixfore 1 1 ir e iid of 1 U,a 1 Chr > so ihJ< r |>|a< es
the cscni a liiile Inierj. ‘llx* circuinsiatsces
w’hirh It'd lo Handers being placed uikIit
Zac hail are narrated elsewhere.* There can
l>e no doubt that /a<hau tu<A great interest in
hii pupil, who, Mairiwaririg lelli us, " pleased
him so iniith lh.*)i he never thought he could
do cm, ugh for him '. I hat the child was
placed under an riceelirm ami thorosrgldy
ronsciejinoos irarher is indeed coftMiMinglv
ihowji, Innh by Main waring and Ibe
formcT savs :
/♦<h»y KjiI a tarae of w «Hi *s
l.ennan mysii, ||r hiv ih« itihttut
siytr^ ol ihibfm nyi •.*» >. ,U shtrsw
Ucjcli tMttuyljp *vi(^; *,,1. h* iniehl c«MaRv
•>UMCf IK Urf k«wKs»iC»*se iMin
In HOfb, Mmt mA<k km iapY. »«l Mv. UrI
m l.|s Ami /*«kjy h*. tC «< an
ow'itunt •Jiy. Ii> loi uiKi«mf»A uknw. nai csMbk sf
««iprlsiM« his p|j«F Ite Has ifKliltnl In te
AlisFni. Ii inj> iF«m ucante *0 UA >4 mn »*«Kia«>i ni
Kvfii of *cr. Bui .1 wM appear mmh Ufa^er
•hat Uie iinse Kf Has mne Ik bFcan |.. («n|H>K ih«
UiMt.li SFfvKe f.K s.iKcs ami inutunKnu. aiul frym
U>j« lime a.tya 1 l» sliil tnmpww a sersKF et«v Heefc
lor ilirpp >F,ir» >Mi(eu<VFlv, ’
And in crinRrmaiion erf* this account C:o«e
describes n solurar, formerly in the poisewion
of l.ady Riwrs, da led :6o8, signed C. K H
and filled with transcripts, in Handel’s hand-
writing. of airs, fugues, chonises and other
works, by Zachau, Frohherger, Kriegrr, Kerl,
Sc 110^4 her. Sackau:
* Ma<*i...tine h*»
Deth uie Hrane.
' Sc/McsuH.
*7W?
Heinrich AUxeri, Kbner, Adam Sirungk ari<l
other composers of the t^lh century.^
Handel alw’.*t>'S spuke of his old inasier with
ihc drep«i resprci, visiiwl him at HaiJo for
(be ]a»i time in 1710 and alter his death sent
*' frequent rennt tames *' to his widow. 'I hcsc
l<»kensofesii‘i*ntdid not. I irw\ ever, prc'M'rve tiu*
memory c^f /athau from a trm l ii'|M r>loii,
which originated io this wav : Job Him ( Chris-
toph lA'poriii. orgHhisi of the Domkin he /ur
Morii/liurg Jl Halle, whs dismissed from his
oflice in 1702 on account of Ids dissolute life
and iM*gltet of duly. Handel, then seventcrti
sears td age. was < litnt u to fill Ids place, .\fier
HandiTi death ids bit^raphcrs Aiirihuied
iH'iuicms misdeeds m /a< hau, actU'ing him of
ifn’gidanurs of w hit It he w ,is w holly iiin<K etu.
(SirNssandcr traces ihe IiIm’I to its source and
proses It to Im' unloiiiKlecl.
Hit llerlin l.ibrary jk'ssi'sm's a large coliec*
lion o| Zaeliau's composiiioiis. eonsisiing
(Wini ipaJIv cd* nunusc ript < hur< h i.iniatas .wl
pseces Aie the organ. Some fragments were
printed Irt C:hrvsaiMler and ^\ iriierf< Id, \ Iw y
are tnrt works of genius, but their si\)e is
lhorcH»ghls music i.vilv and marked l><*ib by
gcxri iHsie ami carneuitess ol purpose, .S
eocnphic rdiluin of Zath.tu's works whs
iKoughi util in \ «*|s. XXf ,ind XXH <*l ihe
H.l>. I .. edited bv Mhs; Seilferi. .Nn iruc're»l*
ing Mass, oil die tlHUue " Cbfisi ].ig in I tdcs.
bamleii is assigned lo " .N ikolaus /at hau "
in the eo|>> in die Uerliii [.ibr.irv. It h
aerepird by Seilfert, but doubled in Q.-I.,
vv. s, R.. rev, s. n.
tkil Nc«WfcV,\>*CM», T W. llr.IrKClHil
iMf pcotewjuiiHlK KirslKiittiMok ' ••Ibimlrt-
IrNiHtKH* . MpUe. osiV'.
ZADARSKI, ? A. ^ 4/, ^ .
Polish i 7 tU-jHih-renliiry com|>o>c>r. He
was a nicuilx f of ihejrsuil clia|»el at Oaeuw.
ihe .nvenlory trf ilint cIu^mI me cm oils his
l.iianiRe n C 10 .St, Stanulaw Kostk.i ‘. He
died some time after 1 740.
. r:, R. II.
ZADOR, JenS (i.e. Eugene) fr, Ibuaseck,
5 .W, 18931.
Hungarian comjKwer. At the age of six he
began to play the pianoforte-, anil at tliirtecii
he made hi* first aticinpis at coinposiijon.
His S)'slcmatic musical education siarled in
1911 at the V ienna (ksnscrvalury, where he
studw-d under Ricliard Hcul>crg< r: aftcT two
yean lie left \*icnna fur I^ipeig ami continued
hrs studies with Max Rrger. In addition hr
studied musicology under Hermann AUti.
Ar^ Seliering ami Frit* VoUiach, and ho
took his degree at .Stunstc r with tlic dtssrrla-
tmn • VVesen wnd Form d<>r svinphonisehcn
Uiehtung ^-oft Li«i bU Strauss ', In 1921 he
was appointed teacher at tl>e New Conserva-
tory in V ienna ; in 1933 the tide of “ Jionorary
* Set (Mhcmiriit, * Ifaodel •. p. aS,
394
zAdor
ZAGWIJN
professor” w»s conferred on him by ihe
Academy of Mu$ic in Budapest . His piassoforte
Quintet was awarded a State Priae in 1933.
He settled in (he U.S.A. in (939 and since
1940 has been living in Hollywood as teacher
and composer. His music for films and
broadcasting is much valued.
Zddor's work demonstrates convincingly
that the possibilities of (he tgth-ceniury idiom
are far from being exhausted. His methods
are no more advanced than Richard Strauss's
or Nfax Reger's, >*et his uninhibited approach
imparts a convincing sponiarteiiy to his
compositions. This is particularly evident
in his instrumeniaiion, where brilliance rs
achieved by balance of colouriulc factors and
robustness of (one. In spite of the full dynamic
range of his orchestra, his pari*wriiing for the
individual instruments is essentially simple^
free from experimental exploitations of (he
extreme ranges. He does not admit folk-
music elements into his national idiom : his
klungarian ihemrs he confesses to be his own
Inventions (excepting that of the Variations
for nrchrsira on a soldier’s song, extremely
popular during the lint world w’ar). It
should he noteci, however, that he employs
the Hungarian t^rogaid in the scores of
’ Ungarisehes Capriccto ' and ' Rhapsodie *.
He shows a predilection for dramatic music,
at It shown by his relatltely large number of
operas, His composiiions include :
OPCRAS
|)A-I. UiMUpesi. Ret si HwofarUn Opera.
IVc.
* A hiilisk «»ierir ’ i* Tt>r UIsihI of (he Dead *). bbeeue
bv Kerl (irorr /w«ten»>. t mu (199)). prod.
Diulape^i. Kr»tal MunesosM Opera, sp Xlsr. 1998,
‘ t)<trMr<t«<KeM« l.twAchen ’ (?),
* X*in.il KemhrsnOt*, lib. by K. rjtfFv-Wankk. i m(
tiDJO).
' Rcvjvjf • < 7 hb. after 0 «>ceV* reosedy) ( t IMS).
*Acrs’ (lib. hy Lrnd hjrpi, prod. 0 vdspesi. Royal
(tuMcarisM Oprrs, itfVh. 1936,
* Chmiophk CedumbMS * Mib. by J<n4 MohSc^l liM9)>
BAI.tP.T
' A « 4 >pembrr ’ <‘ Tlie MocKtne<hf«n ’) (1934).
OKCKi:srRAL tVOFKS
‘ Bsnk ban lymph. porm f» 9 i 9 *.
* K<ynanu«(lie Sympl«nnie ' (ipr^).
* Kavcliiiiei (SiMie ’ (7 1998),
V'onation' on a HunesrMA Fnlk«,nt 1 19^81.
( 'Samber C^wnrcUn fur slffi.. 2 horns li pf. l> 99 o)>
* Khsprodir ' (iMut.
* .Sinrnria irrbnico * (I 9 SI>.
* R,iA<lr, * f ipyy}.
‘ Uncaritchrs Cenrirrio' (193$).
' ranatvn)pt»nnk ‘ (iS'jb).
* I’arsnwIU'Vherro' (i 940 >.
(>bilil>rii'% Symphofiv * lAe 1 1 ,
* B«blirsl Seenet * or * DtWical Trlpuxh * ^194*.).
* HannrJe tvmrb. poem after Cerhort HanpUnsnn.
* OrcheslrAi bUKties/
' .Srr^niulr.'
voice AND ORCHESTRA
i Sona*.
CHAMBER MUSIC
Quintet for « vns., «ioU, cello R pf. f 193 ) 1 .
SONGS
• ’The Lonely VViylirer’ ((943;.
Abo (. JO pf. piece« and r. 6a sinsle aonfs
J. S. W.
euayainMiuicsIAjvalysij
VoL VJ (OxA>rd, tpJo).
ZADORA> Michstol (Miebal) (J. New
York, 14 June t$8a ; d. New York, 30 June
1^6).
Polish'American pianist and composer.
He studied first tvith his father, then at the
Paris Consen'atoire (1699), later under
L«cheii*ky and finally under Busoni. He
bc^an his pedagogic career at (he Lwdw Con-
servatory in (910, and after two years he
returned to the U.S.A., where he became
teacher at the Institute of Musical Art in New
York. He used the pseudonym of Pietro
AmadU.
He wTOtc many pieces for pianoforte (Pre*
ludes. 'Kirgiz Sketches’), as well as iranscrip*
tions of some organ and violin pieces by
and Buxtehude. c. a. h.
ZAPR£D, MaHo (k. Trieste, sr Feb. (939).
Italian criuc and composer. He studied at
(he Consers^atorio di Santa Cecilia in Rome
and under Piaaeiii. In 1949 he was appointed
musk critic by the communist piper ' jl* Uniii '
of Rome. His most important works include
the following :
* Coax te rarntninaui wH’ erbt lailiati dl frriro
hh< tuNc (m aAlo reciier. rlioriu R anii.
’ (It banfoiiM " (Unta drl (krw ” ’ fo* arch.
'IV binfeniA in orwre dell* ReiiuenxA * (Venire,
(aienva;. Fniival, I9V>)>
* Cahm della pace *. pV**** rewr'MWr for vieb A arch.
Scrinc Quarteti.
'no fee »ii,, eelto A pf.
CoAceno (or s pfv
In his latest works he follows the tendcncin
of the Soviet musicians towards music designed
for wide popularity by means of facile melodic
lAN’cntioit, clear diatonic harmony, etc., etc.
0. H. G>
ZAG^AL (Instrument). Sff Babyloma?'
Mi*sic.
ZAG6 rSK 1, Wawrsynlee (k. ? i y. ?)•
Polish i8th-centur>' composer. Hit wered
compositions include :
' A4 Dominixm eym iribuUrer.'
* Ah por«'«i2e.’
* Alma Rad^piom Staler.' ,
* BoSe w oMboeh * (' Domlne In ptfvirM h
' Chritto vktori.* . ,,
‘ C« ife 4tieie 7 ‘ (‘ Whai ir Kappenine ? )•
* Jak ieM ’ (* A* an ban
' Immu* u( palma/ C na.
* luvm pranidiuv).*
* Vemi Crvaior *. A ma.
* Veai Creaioc \ C ma.
All Zagdrskl's works are lost,
c. R. M'
ZAGWIJN, Heori (k. Nicuwer-Amstel nr,
Amsterdam, 17 July *878),
Dutch composer. He is mainly sclf-caugn*'
In (916 he was appointed profrtsorofcompoti-
lion a( the Toookunst Music School,
dam, and in 1918 joined with Sem Dfcsdr"
ZAIDE
ZAI^AI.
305
and Daniel Kuyn^nan in (he formation of a
Society for niodern Netherlands composers.
Since 1031 he has resided at I’lic Ha^c and
has been attached to the Ro)’al Omscrvaiocy.
Zaiswijn is remarkably original in his general
ideas of composition » though not uninfluenced
by his contemporaries, most rKxably Schocn*
berg and Debussy. In all hU work there is a
htieness and delicacy which bespeaks a niiitd of
exceptionally sensitive feeling for vocal and
iitstrumentai nuances, and even in the most
elab<»raic of his scores every instrument has iu
indis idual signihcance. Hr has been kecrtly
inicresied in anthropology, and is a Ufower in
educational matters of Kudolf Steiner, for
whose studies In eurythmics he has written six
volutnes of* Muslk rur k.ur>(hinie *. He has
aho written books on ‘ l>c Mu^tlek in hrt Ikht
der .knthroposophle’ and * HedendaaRSihe
siruomingni in de Mucick *.
Kis compositions, which ace nunwruus, are
in many varied fortns but he is most smiessful
in cha(nl>er musk aixl songs. S<kik of tliesr
hater have unusual aitompariimcni^, noiaU)
a series for soprano with harp, (lute, siolm,
viola and cello. A string Sextet is for 3 s ioliris.
viola and 4 cellos, the treatment of wlmli is
typical of liLS work as a whole. A seuing for
sliorus, solo vokci and orchestra of (;oeihe*s
’ J)er /.uuberIchrlinR ' dillers rH>i only |» h»rm
but In eueniial character from Lhikos's pi>pular
orchesiral work. Otlwr impcwiani works are
' hanta'ic’, * WlJJIngsmeht * and 'Opsian*
ding ' for orchestra, declamation of clioruses
from V ondcl's ’Jcjihtlia* and \>iWe's ‘ I he
hallaJ of Reading Gaol * iin Duu h •, a number
of sullrt for wind Insirunwnls, many >ong> to
Dutch, Frent h and German words, aikJ other
soU) world. I,,
Oiwb. -IUac. W.. • Kpnn M<i.» tu welyshr',
lot#/.
ZAIOE (Oj/cra). Stt Moz.vai.
Z A IRA ( ( >)Kra ) . .Vrr Bi li 1 \i. \\\x 1 1 n.
ZAJC, Ivan (Giovanal voo Zayti)
Flume. 41 Jan. (834; d. Zagreb, 17 Dec!
"J' 4 )-
Yugtolav (Croatian) conductor and com-
ixiscf. His father, a Uandmasttr in the
Austrian army, gave him his first musk
h-xtons and later he studied wlih Uuro Rossi
at the Milan Conservatory. He lived
suciTssivHy at Flume and in V ienna, and ii
was at the laiter place that he adopted the
Germanised form of his surname, which in
lhai language repn-seota the Croatian pro-
nunciation of his palronymk ; but what
reasons he had for the Italian form of his
lorcname and for the prefix of nobility is not
known. In ,870 he removed 10 Zagreb,
wnerc he was appointed director of the
Gonien alory and conductor of the theatre,
/,ajc was tlie first to compose operas to
Croatian hbrvitos. of wliich lie wrote firieeo :
die Ixxi*
(jssla II
that r/»r
b.iscd nil
via.< pro-
J he innsc
but he also set llaliait lil/rctim.
known l/eing that of • ,\riiclid.
banditio an afeen d version o(
Mrreadanu's ‘I hrlgaiiti ' li»3h .
Schiller's * R.iub^r ’. 'Hus opera
duced at Flume on 14 .\pr, i»(»o. «.
loog-livcd U die Croiitian o|M*rds h ' Nikola
Subk /.rinski \ hdicd on *lh<xfdnr Kor/uT'^
tragedy ‘ /riny *, which a national
wi*rk. It wav prodmed ai ZaKr<'h 4 Nov.
1876 and revjveti for die oprnmt> of the n« iv
National 'fheatn' thriX' (.11 ij ()<i. 18^3.
Zaje also wr<»ie i', Gmnaii and Ooaiiaii
oi«frua«, an oratorio. ‘ 'J'he Fall of NUn
tluirch muvk, s<>ngt, etc. a. 1..
2 AK. .Sc it vcK , Di M 1,1 K r ,
ZAKHAREMCH ’> Michael ( 4 . Ourov.
4 h ,^og. «87‘>; fomihm. 40 Urc. 1053*.
Uiii»h uohnist «>f Kiouan hiiih, ,\i ihe
age of iwrhe he made an <xir.-ior<linard\
vutc«'>du1dehul ai fhlcsva un<h t 'J'( hA.knvvky ,
wlw/ coiKliKied hi* own (:<>n(erio. ,\* j <on*
wxpierice titr composer got up a «ul*s(rj|Mi«jn it»
wild the Ih»n (•> rr.igiir, whrre Im stndkxl for
iiMM* sears under i>r\iik. lie h.'id al«> ihe
a*! vantage r»f a feu* l('«<.oiw from ^N,iy<' in
BrioveK. In i0f|) he plajed in .\tiivt* rdam
utKler MefigellxTi' and ui i<»o3 g.ive In* hr*t
reclial m Umdon, after wJii<h lie ml the
l.nghdi proiinciv He n lurtitxl in ,i/i<l
later settUxi In lAmdon. Ixxonihig a n.itiirah
krd »fj|j*h subject in MJ15. Fur m.my Near#
/akharevuh plased with siicrets. di'phiv ing
considerablr lirratith nf style. Hr alM» <0111.
p«rd and publisluxl many violin solos and
wm^kcsi his madilng in ' J he .N« w Art o|
> lulin Having *, in whltli he exj/ounded a lu w
theory of lmg<*ring. In uijy he produced
a dewriptiie violin comerto, 'Dunkirk-
ZAKKAL I Instrument'. .Yer RABYiaviAv
Ml SIC.
,, k‘ «'•»«'* h'ke.Clii^ifk.kj
I | 4 .» . . IruKM
ZALZAL <Znl2u]) or MAN$Cr ZAL-
ZAL AL-PARIB < 4 . >; / Baghdad, ycji/,
Arabian muvu ian. He wa* a famous liwtru-
menuhvt, hence the name " ahp.irih ”
during the early 'Abbawjd perirKl. Jsh.iq ah
Mausill testified that he had no ecjual as a
lutemsi. and in the ‘ -Jtid ahrarid ' (lodi
^tury) it is Slated that he whs ' the most
ple^nt of the string insirumeniallM* '. He
isabo known m Arabian mudeal hlsiory as die
inventor of a '• perfect luie '• called (lu* 'liZof.
supirsedcd the Persian lo(c
tw hi(hef(o. I Is shape was probably like
that of the Pwcugueso mathUe, Of even
greater importance w« hi* rcfori nation of die
Kale no the lute by mlfoduclng a neutral third
(« : 27 ) the major and minor third,
sriiirh was still known in the i6th century as
—
39 ^
ZAMBRA
2 AMR
the “ Zalzal third " (ii w/rf He had
incurred the displeasure of Caliph Hirun and
was Hung into prison, where he remained for
years. On his release he was ruined in health.
However, he seems to have amassed sufficient
wealth to has'e a svell dug at Baghdad, knosvn
for centuries as the " Well of Zalzal ”, and to
pros ide funds for its upkeep. H. c. F.
BtBI.lOCRAPHY
* RnrvvIoMeUu of I*lam * (Ur4«b-l.o(KlM.
Siipp!. «6v66. * '
Fabmir. Hpsrv O.. 'HtMoty of Atahitn Mmic"
*0^9^ i>p. Ma>io.
ill Ontnidl MuMCAflrvinimenii’ (Lomteo
„ > 9 in. 1. 0S*96; (U««ow, IJ. 54*M.
HPuMiiott*, HpiUAXN, 'iewatiOMofT^ie’ lUisdwu
„ M*. 5 * 5 -
KIPRRA. JI ti\N. ' La dc laa camiras * (aisdiid.
, PP.
pPmc in Afvpi«i»( Arabia aad Spaio * rSiwifocJ
U.S.A., I9JPJ, pp.
ZAMBRA. A name gisen in Spain lo (i)
.1 musical gathering and (j) a certain dance,
«|)etiaU> of the Moriscca’s. The name and
practice are of .\riil>lan urlgln. The cunsen*
tional rlvrlsailoh, from tlie Arabic idmir^
(" night ronvernation ”), Is scarcely cotreci.
I he actual eponsm ts cawra (a company that
makes ^ ” gmid singing” or <jaid'4
— " piping”). o. r.
Uim. HiniRA, JiiiAx. * Music m An<>«nt Ar«bu and
Spiin ' tbinnAml L ni>«c»iiv. U.S.A.. pp.
fkiM*. J. IV. 'M^nud 4le FaIIa ask) 5Mn>Ui bliMC '
(V» yurk. iMJPV pp. 74*7^.
ZnnsAra, Antoaiu d«. Puni lA., ’ LocurAs
ll*ifi»n S’rnenA rs «le AWMM . ,
I'crr, iia (* {X>n JwAn *, incnl. m.K
ZAMPA, OU LA FIANCEE DE
MARBRE (* Zampa, or The Marble
Betrothed *). Opera in 3 .*)c« by Harold.
Libreitp by Anne Honorc .Ji»vph M^lessllle.
Produced Paris, Opcra-CAimlque. 3 May
1831. 1st perf. aliroad, Mamz (tian<. by F.
LllmcnreJeh), 17 Nos*. 1831- lsl In Kng*
land, {.ondon. Haymarket Theatre <in
(Jrrman), 19 Apr. 1833. 1st in U.S.A., Kew
York (In French), la Aug. 1B33.
ZAMPOGNA (CaUbrian Bagpi|tr). S<*
BAoriri: (Italy).
ZAMR (Miam4r). These are names, of
lx>lh generic and specIHc implication, gis-en
by Arabic'spoaking peoples to the cylindrical
rccd'pipc and the conical shawm, wliether
played with a single* or double-beating reed.
In early Islamic days we get no information
about these acoustically dilTcreni sirvciurrs.
yet seemingly the Arab zamr and aif^OTaV wTre
cylindrical rerd> pipes, while their Persian
equivalent was the im^, or more precisely ilte
WT/*/ (” black a«(r"), todlsllngunh U fr^n
” white ” (Bute) and ncjfi Hvm (recorder).
^Vc hnd this name, My-/ /(yoA. for the reed-
pipe in the i4lh century, and in the rtcx(
century It Is siill in use, s3\t that the Arabic
<uWef b used instead of the Persian iijek.
The Turkbh halabdn was a reed-pipe,
popular in the isth-iyth centuries, In the
Maghrib a primiitve reed-pipe, with a metal
” bell ”, was known as the ghita [ghaija), a
name more generally applied to a conical
diawm. This latter instrument first appears
at the end of the 8th century as the luHimi,
btil did not find much acceptance In Iraq,
because the Turkoman Ian zdrnd (Persian
sund, sumay) seems to have ousted it. In the
Maghrib and Moorish Spain, Jiowever, the
Ztmami, now called the cu/en/, was in general
use. There the Caliph Al-Hakam II {d. 961)
applied the bcaiing-rced to the bdg or horn
which, beirtf bored with digit holes, produced
a sort of saxophone known in Spain as albegu*.
Evliy 4 Chdebi, writing In the mid>i7ih
century, speaks of a reed-pipe made of horn
played by the monks in Jerusalem called the
^umdta, a name suspiciously akin lo clarinel.
He says It was ” invented in England ”.
Meanwhile AbFaribi [d. e. 930} had glwn
a full musical descrlpllon of the <«mr (*wi>
mdr ttw^iV), (lie Leyden Manuscript showing
a conical bore and a double beating* reed,
^aaar (pitir. caniar) has remained (he name
for (he shawm in all Arabic-speaking lands in
the Near and Middle East. Villoirau (e. 1800)
describes three sires — the large (csbi'
kabi/), medium (cant) and small
faghaif) — with fingering and scales.
Nowadays the small instrument is named
the tibi. In the Maghrib and Moorish Spain
the instrurnent was called the gkai/a. It is
said, by Delphln and Culn. to have been
introduced by the l urks, but it is mentioned
by ibn BaMfiia (d. 1337). The zurnd of ihe
Turks, and the nrad or larndy of the Persians,
are shawms little different from (he Aamr
of the Araln. KshyA Chelebl of Siamboul
described the former, from the large fdW
Zaimd down 10 (He small jii'd ztirna, together
with olher types. In all cases these insinimcnU
belong to outdoor music, civil and milHary:
no function is possible without the raucoui
•• vehement w*>'nde” which so annoyed the
author of the Lekingfelde Prov erbs. This was
inevitable, since the beating reed ivas taken
wholly Into the mouth In blowing: '
lowed " as Avicenna says. (PMTi' w*
Yci. VTI, p. 746, No. 8.)
II. o. r.
BfBLIOCRArtfV
UR.I«, O. a Giv. L. • Nwe. «ir (a •*
■ Mu-, ir. ,!.h o-ur, '
Aribe* <*Acl« du dr iU>t>ar** Jf»•c^/1Al^olrtl d«
OrirntAKUw', iWj. UvUen'. P». •• PP*
ptSM*.
Z AN AIDA
ZAXDONAI
397
\’iLLaie*i;, C. A., * 1 a OmnpoeA Jc i’Ltvpt^'
(?«m» iBo6-ft6K ' £idi ino*l^nac’. I. 99i<4>.
Stt oin Niv. 2ummira.
ZANAfDA (OpcraK Stf D.u:fc i J. (*., 38).
ZAMrdiai, Aa^cIp. Sh CpiAi4JM i.Mf.. 1
Mancinrlu r (U hb.). ^OAthtflM
[' k iiliwol T>rkKlic<> lib.
ZANDER. Swedish miisiciam.
{t> Johan David Zander fr. ?; i. ?, n
Mar. I774».
(2) Jolufi David Zander b. *; 4 . Suick*
holm, *ri F<’b. (7961. \i<»linisc. rnn<iu<uir and
composer, son of ihc preceding. Hr was a
mnuber of the Rojal Orihrsira from 177J,
third leader hi 1787. sreond iradex frr«n 178B
Ohiil his death, and was alvi a fine solosiolin-
ist, often appearing ar coneerls in Si«kh(»lm.
fn I7hr he publhhed ’ Two Violin h< 4 i
From that dale onwards hr e<»(np('>4^ thrairr
music in which he uied to rop\ il»e si)Ir of
French He alvi made consider*
able use t>f Swetlisli naikinal tunes, and his
me Mies won great fas « Kir. rr«*in 1784 i.»
1 71)6 he w.ss rondo* lor m St<*nl»^'s theatre
in Siockholin, where he .ilso |ilK>«d in iIk
inierUides. U was iluring ilm ^nriod that
I he theatre attained its greatest popularity.
/.-mder's (ornposiilMrt aho imhnie an
us er I u re 10 • K r* |.i rna ’ { 1 787 1 , Tlie
manuscript of his iriu'ic to * HersegArdshoi**
lidligheier' 11784) h in the Library of ilir
Academy of Music, Skk kholm. K, li.
ZANDONAl, EUecardo fi. Sacco (TrenioL
2O May ilHhj: 4. Pesaro, 12 June
Italian enmimwr. Hr Imran Im cntMiral
«iu<lies ni Kuvercto Uiirler V. fiianferran ;
laicr he bi'came a |ni|>i| of Mavagni ai ihe
Lieco Mosieale <4 Pesaro, where hr siMained
a diploma for comp<o;tion in Hfti with a
I f^^r solo voieei, elmrus and orrliesira,
’ll riiorno di Odisseo*. In iciy^ he seas
appointed dlreen*r of that instiiuiion, a po»i
ho wciipioil until his tiraih.
Lsseniially an oj>eraik' composer. Zantionat
ma*h> his fine apjiearance in lhal eaparits ai
Furin at the ag«* of tsvcnty.fis'c svith * II grillo
del fiKoIarc sshich ha<i a fasourable recep.
tion. Dm his name beeain*' at once w’ldely
known only after the success of ’ CMehiia ’
pwHiueed three years later. I'hr psiUishing’
house of RicokIi, and partirularly Tito
Kicordi, who was then iis bead, saw tn him
the Mower of PtK<ini as a reprrsrnlalu'e of
I he rt'alisiir school <4 Italian ripera and pro-
curetl him I hr coll a bora lion of Gabriele
<1 Ann uni I o, w ho gave permissioo for liis
trageily of ’ Francesca da Rimini ’ 10 be con-
verted into a libretii) by Tito Ricordi to be
>cl to music hy Zandonai. Tliis opera, in
which ihe public heard distinct echoes of
Kuctinian melody, together with a more
modem an*| progressive manner of hannonU
?aiion and orchesi ration, had such a s«cc«s
as to Im; taken up m a very shwi time hy all
the Italian opera-houses and many ahroatl.
Zandonai there showed a lyrical rather than
dramatic tempera men 1 : the liest pages o| the
score arc tlK*se whicli prepare the «lra malic
conflict and set ies atmosphere rather than
those where the jassionate and tragic incidents
are in full swing. Ihe same <|ualilirs c»f
colourisctc sensilMlity and melodic ease were
Ibsiml in 'Giulielia e Romeo', svl.ifh fi*l lowed
in 1921, and also, tlwiugh inrhaps in a lesser
degree, in ilie lai<T w'orks.
Thefollosving isadeiaihtl list of Zandonai’s
n|>eras ;
*11 <rJk. .M tiUrdr, t,v (
Im»^( on lhaWi ’ Jhr C.<fikrt „u ihe
H'*f(ti ' .Bf ai. ISJitranij. {H S.,*,
<.<•(*< Imu' U». .0 liriMli. lA M..uni<> S.|iuJKc>
Im*cU rMUC ,, ,*,t ‘Ji IrinnWfl \t
lUMM . JUli 4 M MdM* (». ( dll,, /rfdlSillM ,
. 1.1 ’ 14 tto IMM.
St^lnwk* blHKi'. Irs' Mjiiim'i N/mmuui A /«hv«tMn,
n>»in Iw L. B'.HlIiri \||Ut», 1 j| \ ftiitf.
I) Noi, ii)u,
krMMCM j ,U KinwM • <l(li. h* I ,k , Hn.rf.h, Uy^l ut,
It .VmiuiuiV* it 4 e^it Ah I Hliimstrl* OM D.iiie'i
DiiihA C'MMMir Im iKol, I wroi, Ip.iteo Kriii<..
1$ IH*, 00 v
I a \ u M* -itA * Ml to <M«i.4ppr VlArrvi, IwifsJ
<>n A o^iwil. h> J W4«*hr mo.I. IV^ru, 47
lull 1*1*1 i trk.irruon, | iRjdh. M)/|.
r K.UM I ' M» 1,1 NtUM • K<r..,*i,. i,a
StMlniK-Atr , |M»I, | rdito ('•<i|,kh/l. li
»«*b Mjyrf. *
I *A\Alim .h I LHx. ’ Ml. Iw H>a-4Iii. Imw I <<h Vhiu
i.Kfl S.MU .. MiJjn,
l* 4 *tM Altd VaIa, 7 Mat
M, »M K<MMh>, bAHNt •«> I Uulirri*- ’ >4 me
Hmh ( H..,,«uW |e.,„„ s,,,|
t. 4 ras 4 I rlt. owa.
*livi PAniu* lih. l» K*Mi4ir, . pfv.j. 'l<*j*ro
sHa V4I4, i<i | 4 M. ihi) ,
’ 1.4 r4r«A4m.4«n4 lit, l»> K«—Ahi, iMird r>ti .MjfoW,'!
04 * Jt vmjMroi Or K„inf.
Icdirh Kryle. .*y 1 pI«. 113 |.
t'nllkr iIk o|KTas. the syitiphohii and the
frw tIkaiiilH-r works hy /amlonai are of minor
importance. Most of ihtm were written
during the later years of his life, during wlmh
^ alw* clevoled hlintelf 10 orchiwiral conduct-
ing. Ills mrwi important orchestral coiiiposl.
lions arv as follows ;
Vmpb. pMcn ' ruMuvprA m \**l <lj s.,l» • , iwul)
VsmHi WH# • Q^*,lri ,ii Vz 4 himi ’ jgj 1 1, ''
NmwAij ’ fm (tll„ fc or*)), > mii y'
SvnH* MMcm * I'^ni limuhs ’ ■
SimM* Wiu Vr* il.albet.UMlHte lX,r.-nil) Cjgjy*.
KapmSm imiiinA '
Mtommo irwIJo*., ‘JorcHloa wn.sll ^th. homi
’ ll| 4 IK 4 l.n^ ’ ,r*S9j, ‘VS?!.
Zandonai alv> wmie a Requiem for un*
aeeompaoied chorus fiqifii, an • Inno alia
(»tria for chorus and orchestra ( 1913', other
choral worb. songs for voice and piani.forte,
and music for rhe films ’Tarakanova’ and ‘ II
pi llore maJedetto * (( laravaggio) . 0 , m . 0 .
IM. VirTWuA. 'Rjccird,, Ztn.
•Mtai ne| rKsnlo dry rynj I..hmi ' lyjn.
' OjeiAiJIv wrdwn fW bui Ufoopta by Mm.
ZAMDT
ZANTEN
ZANDT, Marie van {*. New York, 8 Ocl.
1861 ; d. Cannes, 31 Dec. 1919).
Anglo-Amencan soprano singer <£ Dutch
descent. Her mother, Mme Vanrini, a well-
known member of the Carl Rosa Company in
England in its early days, was her first vocal
teacher, and she also studied with Lamperti.
Her d^but took place at Turin in Jan. 1879.
when her Zcriina in ' Don Giovanni ' made a
highly favourable impression. She was im*
mediately engaged for Her Majesty’s Theatre
in London and made her appearance there in
May of the same y'ear as Amina in * La son-
nambula \ being then barely eighteen. Her
voice, ho\vever, was already well de\‘eloped
and of a preiiy Cjualiiy, if of no great power,
while her execution was singularly neat and
sure and her acting enhanced in charm by her
youth and grace. These were the gifts that
made for the success she won as Mignon at the
Pahs Op^ra*Comique in Mar. 18^, and for
the popularity she enjo^'ed in Paris during
the next five years. So enthusiastic were the
French critics over her Mignon, her Rosina,
her Dinorah and her Cherubino that Delibes
decided to entrust her with the creation of the
heroine in his * I,akm^’. which she sang for the
Imi lime on 14 Apr. 1883. Her \‘oice did not
stand the strain of constant M'ork, and her long
stay at the Op^ra-Comi(|uc was brought to a
close in Mar. 1863. She nev'crthel^ con*
linued for scs’cral years to tour in concerts and
appear as guest at various opera*houscs, until
her marriage with Professor Tcherinov in
Moscow'. H, K.
BtSL. • Ci'*ao>, H. or, * Croouis il’annin' (farit.
ZANDUNGA (Dance). Stt Folk Ml'sic:
MrxicAN.
ZANELLA, AmUcare (^. Monticelli d' On-
gin a nr. Piacensa. a6 Sept. 1873; d. Pesaro
9Jan. 1949).
Italian pianist, conductor and composer.
He studied at Cremona and Parma. AAer
conducling an Italian opera company in
South America he became director of the
C^onservatory at Parma, and in 1905 he
succeeded Mascagni as director of the Liceo
Mvisicalc at Pesaro.
His first opera was ’ Aura \ produced at
Pesaro on 37 Aug. 1910, bul apparently not
given elsewhere. Others, including * $ula*
miia followed, and in 1940 ’ II revisore a
lhrce*aci opera based on Gogol’s comedy, was
produced at Trieste on 90 Feb. He abo
wrote a Requiem, a symphonic poem, ' Vita
and other orchestral works, chamber music,
pianoforte works, songs, etc. £. l.
8(bl, — ' AmHcAte Zanell*. sniws. uemo. e£oes*«f«'
Dieti. r. & Notni. .M. F., * Ls viia « T am
Amitcar< Zanrlla ' | 8 «rvamo. 1941).
ZancUi, Ippolico. St* Fmx (* GiMCMM plaeaia ’, lib.}.
ZANETTA (Opera). jVcAuaea.
ZANETTl (Zaanetci), Fnaceeco (^.
Volterra, 1740; d. ?).
Italian singer and composer. In 1770 he
was mars/re di eapp<U 4 ai Perugia Cathedral,
but he lose his post on account of his connec*
tion with the si^e. He married a singer, and
both toured together as operatic singeis.
According to P^cis he was in London in 1790.
As, however, his six siring Quinieu, Op. 2,
five books of Sonatas for s violins and bass,
six Sonatas for harpsichord, six solos for flute
and 4 solos for vnolin were all published
in London between 1770 and 1773, it appears
that he paid an earlier visit there soon
after leaving Perugia. Of Zaneili’s operas
ihe most popular was ’ Le lavarandine ’, pro*
duced at ihe Tcatro Capranica in Rome
in the Carnival of 1772. It enjoyed a certain
t*ogue both in Italy and Germany. Besides
several lets successful operas which, unlike
* Le lavarandine are all lost, he abo
wrote church music and songs.
E. V. d. s., adds.
Stf *li4 t lAi (C. B. , Z.'t Requiem lunr •( TunerAJ L
ZANEtTO (Opera). Stt Mascaoni.
GpHs. Sh Fsnciulls del Wett (fueeini,
lib.L Uioitlli delU M«d»An* (Wolf.Ferrsii, lib.).
FweetAi ('FwKiulU del >Vnt lib.). Welf.Perrari
C GmelN \ bb.). Zsndenai la libi.).
ZANCmS, Nieolaua {h. d. ? Berlin,
1618 or 1619).
German organist and composer. He was
Kc^lawiie/ at Brunswick in 15971 deputy
organist at Si. Mary's, Danzig, in 1603, 1603
and 1605, **Auhcus” (court composer) at the
imperial court in Prague in 1609 and from
j 6 i 3 fispef/* ncutfrat the court in Berlin. He
waa a prolific composer of motels and of
sacred and secular songs, »me of boob which
appeared In several editions. A number of
moteu, 5-ao voices, a 7*pari Mass and sacred
songs remain in manuscript. e. v. d. 1.
ZANOTTl (Joa&nod), Csmillo (L Cc*
sena, ? ; rf. ?). ^ ,
lulian tfith-century composer, rrom 1
Aug. 1586 till aflcr 1591 he was vic^
KsfeUmtuKr to the Emperor Rudolph H*
He composed masses, a 5 (tsSS); ‘Sacrtc
sympboniae 8 voices ; moteu for double
chorus (Nuremberg, 1562) ; 3 boob ofmadri*
gab. 5 V. (1587-89) i I book of madnsals*
6 v. (1589) ; ’ Madrigalia (am iialici quam
Utina . . .’, 5, 6 and 12 v. (I59«>)«
K. V. d. s.
ZAKTEN, Comelie (*. Dordrecht, « Aug
i835i d. The Hague, lojan. 1946)-
Dutch singer. Although a mezso-soprano.
she had a remarkably high range which
allotved her sometimes to undertake soprano
pans. After lessons from local teachers site
studied under Carl Schneider at the Consena*
lery of Orfogne and with Francesco
at Milan. Her debut was made at Tunn lo
ZAPATEADO
ZARKSKA
' La Tavorita \ after which »hc appeared with
great 8ucc<« in Breslau, CaascI (two >«ean
under MahJer), Hamb^ aj»d other German
centres ; and after louring the U.S-A- with the
National Opera Company she returned to
Burope» where she sang in opera in Hamburg,
St. Petersburg and Moscow, and et'eniually in
Antsierd a m. For eight years she was professor
of singing at the 'I'oonkunsi Conservatory and
later m Berlin. In 1914 she settled at 'ITw
Hague, vshcrc she was originally altarlsed to
the Royal CJoxumaior>, but later she devoted
herself to private practifc. She was the fir»t to
make a rnoiing picture film of the sin a I
organs, Iroin which she wa^ able tv deduce the
theories and practice <»f her teoc hiiif . M<wi of
the bot'knuwn Dutch singer^ of ntem limes
including Jacques Urlus. Jilly Koenen and jJ
VliHeiit, were her pupils.
She wrote a numlwr of icxt. bools and
thec»reti<al work-*, of whkli ihr principal are
MM Canto Jes Uorles*, ’ Hoogere leshnirk
van dcii 4aiiK • Lciifaden zurn Kun^ige.
sang •, • Hei %tcinmrn den stem * I let sietn*
wonder in den mciwh' and 'Das VV..hl-
icmperlcrtc Wort ah Orundlage fur Kunst
unti Briedrn ,, ^
ZAPATEADO. a Spanish daiKe lor a
'Ingle performer, m 3.4 time and widi tJsc
niyihtnkc accent* marked b> sianming of ihr
iKeh.
ZAPATEO stance I, ,W< Font Miuc. •
Cc DAM.
ZAPOTECANO. .W NT.swuas
ZAPPA, Fraaceaco \i. Milan, ?; >},
Italian i8th*ceniur> violuncrllist. He was
Inr ionie lime iii JlnglaJHl, m the service of the
Duke of \ork. ai»d composed svmpbonies
quarieu, trios, sonata and duo fur cello soral
romaiues, cie. a. v d i.
rf CiovnnaJ (A. Tree iso, f;
Itahati iCth.cenlury composer. He wroie
i b<iOks of * Ncapcjletane ' for 3 V'vkcs which
appeared »n several editions between 1571 and
\ . d, 8
ZIMMERM ANN, ODER DIE
ZWEI PETTR ( Taar aad Carpenter, or
The Two Patera*). Opera in 3 acts by
horumg Libretto b> tW compener, based cai
- pUv by Anne Honore Joseph Mcleivilic,
l«ussaint Merle ;.nd Kugcise Caniirande
^nrie (l8t8) Produced Leipzig. Municipal
Ihcalir, aa iJec. 1837. abroad,
Copenhagen (»n German), summer iBai
.« in U..S.,\., N\.„ York (.n Orman). „
, nn. 1B57. „t London. C.i«y
,h kl"' "-’i;'-- J- “ ' •'‘•■'r
the .Shipwright 15 Apr, f8?i,
ZAREBSKl (Zarombaki), Juljuas
Polish pianUl and comps^er. He played his
own compotiiiuns in inthlii us a Iwjy uf nine.
He enterrd the pianoforte c lass of I Whs at the
Vienna O.iucr\'atorv In i«70, which li« le(t
in 1874 with a gold medal for pianolorle jtlay*
ing and a silver medal for ct»ui|M*siiiun 1 piano-
forte Trioi. He ihi n inovcxl to .St. JN i< is(>urg
for furihi'f instruction, Sliortiv afierwards
(»S? 5 ) b** wrni to Rome and Ixraine a pupii
of I.lsit. who both as teacher und friend
at»istt'd him in his pianisiir c.irc'CT. In iB^b
ZaryUki began uiuung widely in J'olund,
AwsirjA.Cennanv. I ranee, l.ncUntI and lulv.
toon reciHpuced and voted an . xceJJent jnjnist.
itv act{uami«d hisntelf uiih a new insirumeiu,
the •• Wano Mangem ", with a dmiWe key.
board, mventerl b> Jt.Af WietilawskI and
cemstrucud l>v L. Mungt'oi in iWh. He
IserA^rtned a wisoir ri'cital on that n« vv insirci*
mental iW Paris iAhihiiion in iBja In ia:t,
he became a teacher of ihe<oneen rl.iss at tlic
Brusse ls Conserv atoire, not ilhcuiiunuing hit
concert a|»jn aranc c-s. He <li, d carlv c*f uiln^r.
culoMi at his j.an nis' liuuse at /hiiomir.
loss arch the rml of Ins life /ar?lnki wrote
a ptancdorie Qmimi in (i minc»r Op.
wliKh is even now among ihe Ix'st s|wcun<ns
of Polish chamber musit. Jhe re^i o| his
CHstput incJucht 33 opus luindx rs conijiming
polonaisi's, itiaznrlas, sicidiec, se renades, nn.
prov ISJ lions, wa 1 1 /..s , I >a 1 Udei . < cc . He int rv
duced into his works bedd hartnomet that
sounded strange at the time. In his ten
inaturlas itimr for jiianoforte wlo and seven
fi^rour IsancU/ he employ ed mans new pi a nis tic
effects of a bras u ra cha ra< ter. 1 1 is in.Umaises
li*j ma^ir, Op, 6. comjxneci In lUdi ; ,\
j^joc. Op. II : G «ia>>r. Op, ib: B major,
t^. •«; and I. minor; cotiihinc the ixreiry
of the polonaltei of Olvopin with ihe v.riucsic
quahlK-s of ihose of Li** id show a com.
pw-f vf great talent, leaning tow aids the-
rraiff forms. His other works, such as a
Bercrvise * ;n A? major lOp. a*) and ' SiVc.
Mde burlesque * (Op. au>, were at the moment
« Che.f appearance completely nmiindcrsomd,
they preceded to far icm great an extent
dir i«tc* and habits gf his conietntKirarles,
Hi$ Taricegalleyjilie ’ (• Dances of Gahcia
J.C. the dar^ of southern J*oJ,«incb for piano,
forte duet (Op, ar) wrre, after the composer
death, orchestrated by Liszt. c. k, u
ZAMMBA, Nikolay Ivanovich A cVi.
Russian theorist and composer. He
^canw a professor at die Clonservaiory of
5 >l. lei^rnburg at Its foundaiion in i».j and
succeeded Rubimidn as director In
*«»?, retaining tbe pon till 1871. His
compositions, which arc unimportant, Include
2 ARE 8 KA, Eug«nia (^. Lwdw, ?f.
Lkrainian mezzo-soprano sliigrr. She
400
2ARLINO
studied ai the Lw6w Conscnatory and Utcr at
Milan and Rome. She sang at many inter'
national festivals and opera-houses, includiog
the Teatro alia ScaJa at Milan in 1041 « the
Teatro Reale in Rome the CtA’eni
Garden Opera in London (1948) and the
Municipal Theatre of Basel (1950). She also
sang the part of Dorabella In the performances
of Mozart's * Co»i fan tuiie ’ given by the
Giyndebournc Opera during ihe Edinburgh
Festival of 1948. Her repertory includes
nearly all Rossini’s c^ras in tl^ original
mezzo-soprano coloratura version, Mussorg*
sky's and Mahler's song cycles, etc. She now
lives in Lncland. c. a. »t-
ZARLlNOf Gioaeffe (or Ciosefld) (4,
Chioggia, 32 Mar. rjr?; 4. V'enice, 14 Feb.
ijqn),
Italian ihcoriit, one of most learned of the
16th century. Chloggia being the Clodia of
the Roman*, he wa* generally known as
Zarlintis Clodiensis. By the wish of his father,
Giovanni /.arltno, he spent his youth in study-
ing for the church, was admitted to the minor
orders In 1539 and ordained deacon in 1541.
In that year he came to reside at V'enlre, w’here
his proftcirncy as a theologian, aided b>’ hit
intimate acquaintance with the Creek and
Hebrew languages, and hb attainments In
philosophy, mnihrmatic*. astronomy and
chemistry soon gained him an honourable
position. Hut his lo>e fiK music, for which, as
he himself iclK us in the dedication prefixed
to his * Istltutioni armoniche he had felt a
natural Inclination from his lenderest years,
icrnpicd him to ff>rsake all other studies for his
favourite pursuit ; and he was at once accepted
as a pupil by Adrien W’lUaeri, under whom he
siudied. in company with Cyprien de Rore
and other promising neopliytcs.
On the removal of Cspricn de Rore 10
Parma, Zarllno was elected, in 1583, first
mat lira 4\ tapf^Ua at St. Mark’s. The duties
connected wilh this appointment were not
confined to the offices sung in the cathedral.
After the Battle of l.epamo, ? Oci. 1571,
Zarlino was commissioned to celebrate the
victory w'ith music svorthy of the occasion.
When Henri 111 visited Venice, on his return
to France from Poland In 1574, he was greeted,
on board the Ducentaur, by a composition the
Latin verses for which were furnished by
Rocco Benedeiti and Cornello Frangipani and
the music by Zarllno, who also composed the
music sung in the cathedral and a dramatic
piece, called ' Orfeo’*, which was performed
with great splendour In the Sala del Gran
Consiglio. Again, In 1577, when the church
of Santa Maria della Salute was founded in
memory of the plague, Zarllno was commis-
sioned 10 compose a Mass for the solemn
occasion. None of these vwks has been pee-
* CalTi calls ii an " opwa
serv’cd, and we can judge of their merits only
by the immense reputation the composer
enjoyed.
But Zarllno did not neglect the duties of his
ecclesiastical status. On the contrary, in 1582
he was elected a canon of Chioggia ; and, on
the death of Marco de’ Medici, Bishop of
Chioggia, in 1583, he was chosen to fill the
vacant see. This proceeding was, however,
so strongly opposed by the Doge Niccolo da
Pemie ai^ the Senate that Zarllno consented
to retain hb appointment at St. Mark's In
preference to the proffered mitre; and he
coniinued to perform the duties of matilre 4i
eappfila until hb death. He was buried In the
church of San L^enzo. No inscription marks
the spot, but hi« bust was placed In a corridor
of the doge’s palace ; and during his lifetime
a medal was struck In hU honour, bearing his
effigy and, on the res’erse, an organ, with the
legend, LAttdaie rvn in thai4\s~
Few compositions by Zarllno have been pre*
sersed besides the examples given in his
theoretical works: they include a MS Mass
for 4 voices, in the library of the Liceo filar*
monico at Bologna, and a printed volume of
' Modulaiiones sex vocum ’ {Venice, 13C6).
Torch! (* Arte musicalc In Italia ') printed
two motets (5 v.). His chief fame, however,
rests upon three treatises, entitled: 'Istltuiiom
armookhe' (Venice, 1538. reprinted 136*
again 1573, etc.), ‘ Dimoslrationi armomchc
(Venice, 1571, reprinted t3?8) and ’ Sopph-
menii musical! ’ (Venire, The be«
edition b ihc complete one, entitled ' fuite
I' opere dd R. M, GiosefTo Zartino da
Chioggia’ (Venice, 1589)’ . j
The ' Istiiulioni ' comprise 448 pp. fol. and
art divided into four seel Ions :
Lib- I contains 69 chapters, chiedy devoted
to a dlsseriaikm on the excellence of mouc ; a
mystical elucidation of the transcendental pro-
perties of the number si* ; and a description 01
ihedlfTercni forms of arithmetical, gcometncai
and harmonica! proportion.
In Lib. II. comprising 5' chapien, Zarlino
demonstrates the superiority of the »y«tcm
known as the '* Synionous or Intense uia-
tonk ” of Ptolemy, abos'c all other syitems
whatsoes-cr. In thU system the tcirachord is
divided into a greater lone, a lesser tone ana a
greater hcmiionc-the diatonic semitone «
modern music — as represented by the fra *
tions 2. I •- The system was not a n^ one,
and ZaHino. naturally enougli,
attempt to claim the honour of its
The constiiuiion of the les^r tone
demonstrated, by Didymus, as early as the 6otn
year of the C3itbtian era. Didyrnus P
^ below the greater ; an ord^ which
reversed about the year • 3^. /y C aud|U5
Plokroy, who gave his Mine to ***« ^ ;.
The merit of Zarlino Uy m h.s clear recogn
2 ARLINO
40t
rion of ihe correcineu of chb diviuoA of ihe
tetrachorU, which, in Lib. 11 , cap. uxix,
p. 147 of the complete edition be illu&trates
35 in Pig. s ' :
C H Z f C. A If r
>M. I
11) fol lowing tlie fun'Ci in ihb figiife vve
muy aM'crijin tlic exact pri>pf>fiH>ix, in ju»<
intonaiiot; (/.<. ju^i icmpetanicnt ) of il»e dia>
Ionic M’initonc, thr greater and trv^r tone, t1»r
major und minor ihird, tlw perfect fourth artd
the perfect fifth, in different |>arti of the *x lave.
Like Pietf) Aron (* Tincarwho della mudea
Venice, 1 ^ 33 ), Ludovico FogliarHi «*Mu%ira
icoreiicd Venice, I53f)^ and other ihcnreiual
writer' of the iCth century, /.arlino wa» hxid uf
iUuciratinit hie tlu*^ by diagrams of ihU kind.
l.iU. Ill i>r die * hiiiuiioni* ireau of the
laws of countcrfioint, which, it niu«i Ik cmi*
feued. are inn always »el forth licre with the
I Ivnrni’sN for whit h /.act oni ic v> Jucily remark*
able. In ihv examples with which tlib part of
the work is il hut rated an inlimiinii use n
made of the welhkixmn caato /ttm which
fortni conepic u<>ut a feature in ' Non rM>bb
Dominc ' aiuJ 10 many other works <^ihc i6ih
and 1 7th centuries :
F)«. t
Lib. IV treats of the modes, more especially
in the later forms introduced by the early
(;hrUtians and sy’stemaiized by St. Ambrose
and St, Oregocy. In common with Olareanus
and all the great theorisls of the pnlyphonic
seijool, Zarlino insists upon the recognition of
li modes, and IS only, rejecting the l^rian
and >iypc 4 ocrian foriiu as inadmissible, by
reason of the false fifth inseparable from the
one and the iritone which forms an integral
part of the other, but, though thus entirely at
' \\*BI U space CMitpeb m l* mui mk oe Iw®
icnporiAhi deUiLs M the (liABram, a» tiven as tlw rdiiiaa
wt (Sl» 9 .
voi. tx
ooe with the author of the * Dodccachordon *
on the main facts, he arranges the ixiodcs in
a dincrenl order of succession * {uf Moui.s.
KccL£siAtnCAL|. instead of beginning his
series with the I^Un mode, lie begins with the
lunian, arrattging hi» series thus :
SUA,,. I rut^
I. loMMA. I^uut, C. (I. Ii> I'OlOOi.lll.
I Mul. C.
III. l>«run. FsmI, D. ' l\*.
FmuI, D.
V. I 1 ir>rs«n, FituI, J„ V(. Ih pu|»lir>Bian.
Final, £.
VII. L)di«n. F. MM. K^pvlydi^ii,
Finj|,F.
IX. Fuvil.C. X. Hvitotnisolv'lidh.
lir»ai.C>.
Xt. .It 4 wa. FimI. A. XM. Hvr*'^"iMii.
FimaI, a.
an arrangement xshieh no Oliivr gn at theorist
of the century followed.
In the cuufac of the work Zarlino iniroduces
some wry valuable memoranda and occasion'
ally records as facts M^me wry euriuus super'
scitiom. In ojsr plate he lelU us that the
human puUe is the measure of the beats in
ntusic — a yiatvinenl fiKtunati ly corroltoralcd
by other early wriim ant! Jurnhhlng us with a
eontparaiive rstimaie lA ilic duration c>r the
two lieau whith are intludvd In the normal
scmibrrte. la amitlwr he aswrts ilut Josquin
del l*r^ I realetl t Ise ft mri li as a consonant r. I n
a third Isc records hh observation that uit*
lasight singers always sing the third anti sixth
majtir •> whith U hi all pw/b.iLnliiy true.
Oceadunally, too, he di'crgn iniu thv region
of roinaMe by assuring us, for instance, that
deer are so delighted witii music that him ten
use K as a means of capturing (hem.
’llie * Dimostrationi armoniche \ occupying
fidio pago, is disposed in the Ibrin uf live
dialogues, carried on by NNillacri, Claudio
Merulo and Francesco Viula, maeslto Ai <op/iflla
to .MfcKiso d' Lste, Ouku of Fetr.ira. /arlino
tells us that in ilse year 15(^3 the friends met at
the IwHise of WMlaert, who was then laid up
with the gout; aisd that their conversation
is faithfully reported In the live reasonings
(/agrmaavtfr; of the 'Uimostrationi '. The first
of these treats chiefly ©f the proportions of
intcnals; the second and third of the ratios
of the consonances and lesser intervals; the
fourth of the division of the monochorJ ; the
fifth of ilie authentic and plagal modes.
Not long after the puldic ai ion of these works
%'incenzo Galilei — who had formerly been
Zaclino's pupil — printed at Florence a tract
coiiiled * Discorso intorno alle opere di messcr
Gioseffe Zarlino di Chif4?gia‘, in which he
violenOy attacked his former master's prin*
ciples ; and in 1581 he followed up ilie subject
in hw famous ‘ Dialugo della musica arnica ct
della moderna ’, in the second edition of wliich
(Florence, i6o3), the title-page bore the words
* See Lib. IV. cap. «, p. in eJicivti of ISB9,
2 0
402
ZARLINO
ZARZUELA
'* in $ua difesa contra Joseffd Zarlino **.
Galilei attacked, in uncouiceous terms,
the division of the scale advocated by ZaiLIno
and proposed to substitute for it thle ditonic
diatonic icirarhord, consisting of two greater
tones and a liinma as set forth by l^thagoras
— a division which all modern theorists agree
in rejecting. While accusing Zarlino ol in>
novation, he inconsistently complained that
the s)'ntonous diatonic was advocated by
Lodovico Fogiiano half a century before his
time. I'his is perfectly true.^ But Galilei was
not satisfied with an empirical scale, and hb
admiration for the Oreclu blinded him to the'
fad that his theory, reduced to practice, would
have been iiuulerable, His favourite insiru*
ment, the lute, required some reasonable
power of temperament, and Zarlino. who was
in every respect in advance of hb age, actually
proposed that for the lute the octase iliould be
divided into 12 equal semitones — that is to
say, he advocated in the i6ih century the
practice tiiat we have seen universally adopted
only wiilhn the I9ih.
In defence of his principles, and ir» answer to
Galilei's caustic diatribes, Zarlino pubibhed in
1388 hi» * .Sopplimenti muiicali containing
330 pages of valuable and interesting matter,
much of whith is devoted to the reinfoecerrtcni
of the principles laid dow n in the 'hlitucimi *
and the * Dlmostrationi The system of equal
ten I pc ra men t, as applied to the lute, is set
forth in detail in Lib. IV, cap. xxsii rt sey. In
Lib. \7 the aulhrir recapitulates much of what
he has prcsiously said concerning the modes
and in Lib. V'lll he concludes the s’olume with
a dissertation on the organ, illustrating his sub*
jeet at p. 291 by an engraving of ilie sound-
board of a very early organ remov ed from a
church at Grado, and giving many particulars
concerning organs of v'ery early date.
In 1389 Zarlino reprinted the * Soppli*
menti preceded by the * Isliiulioni ’ and the
' Uiinostraiioni in the complete edition of
his works already mentioned, together with a
fourth volume, containing a 'I'ratto della
pasienzia a discourse on the true dace of the
Crucifixiun of Our Lord, a treatise on the origin
of the Capuchins and the resolution of some
doubts concerning the c^ecincss of the
Julian Calendar. He sursiv'cd the bsue of
the 4 volumes only a very short time; but
his death in 1590 was far from terminating
the controversy concernir^ his t^nions, for
C.'ililei published the second edition of hb
'Dial^o' as late as 1602; and in 1704
Giovanni Maria Ariusi puUished an equally
hitler attack at Bologna, entitled ' Impresa dd
R. P. Gio. Zarlino di Chioggia etc.
’ The liinma or remaining portion eta pedrtl Ibunh.
Aher (WO ereairr kmwi hove been subUMleU from it, il
less than a dialonk semitone b>* one eoainu.
' Sef FotNliAxu'* ' Mi0iea teoeicA ' ( Veaiee, issol.
sect. ii. * tic utiliiAte loni majons el mmo ns *.
Zarllno’s works are now scarce and costly,
lliough copies * exist in a number of con-
tinental libraries. (Set Q..-L.} In England
copies will be found at the British Museum,
the R.C.M. and the Leeds Public Library. In
Scotland the Reid Music Library has* Tutic
1' opere ' of 1589 and ' Isliiulioni harmo-
niche ’ of 158$. w. s. a., rev.
BibL, — £o<srsrH, Atraio, 'Tbe Italian MadriesI ’
(Princewe L Oafoid, 1949}, ^tii«,
Sff aIm Afiwi. Menlo (G., meaiine wiih). Tem^ra.
awoia (fee brief meodon of tome of .^arliao's work on
ihe tuCiiiv 0/ keyboard inttrunvenu).
2ARSK1, Tollmir (6, D^browa Gdrnicza,
1S35; J, Prague, Dec. 1896).
Polish violin maker. As a technologist he
held a high-salaried post in the industhaJ firm
of lilpop, Rau & Loewensiein in Warsaw.
Later he established a Arm of beniwood-
furnilure of his own, At (he same time he
began to make violins, first as a hobby and
later professionally ; finally he concentrated
exclusively on the making of instruments. In
j 668 Count Led«Scbewsld exhibited some of
Zarski's instruments (four violins and a cello),
wlikh were highly praised by Bareewics and
Noskowski, then the foremoal musicians in
Poland, who said that these instruments
possess ** beautiful and noble tone ”.
In the 1890s Zarski moved to Prague, where
he established a small workshop of his owi^
The venture, however, was not successful, and
he died in utter po\erty. c. a* •••
2ARTFL6TE. Sff Oroan Sroft.
ZARZUELA. A typically Spanish kind of
musical stage piece, practically an apfrd htjff.
ofien In one act (when it belongs to the s>
called iAun with any number of Kcnes
and tableaux, lasting about an hour. Three
Of four of these pieces arc given in an evening
Generally the plot is of a comic nature, and
customs, fashions, operas, plays, novels, poliu*
cal situations and, not least, the tauromacl^
mania, arc reproduced, saiiritcd and travestiro
in a manner that gives scope for the peculiarly
Spanish wit. Sornciimes plots of a tragic
nature arc written, sometimes melodramatic,
sometimes fantastic; but it would be quite an
exception if one were produced without lU
element of humour- Scarcely any successful
play, oper* or novel fails to be somehmv or
other burlesqued in the form of a
ITje best performances of ecrciWo/ take place
in Madrid, in the ibeatrc which is no'v invari-
ably called the Teairo de la Zarzuela. It was
» The euJy cxiii-ir of 2*'^ »
At omoakhe ■ Ar« iwa FrAfveb one*.
, N.UonAl Ub*arr. F*ni: fr ijf:
Hirdv. fr. 30101 bv
met ‘De«»TfAd»cvo«»frsA<*i*«inWit«*deZirijno ,
. . — ■- tan). ^ ihe enwieov*
bw to Sweelinek of ih« Ovuh
w Sriffett, ‘ Sw«lu»ek v(»d *«ne
/Mr^iAhnSckrifi fur M«.*kwbsa»«h«fi . VIh
•SrS 3 Ant««lA»iofi by Jeh.nn Ca*p« Troil
VC «e«nu to be no ttA««.
ZARZUELA
ZASZEW.SKI
buUt at (he instigation of the composers
Barbieri and Gastambidc, the singer Salas and
the poet Olona, and was opened on to Oct.
1856, in the presence of Doha Isabel, her con-
sort, Don Francisco, and their court. On that
occasion the performance consisted of a sym-
phony on themes from carcar/os for orchestra
and military' hand composed by Barbieri ; a
cantata by .^rrieta to words by Olona and
Hurtado; a iarimU in one act, ‘ LI sonani-
bulo by Hurtado and Arrseta, and an alle-
gory in one act» ' La aarauela \ text by
Hurtado and Olona, with music by (jaztam-
bide, Barbieri, Arrieta and Rossini. .Another
theatre where good performances are given is
the Apolo, huilt on the site of a eon vent, and
for that reason formerly avoided from religious
feeling by many MaJrikhiH.
^ar^ueloi are soiiictimes in two or more aeu,
ancl such wurhs as * La Fille de Mmc .Angot
' H.M.S. Pinafore*, etc., have l»een produced
and announced as ^arcae/as; but the piece in
one act IS by far lh< nvost freeborn t and pojiular.
I'hc music is almost a I way's of vivid Spanish
colouring, sii.'irkling and bright: hUmnf,
Arigonece, Bast|ue or whatever the occasion
de mandi, but always res 1 less, somew hat lack ing
in ihe elegance that ehararieriaes the niusie o(
the more sueec-^sful operettas of other countries,
a litile hlaiant in oreliest radon and apt to be
vague in form \\hen the national dance anrl
folk^ng forma are awided- Tlierv is, m faci.
a diicnnteni and want of repose apparent in
'his pliasc of art in Spain, as i» alnwAi et'cfy-
thing in the country.
I'he librettos are scimeiimes w rilten in verse,
Inii mure frequently not, and the autluir often
depends on ihc actors* own invention and in*
gcTiuiiy for presenting the public with a g<»Kl
character, and the custom of *• gagging *’ and
improvising entprt verses to a song is so freely
indulged in that the actors themselvei, as well
AS the audience, are ronstanily in roars of
laughter during the early stages ^ the run of a
new piece. The acting is ksscons'cntional and
more umtudieci and natural than in other
forms of d ra mat ie jyerformoner. Use i nt i macy
between actors and audience it so close and
informal that a course of repartee between one
of the former and members of the latter b at
limes started and kept up for quite a lorsgtimc.
I he Iwst-known authom and composers in
Spain havr contributed to the cer^aWa, and
among the most successful composers may be
mentioned Arrieta, Oaztambidr, Barlwri
Oudrid, Marques, Caballero, Chapf, Chueca,
Torregost, Barrera and the A'als-erdes, father
and son. Perhaps the most successful
has been that called ‘ Giganiet y cabeaudea ’,
written In verse by the illustrious and vener-
ated Miguel Eehegaray, with mude by Cabal-
lero, It deals with a subject dear to every
Spanish heart, that of the cf the Virgin
of Saragossa, Santa Maria del Pilar. It has
had matiy a long run uti many a stage and is
constantly revived, and som<’timcs for a sj>ci*ial
occasion or a gala performance it is given a
place in ibe programme at the Royal ( Ipera In
Madrid. Of its kind U is a gem, and, as the
name of its author would su^itrst, has ncitic ol
the extravagance, the vulgarii) or ilic mor-
bidity of many popular ^arzarht. .\iiother
favourite, * La gran via*, by C)hu(«a and
X'aKvrdc. hasovrrrun ihr theaif<’« of I1.1l> and
bem giv'en in various other Luropt an <oun*
tries, besidrs Itelng produetd in Ltmdon iu
1906 in a distorted and elongated f(»rrn, utitler
ilte title <4 * Castles in Spain *.
N. V, jt,, abr.
Bi*i. tbiAsi. CuMai. 'BjfLKri uxl iIk ^panlUk
uM. 4 l... XX. 19V1. !•. .
*Kne im ’ llie Mii»k <$l
S|MMl ’ V«ik. IV|I '• !*• I /I.
MtA«w. M, * Ut Ig f^r/Hrla s d eCru-rci
tliHu * > <94a».
ZARZYCKl, Alaksander l.wow, n
Feb. i8;}4: d. Warsaw, s .\uv,
iHdisli juaniil and (ojn|>owr. l.dueated in
Poland, he moved to Paris, w heir hrtondnurd
Ills Studies lor five years Oi ,. In lliUi
Im* settled in Warsaw and tvas uppolimd
director of itu' Warsaw Music Swm i>, a post
W held until 1874.
He ((imposed * Grand Puloiuis** * for pl.'Mio*
hiricandorehestra lOp. 71, dedicated lu Hans
son Ruhiw*: a piaaolurir (^vneerto ^()p. 17,
idbBf ; sumr pieces lor siulln and orehrilra,
among tlimi a Ma/urka (Op. aOj ; an or-
rhestral suite consisting of a Polun.*ti»e,
Mazurka and Krakuwiak ;()p. 37); a
'.Solemn Ovcrigrv*; man> picevs for piano-
forte solo lOpp. 10, lO, IQ, ^0, '^4, 34J. Hr
also iniUished many songs with a pl.-moforic
oeeompaniinent, in two volumes, entitled:
‘Spiew'njk domowy' ' (* .Songlwok for Home
Use *, J«7i & 1873)-
Two of Zarzyeki's com|>ositions became
world-famous: a song ' Micdzy narni nk nie
b>'lo * (‘ I’here was nothing between us *>, to
words by .\sn>k, sung by Marcella Sembrich
sreUnigh all (jver the world, and his Mazurka
in O major Air violin, dedkaied 10 Sar.'tsme,
who included it in hi* fepei lory. His cxariij>lc
waa kdlowcd b)* Bronislaw Hubennan, who
playrd it fri^quenily during his concert tours
and made a recording of it in London.
ZASZCWSfU, J6aef (*. Cracow, ?; d. ?).
Polish l7Ch-i0ih-ccnlufy singer. He was
a dcscantisi at the Cathedral at \\ loclawck
during ibc years 1693-1701, famous for his
most remarkable and beautiful voice as well
a* hi* vocal art. Enchanted with his c'oicc,
the \‘<9vodc (goNTenor) of the province,
DaialyAskt, kidnapped him and forced him
to join his private chapel. c. a. it.
‘G***". Sjn«lnif «nd Chunli
MuAC u U |o«b»«k Othe Oral ’ AV tu. I.*. ri . ( 90 j J ,
404
ZAUBERFLOTe
ZAVERTAL
ZAUBERFLOTE. Set Organ Stops.
ZAUBERFLdTE, DIE <* The Magic
Flut« *). Opera in ^ acU by Moaart. Li-
bredo by Emanuel Schikaneder arxd (P) Karl
Ludwig Gieseke. Produced Vienna, Theater
auf der Wieden, 30 Sept. 1791. rst perf.
abroad, Prague (in German), 05 Oct. 1799.
I at in England, London, Haymarket Theatre
(in Italian, trans. by G. de Gamerra), 6 June
idii. iH in U.S.A., New York (in English,
adapted by G. E. Horn), t? Apr. 1833.
Su s/i» Compas (»riM (or Quren of N'i(Ki}.
ZAUBERHARFE, DIE (Opera). Set
ScKuatar.
ZAUBEROPER (Ger., magic opera). A
type of opera popular in Vienna in the late
18th and early ii)th centuries, roughly the
equivalent of the English Christmas panto^
mime, but usually with music contributed by
a composer of some reputation. It consisted
mainly of dialogue, but was intcnpersed with
songs and other musical numbers. The sul>
ject was that ot a fairytale, either a familiar
or a newly invented one, and spectacular
scenic efTecis as well at low comedy were im
dispensable features. Wranilaky’s * Oberon *
( 1 780) , Wensel Muller's ' Kaspar der Pagottist,
Oder Die Zaubersither ' (179c) and Sussmayr's
* Spiegel von Arkadien' (1794) are character-
istic specimens, Muller’s piece anticipates
some of the incidents in Mozart's * Zauber*
dote '• the one great work of the kind that has
i urvi \Td , w'h ir h in t u rn had a sequel i n Winter's
’Das Labyrinl ' (1798). The English work
— Lnglith as regards the libretto — nearest
(0 the ^auhtrofier in Character is Weber’s
■ Olwron * (t836). a. a.
ZAVERTAL (Zavrsal). Bohemian musical
family, several members of which became
prominent in Austria, Italy, England and
Scotland.
(1) Joseph Rudolph ZaveeoaJ (Sawer*
lhal) (6. LitomeKce, s Nov. 1819; / Lii<^
meMcc, 3 May 1893), horn player, bandmaaler
and composer. He was educated al the Prague
Conservatory in (830^7, entered the Austrian
army as a bandmaster (6th Cuirassiers) in 1840
and in 1843 was transferred to the 33rd In*
faniry. In 1846 he established the Pension
Society for Bandmasters of the Austrian Army,
which vvas taken over by (he gos’ernment in
2839. After several promotions, including (hat
to the musical directorship of the Austrian
Navy and Marine at Trieste in 1630, where he
founded the Socicik Musicale, he l^ame. in
1664, director of military music and court
musical director to the Emperor Maximilian
of Mexico, ^^'hen the court functionaries and
the Ausiro-Mcxican corps wTre disbanded In
(667, Zavertal returned to Europe and, going
to England in ($68, was made bandmaster
of the 4th King’s Own Regiment, and in 1871
was placed at the head of the bat^ (wirtd ai^
strii^) of the Royal Engineers, an appointment
he held until 1690, when he retired to Bohemia,
where he died. Although best known for his
miliufy-band compositions and arrangements,
he wrote an opera * Pastyrka ’, which was
produced at the State Theatre of Temesvir,
Hungary, in 1647. A few of his worb in
manuscript are to be found in the Zavertal
Collection, Glasgow University Library. By
(he Emperor Maximilian he was made a
Knight of the Order of Santa Maria di
Guadeloupe. He was also decorated by
Francis Joseph and Napoleon III.
BlBLIOCfUPHY
* B*fMhf 7 ua ' (LMCwt, i 9 W* 9 o), IJ, 60*61 ; Itl,
SNBV Ososer. * Cav«]irre ZavrrtsI saC lb«
Royal Anitkry Baad * {London, iSSi).
FAnNrx. HsNav C. It Sumi, Hmoear, ' N«wMouni*
ans * |Gla»ce«'. IMS).
MAas, RoMar A., 'afusie and Mmieiani . .
(Edisbwf'h, iM?).
WvarsACH, C. vom. * Kof rsphiuhA Lenikon de*
KxieenuM On(«rr«kh * (Vienna, iSsS-da).
(a) Weacealaa Hugo Zavertal (6. Polep,
31 Aug. idai ; d. Litomehcc, 8 Sept. 1899)1
clarinettist, conductor and composer, brother
of the preceding. He was educated at (he
Prague C^sen.'aiory under P. D. Weber, Pixis
and Gordigiani. After playing the clarinet (his
instruments are preserved in the Glasgow Art
Gallery and Museums) at the National Opera,
Prague, he became iModmasier of the iBih
Bohemian Regiment in 1845, and in 1847 was
appointed musical director of the Teairo del
liceo at Barcelona and professor at the
Conservatory there. The same year he
married the eminent soprano Carlotia Maironi
nobile da Ponte (i8a6-?3), a pupil of the
Milan ConKrvatory. Returning to Milan in
1848, where he became the lifelong friend of
Karl Mozart, who ga\*e him the precious relics
of his Illustrious father in 1849, now in the
library of Glasgow University, he became in
1830 bandmaster of the 34th Austrian In-
fantry. In 1835 he was a professor at the
Islituio Pubblico Musicale at Fiumeand later
bandmaster of the 49lh Austrian Infantry. In
1838 he was, with Moschelcs, KalUwoda,
Kitil, Dreyschock, and other students of the
Prague Conservatory, invited to its jubilee
celebrations, and an ’ Albumblaii ’ dedicated to
Zavertal containing their musical auii^aphs
b preserved in Glasgow University Library.
Owing to hU strong political convictions as a
Czech, he left the Austrian service for the
Italian in 1859 and took part in the v/u
against Austria as bandmaster of the 4tc
Grenadiers- He retired from the service m
1866 and became director of the Isiiiuio
Musicale at Treviso (*867). moving to a
similar position at Modena m 1870- In 1074
he went to Great Briuln, where he was offereO
the conduciorship irfthe PoHoksbields Musical
AasocUtion, removing in 1875 ^ KclensburgR
2AVERTAL
ZAZA
405
near Glasgow, where he was much esteemed
as a teacher of music dAd his compositions were
much relished. He wis a man <4 considerable
abilily as a musician, as both Mercodantc and
Karl Mozart U'silhcd. His Czech songs won
great popularity in Bohemia. He also wrote
an opera, * Estrella ' (Italian libretto by Ptavei,
while among his later works were an Ot'eriure
tn K minor and a ciardas * La&an e Frlsen '
for orchestra. Nearly sixty of his works, both
printed and manuscript, are in the ZaveriaJ
Collet tinii, Glasgow Vniversily Library.
DlhLIOORANiY
* Usliber '. 7 ilsSi.
Faji mkr, H>' s kv G & S mi Tu, 1 it ••tar. * N’ew Mor u u<
an* ' iQStJ*
’ Vt*Hti MurK«Mp«»i *, ,>0. I <7 (frairuc. il^r
* VV^her KrtKlrii/(>l«ll *, .So. 146 iVteiwm, iMot.
* VSiPhrr .So. 916 • Bu).
tSta/tAiM, i'- * IWerapttmbei I^aiLm dn
Ksb«rlan» OatWrirkh . . .* iNtecb*. Hi*
(3) Ladialaa Joaepb Philip Paul Zavar-
lal (A, Milan, i<j bept. id^Q; J. Cadcnabbia,
39 Jan. I 04 i), composer, conductor and
tcacltcr, son t/f the preceding. He leamc
itiusic front his parenir and at cite Naples Con*
scrN’aior>', where ’riisti was his motiltim for the
violin, and first appeared at Milan in 1864.
Kuur yean later lie produced an opera. 'J iia ',
written h; conjunction with his father at
I reviso, in which the tenor (;ayam made his
iirsi uulstanding success. In later yean ihrs
opera was re*writicn as * Atiriana ' and pub*
lished in 1930. Jhe next year he was made
< onducior and comiXMer 10 a Milanese theairr,
in which capacity be contributed srvrral
successful operettas. In 1871 he remosrd lo
Claigctw, where lie remained teaching and
conducting fur ten years, In’ing connected with
the Glasgow Amateur Orchestral .Soeteiy, the
I'ollokshields Musical Association and the
I lillhrad Musical Association. He also toured
as Ham von Hulow's conductor in StenUnd In
lU??' In l8Bt he succeeded Jansrs Smyth
(1816-83; master of the band (wind and
s iriiig; of the Koyal Art iJlery at Wod wic h. He
initialed a series of symphony concerts In 1 668
at the Prince's Hall, St. James's Hall and
Queen's Hall, London, as well as Sunday
concerts in the Albert Hall (1693-1905). at
which he introduced many new works to
British audiences and. maintaining a high
standard of artistic excellence, raised the Royal
Artillery Band to a high positim. He filled
the post with distinction until 1906, when he
retired to Italy.
As a composer he worked with socceis in
almost every creative sphere; a list of hk
published compositions may be found in ' Del
maestro di muuea milanese Ladblao Zavcrtal '
(Milan, 1914), while (hose in manuscript,
mostly autograph, arc contained in the cata*
Icgue of the ZaveriaJ Collection in Glasgow
GniversUy library- His first Symphony, in
C mirtor, was produced in 1664. The second
Symphony, In D minor, was pr^uerd in 1888
and performed at the last Queen's Hall
cofsceri {1906^ conducted by the cooip^ivr.
HU tragk opera * Una noiu* a Firenze * (1870J
was produtrd at league in t&8o, .\ second
opera, ' Mirra *, w’as produc<‘d ut PraKue in
1886, wIkA Ds*i>fak, vw'ing to the opp<.>silion
of a Wagnerian clique, ihrealvned lu LurKiuci
the opera himsHf If titrre was any furl her
(irrinan antagofii>ni. \n <*piT<'tu ' (j)vv's
Magic ' ^originally ’ Lesson in Mai'ic ',
1 883 1 was produced at \\ o<ihvi< h in 1 8 (k>.
Zavcrtal was tlw recipient of many honours.
In Britain, the laisd of h8 adoption itiaiural*
Uvd l89d>, he w’as raised to the coiiunis«ii>n<’d
rank in tl>e Koyal Artillery (181161. 'Hie
following year, after a »iate concert at Wind-
sor, Queen Victoria presenicJ him with a
liandwHite batoit; King Edward \ 11 decor*
aietl him with iIk K</\al \'i(t<»rian Carder
/,ch class, Kjtij . Italy made him A niemlsrr
<il cIk Sot let) of Santa Otilia of Rome, King
Humbert 1 imnimau’d him Camfi/tr of the
< >rder uf t Ik Grown «>f J i a ly , w )i i le H u inbert 1 1
honoured him with tJie title ol Ct/iiifutt
ii^U. The King of (irretr conferred the
Order t*f the RedeenuT, the King of .Serbia
made him a Knight C'oni|Mnioii of ihe Order
of Takova, the Sultan <»t 'I'urkcy bestowed the
commander's star uf else Osmanieh, the Duke
of Cambridge prrw>nally decorated him with
the Saxe*Cvburg Ernestine Order <4 Art and
ScieiKe (1896;. o,. adtit. 11. o. K.
BIBJ.KX/H \PU\
I'AXAOkr. At MKo.* ]| (Amnwodaiwrc Ltdulou/jvpttjl '
il'revfM,
yAMUtk, (;,, *].Ml«>l*w ^«t(rial: ho l.itr anti
Wetk ‘ 'LwkSm, > 94 a>.
* Mcmuui «f ik« Rotal Arii)lei> Bat,J * il.ntuJwn,
* .Mmmc Kettet. *
* S'w Ntotiriuna ' !l«U«e<>w, 1*175).
*TH OcSotral 'Itnwi \ t). 71 .yy il-omloe. 100^).
*1h« Muxtil Mktf«nne’, VI, 75*77 ihondwn.
iHj..
La AMbfoMiw, * DrI hikm/o «li miuka mihnCK
Lk 4 al** ZAverlal * Milan, 1914),
ZlAWlLOWSKi, Konrad ( 4 . Cracow, td
Feb. 1660).
Polish baritone singer, teacher and com*
poser- He studied music first in I’oland, then
in V'ienna and finally under Bat ti son Haynes
at the K.A.M, in London. He dcvrlopetl a
system of vocal training of his o\tn and lived
in L^tdon as a voice specialist until 1917,
when he moved to the U.8.A,. where he has
been domiciled since. In irjtfi he published
a book entitled ‘TIk IVacitcal Psychology of
Voice and Life’. His compositions include
a choral work, some orchestral music, many
song C)Tles and separate songs.
C A ((
ZAYTZ, Giovuuu. Set Zajc.
ZAZA (Opera). See Leokcavallo.
4 o 6 ZBOI^^SKA-RUSZKOWSKA
ZBOUQsXA.RUSZKOWSKA, Heleoa (i.
Lwow. i8?8; Cracow, Nov. 1948).
Polish soprano singer. She made her debut
at the Lwow Opera in J899, where ahe sang
for ihi'ee seaaor«. In 1904 she moved to
\\'arsa\v, tvhere she sang at the Opera till
1 906. She then made an <^raik tour,
appearing at the opera*hoiises of Vienna,
Palermo, Madrid and later Buenos Aires.
During the Verdi Festival organized in Italy
in 1913 she sang Aida twelve limes at the Scala
at Milan, arousing great enthusiasm among
the Italian audiences. From 1916 till 1919
she sang at the Prague Opera. In 1 919 she
returned to Poland and Imame the leading
prim a donna at the Warsaw State Opera. A
few years before the outbreak of the second
world war she disappeared from the stage and
dcthcated all her energy to the training of the
young generation of Polish singers. For her
musical activities l>olh as singer and as teacher
the order of Polonia Reslituta (3rd class) was
conferred upon her. c. a. k.
ZEBALLOS, Fnaelaco & Rodrdgo. Set
Or.VALLoa.
ZECCHl, Adone Bologna, 93 July 1904).
Italian composer. He studied ai the Ueeo
Musicale of ^logna under Franco Alfano.
In t93o he founded the Orchestra Bolognese
(la Camera, which he conducted for soeral
years, and later the polyphonic choir Euridke.
which he directed until 1943. He then became
teacher of choral singing and conductor of the
choir ai ihr Licco Musicale ** C. B, Mariini ”
ai Bologna and music critic of Bolognese daily
papers. Among his composiiiom may be men-
Honed the incidental music for Beau*
niarchais^i comedy * Le Barbier de Seville ’
(Bologna, 1949} and Alfred de Musset's
' Barl>crlne ’ (Bologna, 1950) : a ' Ditirambo '
f<»r maIe*vojfe chorus (1938): ‘Toccata, ri*
imarc e finale* {1941) and ‘Due astraaioni
in forma dl fuga’ (I.S.C.M. Festival, Copen-
hagon, 1947) for orchestra: 'Trc canti reli*
giosi * for voice and orchestra (1936-37); a
2 rio : ‘ Sonata fantasia ' for violin and piano*
forte: music for harp, etc. c. m. q.
ZEGKWER, Camilla (^. Philadelphia, 06
June 1873 ; d. Southampton, N Y., 7 Aug.
<924)'
American pianist and composer. He began
10 learn music from his father, Richard
Zeckwrr, and studied with Dvo> 4 k in New
York (1893-95) and with P. Scharwenka in
Berlin. He settled as a teacher in bis native
city and became director of the Musical
Academy in conjunction with F. E- Hahn.
He was the composer of several sympltonk
works played by the Philadelphia Orchestra;
his symphonic poem ‘Jade Butterflies ’ won a
Chicago prize and was played there ; he also
wrote chamber music ai^ an opera. * Jane and
Janetta’. h. C.C.
ZEINALLY
ZECKWER, Richard (A. Stendal, 90 Apr,
1850; rf, Philadelphia, 31 Dec- 1922).
German pianist and teacher, father of the
prweding. He was educated at Leipzig,
migrated to America and settled at Phil*
adelphia. He Joined the sufT (1676) of the
newly opened Musical Academy and later
became director, resigning this past in 1917.
ZEHN MADCHEN UND KEIN MitSw
(Operctia), See Supp^.
UHNDER, Max {b. Turgi, Canton
Aargau, 17 Kov. 1901)-
Swiss composer. Having studied at the
Zurich ConKrsatory, he was conductor and
teacher of singing and instrumental music in
1926-30 successively at Bienne, Brugg and
Zurich. In 1931 he was appointed teacher at
the training-college of Rorschach (Canton St.
Gall). As a composer he has appeared with
various vocal and instrumental works. His
si)le, though adhering to the baroque forms
of chamber concerto, toccata, etc., shows
individual traits of modern linearity and
polyphony. Hii chief works are as follows:
Cmm*u ’Vmi dcr Uebc* (Novalu) fer sole veicn.
<hontf a onh. (1414).
1*10111) Ct. (w chem* A erch, <1437).
Prdode and CKacemc ter lu, e^. (1441).
* Medi* Vito * ter erch. (iMv).
leccoia Cw full erch.
<^OAcene Set fluie. ebee A iin. {1444).
* Tertinen * ler eervi rolie A rhomeor erch. ( 1 4 rf )>
(Uatoij (fljtiKr aiorto Alike) Ter conuolie A tniaiJ
wrh. (1447).
SeOfi le weri b kv Se«tkB C«er(c, Rilke. Ac.
K. V. r.
ZEINALLY* Aaaaf (>. Derbent, Acer-
baijan, 1909;
Aserbaijan composer. Of peasant origin,
he was strongly attracted by music while stili
at schotd, and used to sing and listen to (he
Azerbaijan songs and to play the clarinet in
the school orchestra. In 1923 he entered the
Baku Musical School, where he learnt to play
the trumpet and. later, the pianoforte and cello
as well, stud>'inf composition at the same time
under Cadahibekov. In 1926 he entered the
Azerbaijan Conservatory, from whieh he
graduated in 1931 on completing the course
in composition under Boris Karagichev.
After a few months In Leningrad,
Zeinally took up teaching in the Azerlwijan
Conservatory. He composed a great deal, but
his untimely death interrupted his creative
work while he was collecting and studying
folk music in Karabakh, All his works testify
10 his close relationship iviih the national
songs of Aaerbaijan. Although he ^va5 unable
to complete many of his projects (he left, w
insunce, drafts of a Sy^nphony), there remain
a number of compositiws in almost all species.
He did a great deal for the Azerbaijan
Dramatk Theatre, to whose musical diwiot-
ship he was appointed while still a student ot
(be Conservatory.
ZEISLER
Zelf.:^ski
4^7
Asnonf ZeinaJiy’s works iho fulUming arc
th< most importaat :
lnci<lenul mtuk M v{«veB fo* Uw A«e*b»iiM
NitioDkl Tb<airc.
Chorute * SeirjA * Oi*<k» *, * Mv CouAtry * The
Man at ih« Froniitr ’• ’ D4<lar *.
Pra^menu \ut tymphonic occhnira.
C^nipoiMiotta fw vn. fc Twt <«klo.
Si>naia Tur pr.
9 rMiKu««<or pT.
s. c. a.
ZElSLERf Faoajo Bloomfiold (R BioMu,
Austria, tSJuly SB63; V. Chi<afo, 30 Auf.
I027)«
Atncrican pianist of Ausirian origin. She
was taken to the L’.S.A. in 1 80S by her parents,
who seiilet) in Chicago. She studied there
under Bernhard Ziehnand Carl \Vcdr»ol>n, and
in 1878 went (o Lescheiuky in \ ieryisa, with
whom >\»' studied for Pin c vean. She returned
to .\inencn in 18H3 and ai unce made a nante
at a piaimc. In she underio(>k a «>nccri
lour in CcTitiaiiy and rrpeaud U the next year.
She appeared m l.^riulon ui i8<j6 and in that
year also at the I.owcr Rhine Musk Kotival
a I (^olosne, and she nia<Je European tours
in auhsr(|ueni years. She married .SsegntulHl
Zcisler, a lassyee of Chkaf;o, in 1HB3. She
was a cousin <>| Ntori/ Kraenihal. ihe pianist.
Her style uas one of imhskluality, Piery
inirnsily and intmveness — that of a nervously
higlostrunff artist. a. a.
ZELENKA, Johano (Jan) Diansas E
r.ouAovire, ih ()ft. iGyn; </. Drenkn, 33
lh'<. I
Bohemian composer. H<* was the son of
a village schoolmasier who vs as himwIP a
versulile mush ian. 1 tas Ing had a gsrod train*
ing in tnusie at home, hr was educated at die
Jesuit (ktlkgr in Bragne. lie went into the
service of l>ri herr Joseph Ludsvigvon Harlwig
there in lyny, entered the ccHiri orchestra at
{Dresden as double* Itass player in 171 a ami
ubiained leave oP ahsener in 171b in order to
study eomposition with Fu't it» Vienna. In the
same year he was taken in tlse suite of die
Elector of Saxony to Italy and breamc a
pupil of Lotti. hut he returned to \’ienna in
2717 and to Dresden In 1719.
In 1733, Tor the eonmation oP<;harles VI
In league, Z< Irnka htoic the music to a i.alin
comedy by M. Zell, ’ Melodrama de .Sanrto
N'enceilao, sub oka pacb cl palma virtulis
conspicua Orbi Regia Bohemiae Corona ', an
allegorical play praiiing the empetm as heir
of the St. \\*fnci*slas crown.
Zelrnka succci*dctl Krinirhen N*bose road*
julor he had liern since 1710) as director of
church music in *729, and he received the
lillcofcourt comiKxwrin 1733. a composer
iir prosed himsclP to l>e an outstanding master
oP the so*called sole mhl«. mnarkabte for
polyphonic consistency and Pullness of bar*
monic resource. He left no fewr lhan 3t
masses, 3 Requiems, 2 ‘ Tc Deum to8
psalms, motets, etc. In the doniain of inslru-
menial mu&k hU overture * Hypocondria *
is particularly remarkable. 'I'hree Italian
oratorios (* I penitcnii al sepolero\ ' II ser*
penie di bronao', *Oiesu al C^lvario'^ ihrrc
cantatas Immisit Dominus *, * IVu^ dux
and ‘.Altendilc et \id<*te*i, he>id<*s a sc n’tialK
and the melotlrama ’* above nienijonc<i,
uath other compositions in his aiitograpli.
were kept in a special cupl>oard in the
C7ath«>ite Church at Dnsden, and the State
Library there has the largosi collection of his
inanvrscripl compositions. In *|>iU' "P ids
long years alsroad Zelenka never Porgoi idv
n>ol]ter*l«in|giie, as i$ provesi hv hi> arjn oil
a Crech patAidira'C oP I’sjhn (J. ( diva lie
Doha silnelui '1. i;. t.
BiM. -f ViuiiNAV. M.. * /at L'whKiilr (kr Muub uiel
vies IhcAim m IMe lu IWwkn *, N nl. II ^Ilres*
vkn. 1X61 .
TuvHBs, 1... * (>A /rUrk«’t ('nmfXHiitnn* And p.irticn*
|j<V nil hiv MHoIrsms |lr Sinelo \Vnrr»|jo’*
I' IaoI*. Vn|«, l,\**l.\’lll, iv^9 5J : in <t«efli|.
ZELENKA, Ladlxtav Moslfanv' ur.
1‘r.igue. 1 1 Mur, iIUli .
Crech vjohmielliu. Me uas evluraud at
the Prague {Vrtivervalory ilkyfi .sricl
afterwartls Mudiesl with M. Iktki r at I'r.vik*
Port 0 M. In itK>3*Mi he t.'iuglu at the Con*
servauiry of <KI« Na, Prom 1910 to 10(3 he
wjs a nwnilier t»f ihe ftev^ik's Qua net and
in 1913 he jmnesi the Bohemian .C^edi)
Siring Quartet, remaining uiih this leaui to
tl»r end. Uevldes his activity as a |irorrimenl
chainbiT*mudr idayer Zelenka shuvxed him*
sdf a very vu(c«'\%ful sedobt. His maOrrly
pcrforniance of iMifik’s (kmcerto imht
panieiilarly lie menticin<*<I.
Zehmka was alvo a very infhieniial teacher.
In I9ja he lire arm* profevvof ofcImmliiT mii'k
ami in >937 alv) of ihe cello at ihe Ihaguc
Omservaiory, in Mi3fi he was promoictl 10
the professorship at the Mavlrr S< hcM)l ami
after the second world war he was appointed
prufevsor al the Academy <»r Musical Arts,
He was awardesi the tide of Xaiionul Arlbt
•" '9»6.
BoL Kvti, J. M, •!,. Zrienki a Ivarieiu*
^VrAgwr, io«8),
ZELENSKL WladyfUw <b. Groslkowlce
«e. Cracow, 6 July 1837; d. Cracow, .^3
Jan. 1921).
Polish teacher an<l romf>oft*r. He was born
al a country' estate which hail Iwlongevl to Ids
family f<»r a numl>rr of general Ions. Hi^
father, Marcjan Zelvtiski. was an ardent music
lover, played the pianoforte and is said to
have wrilim some ocmipodtions. Zeleriski lust
both hb pan nis very early. Hr b<gan his
studies under F- Mirerki at Cracow in 1834.
duriiif which lime he composesl two string
Quartets, a siring Trio and an nrchc’stral
overture. All these works are lost, hut the
4o8
2 ELENSKI
ZELINKA
pianoforte Sonata (Op. 3) was published at
Milan. On leaving the secMMla^ $cho<^ at
Cracow he mmed to Prague, where he pur-
sued an academic course (philosophy) at the
University, at the same time studying cMn*
position under KreJ^i and pianoforte under
Dreyschock. Having obtained the Ph.D.
degree he went to Paris, where he continued
his musical studies under B. Damecke (1666-
1871). In 1871 he returned to Poland and
settled at Cracow. The next year, however,
he moved to V\'arsaw to take up the pos t of
teacher of theoretical subjects at the Con-
servatory. In Mar. 1876 he was elected
director of the W'arsaw Musk Society. Three
years later he resigned and returned to
Craeo'v. where he remained until his death.
There he organited the Cracow Music Society
and the Conservatory under the auspices ^
that society in *887. He became director c(
the Consrnalory, also teaching organ, piano-
forte and all the theoretical subjects. Owing
to his aU*round education, energy and, above
nil, persona) charm and abilities, he was
able to pave the way for the newly organized
musiral insUtulions and establish them against
the strong opposition and prejudices of his
“musically deaf” fellow* townsmen. Hk
first pupils soon made their names known in
t he Pol ish musical worki . They were Zygmun t
Sinjowiki, composer and pianist, Henryk
Opiertski. the distinguished musicol^t. and
Fclicjan SsopskI, composer, teacher and later
author of his teachers biography.
Zelertskl's activities were gradually recog-
nised, and the freedom of the City of Cracow
was conferred upon him in tg 13. In (89? he
published two tcxt-l>ooks on musk: * Nauka
zasad muryki ' (' The Rudiments of Music ')
and * Nauka Harmonii ' Treatise on Har*
mony ’), the latter written In collaboration
w’iih Gust aw Roguski.
2eled$ki*s w'orks include four operas :
' KorrA<S VVallenrod ' (liWctto by ZyimuAl S^metki g
\V U«lyitsw Neiko^ki, After a perm by Mkhiin^i).
prAtl. I.vr 6 w. caSs.
‘Coi^AMA* (lib. by Ludom*} CrmAn. bAwU 90 a
irAcr Jr. * ItAllAdyna by Juliwts M«wAeki|. prod.
CrAcn**, igaa.
'fARrli * tlib. by LuJomil CermAa), prod. Lwdw'.aOe*.
• aoo.
* Siara bAin * (‘ An Old Tok *) d*. br AkhuiMk* Sav
BAiHlrowiki, bA*cd OB a novel by j, 1. KiAMew^),
prod. 19B7.
He also wrote two masses : motels for mixed
chorus ; very many partsongs for men’s
voices; incitlcntal music for a play by Win-
centy RapackI, * Wit Stwoss'; and seven
cantatas ; ( i) for the jubilee of ihe nov'clist
J, I. Krasaewski (1679); (2) for the b*-<en-
lenary of the victory of Jan III of Poland over
the Turks at Vienna (1883}; <3) fur the
ceremony of unveiling of the monument of
J. Szujsfci At Tarn6w (1887); (4) for the
' At ihe opening of the Muly bviJt Gxaad Tho*uv,
tercentenary of St. Anne’s School at Cracow
(e888) ; (3) for the Exhibition at Lw6w
{1894); ($) 'Gloria Tibi AJma Mater’ for
the 50o(h anniversary of Cracow University
(» 9 <») i ( 7 ) for the inaugural ceremony of the
opening of the Warsaw Phllharmonia in tgoi.
Zelehski's large-scale works also include two
symphonies, the second of which won the
second prize at the Warsaw Philharmonic
competition in 1912; two concert overtures:
' W Tatrach ' (* In the Tatra *) (Op. 97) and
‘ Echa Jrsne ’ (‘ Woodland Echoes ’) (Op. 41) ;
‘ Grand Polonaise ’ for orchestra (Op. 45) ; a
pianoforte Ccmcerto in major (Op. ^).
His chamber music includes three sonatas
for pianoforte (0pp. 3, 3, 20), two violin
sonatas ( 0 pp. 39, 67), a pianoforte Trio in Ek
major (Op. 22) ; * Variations on an Original
Theme ' for string quartet (Op. 2 0 i ‘wo
string Quartets, in A major (Op. 28) and P
major (C^. 42) ; a string Sextet j a pianoforte
Quartet in C minor (Op. 81), voted his best
and most successful piece of chamber music.
He abo wrote (eludes for organ (Op. 38).
Hit songs amounting to just over eighty arc
among the best Polish songs of the rgth century.
c. a. K.
8 ia u— jACKiMSCXt. Z.. * FdAfid : bet Hiiiory And Cul*
itsre J SeciiAn on blusk, Vel, JIJ (WonAw. isjbj.
Siomi. F.. * WlAdydAw ZekAikl ‘ (Wamaw. i«il).
K. Sii SudA (‘ tpt baikb muli lib.).
Z^LINDOR (Opera). Stt PjtANCSUit.
Raaftt..
ZEUNKAf Ju EvasgelJaca (6. Prague,
1 3 Jan. 1893 ).
Czech composer. His father, Jan Evan-
gelista Zelinka, sen. (1858-1933), was an
esteemed organist, choirmaster, composer of
church music and [richer. Having received
a ^>ecial education from his father, .f. £«
Zelinka, jun. completed his knowledge of
composition by contact with Osiriil (l 9 i 9 ~^ 3 )i
J. B. Foersier, Zkh, Suk and Nevik. The
composition of music w as for him but a secon-
dary occupation up to 1942, wlicn he was
compelled to abandon his official career
owing to an e>'c complaint. In spite of this
he vvrote a very considerable amount of
music (over 200 items of various kinds),
whkh are worthy of attention for ihrir
^tontaneous invention and unassuming fresh*
ness of expression. In the choice of hu
themes he has often been inspired by
impulses. Among the Czech composers of
his generation be has been most diligently
engaged in mefodraroa. The following is a
short sdeciion of his principal works ;
WTA 'lk«nJbA hoUlrtriklM' ('The tnnkceper’t
Liltk Dw^ter') (Ubfel*® by J. Mskk). •
FrAcue, <4 Feb. > 9 eS. . „.k
WA ’ DevAU leuhA ’ f Tbe NifUh kkadow ) (Mb'
by R. Joemki) . $ *ev.^od . Prafue. «9 Sept. ijS ' .
ter* ' FalKAlv Wee ’ (’ Th« $Tubbflcn ShAwMl^ i
Uib. by J. KoptA). S ecu, pe«l F»*rue. i9 Mat,
> 944 *
ZELL
ZELTER
Open ' Melulna* 4 Mb. by F. KoUkV^ 6 Keon. prod.
?lteA» ij Apr. 1930.
B*Uet * SkkBfni piAM* ('A Claw DdU’\ prod.
Pr*fv*r. 9 July iptB.
$c«nie m«l«draaM * Srde« M priadninAch * {' The
H««n «n Hol)d 4 n 'J 10 J. b(ala»rk*> pUv. prod.
Bmo. aO J411. tpsd.
IncidenLal murk for ihe palnotk play ‘ Zbocov ‘ by
A. Bkiiii (194)).
* Mi(M in hoAorrm S. loasAis EvaafelaiM ‘ ((943}.
* Mim in henorrm S. Judae Tadaei ’ (1943).
CanlaU ’Flafxi div^aifco* i' The NVeepinf Lilde
Oirl *) if. Hrdiat (ipadl.
Canuik 'Slanknv byC^ ' i'The Straw PuKKolf'J
( stiTord* by Conpowr. afi«« • Rwwkn fable >
Cantau * CeaW oiMee ' ^ Cireh .Montb* ’> < K . ToPun 1
U 9 y>)-
Ovrrium.
Chamber muak (of varkua rombinaikM.
.Sru nf ifHigt,
Meloilramai, mainly humorowt in tharacire. far de>
claniaiioA & pf,
O. t.
2*i\, F. (Camille Walacl). Sti hirauu j, 4 lab*.!.
2ELLBELL, Ferdifiaea (1) <». UppuiU.
1689; Su»rk holm, C June 176^1.
^wedUh muficihr). lie wa« a member of
ihe cnuri flrche»ira from 1715 urttil hk death
and org.intM of the church <4 .S(. Nicholas,
Stork holm, frcim 1717. In 17.10 he publidtrd
his crraiUe ‘ IVntjxraiur Umnrtim and he
compiled a book of chorale^ r. 1 747. He wat
a fine orsnnUi and trained many pupiK, in*
cludinK hi' «<iri Ferdinand, who suereecled him
at St. Nicholas In 176 v k. t>.
ZELLBELL, FcpdiiUBd (U) (i. Siock*
holm, .\us. 1710; 4 , Si«<bh(4m, 31 Apr.
Swedish conductor and ewnposer, son of the
prceedini;. He studied with J. II. Roman in
.Stoekholtn and (». V. ’I'idrmann at HamhurK,
ni\d spent some lime in St. tVimlKirg, uhcrc
he produced an opera, ' II Kiinlizio d* Aminta
on the Empress Khzal>elh*s nafne>day. In
1750 he was appointed eondurtor of the
Swedish court orchestra. The founclinf <rf the
Stockholm Academy of Nfuste owed much to
his imiiniive, and he was m fir»i director in
*773-74« Zellbell made hw dt^but as a com*
po«cr in 174? with an overture fiw strings in
the style o( .Scarlatti, and he composed a
festival cantata for Adolf FredrikN accession to
the throne in i7Snand an opera*ballri, * Sveas
hogtid ' which was performed in the Riddarsal
in 1774> The manuscript of hb pet
mtnica, ' II ];iu<lizio d’ Aminta \ b in the
Library of the Academy of Music, Stockholm.
K. o.
BiiL. -SiHMiAou, F... *Fe«<tinwi 4 Z«IIMJ d, y. In]
««li haiu ©pefj •• ]| KiiKli<i«d* AimU " ' (S-T.M.
'9'&)
ZELLER, Karl (F. $1. P«(er*in-dcr*Au, 19
July 1842; d. Baden nr. Vienna. 17 Aua
•898). ' *
Austrian composer. He specialized in
operettas, the rmai successful of which was
'Her Vogrihandicr’, produced in Vienna
at the Theater an det Wien on to Jan. 1891.
It was given on many Oerman stages and often
409
revived, made its way alt over Europe In the
1690s, and reached North and South America
and South Africa. Among numerous others
were *Joconda ' (1676), 'Die Carbonari’
(idSoh 'Der Vagabund ’ (188G) and 'Dor
Obersieifrr* (1694}. a. l.
Bin. - /rii ra. C. tV.. * M<in y»ici Rail Zelkr ’ ' Si.
Pnli^M, 1 94s I .
ZELMDIA (Opera). Ste Rosstsi.
ZELTER, Carl FriedHch {h, B<'r]in, n
Dec. 175&; d. Berlin, May 1630).
German composer, conductor and teacher.
He was the son of a ntasojt. He has recordi’d
ilie lirit indelible imprss^ion he received on
hearing Grawn's opera * Phaeton ’, to uhich
liis iMrtnis Created him in the C^arnhal of
1770.
Tlw sr«fMl pAwyrfjt mj'ws •>( nvririi m>
ktWMiNA (if matf iliMi ilir n«rl«>J\ aut] loinirucMoii
of ajr<. ... I (Imivlil ihr eoWti* a ntliJIe
»u(Mlftful »* ii beaudful, I •niociBK
llv ... I in « v* of
Of the opera itself he say's litilc, ezeopi ihat
the sweet unkisoun Italian words added 10 the
magic uf (he tsiHilr, to litnt he afiensards
agreed Hiih Fredi’rick the Great as to the
profanity of alhming an to speak in the vulgar
tongue, and »>mpathizetl heartily wiih the
royal dislike of the fierman opera. \>*hcn he
was nearly fouricrn his failier srni him 10 liie
(!jnn 4 $iim, but thrrr, though he did lolerubiy
wri] at leivsns, he was on such had terms with
hit felUns'-pupils that he uas ol)ligcd to leav'c.
Hr waa next handed over to ihr organist of
the ajmiMiium. who had a school of his own.
J’his was only a temporary expedient, for
/elirr reiumizl to the fiyimuiian u*hrre some
of the masters were well dhiwxecl towards him,
nolwithsiaiKling his taste fur practical jokes.
At tl>e age of scvTntecm, aflrf another course
of the organist's teaching, he left school, and
now his real education began. 'I'Jiuugh ap*
pfrnilcrd to hn father's trade, lie was but a
halfhearted mason. He made friends with
any one who happened to hnv'c musical pro*
clivitics and was quickly ri]>enlng Into a
capable musician.
In 1777 hb apprenticeship was declared
over, and a great longing seized him to join Ids
friend Hackeri, iheanbt.on a journey to Italy,
a longing which often returned upon him
through his life, though he never fulfdled It.
His love afTair with an artistic Jew'css, at whose
father's house Moses .Mendelssolin and other
scholars used to meet. Is worth recording, as it
marks the first omnceiion of the names of
Goethe and Mendelssohn with that of Zeltcr,
Uhen he was eighteen his first cantata was
performed in St. George's Church, and Mar*
purg thought so highly it that Zeltcr applied
to Kimbeeger and Kasch for further instruction
in musical science. In gratitude for his
master’s leaching, he was to become the bio*
410
ZELTER
ZEMLI.VSKY
graphcr of Fa<ch ihc original founder of the
Berlin Singakademie. From 1793 to (800
Zclter acted is accompanUt to that institutiM),
and at the death of Fasch he succeeded 10 the
dircctonhip. In (806 he was appointed
assessor to the Akademie, and in 1807 he es-
tablished a Ripitnsehule for orchestral practice.
A few years earlier Zeller’s music to some
Goerhe's verses had so attracted the poet that
a correspondence began which shows that
Goethe was capable ^ a real afTeccion for at
least one of his blindest worshippers.* There
are frequent allusions in these leners to the
progress of the Singakadrmie, o\*rr which in
his later years Zeller reigned as a musical
dictator from whose decision there was no
appeal. The Akademie consisted originally of
only 30 members, who met weekly at diflerent
pmaic houses, and durtrtg Paseh's life they
practised little except his composUiom. It
was reserved for Zeller to enlarge the area of
selection, and under him some eif the greatest
tvorks of the time were added to the repertory.
'I'hr Llcdrriafcl. which was definitely (bunded
in i8oo> at first consisted of 95 men, singers,
pocis and composers. The society met once a
mom h for supper and music, the songs were the
compmitions of the guests ihemselvTs, and the
fiathcrings are amusingly described in Zeltcf'i
Irt ters 1 o Goethe. I n t he same year he receivrd
the professorial title. In 1819 he founded the
Konigliches Instilul fur Kirchrnmusik. which
he eondurted until his death.
Zolt< r’s altitude towards MendeUsohn, first
ns tear her and Inter as a friend, was admir-
able, and though hisjudgment of contemporary
art was at limes mistaken, his faith in hia pupil
never waverr<l. No less praiKU’Orthy was his
'ihare in the rev ival of the choral music ofj. S.
Bach,* The joint enthusiasm of Mendelsohn
and Gcvricni for Bach's music had been
kindled by the study of the score of the Sc.
Matthew Passion which Zclter had bought
years before. Zeller rashly ventured on
simplifying some of the recitatives and choral
parts, after the method of Graun. I'he purity
of the work was saved by Mendelssohn ’s
grandmother, who prevailed on the fortunate
possessor of the score to present the treasure 10
her grandson. Not only was the M’ork well
bestowed and rescued from sacrilege, but its
publication and performance inaugurated a
fresh era in the art of music. The expediency
of printing the work was discussed at a dinner-
party given b) Sehlesingcr. the publisher, who
decided to bring out the work.
The zeal of Mendelssohn and DevTient, in
league to prevail on Zeller to allow a pubUc
performance, es'entually triumphed over every
' Karl FricUricKChriMun Furh *, 4le<Berfio. iSoi),
vriih a ivarirAit (drawn bv SKhadow}.
* * Rtirrorehvl awiKbm GoeUw vnb Zrlter*. $ v^.
llkriifl. iB 33 -s«}. Triwldied by A. D. Coleridge, i $ 9 ?.
* Sf* 4in Back CucsucHArr.
obstacle. The concession was wrung from
him with difficulty, but once given he put the
fences of the Akademie at his pupiPs disposal.
The first and cver-memorabic performance of
the Passion was pv-en on 1 1 Mar. tSsg, under
Mertdehsohn's direction, his friend ^ward
Devrieni singing the part of Christ.
Zeltcr compo^ songs and quartets for the
Ltederiafd of Berlin and set many of Goethe's
poems to music. These songs were intezpreied
in their day by Mara and other great singers.
Among his numerous works, now forgoiien,
was a cantata on the death of Frederick the
Great, which seems, judging by the account of
it in a journal of 1 786, to have been thought
worthy of the occasion. He also wrote an
oratorio called * The Ascension *, a Requiem,
a * Te Dcum ' and several other works which
were never published. A list of these Is to be
foufsd in ' A Sketch of the Life of Carl Fried-
rich Zeller, arranged from Aulob)ographical
ManuscKpis by Riniel. a. d. C., rev.
BIBLIOGRAPHY
Kii’sc, Csoao RicHABo, ‘ ZHter * (Berlin, i 9 $i)«
l^cvcB. J■rrltrr. * Ber(Ko^'«>n in i>i« (Jwih«-2el(«r
Cwrriponjfnfe' t L., XVIf. iO;$. O itjL
$CHO*TLA'<Br<i. J, W,. * Cirl Fr»«dfich Zriicr* Dsr*
iwllwncrn L«bem * tWeimir, 1991 i.
ScMOaivAK!!, Groao. *C»rl Fr»<^ruh 2 di«r. d«r
B«rwi»der d«r prevwaehm MuMkp^trge* (B«rl!n,
! Oer ^(rnKh uod Kin tVerk*
f. Zelwr ill Cherditigenl'
Frwdrkh Seller
*Cerl
(Berka. in?)*
WcrrncB. Pm’S.
(Berlin, lessj. ^
WrrtyAKM. Csaram. * Du kUviefbegtejieie Selelied
KjcI priedrKH Zelim ’ (Berlin. rg}$).
Sft W«* iUibKhiKbe* Arehiv. MeadeUtbliB (ded. M
pf, el«>, Seng. IK 096.
Z^MIRE ET A 20 R. Opera (cenMit-M-
frr) in 4 ac u by Cri try- Libretto by Jean Fran-
cois Marmontel. based on Pierre Claude
NK'elle de La Oiaussde's comedy 'Amour par
amour’ (1749). Produced FontainebCeau, at
court, 9 Nov. 1771 ; in public, Paris, Com
Italiennc, 16 Dec. 1771. isi perf. abroad,
Copenhagen (in French), 1772- ist in
lard, Loi^on, Drury Lane Tlieaire (traru. by
G. Collier, music adapted by Unlcy), 5
1776. isi in U.S.A., New York (LInIcys
vmion), I June 1787.
Z£M 1 K£ UND AZOR (Opera). Sk
BAUUCARTeN. Spoka.
ZEMUNSKY, AfeaaAder von (k. Vienna,
4 Oct. 1879; d. Larchmoni. N.Y., (6 Mar.
, Ha
Austrian conductor and composer, nc
studied at the Vienna Cwisen'itory and be-
came conductor there, finl at the VoJkso^r
(J906),thenai«heCourtOpera (i 9<*6)«
holding a similar position at Mannhe<m
Zemlinsky settled in Prague as conduct^ at
the German Opera, where he did dulingui^"
work. Under him that house maintained a
high Icvd, and he directed it until igay-
Zemlinsky composed six operas, given m
ZENATELLO
ZENO
4 "
Vienna and eisewKere with success. They
were the foHpwing :
* SArrma ' <librc((« by AfnaU Sehaeobfre. ba&rd oa •
kiAfy by KuJoir sMk UofucKalL ' l>*« Kote wm
Kaukiaus*). prod, Munich, to Iki.
* ba Hat ciiimal * ilib, bv Mositn bin««t, b«cd o* •
play by liulit^r Dtachinant>». prvd. Opeta.
ri jan. I9uu.
' Kkiilrr mudicn l.vuv ' bb. by ],«o F<U« batfil on a
Kory bv CjouCt^d KcHrr '• proH. S'€lkiepfr>
t I>^. I 9 MI.
* }'in^ rintriUMiixlif Trar^alic ’ tbb. bv Max MeyrrMd.
irjna. ftwm <>xat VVihk « prod. blaii$arl, jo Jan.
i«‘7.
* (kr /hctx ' Mib. by Crorp C. CSaren. Uavtl om ^VaUc*<
tU>r> * The Hirlhdjy uT ihe lafaivu p*«d.
OHucMe, .May I'jn.
’ f)rr Kreldebreis' ilib. by KloLuoidi. pruJ. Zurich. I4
Ou. {©jv
Ui’tween and 193a ZenUinsliy uas
associated with Quo Kkrm|>erer and Fiiia
Zweigas conductor of the Berlin State Opera
(Kroll Opera,, uherr he uas outstarKlingly
successful. In 193’} he returned to Vienna
and comp<>sixt a nurnbiT vt works which have
remained un|iulilished, 'Ihc inlluence he
exerted, t spec tally m Ins youiU, u|>un ihe
}{encration of compuseri who were undergoing
their iraiiiing beiwern njnoand 1910 uas an cm
I eejmgly strung one, Kis »on*m*laxv, Arnold
Sehoetiberg, was alio his pupil, and later a
nurnWr of gifted inuncians studied (ompcai*
lion under him and Sihoenbrrg. .Ml>an Ihrg
trsiihed to his admiration for Xemliiuky by
introducing iriio his * Lyruchc Suite* for string
(|i>aru t 4 theme from Zemliruky’s * l.yriKhe
S>mphonie ', m. c, c. & b. j, w,
ZENATELLOf Giovacuil ((. Wrona, ua
IVh. 1876; rf. New York, it fell. i<M 9 l«
Italian tenor singer. He was trained as a
haritoiie and made hh dclnit as such at the
Jeatro Mcrradante, Naples. I'wo inunihs
later he exchanged the part of Sljvio in
* Pagliacci ' for that of Canio as>d asionMird
the Neapolitan critics hy proving hinuelf a
genuine r<ibust tenor, in which capacity he
apiieared in various opera-houHn in sciuthern
Italy fur three years. I'hen only did he begin
serious vocal study at Milan and fit hiinsrlf
for the worthy employment of a magnificent
voice. After a highly successful reappearance
at Mnntua he went to South Amerka and
entered upon the most brilliant part of his
career , bei ng e ngaged on his ret urn for La Scala,
Milan, where he sang regularly from 1903
to 1907. In the latter year he sang for Ham-
inerstein at the Manhattan Opera House, New
York, following up there Ihe successes wbkh
he ha<< won in Ixindon in 1903-6. He made a
good impression there, at Cov'ent Carden, both
by his acting and his dnging, on hb debut in
* L'n hallo in maschcra ’ t tooth |>erfnrmarKe at
Coveni Carden, 6 Oct, 1905/, but achieved a
more marked triumph three years later when
he sang Othello with Melba and Scoiti as
I>esdemona and lago- He was also very fine
that season as Radamb with Dcsiionova a$
Aida, and these two Verdi parts were con-
sidered his best in a repertory of some fifty
characters. He was for many vTars a member
of the Boston Opera Company and while
in America married H9131 the wvll-kiiown
Spanish prima donna Maria (Ja)'. He sup-
ported a ctmscrvaiory at V erona for die free
luicitm of talented students. 11. K.
ZENCK, HermanA <b. CarUruhe, 19 Mar.
1898; d. Freiburg i,B., j Dec. 1930 1.
German muvkolugUt. He went in Hlio<rl
at CarlvTulie and studied inuNic hi the (!u{i*
smaiory* there. In 1919 he gained the
SehrJTel stale pnee for <om|V>%iiion. Having
passed on in the Universities of Munich
(Sandbergri Heidelberg and Jaipzlg
(Kroyrr), lie look the Ph.I>. at tin la>i*
meniinned in 19^4 and be<ame a'shtant
teacher in hi muvivologual dcparimeiu,
advatHing to tlx; post of lecturer in 19^9. Jii
tc>3^ he was called in the rimrrsliy of
(MMcingen as leather ami director of the
mudeolngka] seminary. Hr l>rcHine pro*
|r>s«ir*exiraordinary m 19)4 and profcwur-iii-
orJinary in 1937. In he aerrpled a
prnTevsorvJiip at the L’liiveruty o| Freiburg I H.
ile became a mernlier ol the lleiljn Slate
Irhtiiuic fur ((iTiiiaii MiMCnlogy ici 1 939.
VMien the serkN r»f ‘ Ih'iikinalvr ’ was rc*
organued by ils f>ublisher' he tiHik i barge of
ll>c 'LandKliafiN^’tikmale* for Lower Saxony.
His liirrar)’ works, which show .v prcsloniinai*
ing interest in medieval and Kcnaii^atKc
musk, include the following :
* SimiWm ru AdnM tV'ilWrt * iliucrtaiiuM,
i$rt. wtiiHiiaiainJ'.
* biBiuft iWitKh. r«a rwr »mcI Mtuik.
'ZoriirHn “l»uiu 4 ioni kirAWoi.be”* /I.M.M .. XU.
lyjoj
* N. V HCMOnuB “ 1 ,* aniHj aiumib”’ ‘ Kivvrr I'm*
whrtfl KbiiJ«.hi, 1915).
* l>i« MtMik im /auIwi UsuiM* 'Jjhtbuili <l«r
aMUflhtl IXMite.<.r>^lb(hah Wnni.tt. .
IXm Falw ikvntWr Mouk . (ikitsurr l.i^lpilmcli mimI
I.ihIuik SmHt UVrkr * V/rkhfle
An/«%tm •. 19)4 ft 1940 .
L«hIh,< e]}^yiMl ,4 MtHiUukiir VI ||,
•994 « 4 r.
4 4\f*y >
* MMietiU«t« uml Oxmparl (!« VVoUVjibainlrr (^xlex
...
Mk Ii4«i PPMWO w. • .MPt«hntf<lia * • IS oHvo bul lei .
A. 9 JUfcKoH rMaiAe,
IP 4 ppfti of i $99 BiKl V ISiWikaiwHcn
utervr Aiwtik . IX. intj.
J«h*oAa ScKuliren, * MutiLajiKher J lainaite *. iGa 4
t UftUM^ftoWAkiiuk dee Mi^k in SitJti-
i*elnen .1 AV«UeAbyiipl, 1997),
Siina IKeWMh. Jlymm of tus i‘ Rm Menkmale
deaueber Mu^ *. XXIII. Leiptie. 1944).
, . K. G., adds,
ApoMolo. Julisn bbteni>i. He v.a* burn
j| on I j lie-*, idea. He e.iBblul,pi| ij,e f«fm»l»
w (he iLabsn a|«era libertlo 1I141 •.«« accepted bv
Ai Ike 4 R of citliicch Ik iwbTinied a
.....**!*''***'® w^eio*. and hit lirn opcraiie
bbeeiio, Ol in«ano. IpkciM'frirSi. I,*d an immeduic
iHeeru. He then wpo** one oc iho p»e<« ft>f V enice
V«r. In 1 709 be made Piilaii ku auuiant. and
libteiiof were wntwn ioimly.
^e» was head of 4 VencuaH 110^9,1^1 iLatarciio
4'2
ZENOBIA
ZEUCHEER
Vecchio) and Uwr chief of ihc <uMO(m house. H« alM
made I’estarehes utio numiimaiics aj»d liieracui^. la
: 7'0 he founded the * Giomale de* leiieraci d* liaSa *.
in which I he first desctipikm ofCmcefon’s inveaiioo of
the puneforic appeared. By 1718 he bad won iMer*
national fame and wa» appoioied Poe (a ed istorico
C^reo to ihe Ausinao court. After ekven vvar% io
Vienna he returned to Vemee, where he dt^ 00 t c N«v.
• 7 iO.
Biat. — WoiQfcsNe, A., * Alphabetischet \>r 7 ekhna
der hiwcke in S’ersen aus den dramatueben S>>«kc«
von Zeno. MeiatiaMo uihI Getdoru ’ (Leipi^. 1905^
Stt e/;» Araia r Lueie \'etw'K AruMi <4 hba.).
BenoiKini (e. libti. BunofK*ni (). JibeJ. Chenibeni
('Quinio FabiQ 'j. Ciampi (F., 'Teiaaouc'l. Duai
ih U.. ' liramnde drbellaia Fa»ch t], * Luetv
N liOte iS. A., a hba k Pus 4' PiKhc Cahippi
I-, libi.h Oatparini rF,. 'Ambteio'), Cmmann
i' k1e(0|ie >, Cuvltelmi <K. A.. ' Seseaire Han^l
(7 fi] hht.], Haaee ($ hbt. . * Damrlle *. orasotio).
Helmoni tC. J., * Gntehia *. Flemnh xersionl. Laa>
pu^nant (* Volofese'). libretto, p. 9 »^ L.o(ti ('Ale**
sanOto Set ero\ liU). hfanaa ($ lite.h Peetek*i
Chalutiia', lib.). Puieccht CNaicrto'). rnllliido
(C. I'.. 'Incaniu (eho * 1 : * Faraowetda *). Porpora
baccUmi. SearUttj (1, 4 bba.h Scadatn
‘Anthkio'. lib.). .$earlaui ( 8 , 'Marope’, M.i,
lerradHUt (7 hb*.). Torn (7 hb*.'. Tractu (4 hbt >.
Vhaldi 13 hbi.). Zinrarclh 49 hb*.|.
ZENOBIA (Opera). 5 r< Mi,TASTA&K>.
ZENTA, Hermana. 5 m Hocus* (Au*
ClJst a),
ZERLINE (Opera). Sft Auasa.
ZERR, Aaaa (&, Baden-Baden, 9$ July
iBt 23 i d. Winierbach nr. Oberkirch, Baden,
i^June (dSi).
German soprano singer. She was lauglil by
Dordogni, and firsl appeared in opera at Carls-
ruhe, in 1639, where she remained uniil iS4S,
when she was engaged in Vienna. In 1851 she
obiained leas'e of absence and made her first
appearance in London, on 19 Ntay. ai Cathe-
rine Hayes's conccri, ai ihe Hanoser Square
Rooms, and sang with great success there and
at other concerts, including one given for the
benefit of the Hungarian refugees. On this
account, on her return to Vienna, she was
deprived of her diploma of court chamber
singer, and tvas not permitted 10 sing again ai
the opera during the remainder of her engage-
ment. On 10 July she made her d8bui with
great effect at the Italian Opera in London
as Ihe Q,ueen of Night. She reappeared in
1 8 JO in the same part, and in that of Lucia ;
on I j July as Rosa on ihc rev ival of Spar's
* Faust ’ ; on 17 Aug. as Catherine on the prtw
duction of ' Pieiro il grande’ (Jullien}. She
afterwards sang at the Birmingham Festival,
at Jullien's conceris, went 10 America and
retired from public life In 1837. a. c.
ZERRAHN, Carl (L Makhow, Meckkn-
burg*Schwcrin, 28 July i8o6; MUion,
Mass., 99 Dec. 1909).
American conductor of German birth. He
w ent to t he U .S. A. i n 1 B48 as a member of (he
Germania Orchestra, playing the flute. He
was elected conductor the Handel and
Haydn Society In 1854, and conducted the
concerts of this ekoraJ society for foriy-iw‘o
years. He conducted the concerts of the
Worcester, Mass., Musical Festivals for over
thirty yean (1866-97) and the Harvard Sym*
^loay CktocerU durir^ the entire period of
their existmec. He was also the conductor of
many musical fesUvab in America and exer-
cised a powerful influence on the spread of
musk in the country of his adoption.
^ & K
Sm tiM hltmc Fetiivab, U.8.A.
ZEDGMEER, Jakob * (6. ZOxich, 1805 i
Liverpool, j 3 June 1865).
Swiss violinist and composer. He kamt the
violin first from Wassermann in hb native
(own and in 1B18 was placed at Munich under
Ferdinand Franzel, for the violin, and Grata
for composition and musical science. A visit
to Vienna in 1823 confirmed his enthusiasm
for chamber music and Beethoven, who re-
mained through life the object of hb highest
veneration. The example of Sehuppanzigh
arKi of ilie four brothers Moral 1 suggesicd to
Zeugheer ihe idea of attempting the same with
hb friends at Munich, as " das Quarteti
Cebruder Herrmirui ". They started in 1B94,
giving performances in southern Germany,
Switzerland, Holland and Belgium. In the
spring of 1826 they played in Pans and then
crossed the Channel. Jn England they seem
10 have been successful at Dwer, Ramsgacc,
and especially at Brighton, where they settled
for five mrmihs. They gave conceris through-
out the south and of England, and in
Ireland from Cork lo Dublin, where they
arris’ed in -Vov. 1827. Early in 1828 they
proceeded by Belfast 10 Glasgow, Edinburgh
and London. There the quartet was broken
up till a new second violinist was found in
Anion Popp of \^'bnburg, who repla«d
Joseph Wcx. The conceris began again with
a aeries of si* ai Liverpool in the summer of
1829 continued through the northern
counties. Bui in the spring of J830 (he
" brothers ’* had had enough of a rwlng life.
Zeugheer settled at Liverpool, where he re-
mained till hb death.
In 1831 Zeugheer took the conduetorship of
the Gentlemen’s Conceria at Manchester,
which he retained till 1838. The Liverpool
Philharmonic Society, originally a pnvaw
society, began in Jan. 1B40 to give public
concerts with an orchestra, and in 1843 ap-
pointed Zeugheer director. He conducted
(heir c<mccrts from (hat dale to 28 Mar. 1 665,
shortly belbre hb death. But the great work
of hb life at Liverpool was teaching.
Zeugheer wrote 9 symphonies, 2 overtures,
a cantata, 2 sets of entr’actes, a violm Con-
cetto, Op. 28, a Potpourri for violin and
orchestra. Op. 6, a an Andante and
Rondo for vioUn and pianoforte. Op. *
a Polacca for 4 voices, few of them pubJisheO.
At Liverpool he wrote an opera, ‘Angela oi
Venice’, loChorlcy’s words, but It was neither
* Kmwb also a* J. 2. Hemnasc.
ZEUNER
ZICH (Jarodlsv)
4'3
produced nor publlshnJ. He publi$hed 3 sds
of waltzes, a \‘ocaJ duet, * Come, lovely May
and other songs and glm.
n. u., abr.
ZEUNER (Pseudonym). Set Goidiciaxi
(L.).
Zeyee I Jolio*. St* Ambrw * Oriwo <k U Lm *.
iV|vr»), Jauseck {’&a(ka\ lib.K Kal«k
’• oprtaK OiirCiI {’ KuaaLx't t>*o\
* La|Kr>d ntHna lib.K {S wr"|'*i. porim . OMh>
|j, ‘J.ijkj div Mib.t.
ZK«4a, NUcokay Pavlavieb. Srt S«to* <* Sm \
iiKid. m,>.
ZHELOBINSKY, VaJ«ry (h. Tambov,
13 Mar. 1913; d. Moscow, 13 .\ug. 1946).
Russian pianist and composer. He b<^n
to show mutical gifts of a high order at (he age
of six, and by the time he was hfieen lie
was ready (o leave the Tambov .Musical
Tcchnicum and in advarKc to the Leningrad
Contenatory. Before he was sev'enleen he
had appeared in public as a pianist, and he
composed a great deal while still ai iltc
ConuTvator) , which he left in 1933. On lu
Oct. >933 hi* first opera. ' The Peasant of
Komarinsk was produced at the Leningrad
Little Opera Theatre. This was foUcnvrd by
another, 'Her Saint's Day at the same
theatre on 32 Feb. 1933. To this period l>rlong
also a Symphony, two pianoforte CoiKerius
and a violin Concerto. Jn 1997 ZheloUnsky
was occupied mainly with the composition of
his third opera, ' Mother based on Maxim
Gorky's novel. This, ho^vevcr, was not pro-
duced until 1939. It was followed by a
' Dramatic Symphony ' and (wo others, a
third pianoforte Concerto and a ballet, ' Parly
f ickci M. p. c,, adds.
2h*(«chosanlb«v. A. Stt BjTsbircv v.i.^ .
ZHIVOTOV, AJ«««y Sec^osovich (i.
Kazan, 14 Nov, 1904).
Russian composer. He was a pupil of
Shelicrbachcv at the Leningrad Ckmsenatory
and made his first appearance in Moscow* in
• 927 with a Symphonic Suite (Op. ij. A
Nonet for strings, w ind and pianoforte, and a
Jazz Suite followed. In these early works he
sacrificed to the fashions of the moment. *n»e
later ones are on broader and sim^dcr lines;
the principal are the operas ' The Year jgrg '
and ‘ Ilnny ', a Symphonic Suite and a Jazz
Suite for orchestra; ‘The West a cycle of
settings for voice and orchestra of translations
of revolutionary poems by wcatem authors
and a ' Threnody and Funeral March in
memory of Kirov ' (*937).
Zbohb^v. N. P. S<fov {* fvmtt et Cvil *. bb )
ya*sU, Ai.4mrvich. ** Olm
( Manna Cfwve . op«ca skecth ; 6 town). ImoUm
Ivay V (nKinona I can ta u,. Lvov (wm& «| * Sdw
•>i«T«r K ^«llOAal AaiIkhu IR«w>a]. RakknaA.*
(senn). J chaikav*kv (* MaiO af Orkm % opeis).
ZlANl, Marc* Asiromo (K Venice,
1053 J Vienna, 23 Jan. 1715).
Italian composer. He was maettn A' eap^i
at Santa Barbara and at the theatre of
Mantua, whence he was dismiss'd nn 3d
Sept. 1 086 . He became vice Caft^llmtisU/ at
the court in V ienna on 1 Apr. 1700 anti Iiim
Ctp^lfwtfiiKr on I Jan. 1712. He comfK-sed
oratorios, masses, mot<*i$ and other rhurch
music as w'cll as 49 o|M'ras, si'rvnatles ami
cantatas.
Hit most important operas are ' .Mlessandm
hfagno in Sidonv ' dibri iio by Aur<*liano
Aurellk, produced at ihe Teatro dri Sami
Giovanni r Paolo, V enice, In tlie Carnival t»f
1679; ' Damira plaiata ' 1 libretto by Filippo
.*Vcciaiuoli\ pnvlurcd at the I'eairo San
Giovanni f .risoslomo, V'enlc/*, (lamival i68n;
‘ .Mcleagro ’ t libretto |>)' Pieiro Antonio
Bernardoni', produced in V'ienna on ifi .Vug.
1706; and * <;luU>nida ' libmio b\ .\iccolo
.Minaiio, produced in Vienna on 31 .\pr. 1709.
► . V. d. s, & A. L.
.Zm Wi* .k««aiu«.li Ub.
ZlANl, Pietro Andrea V'enlir, r. 1620 ;
A Xapirs. ij Feb, td64 '.
Italian organist and <uin(>oser, uncle of the
prrtnlmg. He wa^ organic I at San SaKator,
Wnke, in 1640; from Mav 1657 lill 1(159
or iGbo he v\as oraci/re A fapfnfh of .Santa
Nfaria Maggiore, Bergamo; lietwcen 20 I>ef.
16W1 and 30 J.in. ilk)? he <on<lucted some of
his church works at tJw w edding of the heredi-
tary Prinee of Saxony at Drevlen, In iCfx)
he succecxled CavalU at second organist of
Si. Mark’s, Venice, bul w*hen he was no I
appoifttrxl first organist, on the death of ih<*
fomwr in iC?6, he went to Naplct. From that
time reliable data arc not ohiainabic; ih<m*
gis'cn by various biograpljcts are not sub-
stantiated. He Composed 33 operas, 3 ora-
torios. masses. j>s4tms, Instrumental sonatas of
5 to 6 parts, oirrlures, organ pieces, etc.
His most important operas are ‘Le fortune
di Rotl<^ e di Damira ' (libretto by Aureliano
Aureh'. pr-Kluecd at ihe Teatro Sam'
Apolhnare, Venire, in the Carnival of JC37,
and * 1 .' Aniigona delusa da .Vlccste’ fsamc
hbreitlul. produced ai the Teatro del
Santi Gioianni e Paolo, V'enice, on 15 )an.
•^* E. V. d. 8. & a. 'l.
ZlCH, Jaroslav J*. Prague, 17 Jan.
Czech pianist, musical scholar and com-
pwr. The son of Otakar Zlch, he was
Mucated a( a seeondars* kHooI in Prague
(1922-301 and from his youth received a
thorough (raining in music under his father’s
gu^ance. In 1928-31 he was a pupil of
J, B. Foersier at ihe Master School. At the
Charles University he studied mathemaiics
AM i^yssea, but desoied himself chiefly to
philosophy, musicok^ funder Z. .N'ejediy)
(under O. ZIehU taking the
rh,p. in 1936. Having finished his studies
U 3«fwd the suff of the Czechoslovak
oroMcasiing organizaiion in t937, where he
4'4
ZICH (Otakar)
ZICHY
has remained ever since. From 1946 lo 1946
he also lectured on mmical aesthetics at the
Academy of Musical Ai&. la hb essays and
studies, published particularly in the period-
icals ‘ Li&ty Hudebni Matice-Tempo ’ and
* Rytmvs he has shovit) interest in the
problems of aciblic execution. He has abo
shown himself to be a dbtinfuished piamv
forte accompanist and chamber*inusic player.
As a composer Zich, although influenced
by (he example of hb teachers, shows a
considerable degree of independence in musi-
cal thinking and an individual art in carrying
out his ideas. Unfortunately his activity
as a compo.scr seems to have declined in
recent years. I'he following is a selection
of his Morks :
Ballrl * I' musiky ' (’ Al (he Dance * 1 , bated an eld
CUreU folk ilancei, fee a viKaae eiueakbk af ebht
inurvmcni* (1940).
*Leimv hatl ’ (’Fl>init GueM*?, »r( af teetp «»Uh
orchrdra (ar pianafeele) (Viktae l>>kl
’ HAAianre helealandika ‘ C A Hflieatand *K
re(it«i»at> uuh aKheura i|in NenjdaJ (lOas).
Sirine Quanct, ma. (1931).
C. t.
ZICH, Oiakar KrAlovi Mfsiec, 25
Mar, 1870; OuMniee nr. Benckn', 9 July
• 034)'
Orcch compmer, aesthetieian and folk*
music expert, father of the preceding. After
a sccondar>’ school education he siudM mathe-
matics, ph>'sici and particularly aesthetics
(under Hostinsky) at the Charles University in
Pr.vguc { 1897-1901), where he took the I'h.D.
in 190a. He ^^'orl(cd as a secondary school-
master from 1903 to 190C at D^ailice,
where he became closely acquainted with the
folk music of the Chods, a rural population m
1 small district of south-western Bohemia.
In 1911 he became lecturer at the Charles
University and in 1920 he was appointed
professor of aesthetics at the Masaryk UnisTr-
sily of Brno. In 1924 he rejoined the siafFof
the Charles University in Prague, to remain
there until his sudden death.
At the beginning of h is activity as a scientbt
Zich svas chiefly interested in musical folk-
lore. Later he concentrated on problems of
musical aesthetics and psv'cholo^, showing
an uncompromising independence in hb out-
look and a keen insight in hb works on the
subject. He also act^ as a musk critk and
took his share in the fight against Dvorak,
led astray by his too exeliisis'c admiration
for Smetana, whose ‘ Prague Carnival * and
music to Goethe's poem * The Fisherman ' he
later carefully edited (1924) and of whose
symphonic poems he published masterly
analyses. His book on the aesthetics of
dramatic an b a work of ouuundiog im-
portance, showing a thorough grasp of the
extensive and intricate problems ^ the matter.
As a composer Zich was self-taught. ABer
some impersonal and technkally not very
prombing attempts he worked bard in ord^
to acquire the necessary Imbh of workmanship
and to find his own way in aribiic expression.
Smetana's heritage and the spirit of folk
musk were the roots of his creative activity
during a first period culminating in the song
cycles on Neruda's poetry and in his first
opera, ‘ Maltfsky nipad He tlien became
deeply influenced by the late works of Beet-
hoven, by Mahler and Schoenberg, and a
thc^ugh change became apparent in the
principles and means of his art. A frank
attitude towards the world and simplicity of
musical thinking and diction gave way to an
intense concentration on the serious problems
of human life and to rlaborate polyphony, as
is shown by the dramatic veracity and power
of his second opera, ' Vina '. In his third
opera, 'Precksky', Zich also showed a
remarkable gift of humorous, characteristic
and witty expression.
PRINCIPAL COMPOSITIONS
Opera * MalifUi} ni^ ' (' Painter's VS'Him ')
bv Oomp^wr. aher a mmv br Svateplu^ Ceeb;,
I a<i. Cm. 4 (ieolj.pred. rraewe. it Mar. >oi«.
Opera ' Vina * (* 1 m Sis ’) <lib. an jaro^v Hilberi’s
B iV af the same (iUr). j acu. Op. 10 ( ipt$), prod.
asu«. <« Mar. ipta.
Opera 'Pmkskv' ('Les Prkieuw* ridicuin *} {hb.
fram Matr^re'* c«nwdy), i act, Op. (B (ipas), prod.
Praewr, i> May load.
CantaiA ’ OmmJaS ivaiba' ('The tU-fe>ed Weddlaf')
(felh leat). Op. I (ipas). ^ .
Canuu * Polka (*lV Palira Rida' (Jan Neruda),
S««^Kk^'S”*Mr«‘ {'From the Hearr) (Nanidi)
fee ban«on« A anh.. Op. « (ifa?). ^ ,
SoAf ayele 'Z m«lniek« iktlr' ('Fram ihe Rack al
hfelttok') (.Neruda) fer barliaw & arch., Op< 7
rXa my Maiher') (Neruda)
fee bariiane A arch.. Op, k (ipM).
cmIo ' SUepiny 4nt ' <* Frapnanu oT Day* 1
(Jan jiri) feamMiumx'oiea ft arch., Op. IS (>9ra).
Tria sac vialia, ceUa ft pt, Z mi. (ipat),
* Ctaeh Mite ’ fee vn, ft r«Ua, Op. 14
Paruann. Arran«emenu af felkaant*'
OfchefWatiao af Smetana's ' CsKh Uancat . fte.
BOOKS AND TREATISES
* Ftaa* a laacc da kaMka na Chadku ’ (' Sin«^f and
Danewe Rau^ in iKc Uirtrici af (he Chadt )
{•CokyJkl', Vris. XV-XIX, ipo6-ra). .
lidmd laiKc t pramMh-rm uktern C Cmn
Foft Oanecf in Chanpinc Time*) I* NSrodapanr
Wciiuh teskmlavaiHky *, Val. XI (tpod-S). , .
' Cwet<^< vnintSM hudby * ('Aeuhctie Apprehcnsiaa
* Hudebnt otewky rasbar Hubitky * C Muiiaf aad
AoMheiiral Anah'sh k [Smciaae t) " Thr Ki» >
• DxJiSil vYsnam umtletk^ * (* TV Aniriic Sien^fi-
taaee of DvatSi ') (* Hudebni ibamik IP’S). _
'Symfenicbd bAtiW Smeunavy ' ('Smetanas
plMAie Paenw'J (19*4. aad ed. iwP). , _
* Eueuha dramattfVha urntm * (' Aeflhenes af Dramj-
be An* (IPS*)* ,
G. C
ZICHY. Cd*o (CoiMit) (*. Sztkra Castle.
Hungary, 22 July 1849; Budapest, 14 Jan.
^Huitfariao pianist and composer, He was
a pupil of Robert Voibnann and Lissi. From
*875 until 1918 he was president of me
National Coosert atory in Budapest. A jurist,
ZIEGENHAGEN
ZIELEI^SKJ
4»5
he played a prominent part b public life and
adminUiration. As a boy of fourteen he had
lost his right arm in a hunting accident, but
he developed great skill in ]eft>hand pianc^one
placing and from J&60 onwards toured all
over Europe, being everywhere admired as a
virtuoso. From t^t to 1894 he wasintendanc
of the Royal Hungarian Opera in Budapest,
his appointment signalizing Mahler’s resigna-
tion of the musleal directorship there.
Zichy's numerous pianoforte works are
mostly written for the left hand alone, being
designed in the fmt place to enrich his reper-
tory, They Ineludc 6 Studies ( 1878 . prefate
by Lisat), a Sonata and a Concerto in E>
major (tgo 3 ^ He also published a cantata,
* Dolores ’ (ibBgn songs {' KunstlerfaUn
1866 ; and H’veral works for the stage which
were suec<*ssful in Hungary and fJermany.
They include the balUt ' Cemma ’ f league.
1903 ; Budapest, 20 Feb. 1904 * and the follow,
ing operas :
X4f 'f. |sr«.l,
lb .MdV I SKI.
' yy, prt-l, llu«la|>co, II Apr. iW. Berlin, ita«.
KwImiU Du«J*iir»t. lu Imv, iIm. IVam,
leuv. ^
Tritoey en ihe Mr of HSbec<i .
I. Nemo ^ipoV'
S. II. KjkSciu Prrrne
S K'xImiS '19121,
He alir> published poems 1 1877 &: 189?/,
plays and an autiiblography Kirr. ed., ’ Aus
memein Leljen 3 wk, t<jii-^4;.
A. t.„ rev. j. 5. w.
ZUgenbacon. Frosa Hoinrlcb. .S^r M«as(i Immi.
( VNjilrimKMiir.r. Halt. nwhjw.«l Oa...
Wrni I. ’ Kivak ill «c *WWU *. opera*.
ZIEGLER, Joaeph ( 4 . ? ; d. ?).
Ausirian iBih.cetiiury violinist and com-
poser. He lived In Vienna about 1750 and
was the maaier of Diltersdorf. Of hn com-
positions there are still In existence 5 motets 4
rnasses, 2 litanies, 1 ' Salve Regina*, i virdin
Concerto with string atcoinpanimcnt and a
violin sonaia with coriitnwo. a. v. d. s.
ZIEHN, Bernhard ( 4 . Erfurt, Jo Jan.
184$ ; rf. Chicago, 8 Sept. tgia).
Germart'American musical theurisc. In
1 868-70 he taught higher maihemaiks, Ger-
man and musical theory at the German
Lutheran School in Chicago.
After 1871 Ziehn occupied himself wnh the
theory of music, the technique <rf composition
and of piarKifone playing, and with writing
concerning it. Busoni said of him : •• He is a
theoretician who points to the possibilities of
undiscovered lands — a prophet through logic.
As a master of harmony he stands alone '*
^idcs his masicf.worit, •Harmonic und
Modulaliomlchre ' (1888), his books include
System der Ubungen fur Klaviersplcler '
(1881) ; • Lehrgang fur den etsten Klavicr-
untemeht * (t88i) ; ‘ Five, and Six-Part Har-
monies: How to Use Them * (tgi 1) ; ‘Canon-
ical Studies, a N*rw ’Fechnlc of Gomp(><Ition *
w, b. s.
Bot.— Moir*. Joaciiih. * B^inlianl /iHin; iln
ikuuch.amrnkaniKlw .Nfioiktlieoirtibrr ' .
reviJk, leyo ,
ZlEL£Nt£W 1 CZ,M»ciej < 4 , / Cracow,
f. 178 a).
Polish conductor. H« t\as a priest and a
nx'mber of the Cj|X'lla Koran ti« tar uni at
Cracow, and In iTbi. after tlir death of
J. T. B. i*(kaUki, hr was ap|>ointvd precc nior
of ihr chapc’l. He ts said to luvr written two
masses un D minor and in .A minor', (ound
tn the archives of the (athulral thapu r of
Cracow*. (Jo|Hes of ih<'s*‘ masses werv niatic
by the Craeow cantor Kraiz« r, who attributed
them to /iflenwwifz. New rew’drcli, how-
eser, iltruv^'s doubt upon Ziflen lew tee’s
authorship, proving that the copli's in f|uesilon
were made Iroot nianuKripls by ZleleinfwieA,
but that these were copies math' by liini o|
works by <*I«t Polish masiers. c. k. u.
ZlELENSKl, MikoUj (NicoUa) {b. r.
/ ? 7 »
Polish i 6 ilt-t 7 ih.<enlury organisi ami tom-
poaer. K r<im 1 bott he eonduc ted tli e t hi lira nd
bantl of the IVimaie of IViland, Archbishop
Wojtiecb '.\ll>eri Baranowskiai Lowiea, uniil
the latter's death, which <KCUf red In 1615 .
On the recoin mendaijon of his noble pjiiMn
ZielenskI puUislied 1 wo large c<^le(tiuns uflils
eonipostiions with Jacopo Vincenil at Wnlee
in tbii. Jbe Imt volume of this colossal
Work is rmttird ‘ OiTtriuria lotius anni, quilnis
tn fevl Is omnibus .Sancta Rotnana Ectlesia uti
consuevic. septenis et ocionis voeilnis lam vjvls
quam insirunientabbus accomnicHlaia. QuiUus
acccsseruni Saerae .Symphonlae cum Magni*
Beat vxKum duodeelnt. Ainmre Nieolao
/lelehski I’olimo, tieganario ei capcilae magi-
stro musirissimi el Keverendcssimi Domini
Alberti Baranvwski |>ci graila Arclilc^piicopi
Cnesnemi ^aii nati, Ri^ni Poloniae Prima-
ch el Primi Principts. Nunc prim urn ab ijBci
autore in lucctn aedtta. Wnetiis apud
Jacobuin Vjncentlum, tCii and comprises
the following :
(1) Uci^iitf (i. Deal (ims.jt otbtm
(jl !•*. »«(» fjrt; (4, riwrtmi AiKiiulij
. 4 - Thsfw.; 9 I Urtklerniin Aiij.
•®». (•&> V «niM mes: ( ibi A«e Mi/ia : <«jj JWra
; * lOJ I n tuiiyk Jc coeJo ;
Confifins hoc:
**1?, ^ 75?i ' 3 • ) f •i-e re e om M 3 I M omnem
« do.HAe; ,J4, iuMruio «i
(S^Aswmpta ew; fjgj In vinuieTus;
!?il S><eiii Angcloi; 139) lw,o.
O^Mf Deui; (40 Alicreniur:
(4SJ «t booere : f43> Lmicaiuc timiipi j (44) Fe^
n! 7 ,!r^ te* •< Per me/iid s.ikU AdalCei,
! S I _^ f ^ S»Aftislsot : (}o) fpiima na«
Inemm Ipvmm. riee»ds p*tt} EiT»«puri*f (jn Salve
4 i6
ZlELEI^SKl
ZIELINSKI
(e»t« die«: {$s> Spiriiu* Sasctt grMia; (u) (Q
choro ; {54) Dontine ad adiuvaadum me ; (5)) Msf-
nifiefti.
(No*. $. 6. It. 14. i 6 , r 9 . «>. 3 *. 36. 4 «> ^ Tof tewa
voicei, all others Cot eighty except Ko. the Xtagaifical^
which 14 Cm twelve.)
The second pari is entitled * CommunioMS
toiius anni, quibus in solemnioribus Testis
Sane la Roraana Eedesia uii consuevii ad
cantum organ! per unam, duas, tres, quaitaor,
quinque ei sex voces cum inslrumentis
musicalibus ei vocU rnolutione, quam I tail
gorgia vocant, decantandae. His acccsserunl
aliquot Simphoniae quatuor, quinque et sex
vocum el ires Fantasiae imirumcniis must*
calibus accommodaiae ~ Auctore NicoJao
ZieleAski.' It comprises 6d numbers divided
as follows ;
(i) Foa Okc Vows wnti Oscam
( 1 ) In iplend<M»bu 4 Sanctorum (tenor) : (si V»dro
eoelw (Mprsno) i 1 $) ExHt *erme (b*M) ; ( 4 ) Retpen*
wm jccepit (loprane} ; Si eoeuirseticlit lum);
( 4 ) ConCuntlaniur tupcvbt (*opreno) ; <71 Wniie p«t
me ( tenor ); ( 6 ) denel iurasi (boui; I 9 ) frwxipe*
penecuci (wprsrto) ; lio> Ameri Jko vebci <bS 44 >:
1 1 1 1 Mirahintur ibs* 4 ) ; IIS) Inirmho mI aJutc (tenorl ;
( 19 ^ lllumina ractem tuem (boKt ; (I 4 ) Curtate el
videte (loprane) ; ( 13 ) Qui mandurai (hM)«
(il> Pos Two VtHCKt (Sorat^ a2*s Bas») anp OnoAM
|id) To ei reiruti (17I Amen dice vobit: (illEcee
Virgo eoncipiet I (ip) ISalhte DooMno; (so) Spiruui
4ui a Fatre; («i) ^ih milw miottuai ; (ts) BrMa
viKera 1 (a)i Mute rnanum Twem; IS4) Faniaiia, fee
cornet and bawoen with an orfan aecempanlmeat. or
for violin^ viola and or|arv>
(iii) Foa 1 'Hmra N'oKis amp Oaoam
Isj) !n tplendoribua : led) Rnponaom aeeepii :
(971 Bcaia viKcra : IrB) Peei iwdxioruA: Ispl ^’i*
tjonem quam xidiMh: (30) Brai« aervot; tNo*.
90 , so and so al*o with two victim aiad baaoaa);
rantaMj fur two corocu artd banaon or two
vielini, viola oimJ organ ; ()a) Fantaira for a nmilar
enKmblc ai No. )i.
(iv) Foa Fova Votep
(99) Domuimri; f) 4 l Vidrruniomnesfmr*: {u)Vi*
deruni omnei Rites, (ai>o(hef version ti No. $4 bot
written “ limpliciKr **) ; ( 9 i) \'es in Raota ; () 7 l Vo«
•ecuLciiu; (9!) Fascha nowrwm . (3P> F«Mha noetftim
(anothrr veniort of No. $S but written ** umplkiler ;
(40) Per lignum cruck $ (41) QuotiecufM|ve • {4s) Be*
all oiundo corde i ( 49 ) Admamiu Te.
(v) Foa Five Voksi, OaoAM amo OzHca Iwitatwsxn
(44) Kaec die*: ( 4 S) Haec die* (wnh an ortan and
iiutrumenti) i ( 40 ) Surreut DoiiMAtA: (49) C«o ftton
6 atierb«nu«: (4B) Ptallite Domino : <49) Beitedtcimus
'rum: (SO) Spirilva Saiwtw* doeebit (with or<an and
intirumtnui: (91) Spiriiua Saaeiua; fjs) Tu puer
prepheca : ()}) Opiimttn parwm (wrih ihtre uombofie*
and organ) : (54) Levari occulo* : (99) Dormae Dew
mrw : ($ 0 ) O gIorio*a Domma; (97I la Monte
Olit'Cii: (90) BerWJiritc Deum ; ($01 Ipwm bene*
dicite.
(vi) Foa $£c Voicsi amo OaoAK
( 0 o) Vidimu* scllam; ( 0 i) LaetaWior iwtoa:
( 0 s) Magna ew gloria: (69) Magna ed aloria (with
organ and imirumenu); ( 04 ) Be«ed*riie onaa r* ;
(69) Caudete lusii ( 06 ) Contere.
Ziele^ki, fully aware of (he responsibiliiy
of (He (ask entrusted to him, employed in both
these works the new anliphonal " Vertellan
method wTiUng his ?• and R'part ofTeriories
for two 4-part ch^rs w ith a separate organ for
each. His most ambitious work, (he Magni-
ficat, is scored for three mixed 4*par( choirs
and three organs. He was the first Polish com-
poser to employ this new method of writing ;
'* primus a Polono novo modo concinnau
A fact vrorth noting is that Zielenski's or-
gan parts, the usual hgured bass, have the
fswiodic line of the top pan added to them,
regardless of which voice sings it at that
moment. He thus gave (he organbt (he oui-
lines of (he whole, in order to prevent him
from perfonning his work in (oo sponianeous
a way, and he even added (he admonition
** verum opus esi ut adhibeantur simpliciier, ne
impediant caniores in facicnda resol udone
In (hese works speab a daring composer
and a real master of hU art. Although he was
well aware (hai music which pleases the ear is
more valuable than that which merely astoo*
Kshes by iu cleverness, his endless inventive
pow’er, subtle gradations of dynamics and
highly polished and refined contrapuntal
writing astonished his lisienen. Blending
homoplsonic with polyphonic technique, lie
produced extremely elective and beautiful
results. He was undoubtedly one of the
greatest P^ish composers before Chopin.
His greatest work, the Magnificat, was per-
formed ai the centenary of Chopin's birth
at Lwdw in Oct. 1910. AH the choral
socielies of Lwdw took part in that perform-
ance, orgariiacd and conducted by Miecryslaw
Soh)*!.
Zieledski's wurki were edited and published
by J. SursyRski in the * Monumcnia Muaices
Sacrae in Polonia ’ (1W5 & iSB?)
' Kircbenmusikalisches Jahrbuch by >».
Oieburowski in the ‘Cantica seiecia Munecs
Sacrae in Polonia ' (198$); by A. ChyblAski
and B. Ruikowski in (he ' >Vydawniciwo
Dawnej Muayki Pohkirj' ('Publications dc
musique ancienne polonaise ’) (Warsaw, rgjj).
c. %■ H.
BIBLIOGRAPHY (in P«li*h)
X*NKt. i. 1. * D* bMi«0j M. 2iHeitdiic<» * (' Sup^^
n^. 14 the WsphV ^ M. ZkhMii‘f C W'*
aiuu(«l«eKAl YrarbooS , \V*r»Aw, i930)« ,
AeMmscKt. 1. • WNrwv wteskie w mutrcc
('Tht Julitn JnRoeiKeM* Foluh Mu«« ') (Cwo".
hrr Hiiiory and CultuN SmUm on Mhmc,
Vd. I OVaruw. if 90). .,,11
* MvrvbA PelikA w Rngweiu '
ivarSSjT'j.l^M'uykA A*** kK
p«bkkb^ ('Figured MsaM in Pduh Churchn )
iPocnan. 1009) . ^. 1.1
i*c*erA*mA, M.. ’O n-gteowym M4g«jfic*‘ ^
Zkkhikittp' CTSe
SI. Z*el«n*U‘l (‘Poluh Sfu»*celogiul Y«*ib»» *
Uaruw. i«5J.
ZlELlNSKl, Jarorfaw (*. Lub)T*a Krb-
ewska, 31 Mat. 1847; d. Santa Barbara,
J.S.A., as July 192*)* u,
Polish pianbt, writer and compo^r. nc
vas a pupil of Gunie'vics and Mikuli (pjsno-
CMHel at the Lwdw Conservatory. He wn-
Inued his studies under SchulKofT
It \ ieiuta and Cenitii (singing) at MJ'*"'
ZIENT.XRSKI
ZIMBALIST
4'7
He look an accive part in Ihc Po)Uh upriung
agaisut tsarist Russia in 1863^4 and was
badly wounded. But he soon re<o^'r^^d and
in 16G4 moN'cd to the V.S.A. and joined the
Amvriean Army, serN'ing there until the end
of the Ci^'i! War, He quitted the sertice in
i8Cg and began to appear as pianist on the
concert plattorin.
Zielinski U\-cd in New York, then at (irand
Rapids and Detroit, [n 168B he moted iv
Buffalo and linahy t\vTniy*tw'o years later to
Los Angeles » where he founded the Zielinski
']>io Club and became head of a musk
school, fie wrote several pianoforte pi«es
and comriUuied an imjwrtam ankle, * l^oles
In Musk \ to * The Centurs Library of Musk ’
(Vol. XVIir . c, a. K,
ZIENTARSKL Romuald Teodor i.
Hock. 1831 ; d. Warsaw, 1874 .
Poli»h teacher, writer ami composer. Hr
was a pup.l of LLsni r at the W*ar>aw
srrtatory. A large work of his. m three
Volumes, under ihc title of * Stiiavka k«iMiehta.
ehoralna i lippjr.ilna ’ Churih Musk both
Choral .tnd Kigund *1, was puNished in parts
from i8bo and comprised ihe religious songs
and chants harnionlaed hy hon as well as his
original contposi lions. He also |Hjbhsherl a
Miserere ' and * iabera me, IftHnitte ’ for
douhie cljoir ami wind ban<l. sewral masses,
motels, hymns, preludes and logues for organ,
three symphonies, 4 oratorios and very many
secular songs. His total output numbers
1)34 works.
In idS'j Zieniarski was a|>|>«>inted teacher
of (ircg-inan chant at the Rrman CUiholic
Seminary in Warsaw, and from 1OC5 he alv>
taught organ pbsing at the Mwk Iiuiiiutr
then . He puhlkhcd a pianoforte School and
an organ SchiMd, i;. n. n,
^ ZIENTARSK], Wikeor li. W’anaw', 1854:
Polish composer, vm of the preceding. He
was taught hrsl \>) his father, then by Krcyer
and Momus^ko at the >N‘ar>aw Consersatory.
>lc wrote many for luanolorie and songs
with pianoforte accompanimcni.
ZIGEUHERBARON, DER <* The G^y
Baron'), Operetta in % acts by Johann
btrau5%, ^uii, Libretiu by Ignai .Vhniuer
based on a libretto by Mor Jokai adapted
from his own story ' Salli \ l*Toduccd \‘»enna
llieaicr an der W ien, 24 (Xt. 1885. isc perf.
abroad, Uudai^cst <in German), 27 Sw. 18^.
Jst m D.S.A., New York (irans. by S. Roseiw
.. '•* England, London,
Rudolf btcmcr Hall, 12 Feb. 1933.
Zn^, Richard .fr. V^ctin, Moravia, ij
Jan. 1897; Hague. lo Nov. 1^7).
Gztxh violinist and composer. He was a
menilxT of a large family of musicians.
Having received a good training from his
VOL. IX
father, he was educated und<*r .Siirhy a I I he
Prague Cunservatory (1913-1^1, From ipt8
to 1931 he was prufessor of the \ iu!in at the
Conservatory of Ljubljana ( Yugml.iviai, from
1920 to 193.* he playid lir;<t siulin in ihr
Prague Quartet ami afterwanh H<)43-4<>; in
the OndhCrk Qiiartel. In 1940 h<' was
enlrusUHl wltli a profisajishlp at the Pragu«
Academy of Musical .\ris. He dewrvi’div
enjoyed the utnsosi fame as a singularly line
and unassuming soIom and an Kirllem
ehamlwr-inu^ie plawr. A« a wIL i.iuglit
composer Zika arousexi unusual inierist by
Im siring Quartet M9331, whirh received the
first 4>ri/e m die 4<imp'*lition ul the C.irillori
(lhainiwi Musk S«K lets alUemv.i > Mijb^.
ZtLCHER, Hermaon ,L Ftankfort o M.,
18 ,\ug. 1K81 . rf, Wurabutu. 1? Jan. 11,48 .
German (oinp>»HT. He studied vviih hj»
fallieraiMl at Hmh's Ckmservalory in bis native
low'n. Ill Kiud be was pr<Jrssf>r at iliu
Aeadenn of Music, Munich, ami in 1920 hu
Iseeame director of ilse Jlavariaii State (fon-
servaotfy ai Wurrhurg, .W a rompiuer of
vocal musk ZilciH t is one id* ihe lK»l*known
represemacives ul <*eriMari trad it ion a I Um. Hiii
w/>rkv imlude manv songs and an oratorio,
• l.ieliCMisesw •, Op. 27 pc rfoimrd Siras-
Ixiurg, lyiji, Fnf the stage lie wrote incl-
daital music for wveral Slukes|>eirc l>la)»:
‘.\s You Like It ' 'I9i7<, ' The Winter* I ale'
1 19191, 'Ihe laming of the Shrew ' (1931.;
ai^ • A Consedy of Lrror* ’ U9341 ; also for
Rkhard tXhiiuT« chddrcn's pUy ‘ Hiac-
buicc 119074 and lor (krhart Haiipimaim's
• Dk goldenr Haile ' 0933 . He wroie one
of^ra. ‘ Doknir l.iwnhart ' ' Maimlieini. 1922,.
His insiru mental w’orks are: semphoniesj
prelude for chorus and orchestra, ’ ,\n mein
drutsehes Und <)|>. 48 ; ‘ I anajihantasie *.
Op. 71 ipnnluccd as a Isallet at Hamburg in
'Rameau .Sgiti Op. 76 11934!:
and he composed several piixes for solo insiru*
ments and orchesira, ihainlier musk, piano,
forie pierrt, etc. i .
***** •» ' Hermann £>U l*ri ' Munieh,
ZIMBALIST, Efrem (F. Rosiov*on*Don.
9 Apr. 1869).
Russian (naturalized American) violinist,
composer and cducationbt. He frceiwd his
first muskal instruction from his father, an
orchestral conductor, and studied in 1901 -7
w^h .\uer ai the Si. Petersburg ConKTsaiory .
On hit graduation he won the gold medal of
^ msiicute and a scholarship for 1200 rubles.
Hr made he European debut on 7 Nov. ino7
>^th tl^ Berlin Philharmonic Orchestra. In
Dec. of the same year he appeared in England
and there followed mgagemeois all over
fcojrope. H IS significant for the recognition
be won that he was the lirst violinist to be
4i8
2IMa\L0N
2IMMERMANN
inviied by the Leipzig Cewandhau& to con>
linue the Joachim tradition, observed fiAy
yean, of playing there on New Year's Day.
In 1911 2imbalist went to the U.S.A., where
he appeared with the Boston Symphony
Orchestra on 27 Oct. with the first American
performance of Glazunov’s Concerto in A
minor. This marked the beginning of a
brilliant concert career which induced him to
make his home in America. In 1928 he joined
(he faculty of the Curtis Institute oS Music,
Philadelphia^ as head of the violin depart*
ment, and in 1941 he was appointed director
of ihit institute, which position he still holds,
Zimbalist is greatly interested in early violin
music and has done research in this line. He
gives in various musical centres a series of fise
recitals illustrating the history of violin music
from Biagio Marini up to the present time, in
which he combines the actisiic and the scholarly
approach in a singularly attractive manner.
He married twice, his first vvife being the
singer Alma Gluck, the second Mary Louise
Curtis Bok, who founded the Curtis Institute.
Among his compositions are the following:
’ American Rhaps^y ’ Portrait of an Artist '
and concert fantasy on Rimsky*Korsjkov’s
’ Golden Cockerel ' for orch. ; a violin Con*
eerto; a Sonata in G minor for vn. and pf.
* Sarasateana ’ (suite of Spanish dances),
string Quartet in E minor and many songs.
K. G.
ZIMBALON. Sre DvLCtMCH.
ZIMMERMAN, LouJa (E Groningen. 19
July 1B73).
Dutch violinist and composer. His first
teacher was his father, but quite early he
received lessons from Christiaan Poortman and
Constant Muller. When he was seventeen be
was sent to the Leipzig Conservatory, where
he studied the violin under Hans Silt and
theory with Reinecke. After winning the
Schumann Prize he went to BrusseR, where
he took lessons from Eug^c Ysaye. He was
then for a short time leader of the Darmsudl
orchestra and was. in 1899, appointed second
leader of the Conccrlgcbouw Orchestra in
Amsterdam. A successful tour in England kd
to his appointment, in 1904, as professor at the
R.A.M., where he remained until igio. In
that year he accepted appointments as leader
of the Concertgebouw Orchestra and pr<>
fessor of the violin at the Amsterdam Conser-
vatory, retiring into private life in 1 940, except
for appearances as leader of a string quartet.
His greatest successes have been as an or-
chestral player, and he was the favourite of
Richard Strauss in the violin se 4 o in ‘ Ein
Hcldenlebcn ‘ and other works, Carl Muck
also seeking his services tor similar work. As a
soloist he toured Europe ses’eral times.
His compositions, which are generally of a
somewhat conser^’ativ'e character, but marked
by personal characteristics and an exception-
ally complete knowledge of ibe demands of
various instruments, are few In number. The
principal are a vi^in Concerto, Introduction
and Rondo for violin and orchestra, a string
Quartet m major and cadenzas for the
concertos of Beethoven and Brahms, h. a.
ZIMMERMANN, Agiiea (Marie Jaco*
bina) (k. Cologne, 5 July 1847 : d. London, 14
Nov. 1925).
German pianist and composer. She was
tsiken to England very early, and at the age of
nine became a student at the RA.M. under
Cipriani Potter and Steggall. Later she leamt
from Paucr and Sir George Macfarrcn. Her
works were often heard at the R.A.M.
Students' concerts. In 1 860 and 1 862 she ob-
tained the King's Scholarship, and on 5 Dec.
C863 made her first public appearance at the
Crystal Palace in two movements of Beethoven's
F.> major Concerto. In 1864 she followed this
up by paying at the Gewandhaus, Leipzig, and
ebcwlMfe in Germany.
Though occasionally travelling abroad (as
in 1879-80 and [882-83), always with
success, she made England her home, where
her name became for many years a household
word for purity of interpretation and excelleni
musician^ip. In playing she always devoi^
herself to the classical school, once or twice in
a very interesting manner. Thus It was she
who performed (for the first time in l^gland)
Beethoven’s transcription of his violin
eerto for the pianoforte at the Crystal
on 7 Dee. 1872. Her compositions are ebieny
in the classical form and style, and include $
Sonatas for violin and pianoforte (Opp. ifi, 21
and 23), a Sonata for violin, cello and pi^>
forte (Op. 19), a Sonata for piano solo (Op.
22), a Mazurka (Op. ii) and Presto alia
TarantelU (Op. 15) ; also several songs, dueu
and 4*par( songs, and various arrangements «
instrumental works, etc.
She edited the sonatas of Moran and Bee^
hoven and the complete pianoforte works ot
Schumann. ..
ZIMMERMANN, PUrre (Joaepb G*"'
laame) (f. Paris, 1 7 Mar. J 783 ; d. Pans, 29
'®S3)« . . Th.
French pianist, composer and teacher. i'»c
son of a pianoforte maker, he entered the
Conservatoire in I 79 ». «wdying the pianolofte
with Boieldieu and harmony with Rey ano
Catel- In 1800 be carried off first pnae
pianerforte, Kalkbrenner taking the sewMr
His musical education was compleieO by a
course of advanced composition under ^neru-
bini. In t8il be was appointed
undermasccT, of the pianoforte at the
servatoire, whert in .817 42 ^
pn>fettor and in 1820 professor
^ he held till 1848, "hen be reu^ h the
title of honorary inspeelor of pianoforte class
ZINCK
ZINGARELI.I
4^9
During thU bng period he fulhUed his <luiic5
with inderatigdble zeaJ and entire de%‘Otion,
so much so, indeed, that for the sake oT his
corutantly tncreasinf pupils he eniirely gave
up appearing in public and found little rime
for composition. He did, hovkvver. produce ai
the Opera* Comique in 1830 ' L’Enlevement *,
in 3 acu, libretto by Saint-Mcior. Scribe and
d'Lpagny, wholly forgotten, actd composed
' Nausicaa a grand opera, whkh was nevTr
performed. He also wrote a number of plants
forte pieces of various kinds, but his most
important work is the * £nr)‘clopMie du
planiste which comprises a compltce method
of pianoforte playtng and a treaii»e on harmony
and counierpoini. In 1811 Zimmermann unn
the post of professor of fugue and counterpoint
thrown open lu competition on tl»c death of
Kler, but satisfied with the lionnur of victory
decided lu retain his fas’ounte pianoforte class.
A daughter of his married Gounod. a. j.
ZINCK, Bcaediki Friedrieb ih. Husum,
Hohtein, 93 May 17.49; d. l.udwijplusl,
Mecklenburg, 23 June ibni).
German organist and composer. He was
organist at Schleswig at first; in Aug. (783
he signed himself • court musician" at
Ludwigslua. He compcnefl a Considerabh*
number of symphonies, mostly for full or*
ehesira, harpsichord sonatas, duets for sarttius
instruments, etr. He was also the insenti>r of
the Oielesiina, a clavier- or organ* harmonica.
j. A. e.*si.
ZINCK, Harnak Occ« Coarad i*. Husurn,
Holstein, 2 July 174C; rf. Otpenhagen, 15
I* cl). 1832).
German ringer, llauirit, organist and com*
psrtcr, brother of the preceding. Ho wa* a
singer at Hamburg in 1 768, flautist and eham*
ber musician at l.udwigslusi, where Iw had
doubtless gone to join his brother, and in 1787
he went to Copenhagen as singing*inascef at
the royal theatre. He was organist at .St.
Saviour's Church there in 1769-1601 and
music-master at the Blaagard Seminary in
i 7 !#t* I.
On I Keb, t?c)o Zlnek produced a Hanrih
opera set to a libretto by Heiberg, * Selim og
Miraa He publidted the authorised Hanbh
hymn*boo!c. Among his compositions are
oratorios, cantatas, trio sonatas, diveriimenti
for violin and harpsichord, clavier sonatas,
songs, etc. He also wrote two books in
German, r»ne on Scandinavian music, ‘ Die
nordlirhc Harfc • (Copenhagen, i8oj), and
the other a collection of ’ Vorlesungeit uber
Murik und ihre nutsliehstc Anwendung’
(Copenhagen, 1813). a, i_
ZINGARA, LA (Opera), irr Rinavuo 01
CAeuA.
ZlNGAft£LLl, Niceolb Antonio f*.
Naples, 4 Apr, 1752; d. Torre del Oreco,
5 May 1837;. »
Italian composer. He was ih<' son of
Riceardo Toca ZingarelU, a tenor and teacher
of singing. In 1739 his father died, leaving
his mother with four children and very |>oor.
The eldest boy was chief clerk in the Conserva-
lorio Santa Maria di Lorcio, and Niccolo was
at onee admitted there as a resident pupil.
'I'here he, like Cimarusa, learnt (omporiuon
under FrtSek Fenaruli. By the rub’s of the
Conserv'acoiy he was bound to Mudy an
instrument, and he cliose the violin, on which
he soon l>eean>e s cry jiroTicivni, .Vntong his
teachers was .^{XTanza, a U’arnvd contra*
puniist aswl the best pupil uf Durante.
Before leaving the Conservatory' Zingarrili
produced his first oi>era, or railier interiitc^ro,
'I quaiirti pazsi ', which uas ix’rformed hy
the pupils in I T^B. hcHin after his departure
from the school in 1709 he taught the violin
in the Ga^ano family at 'lorrr Annunriaia
near Napht. l.alrr on he gave lessons to the
l>uehess of (^astvljtagdno, under vs hose
paiMnagr he priKloced his lira work at the
.Va lib's leairo San Carlo, the raniata
BimmalKiTH’ ’, whuh met with some sure ess.
On C3 .Vug. 1781 Ins hrst lull opera, ' Monte*
suena', was pr«Hlu(cd at the same house.
|i show's a style of the greatest siniplkiiy and
purity. Hiere is no retoni, arrording to
U«rwenberg iif a later pcrlbri nance in
\ie«na. when Haydn it said lu have praises]
it highly and foretold a rarrer nf success to its
composer; but the same authority conjt'Ctufcs
that the wtirk may have l>een given at
Lsterhia in 1 766.
Strongly rec<>ninn*n<ieil to the Arc hduc hess
Beatrice of Austria, ZingareJU wrnt to Milan,
where he was well recejv'cd at the vicc-rrgal
court. .Milan was to be heineforth the scone
of many of Jiis triumphs, and it was for the
Teatrg alia Seala chat he wrote in<rft of his
serious and all his comic operas. He liegan
there with ' Ahinda ’ in 1785. The work
greatly pleased the Mdanese public, though
it was competed in seven day's and in ill-
health, if WT are to believe Carpani, wJio
asserts that lie was an eye*wiincu, not only of
this feat, but al»i of the composition of the
whole of* Giulieiia e Romeo ' In forty hours
short of icn days, litis asiou nding fac 1 1 i ty w as
the muU of Speranaa's method of obliging his
l^pik to write the same composition many
limes over, with change of time and signature,
but withuut any change trf its fundamental
ideas.
• Alsinda * was soon followed by ‘Rkiniero',
'Annlda' and ’Ifigcnia in Aulidu' {1785-
•787). \Nbilc thus satisfying the theatrical
public ZingareUt did not neglect his more
etmgemal work of w'fjting sacred music. In
1787 he composed a Passion oratorio, per-
foftoed in ihe Church of .San Celso at Milan.
' • AiMi&k <4 Optf» p. 1
42« 2INGARELLI
BetNs'^n 1 7S6 and 1 788 he wrote nine
cantatas* all perfonned at Milan with one
exception {m lUl Mow).
In 1789 Zingarelli was invited to Paris to
compose an opera for the Acad^mie Royale de
Musique. Marmoniel wrote for him the
libretto of ‘ Antigone the only French one
he c\'er set, and it was produced at the Opera
on 30 Apr. 1790. But it had no sueem
and was withdrawit after three performances.
The composer, who was both a conservatiw
and a religious man, soon fled from revolu*
nonary Paris and returned to Milan ihroi^h
.Switzerland at the end of 1790. There he
produced at La Scale * La mone dl Cesare '
and in ikie following year * Pirro '.
In 1793 there was an open competition at
Milan fur the place of mteiirp of the
Cathedral, the subject being a canon for 8
voices, and Zingarelli was appointed. Among
his many pupils of this time may be mentioned
F. ]*<>llini, to w'hum he dedicated his ' Parti*
monii’ and hit 'Solfeggi*.
With *11 mercato di Monfregoso ' {1793)
Zingarelli began a series of comic ^eras,
which made his name popular not only in
Italy but throughout Germany, where they
were wi<lely performed. I'his wxirk is reputed
his best oport ^yffe anti was foUow^d by *La
seerhia rapita * (I793)> In this >*ear he
composed * Artaserse * for Milan. * Orazi c
Curiazi * followed at Naples in 1 793 and
'Aprlle' at the Teatro lui Fenice Venice
in 17931 in which opera Cmcentinl made
his tlfbul. * II Conic di Saldagna ' was
unsuccessfully produced In 1794 at the same
\*cnclian ihealre ; but this failure was grandly
reirieved two years later by the performance
of his gecaiest work, * Giulieita e Romeo \ at
the Milan Scala. Its beauty and popularity
are shown by the fact that it was played all
over ihe continent for the greater pan of a
cenlury.
In 1794 Zingarelli was appointed moetuo dt
taf>f>elU at Loreto, which place he held for ten
years. There he ^vrote many operas, of which
may be mentioned ' Clitcnncslra \ written
expressively for Calalani, and * litez de
Castro *, for Silva. His principal w’ork,
houwer, during these ten years we sacred
music, to which he was inclined by his nature
and by the duties of his office. In the archNes
of the Santa Casa of Loreto is accumulated
an immense quantity of manuscript musk,
known by the name of'Annuale di Loreto*.
To this great collection Zingarelli contributed
the astounding number of $41 works, inclusive
of s8 masses, which are still sung in that
church. As it is forbidden to copy the music
of the ' Annuale *, the outside world must
remain ignorant of Its merits. ZingarelU's
masses, to those who heard them, have a spon-
taneity of expression, an easy facility of style,
simplicity and, above all, most entrancing
melody.
In 1604 Zingarelli succeeded GugUelmi as
maatTO eofipefU of the Sistine Chapel in
Rome. There he set to music passages from
the great Italian poets. Tancred’s Lament,
from the twelfth Canto of Tasso’s ' Gerusa*
lemme libera la ', was performed at Naples in
1 805 , i n the Palace of the Prince of Pantellena,
where Zingarelli met Mme de Stael, whom he
had previously known in Paris as Mile Necker.
The same >var he gave in Rome ' La distni*
zione di Gerusalemme’ at the Teatro Valle,
where It kept the boards for hve consecutit^e
yean.' He produced, seven years later, at
Florence, * La riedilicaaione di Gcrusalemmc
one of his t*ery few failures. His opera
* Baldo>*ino ' was given in i6t 1 at the Teatro
Argentina theatre, and the same year
appeared * Berenice ' at the Teatro Valle,
both in Rome. ‘ Berenice ' was Zingarelli's
last opera and had a run of over a hundred
consecutive performances, a thing unheard of
in the thinly populated towns of Italy. But U
was fMi his last work, as he continued wrhing
to the Iasi day of his hfe. 'Berenice’ was
composed after he tefl Rome for Civita
Vecchia on his forced journey to Paris; and
one of its fmest numbers, the finale of the first
aet, " Cik sparir vedo la sponda was
written on board ship.
We hav‘e rww arrived at a memorable
period of Zingarelli's life, when his already
wclLknown name became illustrious among
thoM of Italian patriots . \Vhcn Napoleon, at
the zeniih of his imperial power, gave hii son
the title of “ King of Rome ", he ordered
rejoicinp throughout all his dominions. A
* Te Deum ' was therefore arranged to be sung
at Si. Peter's in Rome; but when the auihot^
ties, both French and Italian, were assembled
for I he performance, ii was found to their
consternation that the matUfc di
refused to have anything (0 do with it, and
that nothing could induce him to aeknotviedge
the rule of the Corsican usurper. He was
arrested and, by Napoleon’s orders, taken to
Paris, where he was immediately set fr«
and granted a pension. This he owed to the
fact that Napoleon was fond, abm e all other,
of ZlngarHU's music, which he had heard at
Loreto in 1798, in Vienna in *803 and m
Paris in 1809- On the last occasion, when
CrescentinI sang the part of Romeo, Napoleon,
much affected, sent Zingarelli from hi^t own
breast the star of the order of the Iron Crown.
He also ordered him to compose for rta
imperial chapel a Mass that should not l»«
more than 30 minutes, had it rehearsed m his
presence and was so ^eased with it M to gt^
the composer 6000 feaocs, Dunng his stay m
. Fim rm. sc iWl “ * <**®'**
* Ovnestemow disirvtu *.
2 INCARELU
21 NC 0 NI
Paris ZinfarelU was replace in Rom« by
Fjoravanti. In Feb. (813 he was app<Mnced
director of (he Real Coll^o di hlusica at
Naples. In (816 he succeeded PaJsiello as
TnoistTo d( eopfxlU of the Neapolitan cathedral.
He held both these places until his death.
For the Birmingham Festival of 1629 Zinga*
relli wrote a cantata on the i2(h chapter of
Isaiah. As he could not take it to England
himsi’ir he entrusted hi» pupil, Cc«ta, with
the mission, and this was the occasion of
Costa’.s inirtKluctiun to the Lnglidi public.
/ingarHIis next contposinon v«as a Hymn 10
coinmi’mrirate the inauguration of the l*hil*
harmonic Society of Na^des in, Jan. 1835, HU
oratorio * l.a fuga in Fgiitu ' was wriinm and
performed only a lew sseelu before his death
in 1837.
Of ZingarelliU ma«si*s, which are s*ery
mimrrous even withoul reckoning ilsc 26
inaccessible ones in ihc \\nnualr dl lyoreio*'.
the best arc that ol Nosara. dial of Dresden
(torn missioned liv ihe King of Saxonv and
;K'rlorme<l in 1833 tiiMler the direction of
Morlacchi, one of ZingarelliU pu|>ilsi. the
Rc<|uiein fur tlir Nea|M 4 itan minister Nfidici
and anothiT, com|H>«ed for his ow n foneral.
Although in his * Mrreato di MotifregiKo *
and * hrcchia capita * /mgarrUi gises man)
|>riK>rs of a comic musical vein, hr thonc mure
in serious ofiera and most of all in hU nuinl>er*
less sacred roinposi lions. The adaptation ol
prolanc music to religious serv ires, in his time
so eonimon in Italian churches, he strenouslv
tomliaied.
Jliu rdlcAving is alist olZingarelliU [irinci|sa]
coiit|>usiliuns :
CtM.lLNS*
’ I rluao^> \ inwriwfm, p«wd. CMwrrva*
Sams Mana tii I.o(ri<>. isW.
’ Moiiieuiiiij * ihUrOA bs Viomhi AitMikv
>>oiiij, ;>roil, fp^irw t) Awff.
iSSi.
Al'iiKli', ptwij. MklaH, |>*in* »IU *M«b. it Prb.
• lti(»nirro\ nro«J. Vcnxr. ipt'mn t>#v
Arm id a ’ 4 UK hasrd utt 1 , prW. K«-m, i 7 M.
Ant»Boru>* 'hb. by SlriMiaMo», MaMva, ij Apr
< 796 .
* iritcnia ii> Auli«|<*. iwud, Mi|jn, IVaKw jII« Scab.
*7j»n. 1797.
Aniim»r’ lUb. by Jran MarsMescI*. bf«d.
Ibfiv Optra, Apr, 1790,
La iponc di (hurt ’. pro«|. NLUm. '(r«ir« oAa &a|*
vv I>cc. 1 79)1.
’ l*j»rr>, te <f Lpin.', MiIam, Tr«if» tlU Sr*U. Vn
• TO*.
^yiriilMlr in V-Kno*, prv<l, Turjn, Cjmnal I7W.
l\ inroam >U Muorrcvi^' ilil,. *||rre<l Uf>m tJuMgai's
11 inewaio ,U Maimantik Piod. MiUiu T^ir^
.ilU Vab, Bj Sc|H > 793 .
•L* »r»xhia rap.i»\ proJ. Mibn. Tratrn alia Scab
7 ^ppl. I W.
M«ao*M«.l, pre^. M 4 aA, iVair*
alia brala, Om. 170^
; Al-OIr pn-l. Vcfti.r. Traim Ij» Fcnitr. Xm%*. ism.
La K«M<ana pro<|. <;«••(,•, CariHval tm,
. »' ^ -""I <o«plrlr bx of yai MS ««rk* •> ilw
Annu:) e , okun«d form in«| rrr«ir>«<| br ibe awrM
rft ai I.or«lM, in ihr K.C \t
Th« mox ueporiani are th»w U .AKb Ml aarcka.
lanareihown, ^
42 »
’Abira’ (hh. after A'otiaire), |>ruO. >lorrA<«, 7 S?|><.
<794.
* Fabao ’ <bb. alcrrni frvm TftH/'t ' Lucio
FafMrM *1, prnd. I.rchuni, aulitmn 1794.
* ] I CwKc di haklaffcia ptud. WiiK • , 1 rat oi l.a Fc r>i( r
*6 ISrr. |?««.
'Oraii r Cuxian *. |Kod. Sapjn, JVaUu San Carla,
4 N*«v. 1 795
‘Oiuhnur R«MiK 4 » ’ r|ib. bv Ciuteppr Maria h«|>|iA,
afirr Sbahr»prar<>., ppad. .MiJaii, Iraira alia Scats,
90 Jan, 1 79b.
* Asdrwmrda |v<«l AVnur, i 7 <> 6 .
* 14 merle Ji Miuxlaie ', |>r<-{. VViikc, 27 Mj> I 7 >j 7 >
’ CarelHia « MraNi»« ’, pna). \rnkr. t.'aoutal t 79 H,
* Mekaero*. prwl, Milan. Jrau^ alia VaU, Jan. i7<iB,
’ I er«i ainiii prn«|. I'urui, Cartutal iT<yi.
‘ tl mraiio prvd, .Milan, lrain> alia Ntala, 13 Oit.
« 799 .
* It vane tleWc Sabiiir ’ . pnxj. \ Viih r. »6 Ih • , t T'io.
* (.iMcnaewra prod, Vlilaii, 'J'raiiu alia S<ala, aU Drt,
iAm.
* faiipn a Cekmo * Lb. aliei N(.|iL(h lc>j, i.tiHl, Wiimc.
l>re, i&>a.
' J Her ill (i*Mru'. poal. .Milan, lea 110 Car* aim. 11 Oil.
tikiv
*11 lirviiurr ^iiuiaui ', pnxL Milan, Ivaltw alia Siala,
Nitv. I Si 13.
* I4 diilniXHinr Ji (iriioakriime * LL. S\ .NniuiMu
Simnnr Soyrai*. ihimI Muiniii , Ir.iOQ dc’ In*
SMiaao, 37 Nws. lAij.
' I.* '* N’jT'kH, Iralrii ^aii CarLi,
' II fMomp dl Vi«e MiidriM, i 9 |oK iBnK.
'Bakkrtne'. pnnl, Kimir, Latin Nreeiiluia, 11 Vrl>.
l 9 il.
'Berwe. rrcina 4 ' Wniriiia* kh, Lv Jata|xi rrrtcoi,
baaed «mi *Lut *6 Vrn»'', pn-l ItortK*,
I Cairo N afle, «r .\in, lAi 1.
. . « a
9 dfbbb
* 9 s I «
* ISinihalkMir *, iHid. \*p|r«. Iraiiu San C'arln. IT 7 Q.
’ .Ahr»te*. prod. Milan, i?llb,
* I nr, Milan, 1 ytlb.
* SalTn *, iictaL Milan, lyAti.
l'a>Ni>n (Van •*•<>, peml Milan, San tVlwi, 17R?.
* Nxr d* LIpMMa*. prnd. .Milan, .San Crivn. 1797,
1 . aiM liLak *, peml Itlilan, San (a ki, 1717,
’ .Shwk al b>«Hi *, prnd, Milan, s^h (^.ki, 17B7,
Jekmoia', petal. MiUn, San Ok*, 17*7.
* Ore>*r ’. pral, Mdali, San < rfm, lyM.
" 'h Iktod*. prwL Na|*k., Iratm San Carlo,
* Ueewwirmme diuniua ’ after 1 *-mi . pkkJ. Hinriue.
• 79 ».
^ FraArru a ila Hunini ’ afier l>antt> , pr.al, Rmnr, iftya,
laiM/nk ai lepidtni <li i krMida * alier I . nrvil
Naplr«, |ft>v
‘ I4 rmldiiaritme ih ikru'akmmc * laflcr I aum, nriKl,
FkHPiKr, mia,
* r«aMh ’. pn«l. BirnuntLam F<^i\al. iSaa
Sayl*. nriid. Hontr. San .MHlirk. iM'iy.
Ihm «l Mina^iaMione |>n«l. \a|.lrs riiilLannAnK
^»riy, iBiv
L« TiMla in l^iou *, prod. \aplc<, l 9 }?.
. , I.. A., fev. A. t„
•''«««• • Funeral SMii,ik,n\..
ZZNGARl, I 'OperaV . 5 er LroxcAS ALLO.
ZtNCARl IN FIERA, I (Opera). 5 ^
Pa»icllo.
ZINCON 1 , Giovaiioi BaitUta 6. ? : d.
Italian i6ih>cenlury tenor singer and com*
poKT. He wav a member of (he tratelling
opera company of the I)e Amici v family, who
performed in Brussels atitl .Antwerp jji 17(^1) m
Ihe Smork Alley I'heatre, Dublin, early in
and m [.ondoo, joined by other singers
arui uitder J, C, Bach's direction, from Nov
I 7 <rt to May 17G3. This was Bach's first
LowUm season, and Zingoni sang ilic I on or
parts ill Ills ' Asian© ^ Orionc * and ‘ Za*
®*UJa He h meniionrd as iliv composer of
422
2 INI
ziryAb
two comic operas performed ai Dublin in
1762. ' La ereanu ’ and ' La Rma sposa
(he laKcr, when revived in London {r4 Apr.
J 7<>3^ . "*as however adveriUed as by several
masters* under (he diieciion of J. C. ^ch
A. 1.
ZIaX* S*v*ri«. Sft CimareM (* FsasiM budaio'.
lit.,).
ZINK. $fi Orcan $tok.
ZINK, Susaone. Sef Neffb.
ZINKE (Ger.l. Cornett.
ZIPOLI, Domcoieo (^. Prato, 15 Oct.
1688: d. Cdrdoba [Aqreniine)* 2 Jan. 1726).
Italian organist artd composer. Recent
research has disproved the generally accepted
siaiemem that ZipoU was a composer of the
Neapolitan school, born at N'oia about 1675.
He is now shown to have been a Tuscan.
I’wo oratorios of his, ' Sam* Antonio di
Padova ' and ' Santa Caierina, vergine e mar-
lire*, were performed in Rome in 1713 and
1714, and in 1716 his only published work
Appeared, * Sonale d* intav^olatura per organo
e eimbalo I’he composer was then organist
of the Jesuit church in Rome. In July 1716
he went to Seville, where he entered the Jesuit
order. On j April 1717 he sailed from Cadis
fur the River Plate and from 1716 until hU
death he was organKl of the Jesuit church at
Cbrdoba, in the Argentine.
The volume published in Rome in 1716
contains all the music by which Zlpoli is
known. I'he ' Six Suits of Italian Lessons for
the Harpsichord ' published b>’ NN’alsh in
London are only 1 reprint of the second part of
the ' Sonatr d’ intavolatura while the so*
called ' Third Collection of Toccatas, S'cdten-
larys and Fugues ’ is nothing but the first part
of the same volume.
According to Pannain even the ' Sonace
<i* intavolatura * are not entirely of Zipoli*s
own eom|>osiiion. They include works which
exist in manuscript under the names of Du-
rante and Alessandro Scarlatti, r. w. (li).
DiSL.— i\rF*rAiiAx. Lavuo. * Dewc ak o Zipoti. el itrsn
eemp^itiK y ertsniiu rontMo det 17M «it eJ Rie
d« Is Plats ' <M«(Mevkl«o. isat).
fi«KBACct. K.. * tptimi fasti dells ioims imH* AeBeiw
tins ' (Riv. aluv li.. ilMl. v.vi).
Panmain, Guioo, * Le Mirini e I# ivihippo deR* wte
pisniMka in Itslis dal taoe •! !?}»’ (Nsplet.
191a).
RvetATii. ViTTonro m. * Do«r e oasade nse^tie e
in«ri D. ZtpoJi* (Riv. Mua. IL, Llli» Apr. -June
*M0.
Zlppert, Lsdwia. 5ft Rsdo I* Blsek KniglH bb. :
• R<'vcnef '. fwntoftiifne; l *ene).
ZIRYAB, AbuH-Hasan, *A 1 j ibn Ni£i‘
(L?; rf. ?).
Arabian Sth-oth-ccnrury musician. He was
the greatest musician of Muhammedan Spain.
Tlie dates of his birth and death are unknown.
His nickname *‘ Ziryib *' (blackUrd) b said
to have been given him by reason of his
marvellous voice. I bn Haiyin < 00 ?- 1076),
the Andalusian historian, vays that be was
a freedman of Caliph Al-Mahdl (d. 785) at
Baghdad, and the ‘ Tqd aUfarid ' (10th cent.)
tells us (hat his teacher in music was Ibrihlm
al'MaufiU (tf. 804}. He may have been a page
of Isbiq aJ-Maujili (d. 850), who is also
credited with having been his teacher, and
under him he made such progress as to rival
his master, $0 much so that the latter forced
him to quit Baghdad. It was owing to this
that be migrated to Qairawan and entered the
service of Ziyidat AJlih (816-37), anger*
if^ this ruler by an oflensive song, he was
banished, when he offered his talents <0 Ifa-
kam I {/ 099 ) at Cdrdoba. Before he could set
out for Spain this ruler died, but he was then
invited to Cordoba by the new monarch *Abd
aURahmin II (/. 859), under whom he be-
came the most privileged person in the king-
dom, while the bounteous treatment that he
received was the ulk of the world of Islam.
Ziryib well deserved the praise and emolu*
meni bestowed on him. Al-Maqqarl says that
there *' never was, either before or after htm,
a man of hU profession who was more gener-
ally beloved and admired He was not only
well s’cned in science and letters, but was the
Beau Brummel of his day. In music '* he was
deeply verKd in every branch of the art . . .
and was gifted with such a prodigious memory
that he knew by heart upwards often thousand
sonp with their appropriate ain**. That he
was acquainted with Ptolemy's * Harmonics'
seems rather likely, and that this work was
known in Arabic seems dear. He was most
likely the founder of the music theory taught
in Muhammedan Spain, which would have
been the old Arabian system, as clarified by
Isbkq aUMausill. Ziryib's conservatory of
music and Its pupils were famed, and traces of
his influence could be found in North Africa
in the i4th century- He is credited with
having added a fifth string to the lute and with
having substituted the quill plectrum for the
lute in place of the woeden implement. Kis
method of teaching singing is described by
>M'Maqqar(. He had ten children, all of
whom were musicians of standing. The
greatest of them was ‘Ubaidallih, although
QAsim was more famous as a singer. 'Abd al*
Rahmin carried on the conservatory.
Ahmad leaned to poetry. Aslam I bn 'Abd al-
'Aei* (9th cent.) wrote a book called ‘Con-
cerning Ziryab's Songs ’ (* Ft aghSnl J
while a doubtful w«k on the mystical con-
ception of music has been credited to Ziryfu
(s« ‘ Isis XXXVI, p. 129). H' '•
BIBUOCRARHY
• Al 0»f»kl»ri • (ir*ns. P, CAVJfve?*?,.; HIjWrv et ^
RIohAmmeOsn l>rMsiks •" Sp«*6 (London, ict®-
' (U»-d«n-Lond<«,
FAiJilU**'HSmV C.. ‘Hiiwy of Awbiin Music'
(London. iRfR). PP- isF-^o.
ZITHER
433
ZfTEK
* SiwjiA in On«nuil Iniimncnu * ILotmIoo.
(•SO. (. 6o> 97 '
‘T>^ MinUreh Q<lhc GoWeo Ave ^TlsUn * (* libiaic
Cyltwre \ HrdrtAlMd. XVlir. ^).
RjvtfLAi JtU'iKi *L* mu&i«n 4rabe y su infliMoci* m)
It aptAolt ' (^{sdrtd. I 9 > 7 ), M. i 64 >Sl.
* La muiics <i« las caatifts ' ^Madrid, 1944). >«iaM.
* Muiie in Ancwnc Arabia tad SfMiin * ^)>iapford.
(pl.S.A/. l949L^ttna.
Sf*»U» Ibrahim al>Mau4ilL t}<Mai4ilL
ZtTEK, Ocakar Pragw. 5 Nov. 1692).
Czech oprra producer, writer on mu&ic and
composer. .After his educauon at a Pragxie
''Gymnasium'* (1902-1 he studied musico>
iggy (G. Adler) and romposiison H. Gra-
denrr) In Vienna (1912-15] and made him*
self known in ihc following years as a keen
music eritie b> contributing numerous a rtieles
and studies lo various C/eili periodicals
{f.g. ' Hudehni Revue *, * Uslv Hurlebnl
Matice-U’einpo ' and particularly to the
daily * l.idos e Nos in> ’]. But he soon ccxKrn'
trnird on the problems of ojsera produtcion,
an<l it was in (his line that he beranie I he
rnosi enterprising and successful specialist in
his country next tu F. Pujman. >le wrcMe
an inierraing book on cim suL^t <* O sk>vymi
zjrfvohrg *, IVaguc, 1920/ and prov-ed his
practical ak>ilitii’s in a convincing iiianiM’r at
the theatres of Brno (1 921 *29, diretcrir in
(929-31), Plu'ft (director jn (931-43 except
tliu years I939'4l> spent at the <vnc nitra-
tion camp of Buchrnwaldj, Prague and Brno
again (director 1946-491.
/Itek's transUtiuns of many opera lil>rettos
and cantata lexU, as well as hU activity as a
teacher at the Brno Conservatory during his
first slay there, also deserve mention. Among
Ids compositions the follow ing are the most
irnpt>rtant :
Oprr* ' Krlknce ' (* 1 V «f Prwr
Kraifnw*/. 1 »t*, Hibtcsiu by Comfvier]
prsal. ftrno. Mar.
ft«llri • (J rail • (• On ih^ Jt«»e *>. srm. by (WmMcr.
*f««r SSiklrs 'DirihiUr of i>k Jnfanu* <i94i-4»i
prod. )1«A, 1944.
Inridr'kUl musK Am J, K, Td’i p(at 'Jan Hm * 1 iMai.
5 t fnaJmnir norm * .VUrto * f The n * ] » 1 m) .
Btfchen* aid '. c>< le oC pf. |Mr<m 1 1 444).
‘ Plurt ( veiny ’ {* s«nn el* ihe Ww 9 tr^tl),
^ u. t
UTEK, VU 4 m (^. Prague, 9 Sept. 1890).
Czech bass singer. He was originally an
optician and a mechanic by profession, and
his remarkable (alent for his later career was
discovered by chance, when he was a journey-
man in this trade. After a systematic training
in singing he joined the staff of the Prague
National Theatre (1912), and under Kovafo-
Vic's and later OstrfiPs guidance hk art
gradually ripened until he reached an out*
standing position in the company of thU
theatre. This was due not only lo his powerful
voice, refined in technique and mastered with
a fine sense for stylistic demands, but aho to
his superior ability as an actor. His qualities
« an artist were also acknowledged abroad,
at lurin (1926), Milan (1937}, Paris (1928),
Berlin ((929). Moscow {19331, I-cn ingrad
(1993) and eke where. In 194O he was
aw’ardcd (he title ^ National .Artist, Up to
(hat (ime he had appeared in no lev$ |}ian
2926 performances at the National I'heatre,
hi$ mov( successful and mo»( friyiuently
acted parts Iwing : Vndnik (the w.it« r-goblin)
in Ik-ofik’s ' Kusalka ' iiGul Kecal in
* *nte Bartered Bride ' 1 1431. Ugaro r N*«uie
di Figaro'] (121 j and Ifomd iihc jailer] in
Smetana's * Dalilior ' (1121. In 191b his
splendid tarrer was prematurely cut .«hort by
paralysis. o,
lhai.* ’ KfMr*puiMkm.e (>. Oiireild t W /ixKrnt ' (* O.
(hufil'i (aitrr 4 M*JclMr uiili S', iVjgur.
*Sde*n /i(rb ^iki^hihui ptiH. AitAMVilivMtIv b) the
jk Miiuktty <ii Inli^inaliii)
ZITHER. A modern meml^er of ihc great
family of stringed itoiruincnts plucked with a
plectrum, which are un<foubledly among the
(no^c arKieni of musical jiiNtruinenis. It Is
unnecessary in tins place to trace the develop*
mem of iIk modem zither frum the tiiher of
(wo centuries ago. or from ihe Greek
but it i> remarkable lhai the mriliod ul exciting
tlie vibratKins <4 ilie strjngv is practically
identical in all ihe iitvirutiicms similarly named
at various dates, tliough ihe bare linger li
used, as In (he guliar, and fur the modern
zither a kind of open ihumb-riiig with a
pointed end It worn. This plectrum Is the
mam distinction bet\s*ecn the real zither, or
as it is sometimes called, and the
SiidrMiiiha, which can be played with a bow
and IS a more or less hy l>rid Invention of recent
times.
The zither may be called the iiailonal in-
slfumenc of Bavaria, Styrla and Tyrol, fur it is
played by all classes 111 those regions, and no
inn is without one. It consists of a (!al box
which lies on the table, sirung with 5 metal
Strings passing over frets, and from 27 to 40
strings of various kinds pJayed as open strings
plucked witli the lingers, to form the accom-
panimeiK (o the tnel^y which is played with
the plectrum, on the strings nearest the per*
former. Tltcre arc many slight varieties In the
make of ihc instrument, and every user has his
ow n preferences ; the form most commonly
seen is (hat shown on Fl^TB 69, Vol. VIII,
p, 146 (tv), .No. 5. I he concert zither is
rather longer, more powerful in tone, and
has from 36 to 42 strings ; a yet longer variety
of (he instrument is the elegy zither, which
Is tuned a third or fourth lower than the oilicrs.
*1 he tuning of the mclody*8irings is as follows,
the two highest being nearest to the player ;
The two As are of steel, (he D Is of brass, (he
O of steel covered with silver wire and tJic C
4^4
ZITHER
ZOCCA
of brass covered wilh copper witt. Thb is the
standard or Munich ” arrangement of the
strings, but the "Viennese” tuning is as
rollov\'s :
and was adopted in order to facilitate certain
eflects at first peculiar to Styrian Uit^Ur,
These strings arc stopped (by the fingers of the
left hand) on 09 frets, arranged in semitones.
The accompaniment strings are arranged in
u’hal at first sight seems to lie an arbitrary and
most complicated order. The 1 a or 13 strings
nearest the player (the highest 8 of gut, the
rest of silk covered with silver wire) are called
the "harmony strings”, and in the "Munich"
tuning are Ihus arranged :
The "bass strings" which Ik again beyond the
" harmony strings " are tuned, roughly speak*
ing, in octaves with them, adding some notes
tuned semitonically in the extreme baas.
The accompaniment strings arc playod with
the three middle fingers the right hand and
are piurkrd to\varcls the player, «\hose thumb
is occupied with the mcludy strings. The
arrangement shoun, which is by ^ths and
fourths (transpositions of an octave being ar*
ranged for convenience and so as to keep the
whole within ordinary limits) allows ihe w’hole
chord in any tisual major triad to be played,
for ihe fourth finger (the little finger is not
iKcd) plucks ihe bass-note of a triad, the
middle finger the third, and the forefinger the
fifih and octave together. In whatever position
the chords may lie. The minor triads are more
difTicult to manage, and other harmonies have
to be specially studied.' The present type of
silher with Us 30 strlnp has apparently been
in use for only about 100 years ^ and before
then 18 Strings were (he av’erage. A mountain
r.ilher of the 17th century is in ihe National
Museum at Munich and has 4 strings on the
keyboard and 13 for accompaniment. Pels*
mayer, the ” Paganini of the zither ” used
only 18 strings in all.
TIic musical effect of the zither Is greatly
enhanced b>' ihe picturesque and romantic
circumstances in v^hich it Is usually heard.
I'hc mcial " mclodv strings ” have a naturally
plaintiv^e lone, and their "singing” quality
' T)i4*ua> m whkh th'v onliaiArv chocritarcarrantT^
Mil) be TmuiuI in romrn>«ni tabular forsB in f^irlrl
Maclean's admirable ariKl« on die itth<r m
x,ui> * Aw;
t^lrasls very agreeably with ihe more harp*
like tones of the accompaniment, while the
resonance of the whole is considerably In-
creased by the characteristic sympathetic
vibrations of the open strings. It has been
introduced into orchestras for special purposes
in imitations of narional music ; and is a
pdeasant accompaniment to the voice, either in
solos or in choruses of moderate size.
It would be impossible to enumerate the
varieties of the zither which have been brought
before the public from time to time. From the
"Arion” zither, with a slightly different shape
and a powerful (one, to the toy known as ihe
" auto-harp ”, the principle of the Instrumeni
is the same. A more important variation is
that of the Sifekhzit^n, played with a bow.
Tliis necessitates a different shaping of the
body, with a ** waist ” like that U the violin
family. It was made in three several sizes, but
does not appear to have won much permanent
favour.
|. A, P.'M.
Sn Ww Cithrf. Guitar, reiunsycr.
ZrVXOVIC, MUenko (I. Belgrade, i^z).
Yugoslav composer. He studied music in
Belgrade, Leipzig and Paris. He was formerly
professor at the Siankovic School of Music,
but since 1 94 3 has been professor at t h c Belgrade
Academy of Music. As a composer he cleverly
adapts classical forms to the needs of modern
thought and harmonic idiom. This is perhaps
best shown in his works for full orchestra. Hit
composiiiom include the following :
iMblentM mtik tot • Zoot 2*mAr«va *.
\fwHC S»e Almi. . ,
Nwnwmuf ehoe«l warb ilzrcelv bs>ed aa i«lh mutif)'
* SrinptWAK Prdueue * for fwh.
SvAph. (»•«■ • n** Of«n Ye4f
* SuiM ' for Aiii« & onh.
* CpXAiw ' (or <elle 4 pt.
Suiic Cl* pt.
In 1947 Zivkovic published a book on ‘ The
Science of Harmony '.
ZNAMENNY. The name by which the
age*otd Russian liturgical chant Is known. It
dominates Russian church music front its m*
eeption in the nth century or thereabouts to
the middle of the 17th century. It has und^*
gone many transformations during ihai perio^
though without any violent breaks. It reached
its peak in the No\-gorod school about the loth
century*. (5e< Russian CtruacH Music.)
A. s.
ZOCCA, GaetaoQ ( 4 . Ferrara. 1784; ^
Ferrara, 14 Sept. 1834I.
Italian violinist and conductor. He \%'*s at
first a pupil trfjean Dalloand afterwards went
to Rolla at M ilan . In 1 8 1 6 he was nomi nated
conductor of the theatre and cathedral or-
chestras at Milan, and succewlvely became
conductor of the Philharmonic Society ^
Ferrara and member of the Philharmonic
Academy of Bologna, He advanced the art ot
ZOELLER
ZOLOTAREV'
violin placing comidrrably in Italy, dt^ng
much lo reform the art of bowing in that
country.
t. H.'A.
ZOELLERf Kmrl (Carli, al«o knoMu as
L^B Marteau) Berlin, 28 Mar. 1840;
London. i3July 1889L
German violist, bandmaster and composer.
His musical studies ssere pur>ued entirely at
the Berlin Conser^'alory. where Hubert Kies,
\S'. Garirh and Orell were his masters for
violin, harmony and counierpoint respeciiiely.
He Iravt'lled for some time in Germans , with
an Jiiilian opera coinpan)', settling cscntuallv
in l.ondon in 1B73. In 187(1 hebeeanse band'
mailer of the ?lh < Queen's C>wni Hussars ; in
1884 he was elected a rnemlier of the .Vera-
demia dt Santa Cecilia of Uomc: in 1K83 a
similar honour was conferrc'd oti Itim l>> the
htiiuto MusicaJe rU t'lff'is/r.
Zocller ssrote a comte ojyretia, ’ I'Ik Miss,
ing Heir ', a lyrical drama. ' Mary Stuart of
Kolheringay *, church music, a stena lot
soprano and orthrsira. ' Ihe Khiiie King's
Daughter', four overtures and otheroxehoiral
pieces, aho a (Umcerto for s loltn amJ ocs l>r%ira.
a string Qtiariet and Quin let. srsyral songs,
e I r , 1 J r did mue h towards res is ing 1 1 le c ult of
Ihe viola d'atnorr, ishlch he himsslf played,
and for which hr wrote a selKdarly MetlMx),
preceded Ity an erudite and concise hhlory of
the insirumrni and iis ortgin entitled * 1 he
Violr d'Ainour, Iis Origin and History, and
Art of Playing it In Mar, 1880 he wrote an
admirahle lecture on ihe viola d'ansvrr.sshich
was read ni a meeting (>f tltr original Crentona
ScKM’ty, illustraled l>) manv instruments,
aecessoriesand works relating to th« imirunvent
of which a catalogue was puldislsed by the
Sucieiy, He was at ihat time bandmaster of
the and Life Guards and ediior of the ' L'niied
Services Militar>' Band Journal He died as
ihc rrsull of an accident which lirMI him at
the Military J'ournamenl at Ishngton,
r. i< 'A.
|Z«iraBl. Johtt. Sif .Nrrtc 4 . rwru«ji >.
ZOILO, Aaaibale ib. Home, c. 1537; d-
Ixircio,
Italian singer and ctxnposer. He was aiarirr#
di r»pi>tUft at San Gios*anni in l^irrano from
Jan. 156a to June In (563 he call*
himself mofiiso tapptlU at San l.ulgi. On
^ J’dy 1570 he entered (hr papal chapel a*
singer, in which post he remain^ until Dec.
1581, when he svent for about a year to the
Calhedral of Todi, rom (hat time onsvard*
he devuted himself entirely to cvntpoMtJoo,
but only a fesv maases, his second book of
madrigals and a number of *01^ and madrU
gals in coJIrctivc volumes arc still in exasivnee.
s. V. d- i., rev.
Itjxi CAUMtv. K.. * AnnilMle Xoilo e U M* iaa«li» *
mNwi Hofuffufoti hin«rififr (‘.Sotr 0* Arehirio '.
Jaii.'ApC. 1940),
ZOILO, OgBrg (k. ? KortU', ?, J.
Italian (7(h>ceniur)' cuni|Hiser, H<’ wrt>(r
madrigals for 5 vtitce* (Venice, i6jo, M*veral
edtuom) ; motets in collcctiie volumes, etc.
L- V. d. s.
ZaKa, £milr. >W du nx>iihM hoioeauj.
fWuiKAM K klH.j. yn*! '' I'dtdrli.u *, ottli. rjncA«v,.
'M.. 'Sun'. <i(>erd>, Kdan 2 .VMie^io *(;rr.
»Mn*l *. Afwtd*. SV ro •’ ,\t(d< I (Ml iIk i»|ierM .
Z^LLNER, Heinrich 'b. l.<’i|>iig, 4 [uly
1834; / PieiUurg I B,. 4 May i«j4ij.
(MTman condixtor and tompcrser. Hr
studied at the Li'ip/ig Gonservaiorv and
Unhvfsiiy. In 1H78-B3 he was direr 1 or o|
mu'ie a I the I'ruversity of Dorpal <rjow I anu.
Lvtonia.i and in idSj-tfO condut lor of various
organwaiions at (Cologne. In the Initer year
he went to the L'.S.A.. where he toiulutied
the |)euls<h(T Liedrfkraiu. Jle returned to
Germany in 1898 10 succt'eil Ilrrmarui Krv t2'
schtnar as inu deal director at l.riji/ig L’liivcr*
siiy. He was also coiHlucior of the choral
wiciriy I'aulus there aral orgatiht of St. Paid'it
Church, aiuj taught at ihe Cons(>rva(orv. In
1907-12 he was at .Sntw'Tp as lond actor of
llse Memivh 0 |H ra. Having hvrd in Swit/rr»
land and Italy in iqi 2*I4. he sciih'd ai I'rch
iHjrg i II. in the latler devoting his time
to o>m|)osiisiMi and erttkism for the ' Brviv
gauer /tiiung *.
Zollner wrote wveral operav. tome of which
were given in New York as well as In (irrmuny,
Hse rrvnt sucsewful was * Die vcrsunkenc
Clucke*, which wav frrqurntiv revived up to
I0J4* T" hi« .Ninrrlran (wriod belongs the
(estival cantata ' Die nrqr W'elt which was
awarded a pci/e at CUs eland in 1B92, and the
overture •L'mcrdem StrrmnhaTiiur' J)p. 88,
19060 founded on .\mcrtcan tunes.
'n>r follow'ing may be nieniionrd from an
enormous list of works, inainl) choral cantatas.
ballaiU and the like, which reaches the opus
numlx r 153 and com a ins several unuuinhm<d
(omposi lions ;
* ImU «rw«4 <l»WrUM Iw c<HMn<ner, lusrd mm (itxilirr
MuMch. 19 Chi iHa*'.
1 ^ . ofwd •l•l>. Uv sudifkiirr. lu^rd «>ii a
Mon. ' Dm *. bv Crmc run tSiMeoUiucii).
1004 . l)tn 4 rM. ; S<pt. lAg*.
* Die sengnkroc (•|n(k« *, operj ijib. l»» compe^rr. bj'ed
jHi C.e«liM( H«uptnunn’i pryj, Rprlm.
, - JTmaiw 4 e» \VeMeo«, I Jm(» iB 99 ».
A Hero i ’ r«ir >mmaau. malr*voi<e <horu* &
•M<h, '4>|i. 4)).
He^uirm. B(*«dKWu mkI SacKius fur <loMUIe cKi^riis
(C>9. gfi*.
Vophonr V«, ». F,> OVA. 'Op. »oj,
SvmplHiAr W a. F tm», U|p. jouf.
Symphrav Nu. 9. D Ihi f<>n. iv)|
Suiog QuAflrt (<»p. I4J . ^
A. r... adds.
2 ^^TAREV, VaaalJy Aadreyevich (i.
Taganr^, 8 Mar. 1873L
Russian composer. He entered the school
of the court chapel, St. Petersburg, as chorister
and studied the violin, but had to give it up
because of an injury to hi* hand, I le w orked
at ccunposition smder Liadov and Balakirev :
ZOPF
426
also under Rinuky>Korsakov, at ibe Si. Peieis>
burg Conserv aiory, from 1898 10 1900. In the
latter year he won the Rubinstein Memorial
Prize with hb cantata ‘ Paradbe and the Peri
based on Thomas Moore's poem from ' Lalla
Rookh He was a prolessor at the Moscow
Consen’atory, but later lived in the Caucasus.
His chief works are the following :
Svm^ofly, 0|>. a.
’ A Rusik Pftiivai * r»r »r(h.
Sirinc OwAnrt No. 1, 1 > ni«., Oo- U
Sirine QtMrMt No. a. A ma.. a.
Pf. Quariei. D ma.» t>|>. i).
Suinf Qukiwi, |> mi,,
Sirini Quartet No. 3, D m*., t&>
Pr. Trio, C mi.. <>p. aB.
Sirina Quaetei .So. 4, ^ ma,, Op. 33.
IT. S«>no(a, tj ma.. Op. >0,
Alw> pf. pkeet srHl wnfi.
a. N.
ZOPF (Ger. • pigtail). A term for an old-
fashioned obsolete style in music. The word
is generally used of a particularly conventional
style, which was very common through the
idth cenlury, especially in its latter part.' The
tendency, which may be perceived in com-
posers like Durante, Vinci, Jommelli, Craun
and many others, to subslitute a mechanical
kind of otpreuion for the utterances of genu Inc
emotion, found a very common oullei in the
trick of writing for two soprano voices usually
fol]o\ving one another abMt in thirds, ov^er a
bas.1 a long way below them. This was not
done as a result of poN’erty of ideas, for it
occurs side by side with music that is earnest
and workmanlike. It seems to have been
demanded by the fashionable people of the
day, and tn have been just such a guarantee
of respectability as a wig or a pigtail at the
same date. Much the same lack of originality
gave rise to \N’agner's term of Kt^limtsUr-
mutifs. j. A. P.*M.
ZOPFF, Hermaan (^. Glogau, Silesia, I
June {626; d. Leipzig, 1 a July 1663).
German critic, teacher and composer.
Although he had received a complete univer-
sity education, his father wished him to be a
farmer; but his own predilections inclined
him to music. At length the successful per-
formance of an overture composed by him
removed his father's opposition, and from
the age of twenty-four he desoied hiicKcLf
exclusively to mutlc. He placed himself under
the tuition of A. B. Mani and Kullak in Berlin,
and was soon engaged to fill an important post
on the teaching-siafT of their new Conserva-
tory there. He had also other appointments in
the musical circles of that city; but his am-
bition drew him In 1S64 towarcb Leipzig, and
he gladly accepted an offer from B^n^l to
succeed him as editor of the ‘Neue ZellachriA
fur Musik ’, which necessitated his removal
(hither. There he toiled until within a short
time of his death, as editor, critic, conductor,
• IV, 6aff.
20 RAIME ETZULNAR
composer and professor of singing and com-
positiM). The character and tone which had
been imparted to the * Neue Zeitschrifi ’ by
Brcndel were cOTtinued by ZopfT, Ibr both
editors were strenuous advocates ^ the new
German school. But Zopff was no narrow
partisan ; he was ready to do full justice to
every musician of high aims.
Zopff 's compositions cover a wide range of
form, from the simplest pianoforte pieces or
songs to the largest polyphonic or dramatic
wtwks, and all bear the mark of a thorough,
scientific musician. Bui for a certain want of
spontaneity and grace, they would probably
have been much betler known and oftener per-
formed. Among his numerous choral works
with orchestral or pianoforte accompaniment
may be mentioned his ' Brauthymne ', ' Friih-
iin^ymne ’ and ' Triumph der Llebe *.
Larger works, approaching the oratorio form,
were ' Anbetung Gottes ', * Evangelium der
Tat ' and ' AJexandera It Is clear from his
operas, * Carloman ' Mu hammed 'Judas
Makkabeus ' and ' Constantin that his
strength was especially concentrated on
dramatic forms; ^t as regards popularity his
symphonic poem ‘Tell’ (after SchUler), the
' Idyllen fur kleines Orchesier ' and the
' Traum am Rhein ' were most fortunate.
ZopJf wu a careful and prolific writer of
critical, theoretical and didactic essays; his
' Tbeoric der Oper ' is a good illustration of
she industry with which be collected and
utilised valuable information.
A. K. w.
ZOPPA, ALLA (Iial. - halting or limping).
A term applied to a rhythm in which the
second quaver in a bar of 9*4 time is ac-
centuated, as in certain Hungarian pieces, in
American " rag-time ”, etc. 0., adds.
ZOPPIS, PrmaceBCO (L Venice, s. (
Venice, after t?8i).
Italian compeuer. Nothing is known about
his career before 1 739, when his name occi^
as (hat of the composer of an opera performed
by the Mlngottl company at Graz. He wis
sec^ mPtstrp di <appeUa at Bonn in 1 745*32
and then joined the travelling opera company
of Giovanni Battista Locatelli, with whom he
went to Leipzig, Prague and, in Dec. 175^
Russia. In 1 78 1 he seems to have returned w
Italy. His works include several operas,
written mostly for St. Petersburg. The score
of his ‘ Vofe^^ ’ (performed at Prague anfl
Leipzig in C753) «« Dresden m
c 93 q; of other operas, 'Didone abbandonara
(St. Petersburg, 1758) ‘ Galatea 1
1760), single ain only have been preserved.
A. S.
ZORAIDA DI GRANATA (Opera). Sit
Do.viz Em. , p ,
ZORAiME ET ZULNAR (Opera). Ste
BO(EU)(EU.
ZULAUF
427
20 RAS
ZORAS, L««ni4iA9 (^. Sparta, 8 Mar.
1905)-
Gr«ck conductor and compo$cr, He studied
in Athens vrith Kalomiris and in BeKin at the
High School for Music for two years (1938-
2940) under H. Crabner, ?. Hofler and W.
Gmeindl. He appeared for the Arse time as
conductor, with great success, in 1933 with
Kalomiris's opera ’ The Mother's Ring
Since 1940 he has been permancni conductor
at (he National Lyric Theatre in Athens.
His compcaiiions include incidental music
and ballet for ‘The Legend of Violanio ‘
^• 930 : ' Cleft ic Dance* (1934), 'Legend'
^uite (1947) and a Sympl^ny (1947)
for orchestra ; Concertino for violin ai^
woodwind (1930}: Sonata for violin and
pianoforte (1930}; various fnartoforic pterrs
anti songs. s. m.
ZORIAN, Olive Manchester, iG Star.
I0'6),
English violinist, hhc was edtwatrd at
Folam Hall, Darlington, and studied music at
the Royal Manehnier Odlrge of Nfusic and
the K.A.M. in Lt>ndon, where she oMained
her A.R.A.M, degree. In 1942 she formed
tiie Zorian String Quartet, which p 1 a)‘ed and
broadcast regularly throughout Orrai Britain,
in Ireland and in France until it was disbanded
in 1949. With her Qutriet she specialiacd in
rncKlem mus\c as well as playing the standard
claasiral chamber music, and gave many fine
fserformances of quartets and quintets by
Uloch, Uriitrn, Bliis, Bartuk and other modem
composers, l*he Quartet also made a number
of recortlings,
As a soloiii Olive Zorian has made many
appearances both in Kngland and in France.
Her d 4 but at the i.ond<>n Promenade Con-
err IS was in 1 i^u, and since 1 hen she has piayvd
concertos with the H.B.C. Symphony Or*
cliirtira, the B.B.C. Scoitish, Northern and
Wi lih Orchestras, and with ihe Royal Phil*
harmonic, Liverpool l‘hilharmonic and other
orchesiras.
H. K. w*.
Z«HUa y J»i4. S*f t^anipo r<>Hio 4« I*
V tti , Jpilam. a tiy. L«My*Ja ' ’ Dm
OJWf#),
A»4*r9. Srt B|o*Un«kr f Prstsnn' Daim ’.
ini|iir*0 Vy pifCiiMl.
(Opera). Stt Rasuau.
ZORTZIKO (Basquejl (Basque dance.)
ZORZICO (Spa.) ( FotJt Mvsic:
Basqur,
gs«b*l(ke. t;«ll«kk CTMMthrn
Kornidtin WwU fH., MVMII.
ZCGCALMACLIO, Aston Wilhelm
Florendo von (L VValdbrul. 12 Apr. 1603;
rf. Nachrodt, Westphalia, 23 Mar. 1B69).
German musical editor. He is memorable
alike for hta eomributioru to .Schumann's
• Neuc Zeitschrlft fur Musik * and for his
edition (with A. Kreischmar) of ' Deutsche
Volktlirtlrr mil ihren OriginabWeisen* (1838-
1840, a vols.). It was on this l>ook (hat
Brahms largely relied for the sources of his
arrangements of folksongs, and .Max Fried*
lander, in * Brahms's Songs * *, has claimed
that certain of the I'olkslifder were in fact com*
posed by ZuccaJmagUo Itimsclf.
It. c. c,
ZUFFOLO. In modem Italian the name
for the tin whistle. Jn the 18th century it
meant a whistle id* any kind, hut particularly a
Bagcolet (Brossard, Grassineauj, and is scored
for in Reiser's •Croesus' O710 and 1730),
in which it is twice given a solo function in
parts ranging l>ctwcen a' and d'"; the scene
is pastoral in each case. It U also fvatun'd in
the same composer's ' Jodelei ' ((7ibj, and in
the anonymous ' Tumyris ' (London, 1717) as
irtiftSA 9 {ir^Ua, with Compass g' (u e'",
I'here has been much confusion alx>u( this
i6(h 'Century Bonaimi ( Uabineuo
armonico 1722) describes the anfch 4 tl
itfUm as (hat small shawm which is used in
conjurKtion with the bagpi|)c in the .Nbruzsi
Utr dancing : in othe r wortls the ftormnffla of
(he 'riiis is lui reason for conclud*
ing, as seme itave done, iliui Reisers zu^oh
was a small shawm; indeed he aciually
imitates the cex/wfiwir in ' Croesus *, using
oboe* and bassoons fur the purpobo, very
realMkally. Kleefeld (J..M.S., 1 ) claims that
this was neither lUgeolci nor shawm,
but panpipes. 'I'his view is founded on an*
other vf Bunanm's lui (riv/efe -panpipes), on
Wahhcr'i conjecture that eiufch ftailoraU
meant panpipes and on Mahillon's observa*
lion (hat panpipes were sometiinri called
Ct/pfi p€it 9 ttit in Lombardy.
j. A. P.'M., rev. A. a.
ZULAUF, Max li. Bemp, ty May 1898).
bw'iu }iarpsi< hurdut and musicologist. He
studied muiicologv at Berne Univmily under
l>mi Kurih and the piaiwifc^rte at the Geneva
Conservatory with Alex, MoUu. In 1924 he
look the Ph.D, de g ree with a (nuch*rv»pccied
dissertation, ' Die Harmonik J. S. Bachs *
(Berne, 1927). After a further course gf
study in Berlin he was appoi oil'd teacher of
theory at the Consi*e%*atory and lecturer in
musicology at the University of Berne (>933-
194S). At the latter he qualified with an iin*
portant treatise on the (caching of music,
‘ Der Musilunierrlcht in der Geseijichte dcs
Berner Schulwesens * (Berne, J934). He has
aho published several articles to various
musical periodicals, including one on the
• Musiea figuralis ’ of the Bernese cantor
Ntkiam Zecrieder (* Sclbwclzerlsches Jahr*
buch fur Musikwisscnschafi’, IV, 1939).
Apart from his (eachlng-aniviiies Zulauf is
well known as a harpsichord jilaycr. He is
eooduetorof the Berne Minster Choir and has
long been president of the Bernc-Fribourg-
* St* BMinB, BibbofrAplty,
428 ZULAWSKI
Soloihurn region of the Swiss Musicolofical
^ociciy. K. V. r.
ZhIawsU, J. S<t Rvtfl (' tjd* \ eoers).
2UZ«AWSKJ» WawRyTkiec (Jerry) (^.
Zakopane, 14 Feb. 19(6).
Polish critic and composer. The son of a
well-known poet and playwTighi, Jerty Zu-
la wski ( 1 674- 1 9 1 5) , he began h is studies under
MarceK Poplawski at the Toruh Conservatory
and continued under Sikorski at the \^*arsaw
Conservatory, where he obtained a diploma
i'^ *937* During the second tvorld w’ar he
lived in Poland and took part in the ^Varsaw
rising of 1944. Since the conclusion of the
war in 1945 he has been teaching music at the
Stale High Schools of t.6dz and Warsaw, and
writing criticism for ' Ruch muayezny ' <1945-
1946) and from 1948 onwards for the Warsaw
papers * Express \Viecsorny ’ and the weekly
* Nowa Kuliura Before and after the second
world war he took part in several Alpine
expeditions, and wrote many articles as well
as published two books on cnouniaineericig.
He now lives in VNarsaw and devotes most of
his energy to leaching and writing musical
criticism, His critical essays and articles have
established his reputation in the Polish musical
sphere by their impartiality, directness and
construct ivenrss, In 1933 he was elected to
ihc post of Secreiar>’-General of the Union of
Polish Composers in >Varsaw.
Zulawski's music was introduced to England
when Ernest Lush and the Blech Quartet gave
a magniftcent performance of hU ^anolwle
Quintet at a concert of Polish chamber music
at the Wigmorc Hall in London on 13 July
194O. His output is small and includes a
Prelude and Fugue for string quartet (1936};
Concerto for violin and strings (194(^43);
pianoforte Quintet (1943) ; ' 4 Polish Carols
Suite for two pianofortes, abo arranged for
orchestra (T947) ; Sonata for violin and pian^
forte {1947}; * 3clani dumbek *, Kurpian
folksong for 2*part women’s chorus and small
orchestra (1949) : Trio for flute, clarinet and
bassoon {1950}: many pieces for pianoforte
(Partita; Variations; Maturkas, etc.).
C. K. H.
ZUMAYA, Manuel (k. Mexico City, c.
1680: d. Oaxaca, r. 1740}.
Mexican composer. He studied with
Antonio de Salazar, chapel master of Mexico
City cathedral between t695 and (713, and
succeeded him upon his retirement in the
latter year. The Duke of Linnres, who became
viceroy of Mexico in Jan. 171 :, was a dev'otee
of Italian opera and commissioned Zumaya
to translate various currently pt^ular Italian
opera Mbrelios, adding original music. The
only one of these printed, however, was the
first, * La Part^nope', presented with choir-
bo>'8 in the leading parts on 1 May 1711 at
the viceregal palace. This was the first ^>era
ZUMP£ (Hermann)
to be puUicly presented in the New World.
The libretto, originally writ lea by Silvio
Siasnpjglia, had b^n used at Naples a dozen
years earfter and was again used there in 1 733.
The ^ot has to do with rival princesses in
love, one of whom, in order to test her suitor,
wears a disguise ; there are eight singing parts.
The names of other operas by Zumaya have
not been preserved, but the Mexican biblio-
grapher Berisuin de Souza sa>s he was highly
esteemed for hU musical ability by the viceroy,
"for whose diversion he translated into Spanish
and set to music various Italian opera librettos
Chapel master at Mexico City cathedral
from 1713 until 1733, Zumaya at the end of
his seventeen-year period of service renounced
music and retired (o Osixaca, where he spent
his remaining years as a parish priest. His
noA-musJcal published works include a
translation from the Italian of a Jesuit's
biofraphy and an original play, * El Rodrigo '
(17^). His manuscript works in the archives
^ Mexico City cathedral include three
Magniflcaii, two Misereres, two sets of
I^meniaiions and miscellaneous ei/foarKor.
a. 8.
ZUMMARA. Sm AulOs.
ZUMPE, Hermann (k. Taubenheim,
Saxony, 9 Apr. 1S30; d. Munich, 4 Sept.
'808)-
German conductor and composer. He was
educated at the teachers’ seminary at Bautzen,
was a schoolmaster ai \Vejgsdorfin iBrn-?'*
thence going to Leipzig and playing percussi^
at the municipal theatre there. He was one of
those who helped Wagner in the preparation
of the ' Ring ’ at Bayreuth in the years i873“
1678, and after this he conducted at (he
theatres of Salzburg, \N'urzburg, Magdebu^i
Frankfort o/M. and Hamburg (in i684^)‘
In 189c he went to Stuttgart as court A>pWf*
■wis/rr, taking o\*ef the conducionhip of
Society for Classical Church Music, in place
of Faisat, who was ill. In 1695 he became
conductor of the Kaim concerts at Munich,
and he was made court K»p<ilinfui<T at
Schwerin in 1897. He visited London to
conduct the Wagner performances at Coveol
Garden in 1898- In 1900 he received the most
important appointment of his career, that ol
court Kapfilmeiikr at Munich. There he ^
especially active in directing the famous ^^ag•
i>er performances at the Prinzregenien Theater
up to 1903, when be died suddenly.
Among Zumpe’s compositions the most
important are a fairy opera ‘Anahna
(Berlin, 1881 >, another, ‘Die vervunsehene
Priiiacssin operettas ‘ FarincUi ’ (Hamburg,
t666), ' Karin ' (Hamburg, 1 888) and
nischc Wirtschafi • (Hamburg, 1889). At M
death the score of another opera, ’ SawiUJ .
• 00 »« the ‘ Mah.bhirstx •. tM
mtbitet •ho Mcd by Kobe
ZUMPE (Johaniw*)
ZORICH
429
v>a£ found incompkie and scored b)* Gusiav
von Ros$eler for produciion at Schwmn in
r907. Another posthumous ' Das
Gespcnst von Horodin \ was produced ai
Hamburg m 19(0. a. r.*y,
Sh KiUl r Bianca uimI rev.).
ZUMPE> Johaonn {b. ? ; ?).
German i8th*cenuir>* harpsichord maker.
He was in London in the middle of the cen-
tury » in ihe employ of Shudi, who about the
year 1760 began the manufacture of square
pianofortes. If Zumpe was not actually the
in \ c lUur of 1 he type » it vs as he who popularised
it as a domestic Insirument. a. j, h.
ZUMSTEEC, Johann (Rudolf) ~b.
Sachsen liur, Mosbath, E^en, 10 Jan. 1760:
d. Stuilgart, 27 Jan, 16021.
German conductor and cosriposer, HU
father l>eing a NaU’i tu Duke Carl of \N uriiem*
herg, hr was adiniited into the (lathe hule,
al The Sohtutle, near Siuiigari> where
he received a K<M>d gent ral nlucatxm artd
formed a close Inenthhip with .SthiJIer, wlnt
was alsu a i)upj| there. He was orlgiriali>
Intended lor a seulptor. but the lose o| niusu
(troved tuu strong, and ire studied lirsi the
cello and then cumjMwiiicin with Poll, whom he
sun reded in 1792 as C 9 p«lfmi%Ut and director
of the .Stuttgart Court Opera.
ZiiMulrr|*t chief claitii to a place in the
history of music Is that he seas the psurtrrr
of the ballad, a form afterwards carrietl to
perfection by Krichardt, /rJter and Loewe.
And there is no dmibt that hr PAertiwvl a
slrong inlluencr i»n the youdifgl Schuben.
some of whose long narrative earh s<>n|s an*
clearly tnodelled <m ZuntsicTg s Isallads.
/.unislccg's l>est and In ids day widrvi*
known ballads were *Lr<»m»rr' clkirgvr .
* 1 ^ i^farrera ’l«ht<'r von Taubenhavn
*Kolmn' (Ossiam, 'Die Dussende', 'Riitrr
i ogge nburg ‘ KIwina ’ and • Dk Lntfuli-
rung ^ Of his operas ihe Mlowing were
frequently performed: ‘Dir (;cisterliwel *,
based on Shakrtpeare's ‘ l einpesi prvdueed
at Stutigart on 7 Nov. 1798 Das Pfauen-
fesi* and ‘ (’.llmncloeanl, dcr Calif von Bagdad*
' Ut Heirug auv I.lelse *. • Dk Fnjhlingsfcicr '
(an ode by Klopstock fur recitative witli
orehesira) and * Zalaor ' were other pleeo of
ills, and many ballads and odes were pub-
lished separately from the seven books of
iiK ' Jial laden und Lictler * published by
Breiikopf & Hartel. Other works deserving
mrntlon are choruses for Schillers ‘ Rag her
18 church cantatas, a Concerto and Duct for
violoncello. c, F. p., adds.
DiAi . l.ASfHMotf. Utmio. • Joh. RuMph /vmufrt
Pin lt<Mt» iwr C:«^<liMhw ^ t.Kile und «lt«
Udiljilp , >lu*ct(aoun 1909),
. •>r ihp t»mt Wi
r^ndi WillMlin Omicp. h»U bevn |>«Q(|«Kcd in
inl> nvr niOMiht before, en 6 Juim
^(SMKKowfki. K.. ' Jdhanii Kinlolf /nriikin'K •«(' Kom*
pout vtpA li«llAiJrh ntnl M<Miu<lirr> ’ 'MMlIS^tC,
Ihelcf .mlUl, in It. o(>MS', Scliutiirt
ilibr.l. •‘Hxic, p. 016.
ZUND£RT> Renaai van. Sff Asivvfkf.
Zii^el, Eaaasel. .Wr SmeUnj VS'idoHtV
lil>. .
ZUR MUHLEN. Raimund von ii6. I.i*
V'oiiia, 10 .Nov. 1854; d. Sivyiting, Su'W’x, 9
Dec. 1931).
German singer and teas her. Hi was horii
on his fai Iter’s properly and received hi' edu-
eaiion in Germany. In his tvw’niV'lirsl sear
hr l>egan to 1 « arn viitgiiig at ihc High School
for Miiwr in IWrlln. and he cnniwiuid the
studv uimUt Stockhausen a I Fratikfori 0 M.,
and buvsiiM* m 1*4 ri». He made a v|m’< iafii> of
Orman song. paniiuUrlv SrhulKTt and
Schumann, tlw latter of whi< h he studied uiih
(!lara Sshutnann. 111% voice imd a (Kiuliiir
and sympailietir quality; but what gave /ur
MulilenS Mrieing its <hie| charm wii% the
remarkable rlearneii'. ol ho enum laiion aiul
the via> III whiih he torlrtveil to Itlettiify the
feeling of ihr words with the niu%u. He first
sang in laindon in 1IHI2 and was a frequent
visitor later. I.vriiiuall) he settled in Knglnnd
a« a ver)' successful teacher of voit e-prodoctlon
and iiiierpreiaiion. o., adds.
Bi»i . NiHaiBK), <«v«i>sii 'HdenuiHl vmi Ziir
MiilibM' M, k L., XJII. 1911, p. iiS'.
iDRAWLEW, Jeray *. Kt»stiA', Kiissia,
iKBb .
polish pianist and nuisu orgarti/ei. He
siudHd uiwler MKhahmski at the Warsaw
(xHiservatory and rompleii d lii< studies with
disiinciion in iqig. Min'c )ears later h«'
losindnl a jniisit mImmiI at Minsk. After ihr
lifst world war he reiiirnrd to Warsaw ,tn<l in
rqro founded a niiisie at Hi.dvsiuk.
In 1923 he was ap|iolnt<d teat Iter at ihe
OnqHn High .Sehisd of Music in ^^arsAw,
He continued his voncerl apjiearances, whieh
he lirgan in tijcaj, though they became rare,
Zurawlew' was tin* initiator of the Ghopin
InirmaiiocMl (lompetilion for I'ianistv held
foiir->car]y in Uarsavv, which k’gan in 1927J
In 1929 he inaugurated an exchange of
eoAfrru belwvrn Pul and an<l other conn tries
given by tlie Uiirealrs of the musical high
sehiMik. In 1931. thanks to his inhiallvc, the
PiJiUi Union of Music School sc ante into bring.
He is now teacher at the W arsaw Stati* High
Seh«)| of .Mwsir, For his acliviiirv in the
cnuskal field he was decorated with the Polonia
Restiiuta, Gold Medal of Nteril and by the
Legion uf Honour. c. n. n.
ZCRJCH. An asskluous cultivation of
music at the Swiss city of Zurich can l»e iraceil
back to the middle ages. The most intporlani
monument of Gcnnan Miniu song, the
* Heiddbe^CT Liedechandschrift * (Manesso
Codex) oHginaicd there. Tlte services in the
* 4S»rCNO»e« lKlrfO.A1K>MAL C0MPt.1IIlOH.
430
zOrigh
Great Minster and numerous monastic into an activity of intcmaiionai importance
churches were regarded in the ijlh century as is due in the ftnt place to Andxcac. Under
the most resplendent in the southern German him the Tonhalle Oicbestra developed into
region. With the introduction of the Reforma* a body of hm^raie quality, which since its
fion in 1527, however, ecclesiastical music fusion with the former Radio Orchestra in
vanished completely and the organs were re- has also become numerically adequate
moved from the churches. It is (rue that to the most exacting tasks. A municipal
singing was restored to the service in 1598, subsidy requires of the Tonhalle Society a
but not till (839 was an organ again erected large number of popular and youth concerts
in a Zurich church. In the lyih century apart from the orchestral subscription and
musical life was sustained mainly by the chamber-music concerts, for which eminent
musical cdlUgU, where instrumental music was native and foreign conductors and soloists are
performed as well as unaccompanied choral engaged. Andreae retired in 1949; his su^
works intend^ for church use. The earliest ccasor is Erich Schmid, who since 1950 hu
Swiss Collegium Muslcum was the Gesell- been assisted by Hans Roabaud as permanent
schaft ob dem Musiksaal, founded in i6($, guest conducu^ and guarantees the furlhcr
which began to issue New Year's sheets in development of a progressive and topical
1683. These unique documents of middle- concert life.
class musical culture have appeared without The Tonhalle Orcbesira also serves for
interruption dovm to the present day, and opera at the municipally subsidised Stadt-
they are now published by the Allgemeine theater, which, opened in 1833, enjoys a
MuiikgesellKhaft, whose valuable music col- reputation reaching far beyond (he confines
lection is deposited in the Central Library. of Swiuerland. Among its early conductors
The purely local inHuence of musical life at was Frans Abt, and Hans von Bulow and
Zurich became extended when Hans Georg Wagner appear^ there as guest conductors.
Nagel i began his many-sided activity as pub- Under Ernst Reucker’i direction the lim
lisber, composer and educationist. His p^a- legllireate " stage performance of ' Parisfal '
gogic works, conceived in the spirit of Pesta- outside Bayreuth was given there in
lossi, and his literary and lecturing enter* Karl Schmid'Noas in 1931-4?
prises attracted attention in many countries, Festival Weeks an artistic event, and under
and it was he who published in 1802 the first him productions and lint performances, par*
reissue of Bach's ' Art of Fugue ', in t8o3-5 tieularly between 1933 *nd 1945, made tl«
various sonatas by Beethoven and in 1833 the ZQrich Municipal Theatre an opera-house of
full score of Bach's B minor Mass. international fame. It was responsible for
The Allgemeine Musikgescllschaft, formed the productions of Alban Berg's ' Lulu ^
by amalgamation of the earlier caf/r/ta, (1937)1 Hindemith’s 'Mathis der Maler
organized regular subscription concerts with (1938) and Honegger's 'Jeanne d’Are au
its amateur orchestra, into which professional higher ' (1942) auid gave the first European
musicians were drawn only by way of excep- performance of Genh win's ' Porgy and ^
lion, and it was there that Wagner appear^ (1945)- Worb by Paul Burkhard, nilly
as conductor during his sojourn at ZOrich Burkhard. Honegger, Bernhard Paumgarincr,
between 1850 and 1858. In 1682 its direction C«hmar Schocck, Heinrich Sutermeisier »nfl
was assumed by Theodor Kirch ner, who Alexander von ZemUnsky were also given,
exercised a great influence on music at Zurkh The present director b Hans Zimmerma^i
and Winterthur from 1843 to 1872. To him ihe permanent conductors are Victor Rem^
was due in 1863 the appointment, at first as hagen and Fred ^Vidmer, with Robert^
leader of the orchestra, of Friedrich Megar, Deialer and Otto Ackeruiann appeanng
who in 1863 became Klrchncr’s successor as regularly as guest cooducion.
conductor and in 1867 was appointed conductor As the centre of a populous district ol oy«
of the newly founded Tonhalle Society, which half a million inhabitants, and situated ^
afterwards organized official conceru with a main European traffic artery, the largest uw
professional orchestra. Hcgar at the same of Switzerland has grown into the mwt im-
lime conducted the Mixed Choir, and in portant artblic and cultural , ,
1876 he became director of the Mu«e School Confederation. Its musical life rcwmbies tn
established on hb initiative. of a world city in its extent and iniewu^
Hegar’s pereonallty determined the de- apart from the d^naung position neio vr
velopmeni of ZCiKeh as an important musical the T^dialle Society, there is much p
town. His successor was Volkmar Andreae: concert activity that is chawcerisnc 01
in inoa as conductor of the Mixed Choir, In manifold musical life of Zurich.
1906 as conductor of the ToohaUe concerts Great credit for the furtherance ol mw
and in 1914 as director of the Musk School. • M
which had by that lime become a Cooserva- JjSjlSriid »a Ne*' Voek, Bottoa *»<•
tory. The expansion of musical life at Zurkh Ansiecd«A in i 9 os-».
ZORICH
Z VON Aft
music i$ due to what waa done by Alexander
Schaichet with hU chamber orchestra between
1990 and 1943. Its functions have been partly
taken cner by the Collegium Musicum eon'
ducted by Paul SacberofB^i. Baroque music
is exclusively cultivated by the Hausorchesier*
vercinigung under Edmond de Stouiz. There
are, moreover, seteral amateur orchestras,
which give concerts regularly with ilte assist*
ance ol professionals.
The large choral societies, aerording to
tradition, hold their eonerrts with the I’on*
halle Orchestra. They are the Mixed Chmr,
w’hich has been iniimairly linked w’Uh the
ronhaUe Socieiy ever since Hegar's time;
the Harmonic, under Harts Ijivaier; the
Teachers* Choral Society under Krnst Kunz:
and the N(ale*Vo;ce Choir founded by Xageli
in which has since 19^0 been under the
direction of Hermann Hofmann, the hrsi
conductor of the former Kadlo Orchestra.
H.Mjtermann*s I'rivaie Choir has <h»ne remark'
able work in the half<ccnniry of Its existence,
latterly under Hermann Duk>t (Monteverdi,
modern unarcompanled works, ric.>. ,Vlso to
be mentioned are the Moiet Choir under
Bernhard Seidmann. founded in 1943 (Knghsh
music;, the Reinhart Choir, which, together
with the Winterthur Municipal Orchntra,
makes a speciality of Bach under Walter
Reinhart, and Margrii jaenike’s Arte Antica
(Purcell, Prrgolcsl, etc,).
If we include the recitals gisvn by Swiss
an<l foreign solottis, several humired rnusUal
events take place In the conreri*rAO«n$ and
churches uf Zurich each >‘ear. They arc
supplemented by the iKoadcaaiing of Studio
Zurich, whose programme director, Hermann
bixb, has made an impunant champion for
nuxlern music of the Zurich branch of the
^wi(s Radio Company. The studio orehestra,
until S949 directed by Hermann Seherchen,
t% now In the charge of Paul Durkhard and
Rolf Liebcrmann.
These manifold musical activities are
necessarily maintained In the educational
flomain by the Conservatory, directed by
Rudolf Witicisbach in succession to Carl
Vogler, which incorporates the operatic school
forming pan of the .Swiss Theatre School, and
by the Music Academy, directed by Hans
Lavairr. Elementary musk leacldng is
looked after by the Sing- und Spielkreise
Zurich. The Professors of Musk at the Uni*
vei^iiy are Frit* Cysi, A.'E. Cherbulie*
(Presulrni of the Muslcological Seminary) and
lately, alternating with his Chair at Yale
Uftiveniiy, Paul Hindemith,
Tlie following musical associations have
their heatiquarters at Zurich : bchwetae-
risebrr Tonkunsilenerband, founded in tnoo
(Pr.widem, Paul Sachcr) ; Schwelserlschcr
Musi kpudagoglK her Verband, founded in
4V
1B93 (President, Lorena i.ehrj ; Schw'eiae-
risrber Muslkerverband. founded in 1914
(President. Rudolf Leuz in ger] : the .S<hwei7.e*
rische Muslkforschendr Gcvi’llsdiali, Section
Zurich (Preslclenr. .V*E. (Ihcrbulicz) : Pro
Muska. the Zurich di\'i>ion of the Su Its section
of the I.S.Cl.M. I l*rrsjdent, Waller h'rt y> ; and
the *' Suisa “ Schweizcrlsche (Icsclhthafi drr
LVheber und Wrleger (Predcient, Carl
\*oglerl .
The Music Prize uf the Cily of Zurich has
since 194C been besiowed biennially on I in'
poriani Zurich eomptners ; the pR'sent holders
arc Oihmar Scisocck, .Vrcimr Honegger and
^Villy RurkharJ. r. o. s.
Hfti . r.RN'T, * l*r(rr JoiliTki CM! jw»
/u«Rh« Mu'ibSrlKM ’ IIjmI, i 9 ( 7 ».
ZURNA. ^ Bsc.rii'i Rinsivi,
ZUROWSKl, Mareia 6 * ; d. .^l.
Polish 1 7th*{liih*teittur> tumt>oser. He
was a Jesuit monk and alxiut 1740 rector of
the Jesuit Musical Bur»ar\ at Cracow. The
inventory of tlw Bursar) mentions i)jr fol low-
ing w^orks by him ;
‘ r. vcnim t ’
' l,a«*(tr(wr >«• r«n)rniMm.*
’ l.itiiiiir Bs in 4 }i»r.
t ih (.
’ Sdhr Kp(ih« ’
C. R. ir.
ZUROCKSCHLAC (Ocr. ^ rikariula^. .Stf
ORKAMfeMrs, l\ ^iil >.
ZUSAMMCNSCHLAG ((hr. >> ccrkcrc
fare*. Sft ORNSMfxn, A <ivi.
Z<ii*«r. Vl«ce««. Sf< VVvtl K., mic.
ZVONAR, Jan Leopold b. Kiiblov nr.
Dcroun, 22 |«24 ; rf. PrnRue, 23 Xov.
1665).
Crech theori'i, cdutatlonbt and composer.
At first hr was obliginl to take u[> the tailor's
trade, but the luianti.il support of a lilMTal-
minded priest enabled him to allend the
pedagogic course in Prague. ,\ftrr wards he
studied under Pitsch at tjw Prague hchool for
<>rgani<ii, where he bee a me assistant teacher
in 1 844. In 1 6C0 he accepted the dirrctorsliip
of a good musical iniiiiuie (Zoflnski aka*
demie). which he held for two years, anti in
1662 he waa appointed choirmaster at the
Trinity Church and teacher of singing at the
college for girU. He was one of the founders
of ihe choral sockiy Hlaliol (iR6n and of
the Umeleekk Beseda (Society of .\rtistsE
A* a prulifK composec uf an innau* if very
modest talent he was particularly active in
the field of s*o<aI musk, composing masses,
Requiems, motets, cantatas, choruses and
songs, Residet these he wrote many Instrumcn*
ul works of various kinds and also attempicti
dramatic work with his only (unperformed)
opera, * ZAboj • (1859-62), to a libretto by
J. V. Smilovsky.
Z\*onaf*s books and hIs articles contri-
buted to several periodicals (McliEs ' Dalilx.r
432
ZWART
ZWISCHENSPIEL
‘ S}avoj ’) \vtrt mostly educational in char-
acter. Occasionally he abo touched upon
Critical and aesthetic proNems of general
interest and importance. Hb study of the
character and spirit of Czech music (‘Zkumn6
pfispivky ku pozninl povahy a ducha feslc^
hud by publ. in ' Slavoj \ r863) is still
worth reading. He contributed several valu-
able entries to the hrst Czech encyclopaedia
(' RiegrCiv Slovni nauCn^ *, 1660-74), ^nsong
them particularly that on history c^ music
in Bohemia (Vol. ll, p. 455). His collection
of early Czech tunes arranged for men's or for
mixed chorus, some of them with pianoforte^ is
also worthy of mention (‘ Hudebnl pamitky
iciki \ 4 vols., 186^-64). C. t.
Btss. — 'J, U Zveost', tympoMum ed. by K. Kaida
Coas-U).
ZWART, Jan (i, Zaandam, 90 Aug. 1677 ;
d. Zaandam, 13 July t937).
Dutch organist. He was a pupil of several
local teachers at Rotterdam and of Hendrik
de Vries, organist at the English Presbyterian
church in Amsterdam. After holdirtg small
posts at Rotterdam and at Capelle-on-the-
Yuel he was in 1S96 appointed 10 the Evan-
gelical Lutheran church in Amsterdam, whkh
post he held till hb death. In 1914 he started
a regular series of summer recUaU (Apr. to
Oct.), which attracted attention all over
Holland, and in 1925 five the first oBkial
radio organ recital in Holland. From 1939
he gave regular weekly recitals for the
N.C.R.V. Radio society, whkh brought him
correspondence from England, France and
other countries. In 1917 he had already
started a series of publications of Netherlands
organ music with the object of improvic^ the
instrumental paru of the Protestant church
Services, and later he began htsiorical recitals.
He also wrote much r<^ the Dutch newspapers
and periodteaU on old Dutch music and
musicians and on the art of organ building.
His own compositions coraist chiefly of ^an
arrangetnenu of and variations on psalm tunes
and chorales. h. a.
ZWEERS, Bernard Amsterdam, 16
May 1834: J. Amsterdam, 9 Dec. 1994).
Dutch composer. He was a pupil of Jadas-
sohn at Leipzig znd showed a strong talent for
composition as a youth by whkh he overcame
hi( father’s objections to serious musk study.
Immediately after his return to Amsterdam be
was appointed choirmaster at the famous
Moses and Aaron Church and conductor of
Amslel’s Mannerkoor, and shortly afierwards
professor at the ConserNatory. He was an
enthusiasiic promoter of Dutch national feeling
and style in music, and he refused to set to
music any words other than Dutch. He had a
very great influence on the younger generation,
primarily as a composer, but in a scarcely less
d^ree as the teacher of many who in their
turn look leadic^ positions in Holland’s
musical life.
In later life be became very deaf, which
caused an almost complete cessation of his
puUk work.
His compositiorts comprise three Symphoo-
tes, the last of which, ‘To my Fatherland',
fills a complete programme, concert overtures
and preludes for the popular Vondel drama
‘Gijsbrecht van Amstel all inspired by
national events or figures ; a number <d
eboral works and many songs and parlsongti
these last being principally for male voices.
Stf Aodrknett (« & 4, popilf). Bcmet Keniprn
(pup*l)
Zwdf, AnftU. Sm Kaihaus (*$erersni Gtuha
inck B,),
ZWEIG, Frita (k, Oiomouc, 8 Sept. 2893).
Czech conductor. He studied in Vienna as
a private pupil of Arnold Schoenberg. At the
age of nineteen he was appointed
meiiitr <0 the court theatre of Mannheim, a
position he held from 1912 to 1914 and after
the first world war from 1919 10 1931. Hr
then became operatic director at Barmen-
EIbcrfeld (1931 *33). From 193$ 10 1933 he
worked in Berlin as chief XafuZ/mfititr at the
munktpal and later the state opera-house,
where he was a colleague of Bruno \ Valter.
Otto Klemperer, Leo Blech and Erich Kleiber.
In 1934 he became director of opera at the
Cerman Opera House in Prague, a post he
held until 1936.
In recent years Zweig has frequently
appeared as a guest conductor, his visits includ-
ing operatk performances in London (Covent
Carden) and Paris (Opkra and Opfra-
Comique), and concerts there and elsewhere.
Hb performances arc remarkable for tlicir
accuracy and careful preparation, and he hw
achieved especially striking results with the
works of Mozart and Janiiek . a . h . (ii) >
SfitM. Sn Archiv fur rh«i(«r*iTiW
Oemwth IS wnri wilk wch.). (Bnp
irwa. Ir«m N'erhMren). ReiKt <s tenp). ,
VAmtn •ki 5 n^n'. rtdio oo*r*J
<hMal work). &chHrictAiw Ft am (Suaim |R:I.
Seiber <* VotpWK ' Utaiu. ©f Bai* J«n»©nJ.
$ltMB m. 'S^hxifunw FrAu', U).
(•VirAu’. ©fAiorw). Toch au* U.b A. *
•bod, n.).
ZWERG, DER (Opera). Stt ZeuLtwar.
ZWILUNGSBRODER, die (Operetta).
Sft ScHvaeaT.
ZWISCHENDOMDfANTCN. Ste Ivte*'
bOMiUAtnt. >t’ECHSeLOOUINANTB.
ZWISCHENSPIEL (Ger., lit. bct^^'een•
olayinn). The German term for "loter-
lude the old English “ act-tunc ” and the
French mO’octe. But that the term
time a wider meaning than ” interlude »
evident from a notice in the ‘ Wiener Zeiiung
for I Apr. I795» referrir^ 10 Beethovens Of
major pianof^te Concerto :
2WYSSIC
2YWNY
433
Tat Ok inteml [om aa ih« fuU
ev«Ain|, Uir tiataia H«rr BeAbo^oi wee the «A»»ise«0
AppliuM ef puMw br ao entire^)' eew ^aiwCo^
cencCTte of ha own.
Q.
ZWYSSIGf Joseph (Father Alberik) (4.
Bauen, Canton of Uri, ij Kov. (8o6; /.
Mehrerau nr. Bregenz, Austria, j8 Nov.
1654).
Swiss composer, the hest^known id four muri*
cal brothers. He was a pupil ai the monas*
lery school at WetUngen and later joined the
order and was ordained priest. Along wiih
his ecclesiastical funciiom he taught music
and became conductor of the cathedral choir.
He composed a number of works and was
regarded as an expert in all matters touching
the organ, and a much-oieemed adviser in
questions relating to church music. After the
dissolution of the monastery he was compelled
during the remainder of his life to change hb
dwelling. place continually. He was every*
where csieemed on account of the frankness
of his disposition. He wrote many masses and
olfertories, both accompanied and unaccom*
pariivd, solos and choral songs, etc. His name,
howesTr, survives chiefly from its association
with ihe patriotic song emit led * Schweizer-
psalrn *, '* Trltlsi im Morgcnroi dalier*’, which
he composed in t84i, and which U sung to
this day on festive occasions in Switzerbnd.
Sh tit* Niiiensl Anikenu {Swwserl*ii4>.
ZYGMUNTOWSKl, Teodor (h.} \ 4, >).
Polish idih*century singer and violinist.
He was the son of Adam Zygmuntowiki. con-
ducior of the cathedral choir at Cracow. He
was educated at the Sierakowski School there
and in 1 768 became singer and viotinist at the
Cracow Jesuit chapel. Later he was appointed
conductor of a band at the court of Prince
Sapteha, the great chancellor of Lithuania,
(hen a province of the Polish crown. A
papal distinction, the Order of the Golden
Spur, was conferred upon him. He wrote
among other works a * Miserere ' and a can*
tau, • Swieiy Waclaw ’, to words by Father
Sierakow^i, c. n. h.
ZyUI^SKl. Fnastyii (4. Lithuania, J796;
d. Warsaw, tg June 1867),
PoJbh tenor singer. He made his debut
in Paisiello's * FraKauna ' at Minsk in (814.
Later he moved to Wiino, w’here he sang from
1815 till tSag, The next year he appeared at
the Warsaw Opera in KurplAski's ’ Jadwiga '.
After that he was pcrntanently engaged in
'Varsaw until 1841, when he retired from the
stage. He aho wrote several hymns, prayers
and songs, and Is said to ha\*e composed
masses as w'ell. c. a. >1.
ZyWNY, Wojeiecb (Adnlbait) (4. Bo-
hemia, r3 Mav 1756; d. Warsaw. 21 Feb,
1843).
Polish teacher and composer of Bohemian
origin. He went to Poland as a youth during
the reign of Stanislas Augustus (1764-951, to
take up the post of musical tutor to the chil-
dren of Prinerss Sapirha. Later he moved to
Warsaw, where he remained until liis tleaih,
A native of fioliemia. he had studied music
under a teacher, most probably Kuchif, who
made him an enthusiast for J. S. Bach. As
Chopin's teacher Zywny soon recognlr^ the
unusual talent of bis pupil, Into whom he in-
stilled a lasting admiration for Bach and
Mozart.
Z> w-ny K said to havr written man> pieces
for pianoforte and some orchestral works
which remained in manuscript. He is now
remembered solely as the iirst teacher uf
c. R. It.
VOI.. IX
APPENDIX I
CHRONOLOGY OF COMPOSERS
AND CONTEMPORANEOUS ARTISTS'
S<te(ifd tfW euiinHBg rfiou Mfi tit ktypn4
N*obem:
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435
APPENDIX I
Z 4 S 0
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APPENDIX I
437
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NVcerbecke, r. 30
TOiiUKhy, l^ir. r. 70. No.
* I, (dm*. Gioxanm BiUitii. Pi,
*GAni«K<i, AridiTi (lairr $ink»<
xim). Sc. Ar.
*Cpmi, Leremo. Pi.
* f, Diinbir, W'dliiln. P«.
t c. PTrei dc Cuiman. F«niin, Sa.
Pa. ti.
* r. Rkmctbcbncidcr, I'llmin. Cr.
Sc,
Jetm. Pa.
* <. V i n h e r. Prccr. ic«. Sc.
1461
tfiarialommcg Vcncio. Pi,
I4C2
* <. Beich. Hkronrvmtf. Pi.
•CotiiBO, Pietre di. Pi.
1463
*Rca diUi Mirindoli. Ciovinni,
Li.
APPENDIX I
I4«4
•Fayrfax, Apr.
*i*a<chiAr 4 Uo, Jac^o. P«.
^Ro«Kr van t(er Wev^. «. 64.
Pa,
1465
Uauasirr, f. 20
Finck (Heinr)i 20
'( |nh», 87. IV
* i. >l«lbcin» Ham, wo. Pa.
1466
Agrkola (A.), 20
Squjircialupi, 50
TinC(orit> r. 30
ff)»naiel|A <r)oiiaio 4c Nicolo il*
Beito DaHi). f. 80. P».
'Maitvi, Qumtia. Pa.
1467
*B0hranM, (iKnaimi. Pa.
'Sourrhicr, JoKn (I,ar4 8mim>.
Li.
1463
Abyngdon, c. 50
* r. Corn>‘shc
*£ncina, r 2 July
1469
tLipp), PihTtpo. r. 6}. Pa.
*Machiav«T|i, \k<«> 6. ti. Tk.
1470
*e. Curccn (A,)
Dutay, f. 70
•c. Genet
Isaac, f. 30
Jotquin dts Pr^, <. 20
La Rue, c. 30
Novark, c. 20
Okcgliexn, c. 40
Pasche, c. so
Paumann, e. 70
Ramos dc Pareja, g. 50
W'cerbecke, r. 30
* t. Bat.lune. Ham. Pa.
*De1ltni. JaeofM). Pa.
* <. lhactOv V’ifKcnao di l(Ialcaa).
Pa,
* c. Lwisi. Andrea dt (.\fKlrea
d’ AaHsi). Pa.
* <. Luini. Bernardino, Pa.
• f. Mabw, Jcaa Uao C«s*crt).
Pa,
• c. Onpooe. Marco da. Pa.
*Riccw. Aodrea. Cr.
• c. Vkieoic, G»I. Dr.
* 87 <
*[>krrr, AlUvcIit. Pa.
f Kempa. Thomas k. t. 99 . Li.
147a
*Cranach, Lucw (sen.). Pa.
H 73
Obrechi, c. 20
tPawmann, e. 7a, 24 Jan.
*B«ir|kmiir. Haiu, Pa.
>174
tDufay, (. 74, 37 Nov.
• e, Pevin
*Anoti«, L«*d«v»r*. Po.
* r. Dotftiat. Gavin, Pe.
>475
Banaster, /. 30
Compare, c. ao
* c. Parching
Finck (Heinr.), 30
*c.JanAequin
* g. Mouton
* r. Barclav, Aievander. Po.
*Aa(Wfofnnw« di Pathalo, Pa.
fiMs DwKb.r. Pa.
•Imnarrori. Mh lirU<nah». Sr.
A*. Pa. Po,
tChMtdIain, Gcorfct, 71. Po.
* r. OrinfotOrr, Pierrp. Ac. Dr.
* r. Cririwnald, MalUitai. Pa. Ar.
k]<lw>an«clo {M€ Bwonarroir.
klichHapjola)
*Ri(cc«8ai. Gianni. Po. Dr.
tGcccIle (Paolo di Donni. r. ?d.
Pa.
1474
AgricoU (A.), 30
Squartialupi, 60
Tindoris, c. 40
*477
•Cioc y iowc (Gioivio Ba/barrlli).
Pa.
* f, TiiaB HviiaM VcccK). Pa.
APPENDIX I
439
147B
Ab>’ngdon, e. 60
BitdASUW. Li.
tMAftnqwr, i«(iK. 36 . Po.
•^tnrr. TWiHM*. Li.
M 79
*CocMacus, so Jan.
licthainicr, iO
* <. K«Mcllino. Aiilenio. t. Sr.
'TaIIi, Jmojm >Ulrr Smiwthmu
S c. Ar.
1480
*f. /\sinn
luac. e. 3V
JirtC|uin do Pr^. t. 30
i.a Kui*. i. y>
Newark, r. *jo
OkcKhrm, (. 50
Paiche, t. 30
Ramoi <Jc Parrja. r.
Ri(har<wl
tSqiiArdalupi, 64. 6 July
W'ccrlKTkr, c. 40
*Ah<i«.r{rr, .SX*rrchl. f*.
*B*rrwtw«e. AImm*. Pa. Sr. Ac.
* r. CaraiA. Franerwo.
i*a.
* r. I.Altrt. l/irrnan. Pa.
•r I'dima, JatAfA c" Vrcctm “K
Pa.
I4B1
*D«nvmui« (TbwAa <iaraMo).
Pa,
*?cnt 3 /i. BaWaautr, Ar. Pa.
*Saint.i;rla>», .Nlclin Jr. P9.
* •. OamiMCAola, nemcfiUa, Pa.
tUclU K-A>bi», Loca (unck).t3.
Or. St.
tCort. }iu«o VM Jet, 8a. Pa,
H 83
Obrechl, t. 30
*Aapharl Saais {RabeVa SaAeio).
Pa.
1484
Fayrrav, ao
*Beccaiumi. Dommico, Pa.
* t. Frirati. GauJeetio. Pa, Sc,
•Nfanurl. Nicolaa, Pa. Po.
*.Saaapkl)rli. Mkhelt, Ar.
i 4$3
Banaiier, t. 40
Compi’ri*. r. 30
I'inck iHdnr.), 40
*e. P^-gnu
* <. baiMkVd, >Ui*co. No.
t t, K«iw')uc(. Jean, r. 90. Pa,
*Rwmanin<i. (iirolaino. Pa.
*VbW 4 iaiw (M hi.Ait- 1 . l'«.
t t. prai>{ 4 >K, t. 5 |. Pw.
14B6
.NgrkoJa (A.), 40
’I'inc lorii t. yo
X 4«7
tUanasicr, e. 4*1, .\ug.
•Carter
*VM<hrr. Prirr, j«Hi, Sr.
(488
Abyngdon, (. 70
Cvm>shr, <. to
liACina, 30
•c. Rhau
‘Andrea dr( San*. Pa,
‘Huwrii, I'lrkh s«A. Po. U.
t Vrrracilii*, AiHlrra Url 'A.
CkaMT), s). Cr. Sc. Pa.
X469
HorJtaimrr, 30
* t. BanJmrlli. batcio (oc Batlo.
Inmmro), Sc. Pa.
•NMea, Ptaoervo Maria. Pg.
>490
Durcon (A.), c. «o
•r.Fcbatyiiski
• <. P'emimJez de Casdllcja
•Fou
Genet, r. 20
Tt aa c , (. 40
440
APPENDIX I
•^.Jcrfinson (R.) (i)
J(»quin d« Pi^ <. 40
L4 Rue, <. 40
Newark, e. 40
Okcghem, e. 60
Pasche, r. 40
Ram» de Parcja, t. 50
* (■ S«nnUy
Weerbecice, t. 50
•e.WiJJaeri
* <. Ambrrecr, Chiisioali. Pj.
* <. BoKdn Almo(*ver, Jmd. Pm
•< . Vuioria.
(^(yoi. ThfMHM. Li-
•Ij»kI»v» OavkI. Po. [>«.
* t. (Wkv, BenucfC P«.
* 4. AabelaM» Pr»iic»H. No.
■4»i
*Folcnco, Trofito {McrUito Coe*
«oio). Po.
t Manrique, Comrc, r. 7$. Po.
Mr.
* Mclit. FfoeooKo (le*. Po.
t>^<liOhrow«r, Morix). t. 46. Po.
1493
fBusnoU, 6 Nov.
*Ar«ltno. Pi«iro. Po.
"{jiuliM Komono (Oio(» Pip(M dc*
(itonnum). Po. Ar.
tPicfo dctlo PraiKcwo (Pktro
BorchfK). r. 76. Po.
M93
Obrechl, t. 40
T i. Antoncllo do >lc«wno, e. 79. Po.
*F)rviiiuolo, Afooto. Li.
■494
Fayrfax, 30
Fcvin, f. 90
tBoiorUo. Moilio Mario, t. 64.
I’o.
* «. Cloitilkio, CrSstolui « 1 «^ Po.
* /. UMrccsw. Antonie AHcsri do.
1 * 0 .
Kihirbndoio. Doncoko. *• 45.
Cr. Pa.
*Lurao von Leyden. Po.
tMrmiine (^kinlinc). Hoia. t.
64. Pa.
tPko<kllo MinuKla 4 a. Cievoaai.
7 i. Li.
tPelkiorwv. Aeqelo. 40. Po. Li.
*Kieeio. Dontenice (Brtuoaevci).
Po.
Flam. Po. Dr.
■495
Compm, <. 40
Parthir^, t. so
Finck (Hdnr-), 50
Jannequin, t. so
Mouion, «. so
t<. Oke^em, <. 65
•Paminger, sg Mar.
• f. Taverner
•f. Whyc broke
*Cen>eliu, Lueos. Po.
* t. Mirondo. Fronutco &k 4 «. Pd.
>494
Agricola (A.), 50
* e. HcMinck
Tincioris, c. 60
•VValJhcr (J.)
*MoiiUod, Rkhotd. Po.
* r. aUroi. Ckment. Po.
*RoMi. Giovonni Bouiiia. Pa.
>497
lAbyngdon, e. yg, Scpi.
*Bemt. ProiKraro. Po.
* I, Kcmood. John. Dr. Li.
*Holbeii«. Ham. fm. Po.
>49*
Cornyshe, c. 30
Encina, 30
fCota^i. Benoiee. j 4 . Pa.
'HeeoMlierk, KUrricn iMob«
{Xlorrten ton \’em). Po.
* r. ^kwTlto (Akraoiidio Bentkine).
Po.
fPolUrvelo, Antonio. 69. I'o. Cr.
>499
Cochlaeua, so
Hothaimer, 40
tBoldevinetii. A kaw o. 7a. Pa.
*Froi>ck. SebiMion. la.
1500
* r. Animuccia (C.)
Aston, e. so
BwrtoA (A.), <- 30
*Cabewn, so Mar.
* e. Ctemens oon Papa
•Codieo
Genet. <. 30
APPENDIX I
441
•r GreUer
Isaac, e. 50
Josquia des Pra, e. 50
La Rue, e. 50
Lloyd (J,)» f. «o
Ludford, 20
* t. Milan
* r. Morairs
Newark, r. 50
Paschc. <. 50
Richaforl, <. 30
•r.Tyc
Weerbecke, r. 60
* r. J*cob. N.
*A»rri»nr, P«ru.
'Celiini, Sc. Cr,
f t. Henn'Mn, ll»bcri, t. 7 ^
I50S
tiWHiAk, Grniik, B». P«.
*C«iuin, Jc*n. p 4 . Se-
i$oa
fr. Re|U, ? 16 May
tCi«rr«, PrsAcnca, $>. Af. S(.
U. Cr.
1503
Obrechc, r. 50
tlcffvfwtr. Pnir*.
tlcAt. RrimiM. A#.
Cm 4. C)g«iimi. P».
* CimiUm «k U Vfm.
*GrMxin>, AMom FraiKcwe.
9^ l>t.
*HuFi«ao «k Mcftafou. Dwr*i
Li. P«.
CwliK FxaKctM
rPxwn n Bip, Fa.
*Wvau. Tbamai. ?•.
1304
•Corieeda, July
Fayrfax, 40
Fevln, e. 30
*Ciraldi, GiovaAOi Am(bi«
(CiniH>aCB»ihM). Dr. No,
tUpiH, Filippioo.x, 43. F».
1505
•<. Arcadeli
Compare, t. 50
Farlhjng, c. 30
Finck (Heinr.), 60
• <. Gombert
Janoequin, r. 30
*r. Lc Mautre
Mouroft. «*. 30
fObrecht, r. 52
20
•r. Tallis
tB*Ho, FrMcewo, r. $ 5 . Po.
* <. I imninift, Leonard. Ha, Cx.
i$o6
tAgricola (A.), 60
Tinctorn, c. 70
*Briuivo(to. Ertolc. Fb.
'Buchanaa, <>«^. Li.
f Manir««ia, AiMlroa. 7S. Pa,
*UdaU..VKhola«. Dr.
1507
*Bakrark
Carver, 90
*Car«. AACtikalc. 1 ^ 9 .
• '. MoMenali. Giovaani AascIo da.
V.
1306
Com>'ihe, c 40
Encina, 40
Rhau, e. 90
1509
CochJacui, 90
Hofhaimer, 30
t Newark, <. 59, Nov.
fPollaiuolo. Sunone drl. «, At.
K510
Asion, f. 30
*r. Bourgeois
Bunon (A.), c. 40
FeUatyriski, r. 20
Femindex de GastiJIeja,
r. 20
Fesia, 30
Genei. r. 40
* <> Coudimel
Isaac, c. Go
Johnson (R.) (j), c. 20
Joaquin des IV6, c. Go
La Rue, e. 60
{J.)» (■ 30
Ludford, e, 30
442
APPENDIX I
*e. Manchicourr
Paschc, <. 6o
RichaTori* <•. 30
ScrmUy, <. 90
^\'e€rbccke, 70
W'ilJaeri. e. 70
*Bauano lU Ponir).
tBoMjfrIli. Swdro, 66. Pa.
* f. C1ou«t. Fcancoh, Pa.
* f. Dclotme. llti^rbcft. Ar.
*Motoni, CijtnbaiiiMa. Pa.
* f. PaliMy. B^nuM. C«.
*RAui, Prancrwa4lai iC'atfrItina
Hr( SaUutii. Pa.
*R«KJa, t.«pc 6«. Dr,
I5«»
•Panify
tTinccorls* e. 75, Oel-
*(. Vicemino
*£vrn*. Je^annn (larer SrrMti*
(U^). Pe.
(Ctorpio BarbarrUit,
U> P«<
SeikimJui.Jahanon tut
‘N'a^ari. D>ort>o. Pa. Ar. U.
151ft
tFfvm, e. 37»
•Cuyoi
tBrllini. Ctatanni. po. Pa.
*Pefliana, Pro»|Krv. Pa.
*Uob«»ii, ia<«pp <tiM«rt(u>}.
Pa.
t5t3
*FcrTftbo$(0 (D. M.), 14
Fcb-
tPinlurarcbio. ikntanlirte <B. di
Brllih %ft. Pa.
1514
Fayrfe*, y>
fWwfbeclif. t. 74
tbranuAie Laitari (Onna*o
d* Afiwla ^. «. fO. Ar.
1515
Comp^, (. 60
Firihinf. r. 40
F)nck (Heinr.), 70
Janacquin, t. 40
Mouion, c. 40
Pamingcr, 20
Pygoil, (. 30
Tavcmcr, <. 20
Whytbrekc, f. 20
* t. BuUiAi, JaaA. Ac. Se.
'Cranach. Lvcac (jun.). Pt.
* t. CouiM, Jean. &.
151$
HelHnck, e. 20
•Rore
WftUlwr <J.).20
tBalcraAa. GiMvanni. 49. Pa.
tB«arh, Hwranvmut, t. 54. Pa.
•flam. Frau (4« Vrienai). Pa.
*Faa. John. li.
1517
Cjin'Cf, 30
fltuc, ^ 67
*Scftndello
• e. \Vft«lrftJKl
fBartolotHmeo di Pajholo, 49.
Pa.
tFraiida (Franrevo IUih«lini>.
r. 69. Cc. Pa.
• 4. Howard. Kenrv Uater Earl of
Surrey). Pn>
tSaafallo. CiuUano. 74. Ar.
1516
tComp^, t. 63, j 6 Auf.
Com)ftliCi e, 50
Cncinft, 50
•e. Ccro
fLft Rue, 4. 06, 90 Nov.
Rhau, <. 30
fCima. ClQ^*ann• natiixa. r, ,>6.
Pa.
'Palladio. Andrea. Ar.
1519
Cochlaciu, 40
Horitftjcncr, 60
tBoriMfiMri. PraiMCWo, 64. l*a.
tLrosardo da N'mci. 67. Pa.
Ar. Cr.
1520
Animuecia (G.), <*. 20
Asion. e. 40
BurtcM (A.), f. 50
Cabe2dii. 20
Clemens non Paps, f- 20
Coclice, 90
APPENDIX I
443
•f- Faber, Heinrkh
tFaxihii^, 45, 12 Dec.
PeUziyAski, <. 30
Femiodez de Caziltleja,
f. 30
Festa, 30
* <. Gabrieli (A.)
•Galilei
Ccnei, e. ^
Grcitcr, e. so
J(»hiuon (R,> 30
Joiquin <te9 Pr^, e. 70
Uo>d (J.n t. 40
LudIWO, f. 40
Milan, r. 20
MoraK* 3 , r. 20
Pa»chc, (. 70
Ricliarort, e, 4(»
SermUy. f. 30
*<. Shepherd
Tyc, e. 20
\N'ilNeri, c. 3»
HliHiihir, \N>UwHi. /. 4 ai, Pt>,
* t. K.ii»twkL I4,
*Mon«>nu>r,f. Jwv* fir. f%*.
>Aiih
} 7 . i*.i.
IS«I
t Fay f fax, 37
tJo«)uin drt t. 71, 2?
Aug.
•Mvnic
f t. il^MlrMk. f. 41. |‘j.
tDr^nf. tj. fm.
Pwlru tli, ff%
l$22
fAiion, (. 42
*f. Fdn arils
fMouion, (. 47, 30 Oct
* r. CaHi|>i, AhlAMu. Pd.
t<;ftrpdrrM, Vwrofe, «. 7^, pj.
tlKwflsv CiAVM, f, lO. p«».
* t. FdiMiah, Pdolo. Pj.
1523
fAr)chirta, 30 July
t(k>rn)$hc, f. 33
tUoyd (J.j, f. 43, 3 Apr.
T f. Jtawn, Sirph^n. Pu.
tll>Ui«n, I'kkh vuB, Po. U.
tMunidcna. 75. p*,
}Prn)eiiio lPwlr« Vanweei). 7;.
Pa.
1324
Coriixcia, 20
1 1. BotfOfDooe, Am&fofio (Aie-
krorio Sttlani). Pa.
*C«m4n. L«H< Vat 4t. Po.
*Gio«*aAfu 4a Bologna. Sc. Ai.
^Hdlbaii), Han«, »er>., e. 59, |*a.
*R4iMard. Pterre dc. P«.
t <> SafiwreUi, Luca, t, 83. Pa.
1543
Areadeli, r. 20
Fiitck (^lAr.), 60
Gomberi, r. 90
Joanequin, c. 50
Lc Maistre, e, 30
•f.Oriiz
•(?iPalrtCrina, 17 Dec.
Paminger, 3a
fPaschc <. 73, f. June
Hygou, f. 40
Tallis, e. 30
Tas'crncr, f. 30
Whythroke, A 30
•Ifci-aav. Joaclaini «»y. K.
*l>rlU RpLhia, Aiidcca ^Acnliewk,
9U. U.^.
* e. CasCeiefM. Ucecac. Pv. Or.
« t. Mnra. .ViMoftM (saa l>a*l»or«0.
Pa.
*S<o».J«hn. U.
1536
Hdlijsck, r. 30
ljudenkunitf, <. 4 Mar.
Waltlkcr (J-), 30
Po,
'Naiaivu, Juao FcinaMlcx, Pa.
>5*7
bakfark. 30
Carsec, 40
IFinck (Hrinr.), 8». g June
•FiiKk (Herm-), 91 Mar.
•Guerrero, May
^CaAhiaU. Lwa. Pa.
fAlarlMavcai, Nh%oI6, sO. Li.
Dr.
1528
Encina, Go
•Lc Jeune
Rhau, A 40
•Sclncccer, C Dec,
•SVhyihoTfte
*llafoc«io. P«<l«nco. Pa.
• 4. Brikau, Krmi, Po,
•Bry. Th««dona( <D«A) dc. Pa.
Hl*eUad. Paolo Pa
tDgrer, AllMcchi, 57. p*.
"Pemira. AMonio. Pu.
444
APPENDIX 1
1Gruoewald» M*((lu4s, c. ^ P».
Ax.
*Mu3iAiio, GuoUmo. Pa.
? f. Palma. Jacopo (" Veecluo
48. Pa.
Veronese (an* Cagliari}
tVischex, Peter, ]«».» 41. Sc.
>539
t {. Baudoin
Coehlaeus, 50
fEncina^ 60
Horhdimer, 70
tJacoiin» t3 Mar.
•r. Mundy (W.)
tOrco, Fcb-
Sponione
* <. Brueghel, Pieter («cn.>. Pa.
tCaatiglione, Baldasiaxt, $1. La.
'Pence de Lden, Lu^ Pe.
tSofMOviao, Andrea (erig. Con*
luecil.Sf. 5c. A r,
t Skelton, John, 5 g. Pe.
tVicclirr, Peter, aen.. t. Sg. Sr.
i$ 3 ®
■r. AiTimcrbach
Animiiccia (C.), e. 30
Beurgeoia, (. 20
Burton (A.), t. 60
Cabpsdn, 30
Clemons non Papa, <. 30
Coclico, 30
* (. Donato
FelutyiSskI, r. 40
Festa, 40
Cenot, t. 60
Goudimol, (. 30
Croiior, <. 30
Johnson (R.) (i), t. 40
Ludford, e. 50
Manchicouri, e. 20
Milan, t. 30
Morales, c. 30
■<. Navarro
•r. Porta
Richafon, t. 50
Sermisy, r. 40
Tye. t. 30
• f. White
Willaert, <. 40
t Andrea del Sarto, 4 t. Fa.
t <. Bramaniino (Bactelofflmeo
Suardi), 4 . 70. Pa.
t Manuel, Nieoiaa, 46. Pa. Fo.
fhlabyi, QuinUn, 64. Pa.
*53*
*Costelry
•c, Kerle
Parsley, 20
Vicentino, c. 20
tBtafgkmair, Haat, ^ Pa.
fCatena (Vioceneo di Biigb], c.
5 l. Pa.
tRiemcoschneider, Tilman, «. 7t
Cr. Sc.
1532
Guyot, 20
•Lasus
t David. Gerard, r. 8>. Pa.
*Jo 4 ^, £ii«nM. Ac. Dr,
«Nortoo. Tboeaaa Dr.
tRiccio, Andrea, da. Cr.
>533
Ferraboseo {D. M.), 20
*MerM(o
tArioMo. Ludtvieo, 59. Fo.
«£r«iUa f Zd&ifa. AImcuo de
Pe.
tLucai vaa Leyden, jg. Fa.
'MootaifiM, Michel de. U.
*S34
Corieccia, 30
*Las Infantas
*r.Wackaw of Saamoidy
tCorrofgio, Aolooie Allegtl da,
4 . 40. Fa.
*Keer«. Lveaa de. Fa. Po.
* r. Herrera. FerMndo de. Po.
1 1. Mabuaa. Jean (Jae GoMaerih r.
«4. Pa.
tSaegnllo (orlg. Giamterii),
AenenSo. leo. Ar.
*535
Arcadelt, r. 30
Chisel in
Gomberi. r. 30
Jannequin, e. 60
Le Maisire, r. 30
Paminger, 40
*r.Stngg)0
Tallis, <. 30
Taverner, <. 40
•c. Vinci (P.)
•Wert
Whytbroke, f, 40
tSemr, Franecaco, 38- Fo.
tCeau. Leeeneo. 75. Pa*
t r. Lutsi. BerBardino. <. 85. Fa.
tMoee. {S*r| Theokas. 37. Lt>
APPENDIX 1
445
1536
Hellincki 40
Rove, 20
Wallher Q.), 40
tG*roUa0 Oe to Vcf*. <. 3 $. Po.
tPeruui, BikUmrt. Ar. ?».
tScoiodut, Johinnft (Bvertt),
Pd.
»537
Pakfark, 30
Carver, 50
f r. Hof haimer, 76
Scandello, 20
VVaelrand, r. 20
• f. Zoilo
tCreOi. Lw«nw H. t. ?«. p*.
*GiM#iBj,GmaaDi Po.
Or.
1538
Gcro, <. 20
Rhau, e. 50
t Altdorfer. Albr«<kl. aa. Pa.
*aorr«»o, Miforl. Pa.
>539
Coehlaem, 60
•r Rcfnari fj.)
*Solo de Lanfa
1340
Animuceia (G.), t. 40
Bour^eoUi <. 30
Burton (A.), e. 70
Cabesdn, 40
Clemciu non Papa, r. 40
Coclico, 40
* <. Daman
Faber, H., c. 3o
FebaiyAaki, c. 50
Femdndez de Casiilleja,
Feila, 50
Gabrieli (A.), e. to
GaJUei, ao
Genet, t. 70
Goudimel, t. 30
Greiler, t. 40
•f.Johruofl (J.)
Johft»n (R.) (i), f. 30
* r. Lcopoliia
Lttdibrd, t. 60
Manchicoujt, t. 30
Milan, e. 40
Morales, e. 40
Rkhafon, t. 60
• <. Schroeter
Sermisy, e. $0
Shephei^, e. 20
Tye, <. 40
•r.Vee^i (Orfeo)
\Mllaert, t. 50
* r. BcvMame. Pierr* dr. U.
*ChMi«bfd, Pkrre de Bcdcom)
de. Po.
*Pifveroe, Fnisciice de. Pe.
*Coo(e. Bamabv. Po,
1 1 . PaccbUeoiio, Jacopo, 76. Pe.
tPacTMtiaAo (Oir^Daeo Fr«n<
««$co aiatiob 1,37, Pa.
t 4. Veeeetie, Cd, t. 70. Dr.
>54'
tHHIinck, r. 44. 4 Jan.
Monte, 20
Parsley, 30
Vkentino, r. 30
*Chre*ii«o, Ploeeni. Po.
tMooieavayor, Jorte d«. 41. I’o.
tRoeM, OtOiaoAi Batiieia, 43.
Pa.
>54»
Edwards, r. 20
Cuyoi, 30
t r. Ludford, (. 63
* (. Meiland
tRoMio AJmotaver, Juan, r. 33.
P».
ffriMa. SebMiian, 43. U.
*Ftaorfc«n. Frani. Pa.
t r. Orter. Bcmacn van. r. 33. Pa.
tWroii. fSirJ Thomae, 34. Po,
*ZMtaio, Federifo. Pa.
>543
t<. Burton (A.), r. 72
*ByTd
•Fembosco (A.) (i).Jan-
FerraboKo (D. M.), 30
•Pevemage
*Drer, (Sir) Eduard. Po.
♦P on ea n a. UoAeoko. Ar.
tKolbain, Hio«, juo,, 4$. Pa.
>544
Coiieccia, 40
tDucia
t <- Febaiyibki, e. 54
f Foleoco. Teoltio (Merlioo Coo
eaM).33. Po.
APPENDIX I
t Cr)n9o(i)rr. Picrrc.r, 6g. At
Df.
tMaroi» CWmcni. t. 4$. Po.
tMolsa, f/aiKCMo 55
Po,
• t. Palma, Jacop© (•• Giovine ••).
Pa.
*’rai»o, TorquJM, ft).
■545
•Ancina, 19 Oct-
Art Ack’ii, f. 40
tf. Burton (S.)
* f. Cactini
tF«ia, 55, 10 Apr.
Gombcri, e, 40
Jannrquin, e. 70
lyC Maisirt', r. 40
* Luzzaschi
•r. Nanini (O. M.)
Ortit, e. 20
Palf^irina, (?) 90
Pamingrr, 50
Pygoti, r, 60
Tallis, r. 40
tTa^rrncr, t. 50, *5 Oct.
\\*hyi broke, <. 50
tftaldune. Uani. r, 93. Pa.
* f- Omen, N’kMai. Pit,
t f. Pirena««eaa. AptoU. n 3 »- U.
* f. FiKhart, Ji>hanA (MeniMrI.
Li.
* f. Garnkr, Rebrri. Pe.
* f. Harv«v, Calvkl. U.
* t. Threiacef«i*i, ])o«nrn«ce l£J
OrecuK Pa.
1546
Rorr, 30
WalthcT (J,), 50
tCateio. Cievaatii FranctK©, t.
C6. r«.
tUrei. (SSir) TlMiut. '.36. LL
tParrari. Gawknaie. r. 6a. Pa.
V.
fCiulie ftemane (Goalie PipfM 4 «*
Cianni^tsi), 34. Pa, Ar.
tSangallo, Anlenie, km. Ar.
'547
Dakfark, 40
Finck (Hcrm.), ao
Guerrero, 30
•U Hcic
tRcdford
t f. Rickarort. r. 47
ScaAcIclIo. 30
W'aclrand. c. 30
*Ccrvanle4 Saavr^a, fctifvcl 4 e.
Ne.
tCelofina. Viiteria, 57. Po.
tSebaaiuDo 4 «l Piombe, 69. Pa.
tS«tf rey, EaH ©T (Heery Howard).
*. 30 . Pe.
1548
fCenM, e. 78, 14 June
Gcro, (. 30
*Gines
Le Jeune, ao
fRHdu, r Go, 6 Ai^.
Scineccer, ao
• (. Victoria
NVhyiliome, so
'545
Cochlacus, 70
*0u Caurroy
Mundy (\V.), (. 20
SpontoiK, c. 30
t8»<rarumi. Demmlce, 63. Pi.
*Cen(aHAi. Gtovamti. Pa,
*l>uf|unAoy, Prtftceit. $«.
tOp^kona. Mareodi. t, 74. Pa.
1590
Ammcrbach, r. 30
Animuccia (G), e. 30
Bour^eoo, e. 40
Cabezdn, 90
*r. Cavalieri
Otmem non Papa, t. 50
Coclico, 50
OoAtio, <. 30
•t. Farrani, J. (t)
Fernandez de CaztUU’ja, r.
Go
Gabrieli (A.), c. 30
Galilei, 30
Goudimel, r. 40
fGreiier, r. 30, 30 Dec.
*Handi. 31 July
Johnson (R.) (i), c. Go
Manchicourt, r. 40
Milan, f. 50
Morales, c. 30
Navarro, e. 30
Porta, <. 30
•r-Raval
Sermisy, f. 60
Sh^herd, e. 30
Tye, e- 50
*Vecchi (Orazio)
White, f. 20
Wilbert, e. 60
*Lji Cerwa. Juao de. Po.
APPENDIX I
447
I5SI
Cosccicy, io
Kcrlc» t. 20
• f. Macque
Monio, y>
Parsley, 40
Vicenlino, e. 40
tNVannenmaeUvr
• <. H-kunl. Li.
155a
fCochbi'iu, 10 Jan.
KJw arils, e. y>
tl'abcr iH.), 3i, iO Keb.
Cuyot, 40
l.assus, 20
<. O7
*U«t<laVi .\kN.MHlrr. <. 77 .
<«»brKn«. po.
* t. (!o<itch>r. l.uiaK ij. Pa.
* <. S|>rRwr. L(hr>yw|, Pd.
•Ikcard
J Vrrabosco (D. M.). 40
• (. Jb-oper
*Marenyio
Mifulo, 20
t. 53. Si pj.
tlkrib (t. lairil < Jia»n BwutchRr^
ML Li.
*Dv> 4 . Mark Alr«aiHlc*. I i.
t<’ran«ili, Luci* '*rn.l. Hi. P*.
* f. IVriD. Jehrk. |J.
«Miy, Dr.
*.MufKlJV. Aixhufit. I>V. I.i.
t t, Kah«ld»», fran<«»ii, f 6^
Cortcccia, y 9
(.as Infanias, 20
•r.McI.
^Vacla^v o( $?:aino(u^*,r. 90
*lkil, l*ayl, P«,
*C>tevillr, f'wlke iLMd BrniAf).
IS*. U>.
Pliilip. Pd.
*555
AcacadeJr, r, 30
* <. Coperario
•c.Cese
Gomberi, e, 50
Jannr^uin, e, do
Lfi Miusirc, c. 50
•r. Lobo(A.)
Ortiz, (. 30
PaUatrina, (?) 30
Pamingrr, 60
* i. Quagliaii
ff.Scnn
f. 20
Taliis, y. 50
Vinci (P.). €. 20
W'tn. 90
^Vh^tllrollc. (, 60
bonmuMr. Al<>MaMdrD [Uf
Murriwi
Urnit, pj.
*CMa«i. Ludavita. I'a.
Sfrcikm. Li.
tLwkdMV. .Silt David. 6 $. Pa,
l>r.
I.Am»nv, 7 v Pa.
*A(aU*rrb^, Fryn^vMvdr. Di.
t f Mwtrita i.klrvvandra BoiivHirvoj.
1. S 7 . P. 1 .
1556
tr.C’kinrm non Pa|M. r. jG
tr.GMnlK'rt, e. 5c
* f. Lu) chon
Rorc, 40
Walihrr U.),6o
LkiMMM. IVira, 44, Pu.
*IWi<jl«Ai. rt«i«««o. I.i,
TCIavnllria. liJ d<^. r, 69.
P*.
' IMU Cm. OkrvatHH. ) 3 . Pg.
* r, iMin. Andrr* di <.Si 4 dt««
r, fib, r«.
* t. MaMfufitfr*, .Vkiamlrr. |*v.
« .. Olfvrr. IvxK, Pa.
tl'daM. SMltaUt. Dr.
*557
Dak^rk, ju
tCrecquillon
■<. Oroc«
Finck (Hrnn.), 30
*Fonlanclli, 13 P'cb.
•GabriHi (O.)
Guerrero, 30
*Mau<luil, 16 Sept.
•Moricy
Scandrllo, 40
^VacIran<). e. 40
Zq\\o, e. 20
*Carar<i, Asawina. Pa,
Ciavanni Kaiiisia (]|
Cerarto). Sc, P«. Ar,
•Oar», Adam van. P».
♦ S i dne r. Mary (laicr CauoUual*
Pembr^). Pa.
440
APPENDIX I
1558
*e. Carllon
tFinck (Hcnn.)» 3*, a® Dcc-
Gcro» e. 40
• f. Giles
Lejeurw, 30
Seln^cer, 30
Whylhomc, 30
*Kvd. Thoma*. Dr.
• r. Lodge, Thomas. Po. No. Dr.
t <. Miranda. Pran«keo $4 de, t, 64.
Po,
*ragani, Cregorio. Pa.
• f, Perle, George. Dr. Po.
tSaini'Celau, Melin de, 77. Pe.
■559
tjachci d« Manios a
Mundy (\V.), <. 30
Regnan (J.), c. ao
Solo de Lang a» oo
Spoatonc> f. 30
tBenvrauio (TUw d« GaraMo).
78. Pa.
* t. Chapmaa. Ceocfe. Po. Df.
*Cigoli» Ledovko Card! da. Pa.
At. Po.
tSanmkheJi, hlkhck. 73. Ar.
1360
Ammcrbach, <. 30
*Ammon
■r. Ancrlo (F.)
Animuceid (G.)» c. 60
*<*. Hlas de Caairo
iiourgeois» t. 30
Cabrtdn, So
Cociko. 60
Daman. <, 20
Donaio, e, 30
Fernandes de Casiillga, <.
70
Gabrieli (A.), <. 40
Galilei, 40
*t. Gesualdo
*Gio\'anne]ii
Goudimel, t. 30
fc.Janncquin. t. $5
Johmoo (J 20
TJohmon (R-) (i),r. 70
Leopoliia, t. 20
Manchicourt, r. 50
Milan, e. 60
•f.Nanini (G. B.)
Navarro, <. 30
Poria, f. 30
• (. Rogier
Scliroeter, t. 20
SermUy, e. 70
Sh<'|)lK'rd, r. 40
•Sladljsayr
Tye, e.
Vecchi (Orieo), c. 20
White, c. 30
WiUaeri, c. 70
tBellar. Joachim du. a$. Fa
*Cameci. Aasihale. Pa,
*Carducho ;Cardu<(i). fiuto*
fam co. Pa.
* <. Cheitie, Heerv. Dr. Li.
*Grecne. Roteri. Dr.
*Sehideni, Bartolomea Pa.
I5S1
t r. Bourgeois, t. 51
Cosieley, 30
Kerle, e. 30
Monie, 40
Parsley, 50
•Peri, 20 Aug.
Viceniino, <. 30
* Ba c on, Prancif. Li.
tBandieeUi, Baceie (or Oauo<
lommee), r. 79. Se. Pa.
tBerniguete, AImw, Bi. Pa. $<.
Ar.
•Odngora r Argoie. Lub d«. Po.
155a
•r. Bull
•Dulichius. Dec.
Edwards, c. 40
Guyoi, $0
Lassus, 30
Meslind, c. 20
tSermisy, e. 72
•Sweclinck. e. May
fWiitaeri, e. 7a, 6 Dec.
fBandello. Mai we, r. 77. Na
*Banict, Bamabe. Pe.
‘Borbagr. Rkhard. Ac.
•Comlabk, Heary. Pe.
*Cemrli«. Cemclir. Pa.
*Dank]. Samuel. Pe.
"CodwtA, Franeu. Ne.
*Veta Caipie, Lope F«li> de.
Po. Dr,
1563
fAnimuccia (P.)
Byrd, 20
t c. Codko, e. 63
•DowJand
Ferrabosco (A.) (i), zo
Ferrabosco (D. M.), 30
MeruJo, 30
Pevemage, 20
APPENDIX I
449
t <. Shepherd, e. 63
■Tilelouse
■Verdonclc
tAmbetfc*, Cbriuoph, t. 7^ Pa.
tChasiekard, Pkm dc
<$. Po.
*C>iayteo, P«.
tMeotonoli. Giovaosi Amlo da •
a6. Sc.
tSalviaii, CMclHO»<kl (Ftaft-
ccwb d»i Reni). ja. Pa.
1564
*Aichin9er
Corii’ceid, So
*HMlcr, 45/26 Oct.
Las Inranias, 30
TNtanchicourt, c. 54, 5 Oel.
NVaclaw c^Sxamoruly, f. yo
Abcaham. Pa.
*Sr«Kvhrl, Pkeaer {jufi.h Pa,
CKriuopkcf. Dr. P*.
T NSklKlanfcta iMiclMU(ii«k(
BtnearMch. 49. S«. Ar. Pa.
P>.
tScive, Maurkc. Pa,
*Slialinprar*, VS’iMian. Ar, IV
U,
1565
Ancina, 30
Arcadeli, <, 60
tfiyua, Au*.
Caccini, e. so
*c. Cavendish
* e. Daniel
*t. Farnaby
*Cu^ron
•< Kirby
Lc Maisirc, t. Ou
•Lobo (D.). Sept.
Luaxaschi, 30
Nanini (G, M.), (. so
Ortiz, r. 40
Palestrina, 40
Paminfer, 70
*'■ Philips
tRore, 49, Sept, or Ocl.
Singgio, (. 30
Tallis, t. Go
•<. Verso
Vinci <P.K e. 30
Wert, 30
Whytb^r, t. 70
tAurda. LoiM de. sv Dr.
i$66
fCabirzdn, G5. 36 Mar.
tEdts-ards, <.44, 31 Oeu
Waliher (JO. 7®
*Braeeiolini, Fraoeesea. Po.
tCara, Aanibak. 59, Pa.
f Labe. Lovirc, 40. Pa.
tPemaiuao, CiralAma, 0i. Pa.
1567
•r.Anerio (G. F.)
f r..Arcadeli, r. 63
Bahfark, bo
*Banchieri
*r.Bcsard
*Camplan, 13 Feb.
•Form^, 36 .\pf.
*Giacobbi, Aug.
Guerrero, 40
La H^ie, 30
tLupus (M.), tsJuly
* Monteverdi
tPanuneer, 73, 3 May
Scartdvilo. 67
tVaci, 8 Jan.
te.Vrrdeiot
t r. ^Vaela« of Szamotuly, f. 33
>N‘aelfaiid, e. 50
Zoiio, r. 30
♦ r. JanwAi vaa Nu)<hch. Abrahan>,
Pa.
*.Vbrr«ve*<. Muhbl Jwkuoon \aM.
Pa.
* Va « h «, lltawAi . Pb . ttt, (. j .
IS68
Oeroi e. 50
Cisscs 30
L< Jcune. 40
*Rosseter
Selneccer, 40
Victoria, r. 20
fr. Whyibroke, r. 73
Whyihorrse, 40
t f. Kack. iacal>, t. 9 $. Pa.
*Cac(u. GutiMifiw. Pa.
*Ce«ari. GtMepp*. Pa,
tGauioa. Jcia, t, 93, Sc.
t^lai, Franeesca dc’, c. y?. Pa.
*R>diatcr. Ccorf. A*.
•WgNwt, Hcary. P©.
15S9
tCauaiuo, 38 Oct.
Du Caurroy, so
Mimdy (W.),e. 40
Regnart(J.),e. 30
Soto de Langa, 30
SpoQione, r. 40
• 4. Bcaechcl. Jan. Pi.
t*r^hcl, Piccer (icn.). r. 4©.
*^*r»Yaet}©. Michclanaclo
Amhehi 4 a, Pa.
SP
VOL. IX
450
APPENDIX I
*Casiro y 8«Uvu, Guilkci dc. Dr.
t Ferreira. Antonio, 41. Ax
* (, Hardy, Akxaodic. Dr.
'Marini, Giovaooi Baiicsra. Fo.
1570
Ammerbach, (. 40
Animuccia (G.), e- 70
Battffon
Cavalicri, t. ao
Daman, <*. 30
Donaio, <. 40
Farranl. (j.) *0
Fernandes de C»tiile)d, <.
80
Gabrieli (A.), <. 30
Galilei, 50
Goudimel, <. 60
Handl, w
JohMOfl 30
tLe Franc, June
Leopolila, e. 30
Navarro, r. 40
•e. PaceUi
Porta, <. 40
Ravai, r. to
* r. Roasi (S.)
Schroeter, f. 30
Tye, (. 70
•r.Valcmmi (P. F,)
Veechi (Oraaio), so
Vecchi (Orfeo), r. 30
t^^'aUher (J.)» ?$» «4 Apr.
"r.Wcelke*
White, <. 40
'Ayioun, Robert. Pe.
* 4. Dtkber. T)toma«. Pe. Dr.
fDcloriM, PbiUb«n.(. do. Ar.
rnorb. Frars. «, )4. Fa.
*C«e«ar«, Uta Vekr de. Dr.
Ke.
' t, Heem. David van, Fa,
tHopkim. John. Px
* t. JOurefui y Afuilar, J«an de.
Po. Fa.
* <, Middleton. Thomai. Dr.
tSansovuM, Jaropo (aria. Talli).
01. Sc. Ar.
1571
f Animuccia (G.), r. 70. 05
Mar.
fCortcccia, C6, 7 June
Coateley, 40
Kerk, e, 40
Macque, e, 20
Monie, 50
Parsley, 60
Vtceniino, t. Co
tBordene, Faria. 7t. Fa.
tCellini, BeaveauM, yt. Se, Cr.
*Fa«h«ce, FianrcKo. Pa.
* 57 *
fCerton, 22 Feb.
f Goudimel, c. 72 , 95 Aug.
Gtiyoi, 60
Lassus, 40
Mciland, c. 30
* e. Peenon
*Tomluns
fe-Tye, c. 7 a
fVicentmo, c. Ci
tChmet, Frantoii. r. 69. Fa.
«573
Byrd, 30
E^rd, 90
Ferrabosco (A.) (i), 30
Ferrab^co {D. M.), 60
* Franck (M.)
Hooper, t. ao
Marenzio, 20
Merulo, 40
Pevemage, 30
tBentivoUo. Eroek, 4?. IS».
* Donne. John. Pk
tGiraldi. Giovanni BatiUta
(CiniknCinthie), S9. Dr.
No.
tjocklle. Fikane, 41, Ac. Dr,
* r. Joaea. Jaiio. Ar. Fa.
' f, foMoo. Ben. Fo. Dr.
'Rdfnkr. Mathuria. Fo.
>574
tFemdndea de Caslilleja, e.
64
fFerrabosco (D. M.}, 6 r,
Feb.
Las Initial, 40
Mel, e. 90
t While, r. 44 , Nov.
•Wilbye
'Banidcid, Richard. Fo.
' <. Day. John. Dt.
* f, Qiheimcr. Adam. Fa.
tKreiMhrri, Mierten Jacobra
(Maerten van Vcao), 76. Fa.
IVasarr. Giorfie. 4}. Fa. Ar. Lr.
>575
Aneina, 30
Caedni, c. 30
Copersrio, t. 20
•c.Ferraboseo (A.) (It)
* t. Franeisque
*c.Cagliano
Geae, c. 20
•r.Jones (R.)
Lc Maisirc, <. 70
APPENDIX I
43'
Lobo (A.)* so
Luzzaschi, 30
•f. MicheU
Nanini (G. M.), r. 30
PalestHna, 50
Qi,iaglijii» (. 90
Stri^gio. r. 40
Tallb, i. 70
fVento (I. de)
Vinci (P.), t. 40
Wert, 40
* «. HAuehMA, WiUujn, Dr.
* 4. He>'woed. TheoiM, Dr.
tHutUdo dc Mebdou. Dtefb.
7S. Li. Po.
*M«ruoe. John. Dr. Po.
•Reai. Ctiido. Pa.
*T«wrB«ur. Crrd. I>r.
i 57 «
fUakrark, 69, 13 Aug.
Luython, e. 30
*K»rrrfj, PraJKOCO de, ka. Po.
rSotht, Ham. Po. Po. Dr,
tTidan (Hsiano VcrelU), e. 99 .
Po.
*577
Croce, t. 30
FonUAeIJi, so
GabrieU (G.), so
Guerrero, 50
La Kik, 30
tLe Maiiirc, t. 73
Mauduit, 30
fMeilaod, <. 3$, 31 Drc.
Morky. so
Scamleiko, $0
WaelratKl. <. Go
ZoiU>, r, 40
tPelkau, Reini, <.49. Po.
*B^rion, RoWri. U.
•Cau. lalw^ Po.
*Ca*edoM. CiocMiib. Pa.
tOaMoienr. Grorfe, r. jo. Po.
D«.
t (. LimouMA, LdOnatd. r. 99. Pa.
Cf.
tRtccio, Demetkko (Prwaiofi^i).
TV Pa.
* Ruben*, Pclee Pavl. Pa.
1 57 *
•Agaziarl, 3 Dee.
Carlton, c. 30
Gcro, (. 60
Giles, c. 30
Gincs P 4 rez, 30
Le Jcunc, 50
SeliKCcer, 50
V'icloria, f. 30
tBuUani, Jean. r. 6v Ar. Sc,
tMoeeni, GiambattbU. G6. Pa.
*S4adv«. Ceorte. Po.
*S79
Uu Caurroy, 30
Mundy (W.J, r. 30
Rrgnari (J.), c. 40
Solo de Langa, 40
Spontonc, e. 30
'FkKber.John. Po. Dt.
* t. M«sM(uui, JohaH. Li. Dr.
tNavifcie. Juan Femander, > 3 .
Pa-
*Snrdcf». Frani. Pa.
1580
.Vmmerbath, r. 30
Ainnaon, so
yVnerw (F.), <*. 20
tBerchem
Bias de Castro, r. 30
Cavalkri, r. 30
Daman, r. 40
*f. Dering
Donato, r. 30
*e. East
Parrant (J.) (1), r. 30
* {. Ford
Gabrieli (A.), <. $0
Galilei, Co
Ceiualdo, <. 20
CiovaruMlIi, so
Handl, 30
Jolinson 40
LeopoHta, r. 40
Nanini (G. B.), r. so
t Navarro, c. 30, 35 Sept.
Porta, (. 30
Rival, (. 30
Rof ier, r. so
tScaodcllo, Cs, 18 Jan.
Schroeter, e. 40
Siaditnayr. so
*Siobaeui, C July
VeecKi (Oraxlo), 30
Vcechi (Orfeo), <•, 40
•f. Viiali (F.)
tCastdco. Luu Vae de. $0. Pe,
* r. Cauilk Seldruno, Ak^ del.
No.
* r. Fiirfaa, Edward. Po.
* t. Hab, Frartf. Pa.
t e. Herwood, John. <. S). Dr, Li.
tHoluuhed, Ripkael, r. do. Li.
IPaBadk, Aadrea, 6). Ar.
*Que«edo r Vilkfai, PrajKbco
GM>ct dc. ^ Dr.
* r. Webuer, John. Dr.
452
APPENDIX I
1561
Cosieley, yi
tFarrani (R.)
Kerlc, c. 50
Macque, c. 30
MiMite, 60
Parsley, 70
Peri, JO
•Staden (J.)
fUcenihal, 8 May
*L>om«nklbfM (OenMnke Z*m-
P&.
*Hoort, Pk(cr CAroeliu4>M. Dr.
AatooM (vaa Dubena ;
$ir Aji(h«nyater*).(. Pa,
*Overburv* Th«onj. P©.
1383
*Bonim
BulJ, r. JO
DuJichius, JO
Guyoi, 70
*e.d*lndia
LaMus, 50
SweeUnek, 30
tSvakMMM. 7O. li.
* 4 . FlfUher, PhiMti. 1 ^.
*Tcni«n, David, wn. !*«.
1583
Byrd, 40
DowUnd, JO
Cecard, 30
FcrraboKo (A,) (i), 40
‘Frcscobaldi, P ^p(.
tf.Gero.r. 65
*Gibbons (O.)
Hooper, e, 30
• (.Johnson (R.) («)
Marensio, 30
Merulo, 30
Pcverna^, 40
Tiiclouze, JO
Wrdonck, 90
*• 9 f auinoM. Jaho.
tCirassiAi, A«ionw Fraae^wo. an,
Po. Dr.
*MuMnger. n>ilip. Dr.
*584
Aichinger, jo
•Cifra
Ha&sler, jo
Las In&nUs, 50
Mel, (. 30
tVInci (P.), e. 49
*BeauiB«ei, FnocU. Dr.
Luaas <fe, jo. Fa. Po.
fNorVoo, Tlioinis, 59. D>.
-585
Andna, 40
*e.Boe 3 se(
Caccini, (. 40
CavCDdUh, e. jo
Coperario, c. 30
Daniel, e. jo
*(. Donaii
Famaby, t. jo
C«e, c. 30
Gu 61 ron, jo
Kirbye, e, 20
Lobo {A.), (. 30
Lobo (D.), JO
LuzaaKhi, 40
Nanini (G. M.), r. 40
Palestrina, (P) 60
t Parsley, 74
Philips, (. JO
Qpagliad, t. 30
*Schu(s, 6 Oci.
Sirifglo. r 50
tTallis, r. 80, 33 Nov.
Verso, f. JO
Wert, 50
*Brrdrro, Cerbrand Adriwfiwen.
Dr.
ICambiaM. Luca,
^Orvaamai^, William. Pd.
* /. UvarcMr. jaeqwa*. Ar. S<.
YRaocard, Firrre de. 61. Pn.
* (. Rowky. William. Ac. Dr.
•Tinodc Melina (CabriH
Tclica;. Dr.
1386
* Falcoflieri
fGabrieU (A.), t. 66
t?UH^Ie.39
Luython, t. 30
*$aracini, 1 July
*Schcin, JO Jan.
tCraoach. Lvcai (FiO.), f* I'*'
* r. Ferd, John. pr.
t&tarilaiKL (Sir) Richard, jo.
Pa.
tMeraki, Luk. Pa.
<Sk) Ftwlip. S 9 . Po.
•5leaf. Nichel**. Sc.
1587
Ancrio (G. F.), e. JO
BaiKhteri, 20
t r- Beagjoyeulx (Belgioioso)
Besard, e. jo
Gantpian, 20
APPENDrx I
Opocc, t, 30
Foouaelli, 30
Formi, 90
GabKeli (G.)>
Giacobb), 20
Guerrero, 60
Mauduit, $0
Monteverdi, 90
Morle>*, 30
t Robledo
*Schr>clt
^Vael^and, c. 70
Zoilo, e. 50
Nailunkl. Ac. I)r.
tFox, John, fi, (i.
i$$8
Carlton, t. 30
tFcrraboico {A.) (11.45, i.»
Aug.
GNn, {. 30
Giiufl Prree. 40
fGuyoi, 7O, I r Mar.
•Hcrbet
*Lan>or, Sept.
Le jeune, 60
Ros3cter. 20
ScLneccer, 60
Victoria, <. 40
<. atAlXaoicr, Rkhortl. Pa.
c. Fkwhrr. liiln. N,
*!.« Naio. Aataier. Pa.
tVcreiicw (PmIo Cadwii.
r»,
■ 5 %
Du CauiToy, 40
tLeepolha. <. 49
Mundy t. Oo
Regnarl (J,), c. 50
Soto de Langa. 30
ttiowin, J«an, Sa. Pa. Sc.
Halt, l^rh. Pa,
t PaKtt)'. Bernard, r. fa. Cr.
1590
Ammerbach. r. 60
I Ammon, 30, June
vVicrio (F.),<. 30
fiatcaon, e. 20
Bias dc Caairo, t. 30
Cavalieri, e. 40
Daman, t. 50
Donato, t. 60
Farrant (J-) d), r. 40
CaJilei, 70
Cnualdo, c. 30
Giovannclli, 30
Handl, 40
Johitton (J.), c. 50
•r. Landi
Nanini (G. B.), r. 30
Facrili, t. 20
Porta, e. 60
RavaJ, r. 40
*<*. Ravcivcrc^t
Rogier, t. 30
Kotsi (S.). 20
*r.Sabbaum (G.)
Schroeier, e. 50
SiadlmavT, 30
Valentini fP. F-), e. 2m
V ecchi (Orazio}, 40
Veerhi (Orfeo), e. 50
Weelkr* <. ao
tBarrcM. ja. Pa.
*0rcf9(, Oanielr, Pe.
* Faria v Manurl <1«. Li.
Pa.
*Hen(hort(, (ierard vaH. Pa.
* t. Jan*vA, Ceewliu*. Pa.
Daairl. Pa.
Simon. Pa.
1591
ffirudieu
Costelcy Go
t Daman, e. 5t
t Galilei, 71. ajuly
tHandl, 40, til July
tKerle, t. 59, 7 Jan.
Macque, t. 40
Munir, 7u
tr. Muftdy (W.), r. Qt
Peri, 30
fPevemage, 4S, 30 July
• f. Bronnr. William. Po.
t r, FtKhan. (hlmiacr). r.
46. Ci.
*<H>«r«i(W IGi«*an«i FraAcnco
BarWcri^ Pa.
*llrrmk, A^ert. IV
*Kin(, Hrnrr. IV
fPonre 4 r U«n, Lull, 6a. Pu.
159a
Bull. r. 30
Oulichius, 30
Menldn*
60
Peereon, r. 20
tSdnecCCT, 63, 24 May
Stveelinck, 30
Tomlins, 20
fZoilo, f. 35
fBaMaao (GUcoeto da Ponte). Ba.
Pa.
tCrecn*. Rebcn. ja. Dr,
tMooiaipK. Mkhel de, jg. Li.
tMuaiaao, CSrolacM. 64. Pa,
"^aartn, FraftcU. Po,
454
APPENDIX I
>S93
•Agtaiini (P.)
Byrd, 50
Dowland, 30
£e<rard> 40
Franck (M.)» 20
Hoop«r» e. 40
Marcniio, 40
Merulo, 60
TtCelouac* 30
VVrdonck, 30
*Callo(, jMqun. P«.
*Her>>«fi, Grar(«. ^
p4.
*L« Nail), Loui*. P«,
t hfarlewe, CkriKopt^r. «». D^.
*\ValivA. I 2 a»k. Li.
■594
Aichin^r, 30
Hauler, 30
Lu Infania^, 60
tLauiu, 62, 14 June
Mel, r. 40
t Palestrina, (?) 68, 2 Feb.
Wjibyc, 20
t£ftiU« y ZfiAica, Aloaco 6 t, 4 i.
Pe.
tCoof*. Barnaby, 54. pa.
* t. Jamn. Li. fo.
tKyd, Themu. 96. Dr.
* t. Pauuia, Nicelaf. fa.
tTibiuralie <Ja«ap» RebuMi). If.
fa.
>595
Ancina, 50
Caecini, <. 30
<^vendish, r. y*
Coperario, r. 40
Daniel, t. 30
Famaby, r. 30
Ferrabwo (A.) (ii), e. 20
FrancUque, <. eo
Gagliano, 20
Gcae, c, 40
GuMron. 30
TJohnson (J.),r. 55
Jones (R.), t. ao
Kirbye. r. 30
Lobo (A.), (. 40
Lobo (D.), 30
Luxaaschi, 50
Micheli, e. so
Nanini (G. M.}, <. $0
Philips, e. 30
• <. PofCcr
Quagliaii, e. 40
t f.Schroeter, <•. 55
t^.Striggio, c. 60
• e. Turini
Verso, e. 30
tWaelrand, e. 78, to Nov.
Wert, 60
•WIbon, 5 Apr.
*Qvaa«lain. Jeaa. Li.
*May, Thaeiai. Dr. Pa, U.
tTaaae. Torquato, ji. fo.
1536
tr.Faignieoi
*Laxve8 (H-), 5 Jan.
Luyihon, c. 40
* c. Marini
fBogier, f. 36, 29 Feb.
* Scheidemann
tWeri, 6<s 6 May
tCbrmWn. Floreai. 3}. fo.
'Cortona, fkiro Bcraitini da.
fa. At,
*Geym, Jaa vaa. fa.
*SKi^, Jamn. fo. Dr.
>597
tAmmerbach, <. 66. 27 Jan.
Anerio (O. P.), e. 30
fianchien, 30
Besard, e. 30
Campiao, 30
Croee, e. 40
•Ferrari (B.)
FenuneUi, 40
Formd, 30
Gabrieli (G.). 40
•Gaultier (O.)
Ciacobbi, 30
Guerrero, 70
Mauduit, 40
Monteverdi, 311
hforley, 40
tSorbaee. jamet. At.
•Fooiana, froioero. 89 . fo.
fKrrrara, femando dr. r. Oj.
fo.
*OpaU. Martifi. fo.
t 4 . fe«k. Coorgr. r. $9. Dr. fo.
•SoitI. Charles. No.
■59*
*<. iU>batini
Agaaaari, 30
Colton, t, 40
9 Apr.
Giles, r. 40
Gines P^. y>
Lejeune. 70
APPENDIX I
45j
tr.Mcl,f. 44
Ro$set«r> 30
Rossi (Luigi)
Victoria, c. $0
'Beroiei, Giov«uti L«r«a«o. At.
f Bry, Tbcodend (Oirk) 4«, TO.
* t. C(»r«w, Hwfius. Po.
'Maniurd. Fr»iifo«. Ar.
* <. Saerhi. Andr«a. P«,
"Zurbaraa. FrsnriKO. Pa.
<S99
l>u Caiirro>’. 50
t Guerrero, 7a, 6 Nov.
*HiUnn (ii)
t Marenzio, 46, 97 Aug.
tRegnart (J.), (. 60, 16 Oci.
tSaK July
*Sel]c, gj Mar.
Solo de I.anRa, 60
*Bu<f mil, FraiKfMo. Ar.
tHpanuf. CtlmvJkd, «. 47, Po.
*Vaa Dyck. AAihoit^. ]'a.
fltrra RoalrMto^i •b'
S^lva i. Pa.
s6oo
Anerio (P.), r. 40
bateson, r. 30
Bias dc <!aatro» r. 40
Cavalkri, r. 50
Dcring, r. w
Uonalo* <. 70
Laai, c. 70
Ponl, <. go
(ksuaUIo, (. .^n
Gio>’anneMi, 40
Mv«(S.>,July
tr. Lc Jeunc, 7a
Nanini (C*. B.), t. 40
Paerlii, r. 30
Porta, c. 70
Ravil, r. 50
•r. Ro«i (M. A.)
Koui {S,), r. 30
*r.Sabbatio» (P. P.)
Stadimayr, 40
Stobaous, go
Valenijfti (P. P-),r. yi
Vecchi (Orazk>), 50
Vecchi (Orfi.*o), r. 60
VltaJi (P.),r. go
Wcelltrt, t. 30
*ilawKarU. JacQner, Pa.
*Cakkr«o 4« la Barai. Pedrn
Df.
t r. Campi, Asiooio. f, 70, p^.
CSauik Lorrain <im G«M«e)
*Pak«n«. AjtoeZlo. Pa.
tCamkr, Robwl. /. a. Po.
•GelWe. Claude {Claude Lor.
caia). Pa.
* e. Heett, Jaa Davidtf van. Pa.
*Seii4Wry, C«on|n d«. Dr.
1601
Coucley, 70
Macque, <. 50
Monte, do
tPalla\*k;ino (B.), 6 May
Peri, 40
f Porta, c. 71, 26 May
.Su<kn (J.), 30
•Strungk <D.)
tBoyd. Mark Alexander, 4& Li'
*CaM, ASmbo. Pa. S«. Ar.
*G<acil«. Baliiur. U.
t?i;ad>e. Tboma«. 94. Po. Dr. I.i.
1602
.Mlogri. go
Doniftl, 30
Dull, t. 40
tCavalieri, r. 31, 11 Mai.
■GavaNi, 14 pcb.
"Chambnnnkres
Dulkhius, 40
J'lodia. r. go
*Lawes (W.)
Pemon, r. 30
S\«‘eeiincl(. 40
Tomkins, 30
tCara«i, Aaoslinn. 4J. Pa.
*CI>ainMi«M. PlMl«)i|»e de. Pa.
dr MwnialvAn. Juan. Dr.
idoj
Byrd, So
t Donato, <. 73
Dowland, 40
Eccard, go
rranck (M.), 30
Prwobaldi. 20
Gibbons (O.), 30
Hooper, r. 50
• f- Jenrii
Johnson (R.) (jj), r. go
Mcrulo, 70
fMoMc, $3, 4 July
1 <. Morley, 46
Titelouzc, 40
t r. Vccchi (OWeo), r, 63
Vcrdonck, 40
•Neer. A«nMu( van def. Pa.
1804
Aiehingor, 40
•Albert (H.), 8 July
APPENDIX I
fAncina, 58, 31 Aug.
Cifra, ao
HaeJer, 40
Las InCutas, 70
tMcruIo» 71, 4 May
fRavaJ, i. 64, 25 Oei.
Wilbye, 30
*Cotio. Ch*rl«9.
Friedrkh T«a. Po.
i6«5
•ii’Assoucy, 16 Ocu
•Bencvoh, t^Apr.
Bocssei, e. 20
Caccini, e. 60
*Carusimi
C^vendiih, r. 40
Cop^rartc, <. 50
Daniel, e. 40
Donaii, t. 90
Farnaby, c. 40
KcmboKo (A.) (ii), e. jn
IPrancisque, t. 30, Ocl.
Cagliano, 30
G«c, (. 50
Ou^drorii 40
jonft (R.), (. 30
Klrbyc. r. 40
f. La Guerre (M.)
Ubo (A.), t. 50
l.^bo (D.), 40
I^xiaachi,
Michel), e. 30
Nanini (G. M->, <. 60
Philips, c. 40
Quagliaii, t. 30
SchuU, 20
fVecchi (Oraaio), 64. 19
Feb,
Verso, t. 40
Tbemu. li.
tC*fit«rini, CtowAoi, > 4 . Pa.
*0*«h, Iwnaa. Po.
William. P», Dr.
U.
tHaufhion, WiIUmi, t. 90. Dr.
*>N«bhei, TJtotnis. Dr.
tPas*'*i» Ccrtono. 4). Pa.
tSiow, Joha. So. iX
1606
•Child
fCostcl^, 74
Falconiert, 20
fLechner, 9 Sepl.
Luython, t. 50
Saracini, 90
Schein, 90
*C«cr»«ilk. Pierre. Dr.
*D*refi*Bt. WiOian. Dr.
tFariaaii, Paok, c. $4. Pa.
*GriB]tMi, GiovtAfu Fra2>c«sco
Ar. Pa.
ILyIv, John, 53. Dr.
*R«mbrafidi, Hameiu van Run.
Pa.
* r. Saehtfevea, Coroeln. Pa.
•Walter, SdmuDd. P«.
1607
.Ancrio (C. F.), c. 40
Banchieri, 40
Besard, c. 40
Campian, 40
Croce, t. 50
Fontaqell^ $0
Pormd, 40
Gabrieli (G.), 50
Giacobb), 40
tLuaaaschi, 62, 21 Sepi.
Mauduii, 30
MonievcMi, 40
tNaniAi (G. M.), r. 61, u
Mar.
Scheldt, 20
*S(aden (S. G.)
tChecde. Heery, r. 47. Dr. (.1.
t Dyer. (Sir) E4»acd,«4. Pe,
tPoataaa. Domaeieo, (X Ar.
*Gerhar 4 (, Paul. Pa
•Hollar. Weneolu. Pa.
•Kilbircw, WlUiam. Dr.
tta Catva. Juaa d», 37. P».
*Lc Naia, Macbku. Pa.
•Scwd^rr. Madekiae dr. No.
t«o8
Agassari, 30
Cariton, <> 30
Gikt, e. 50
Gines Pdres, 60
Hcrbit, 90
fHilioa ( 0 , Mar.
Lanier, 90
Roeseter, 40
Vtctoria, <. 60
•Prouwer. Adnaao. Pa.
fCarducho (Carduccih Dario*
loB> e o. 40 . Pa.
•Cokaroe. AalOB. Po.
•Pullet. ThoiBM. Li.
rGaOvanai da Botaeoa, 64. S«.
Ar,
•Mdion. John. Po.
•Peiilot. Jeaa. Pa.
1809
TCrocc, r. 52, 15 May
fDu Caorroy, 60, 7 Aug.
•Rebelo
Sole do Langa, 70
APPENDIX
437
tCaracd. Aoubale. 44. Pa.
Attcriflu dt, 40.
*Coopcr, S*nitfL Pa.
*Rg|jou, Jean 4 e. Dr.
*S«e|i(kv«n, KrnnaD. Pa.
*Suck2iBf. Johik. P». D(.
tZuccaro, Frdr«i(». 4?. P*.
i6io
.\nerio (F.), e. 50
Balrsorii e. 40
Bias dtf Castro, r. 50
Dcrin*, t. 30
e. y>
Ford, f. y>
GcsuaJdo» e. 50
Giovannallii 50
Landi, (. 90
N&nlni (C. B.), r. 30
Paced I, c. 40
KavrittcroTc, c. 30
Rotti ($.), t. 40
Salkbaiini (G.), c. vi
Siadlmayr, 50
Siubacus, 30
VaJcmrni (P. F.)»^' 4‘>
Vjiali (P.j, c. 30
NN’velkea, e. 40
*Debi«n. Mi'iUam. P*.
*L* (;AlpteAr4«. (••vit«r Jr
Cptwt. N«.Df.
*Nf»gn«rd. Pierre, Pa.
*>fent|«mcne. AJcMioltr, r. S4.
Pe.
*OMAdr, AdriMR vm. P«.
Paul. fo. IV.
* rroirn, Da«h 1 «iun.|. Pa.
i6ti
fFccard. 58, autumn
tI*ohel, July
Macque, c. Go
Peri, 30
Station (J.), 30
tVjcioria, c. 63. 97 Aug.
*Bq]. Ferdinand. Pa,
*l*r«,Aan, IWrai. IJ.
I. N an dr Velde, Wilkin, Pa.
1613
Allegri, 30
Bonini, 30
Bull, (. 50
Dulichius, 30
tOabririi (G-), 55, ai Aug,
tOines Perez, 64
* Hammerachfliidt
tHassler, 47, 8 June
d’lndia. c. 30
Jenkins, 90
Peeraon, r. 40
Sn'eelinck, 50
Tomkins, 40
tBarveeia, Fedeiifo. 64. Pn.
'Byitrr.Safnnel. Po.
"CaiMArUk, SiiiMne. Pa.
r. Oraaliaw. Rieliard. Po,
*CurO. Peniamio. Pa.
fCuaHni. OHH'amu fiauiiia. 75.
Po. IV.
Thomas. IV.
>$13
Agoaiini (P.), 90
Byrd, 70
Dowland, 30
Fraock {M.), 40
Prescobaldi, 30
fCeac, c. 58
IGetualdo, c. 33, 8 Sept.
Gibbons (O.), 30
Hooper, r. 60
Johnson (R.) (n), f. 30
tManinengo
Titelouze, yj
Verd^Kk, 30
*IUiwhMt«io, Picier vait La«r. P.i.
fRoccaliei, Traiano. $7. l.i,
Ladovko Cardi da, 54.
Pa. Ar. Pe.
'OettlMid, John. Po,
KVftMaMe, Henry,
*l>eu, Gerard. Pa,
*He(ai. Barriiolofnarui van dcr.
Pa.
*La Hoeheroocauid, Praiicnh.
Due de, Li.
tOverbury. (Sir) Tliomar, iv.
IV.
*Perrauli.<aaude. Ar. l.i.
tRdcmer. htaihurin. 40, IV.
*^ini*£vremond, <'harlr* Mar*
fuerei de $aini>t>cuu. Li.
>614
Akhinger, 30
t.Knerio (F.J, r. 54, 37 Scpl-
Cafra, $0
tMacque, c. 63, Sept.
* Rogers, May
•Tundcf
Wilbyc. 40
tVraotdme, Pierre dr, r. 74.
tCreeo. Cl (Deevenke Tbeoto*
oopuli), r. 69. Pa.
1815
Borsaet r. 30
(Jaecini, c. 70
456
APPENDIX I
Cavendish, c. 50
Coperano, e. ^
Daniel, e. 50
Dooati, e. 30
Famaby, c 50
Ferrabosco (A.) (ii), e. 40
Gagliano, 40
•Gibboiu ( 0 .)
Gu6dron, 50
Kirbye, c. 50
Lobo (D.), $0
Micheli, e. 40
Philips, r. 50
Poner, e. jo
Quagliati. <. 60
Schuts, 30
Turini, f- ao
Vents f- 50
Wilson, ao
*Ckah««t, J«hn, IV
•Rom. Sftivaior, P4. fJ.
1616
c. Cooke (H.)
Palconteri, 30
■Ffobwfcr, 19 May
Lawn (H.), ao
Liiyihon, e. 60
Marini, e. ao
Saracim, 30
Scheidcmann, t. ao
bchein, 30
tBeftumont, a». IS. t)t.
•Boufdnn, S<b*«ikn. Ta.
•CMiifltoAe, tiiovsnni Bmtifiin,
U.
fCcrvAAM 4k.
4 a. No.
•[)ol«i. Carle. Pa.
fpMfKkcn. Fraiu. 94. Pi.
tHakhiyl. Rkbird. <. 4^ Li.
fRidk>a«r, C««rf. 4& Ar.
fVhidani. DvtelenK*. $4. Pa.
*Shak»tp«ar*. Willianv. at. Ac.
IV Ot.
1617
Ancrio (G. F.), c. y>
Banchieri, 50
Besard, e, 50
Campian, 30
Ferrari (B.), ao
FonlanHIi. 60
Formi, 50
Gaullier (D.), ao
Giacobbi, 50
Mauduit, 60
Monteverdi, 50
Scheidt, 30
•Le Svmir. Euiiache. Pa.
•Murillo, Banoloute CxiMn.
Pa.
tOlsvci. liaae. e. 4 i. Pa.
•Terboich. Ctrard. Pa.
i 6 t 8
Abbaiini, (. ao
Agazzari, 40
tCacdni, e. 73, Dec,
Carlton, e. 60
Crdj^er, ao
Giles, e. 60
Herbst, 30
Lanier, 30
Rosseter, 50
Rosti (Luigi), c. ao
tBrcaere, Gcrbrand Adriirniern,
39 - Or.
•C!eque« (Cecx). Cenaaln. Pa,
• O ewfay. Abraham. Pe.
♦Lelv, PMer. fa.
•Lovelace. Rkhard. Po.
•Mereto y CahaAa, Afuviii. Or.
sSip
Hilton (ii), ao
‘e.Rosenmuller
SelJe, ao
Soio de Langa, 80, 35 Sep(.
•Weekmann
tBar^ei. Bamabe. .4?. Pe.
•Berfcrae, Cyrano de. Po.
f Burbatr. Richard. $ 9 . Ar.
tCalveri. Denii. 64. Fa.
tCaroni, Ludovico. 4 «. Pa.
tOiaiei, .Samuel. 37. Fo.
•L< Brva. Charier. N.
•Wow^erman. Philifu, IS.
i$ao
Bateson, c. 50
Bias de Castro, e> 60
fCampian, 33, r Mar.
*(. Cazzad
Dcring, e. 40
East, r. 40
Ford, <. 40
Giovannelli, 60
Ives {$.), 20
Landi, (. 30
tLuythm, f. 64, .\ug.
Nanini (G. B.), e. 60
Pacelli, e. 50
Raveoseroft, e, 30
•t. Roberday
Rossi (M. A.), c. 20
Rocsi (S.), e. 50
Sabbatlni (G.), (> 30
APPENDIX I
Sabbadxii (P. P.), (. to
Siadlmayr, 6o
Siobaeus, 40
Valcalins (P. F.), c. 50
Vitali (F.)> <■ 40
W«Uces, e~ 50
"Bcrchem, Nicoljutf. Pa.
*Owrp. Aalbcri, Pa.
tCUbciiMr. AtUm. t. 4«. Va.
t^tfucfoa. Fr4Acw«« ik. b<. Pi*.
<. rkckiMC. Pieluprf. Ur.
*Mola, CiambaiiiMa. Pa.
<. Nfola. PirrftaMfww. Pa.
i6«i
tHoopcr, <. 08, 14 July
Peri. Oo
Siaden (J.}. 40
Sirun^k (D.), so
tSweetiAck. 59, lO Ocu
tVfno, <.55,? \ug.
• Iwir m fi ill f , Jarwpo Cmw>«.
Pa.
*Cktiin<M, Pa.
"Ik^khoui, Orbraml «ait «1 cr.
Pa.
F«nu(n«, JraM 4c. Pa.
*Mar«Fll. Amirew. Pw. U.
*Oiia4c. luac cart. fg.
*P«t«broliF, Cowirm «ff (Mar>
ShliKv>.64« IV
i6«a
Allegri, 40
Bimini, 40
Ball, (. €0
Cav»lli. 30
Chambonnierrf, so
Duliehitn. So
tKonlanrlJi, O4, n Veh.
tGa»iolJi
d'india, t. 411
Jenkins, 30
Uw« (W.), so
Peerson, e. 50
*Seba$iiani, 30 Srpe.
Tomkins, 50
‘iirrrrra, FraiKaco «k. jon. Pa.
Malkrc Im Paqwlin)
*Pg9«* c ln>, Jean BaptnM
A<. Ur.
*VauKhaB. iicnrv. Po.
16*5
Agostini (P.), 30
tByrd, 80, 4 July
•GasiI, 5 Aug.
Dowta^, ^
Franck {M.), 50
Frcscobakli, 40
Gibboru (O.), 40
J«w«U. <. so
Johnson (K.) (li), c. 40
tLos Rios
t.Vanmi (G. B.), <. 63
tPacrIh, f. 53, 4 May
•RWnken, 37 Apr,
tRo$»lrr, 55, 5 ^Jay
Tilelouze, Co
Verdonck, So
tNSVelkcs, e. 53, yi \<n'.
* 4. B«l 4 a. I.47«anK l*g.
fPIrHltFr. )<(. P<i.
• Ka« J, tBjne, 1,1,
sSs4
.^khingcr, <*■>
.Mberl (H.|. 2i>
Cilfra, 40
* r, Gigaiilc
•King (W.)
ilb>r. 50
SiF|il4Fa. b*, |,;,
1635
•-VIjIc a. R ), u
d*Ass«nKy, so
DciKvoli, so
Boessei, r. 40
Caricsimi, so
Cawndish, r. Co
Copetario, t. 70
Danirl, r. 6u
Donaii, c. 40
Famaby, r. Co
Ferraboiro (A.) (it), t. 30
Gt^iano, 50
tChbboAs (O.), 4s. 5 Jimr
tGioNaonclli. 64, 7 Jan.
Klrb)^, <. 60
La Oucrr« (M.), c. so
Lobo (D.),So
* c. Luccio
Miehdi, <. 50
Philips, (. 60
Porter, c. 30
Quagliaii, r. 70
Schuis, 40
Turin! , c. 30
fVcrdorick, 6a, 4 July
Wilson, 30
tCarcia. Cuclktmo, 37. Pa,
*UwnKilk. ThocAar, Po. Jk.
IFkieber. jahn, g6. P«. tk.
tPkrk. ioAa, t. ys. LJ.
* r. CrimmclthauiCM, Ham Jakob
(^nrlolM ««o. No,
tl-WlCe. T>)«fnas. <, 67. Po ^<o.
Dr,
4^0
APPENDIX I
Ctrlo. Fa.
tMarioi, Ci«v»nni Battxsia, 5$.
Pd.
*Pe(e)(en, Juj. Pa.
•Potter, Paul. Pa,
tRucoelUi, Ciovanai. UK p^
Or.
tVem CarpiD, Lope F«Ua <!«, 63.
Pd. Dr.
tWebtwr. Jota. <. 45. Or.
>626
Child, 20
fCopcrtrio, /. 71
tDowUnd, $2, 90/21 Jan.
FaJconicri, 40
I.awa (H.), 30
tLcgrenzi, Aug.
Marini> t. 30
Saracini, 40
S<heidrmann. c. y>
Schein, 40
tBrtton. MeKoloe, r. ft. Po.
tBril, Paul. 74. P«.
•KabHiM-ChMiaJ, Ma/>e 4« <la««r
(k li.
Mow de Im RabwiieM
Chantal)
•Si««A. Jan. Fa.
tTvumeur, Grril, ai. Ur.
1^7
Anerio (C. P.), r. Co
fianchieri Co
Ferrari (&.}, 30
Korm 4 , ^
CauKicr (D.), 30
Giaeobbi, 60
*Kerll, 9 Apr.
"Mauduit, 69, 21 Ai^.
Moii(evcrdi> Oo
Scheldt, 40
Scaden (S. C.)» 20
tBam&ekI, Riduirtf. &). INk
tBraurnom <Sar) John, c. 44. Fk
*B ot*wet, Jac^wn {knlfne. Li.
Burkinchaat CMw *4 («rr Vil*
lien. Oeorae)
tCOngora y Arte*r. Loii 4e. 64.
Po.
'HeafwraWA. Saotwd van. Pa.
r>l«Mkl«0, Thomas, r. $7. Dr.
*Osbonw, Uwrodtr. LL
•Vtiliers. Geotvc <Duke oTBwck-
ineham). Or.
iM
Abbarini, e. 30
Agaazarl, 30
tAichingcr, 63. 21 Jan.
tBulJ. f. 65, 12/13 Mar.
* e. Cambert
Carlton, e. 70
fCaveodi^, c. 63, 5 July
Cruger 30
fPerrabosco (A.) {iO,c. 53,
Mar.
Cilo, c. 70
Herbsl, 40
Lanier, 40
tOuafliaii, c. 73, 16 Nov,
Ros&j (Luifi), r. 30
fBacoA Fraoeit, $7. Li.
BroedM, Lord (wr Crtvilk]
*BMayan. John. Po. ’
*Ci«BaaL Carlo. Pa.
•Grrardoe, Praneois. Sc.
tCrevilk, {Sir} Fulke {l«rtl
Bnoke), 74> Fo. Dr.
* Malherbe. Francois de, 7). Fe.
*U«<r, Jan vaa drr, MO, Fa.
IFalna. Jaeepo ('* Gievinc t.
64. Ph-
•Ferrauli.C^rkc. U
* i RvivUel. Jakob van. Fa.
■629
tAfoMini (P.), 36, 3 Oci-
tCtfra, 45, 2 Oct.
fCiacobbi, 6 t, Feb.
HUton (ti), 30
Rebelo, 20
Sdle, 30
1C30
fAncrio (C. F.), e. 63, June
*r. Banuier
t Bateson, e. 59, Mar. or
Apr.
Bias de CasDo, f. 70
f r. Daniel, c. 6 $
tDerii^, f. 50, Mar.
East. r. $0
Ford, r. 50
Ivo (S.), 30
Laodi, <. 40
*Lc Bd^e
•r. Locke
tMundy (J.)
*r. Pallavieano (C.)
Ravenserofi, c. 40
Rossi (M. A.).r. 30*
*e. Rossi (S.), r. 60
Sabbatini {G.), c. 40
Sabbatini (P. P<). r. 30
tSchein, 44, 19 Nov.
Sudlnayr, 70
Siobacus, 50
Valenum (P. F.), t. Co
Viuli (F.), <. 50
•Cbher, Cabs Oabnel. Sc.
* r. CoeBo. Claudid. Pa.
APPENDIX I
tCrespi, DMiek, 40. P*.
tHarver. GabmI. e, 9 $. Li.
tHemiAf (Hem mi aft), Johi*.
A«. li.
•MeUu.CibrkL Fa.
•Fhillipi. Edward. LL
1631
fBlas de Casiro, t. 71, 6
Aug.
tDulkhius, 68 , 33 Mar.
Peri, 70
Siadcn fj.), 50
Sjrungk (D.), 30
tCutro y BtMvn. (iuilko d». f.
6a. Dr,
Jebe. Ft.
t Drayton. MitbuL 66, Po.
*Orvdto, Jnbn. Fo.
t r. Hardy. Akuindrt, '. 6a. Ur.
*L« BoMu. R«M, U.
lohfi. Pe.
1634
.'MIrgrt, 50
Bonini, 30
Cavalli. 30
Ohambonni^m, 3 i»
Kamtnerschmidc, vn
Jenkins. 40
Lawn 30
* Lully, 38 Nov.
Peerson, t , 60
'I'oRikins, 60
•Wrfker, 9 .Apr.
*(>ktdan«, Lwa. Fa.
tHerm. ]>*vd van. r. 6s. Pa,
*H»och. Fitter dt. Pa.
*|afuen* vaa NuyiMii, Abrabam.
4. 6$. Pa.
*K(ar«, Ntctlatt. Pa,
*Mciikn. Adam «aa der. Pa.
*Vrr>iwt«. Jan. Pa.
*VSVrrt. <>>ritiepb«r. At.
1633
Franck (M.). (hi
F' reseabaldi, y>
tGiles, t . 74, 24 Jan.
Jrwe«t, f. 30
tjohnson (R.) {U), c . yy
TPerl. 71, 14 Aug.
fr. Ravcnscrofi, e . 43
tT»ip|ou*e, 70, 45 Oel.
(Crttpi. Ctovanai Baiiiwa 111
C<rano).76. V. Pa. At.
tFkM, Nalhaaicl, 46. Ae. Dr.
tOodwin. Franck. 71. Ko.
tHtraen, Ctoege, 4a.
tMundav. Aaibany. 60. Dr, |j.
*Proy», SaaoeL Li.
•Vande Vtldr,S«llcm.jm.. P*.
X634
Albert (H.). 30
tBanchkri, 67
•Charpenner (M.-A.)
fKirbye, r. 69, Oci.
•KrkgcT (A.), 7 Jan,
Rogm> 40
tSuden (J,), 33, 15 Nov.
Tunder, so
Wilbye. 60
tChapman. (k^rf«, c. yj, Po,
Dr.
*l.a F*>'ei(t, Nfark Madrlrmr d<*.
NV
tMantoa, John, m. Dr. Pa
*>ktr. Eflon Her\m<k van dct.
Fa.
x 635
•d*.\ft|lcbert
d'.Assoucy, jn
Bestevoir, 30
Boctaec, e . 511
Carisaimi, 30
Donaci, r. 30
•Urighi (A.)
Famaby, r. 70
Cagliano. 60
Cibhons (C.), 30
t.a Guerre (M.), t . 30
I.obA (D.), 70
Mielteii, <. ^
tr. Ptulj|n. f . 70
Horier, f . 40
.Schutt, 30
Turin i, r. 40
^Vibon, 40
^Bnccnon, Tbomar. A«,
rCallat. Jaequm. 4 a, Pa,
* r. Fibtrrte. Georfe, Ur.
t Fairfas . Edward, c. 35. Fn.
*b(i«ri(, Prana van, »rn. Pa.
*bl«niMytr. Jran Par>tiMe. Fa.
X636
c:hiid. 30
(Jooke (H.). r. 4*1
Paleonieri, 50
Froberger, so
Law« (H.), 40
Marini, r. 40
•Rewncr, 49 Apr.
Saraeini, 30
SchekJrmann, t . 40
*6nilpa<a (•Ofi>rta<.t), Nirokt.
Li. Fa
*K«»dtt«cter, Mekliiord\ Pa.
tMtseoim. JoLan. c. 57 . U.
4^2
APPENDIX I
»«37
t e. Bdltcn
* Buxtehude
*Co]onna, i6Juf)e
Ferrari (B.), 40
Form^, 70
OauUier (D.)» 40
Monteverdi, 70
•Pa$quinl, 7 Dec-
Scheidl, 50
Sladrn {$. G.)i 30
tBrverhcl. Pieter, iun., 73, P».
*C«k»ti, AfHlree. f*.
tChUbeefj, Cebrifflis ty
*Plainun, Thoma*. Po.
*Herdrn, Jaa v«K der. Pa.
tjaiuon. Bee. t. 64. Fe. |>r.
• ’I rahefw. ThemM. Pe.
x«3B
Abbatini, r. 40
Aguxari, $0
t <. Carltoo, <. 80
Cruger, 40
fDonaii, e. 53
tForm^, 7t> 26 May
Herbtt, 50
Lanier, 50
tPilkingion
Rowi (Luigi), e. 40
fWilbye, 64, Sept.
tAyteun, F«beri. M. Pe.
t Blanchard. Jae^uea. )$. P«.
tCeencler. CntneUi. tC. Pa.
*Ov Lifter de La Carde. Ae
teieeitc (hfme DnJwelieeei).
Pn.
* HaMema. Mcinderi. Pa.
tJVrri de Memalvan. Juan. 36.
Dr.
1839
fFranck (M.), 66, J June
Hilton (ii), 46
Rebeio, 30
Roaenmuller. e. 30
SelJe, 40
Weekmann, 20
*nackcK>» Ciovaniu naiiiMa
OawH. Pa.
tCare«. 'n»emaa.r, 41. P».
• t. Qtaviku, Cuillawae de. Pii.
tOjaU. Marlin. 44. P».
*Raciae, Jean. Dr. Pe.
* <. Bedley. Charlei. Dr,
*Van de VcMc. Adriaee. Pa.
tWotcee. (Sir) Henry. 71. ^
1S4O
fAgaeeari. 61. 10 Apr.
t f. Aitey
Cazzati, <. 30
•e.Diaghi (C. B.)
East, r. 60
fFaniaby, c. 75, Nov.
Ford, e. 60
•Freschi
* e. Hacquart
Ives (S,), 40
t^<Kapsberger
Landi, <. 50
*Loren£ani
Roberday, e. 20
Roasi (M. A.), t. 40
Sabbatini (G.j, e. 50
Sabbaiiai (P. P.), <. 40
Sudlmayr. 80
Stobaeus, 60
•Sirungk (N. A.), Nov.
Valeniioi (P, F.), e. 70
Viiali (F.), r. 60
Aphra, Dr.
*Borcfaeae. Cievanni Veeiura.
Pa.
*8re«khuieen, Jan van. P».
tBreuwer, Adriaan. ss. Pa.
tflurtae. Reben. 6). U.
tCeMri, Giuseppe, yt* Pa>
* r. Crewtte, Jake. Dr.
t r. Day. Jetui. r. M. Dr.
} t. Ferd. Jeho. t. 34. Dr.
tMaiiiofer. Plnlip, Dr.
*M«AtBeMV. AeieiMjaeeb. Dr.
f RuScm. (&r) Preer Pauli d).
Pa.
* Wyeherky. HUiiam. Dr.
1641
t.Amncr
*f. Franck (J.
Struftgk ( 0 .). 40
t f. Dehker. Ttweiai. r. 71. Dr.
tDaMekhine (Deownree
ZampteHI.de. Pa.
f hikrevrii. Mkhk) Janaseon van.
M- P«*
fNabbea, Thomis, )6. Dr.
t Oort. Adam van. ^ Pa.
fVan Dyek. (Sir) Aothony. 49 .
Pa.
Zatnpieri. Oememee (wr
r^menkhine)
1643
AJb^i, 60
Bonini, 60
*6oaoneini (G. M.), Sept.
Cavalli, 40
Chambonnidrts. 40
tOagliano, 66. 34 Feb.
* i. Gautier
Hammenchmidi, 30
Jenkins, 50
LjMrs (VV.). 40
Peenon, c. 70
Sebastiani, so
APPENDIX I
4^5
*ScradvUa
Tomkins^ 70
tBruefhri^ Jut, <, 73.
*FilkaM. \’inecsiA Po.
rOvevAn. Luk Vtia 4 e. 74.
Dr. No.
B7. Pa.
t t. Rowley, William, t. 57. Ae.
EX.
*Sha4well, Thomat. Pa. Or.
tSueUiec, (Sir) Jobs, j}. Pb.
IX.
1643
ffioeu^i, f. 58, 6*^ Dec.
OsO, 90
TFnscobaldi, y>. 1 Mar.
Jcwetc, e. 40
t Monteverdi, 76, 99 Now
Krinken, 90
tHrowiie, WiHiuM, r. pu,
*l:4iiillo SaUrxaoa. Deo Atowo
«lrl, I, 6$. Na.
*Paloiniiio de (^Ire. Amoom.
Pa. U.
1644
vMbcrt {H.>, 40
*DiI>er, C 9 Au^.
*C>abanillc», 4 Sept.
Cigaulc, t. 30
Kins (VV.). 30
Rogers, 30
Tunder. 30
•r.Vitali {G. B.)
t<^rt*«. Prutca. 7a, Pa.
tSaitdyi. (Xnrte. M. Pa,
I& 4 S
Aide (J. R.>, 20
il^Assouey, 40
Bcncvdi, 40
Carusimi, 40
Gibbons (C.), 30
La Guerre (M.), r. 40
t La wet (W,), 43
Lobo (D.), eo
*L6hner, at Dec.
Luccio, t, 90
Micheli, r. 70
* <. Muflac (Ce^)
Porler, t. 50
Schuu, 60
r.Siaggiiu
'1 urini, r. 50
NVibon, 50
"La Bniv 4 re. fran 4 c. |j.
tQiKrrOa Y V.Octm, Praadcca
iUmeztii.Su Ptt. IX.
1(46
catild, 40
Cooke (H.). f. 30
PaJconieri, 60
•Fischef (Joh.), 25 Sept.
Frobergrr, 30
Lan’cs (H.), 50
Legrerui, 30
fLobo (D.), 8t. 23 Sept.
Marini, r. 50
Saracini. Co
Scheidemann. c. yt
tSiobaeus. 6C. n Sept.
•Theile, 39 July
t bra« toKiii. FraiHcKv. Bo l*a.
tbebMiM, MilUant. 36. Ka.
* I baqunaov. FrancoH, S?. S< .
" . . HcHuli'm. AiiUwrtv. l.i. N’<».
"Kftellcr, t^adfrey. pj.
"Meazini, Ocnrdeuo.
1647
•.Mdrich
Ferrari (B.) 30
Gaultier (D.), 50
* Humphrey
Kerll, 30
tRomcro, 10 May
Scheldt, Co
Siadcn <S. G.), 40
tTraliaci, 31 Dec.
•Dam, Peticr. Ka.
tKaaO, PWicr CeracUMaan. 06.
IX. Pa. U.
*Rachncrr.iol.n VVihnui. £ 4^1 aT.
Pa.
fStaate, Nieholat. Cl, Hr.
1648
Abbatini, e. 30
Cambert, r. 90
Cnigrr, 50
fEast. r. C8
tFord, r. 68, Nov.
*Gianoctiini
Herbst, Co
fHeredia
Lanier, Co
(Luigi), f. 30
tStadlmayr, 86, 13 July
r. NVise
^kiocham aad Narmanby.
Dake of (ik Sbeffidd, Jahni
•Gmuam, Simaac. j6. Pa,
•Oibbata, Grisliftff. Cc. •$(.
<Le Naia. Aa<oiac. 6a. Pa.
tLe Naia. Lauij. sy Pa.
*^4»reard. Jul« HanJouic, Ar,
•SeuX. Ukanab. K,. Dr.
464
APPENDIX I
*ShelK«ld, ]«ltn (Duke of Buck*
ia^um «ad NooDanby). Dr.
fTino d« ^foliaa (CabrM Telks).
63. Dr.
1649
•Blow, F«b.
•CoiuK.jut.
Hilton (ii), 50
•Krieger (J. P.), 85 Feb.
Rebelo, 40
Roscnmuller, <. 30
$elk, 50
fValentini (Ciov.), Apr.
\\'rckmann, 30
Rkhard, r. 3^. Bo,
*Dn*maMri. Killum, ^ Bo.
tFtrio y $m»u. Monu«1 39.
U. Po.
* I. jAurcfui y Af uUo», J«m dr. r.
98 . Bo. Bo.
tOwodr. luioc voB, 9$. Bo.
fTmirn. David. K11.. $7. Bo.
fVeurt, ftimoa, 58 . Bo.
1650
fianUirr. t. 90
Caaut). r. 30
*(. Fiocco (P- A.)
Ivcf (S.), 50
Landi. e. 60
Lo Bdgur. 80
Locke, r. 80
Pallavicino (G.), r. 90
tPeenoA. e. 76. Dec.
Roberday, e. 30
* t. Roseingrave (D.)
Roasi (M. A.), r. 30
Sabbaiinl (G.), r. 60
Sabbaiini (F. P.), t. 50
fSacrati, 30 May
■ f. Tudway
Valeniini (P. F.), <■ Bo
•^.Veracim (A.)
Vitali (F.), c. 70
*AulAor Mark CaihertiM. d'.
No.
tFkachrr. Phinroi. r. 68. B».
*Cwidt, Cork) Akuandro. Bo.
Dr.
*Cw)79. Rkaaor (Kel). Ar.
T 4. Keywood, Tbornoa. r. 75. Dr.
f May. Thostas. 55. Dr. Bo. Li.
tRotrvn, Jeon dr. 41. Dr.
1651
t Albert (H.), 47, 6 Oci.
•Krieger(J.), 38 Dec.
*I.alouette
tMielcacwski, Sept.
Siruagk (D.), 50
•Turner
tBlermom. Abraham. 87. Pa.
*Feorkpii, Fronemi, Li,
1852
t Allegri, 70, 17 Fcb-
fionini, 70
Cavalli, 50
Chambonniirea, 50
Hammenchmidt, 40
tHilion (ii), 53. Mar.
Jenkiru, te
Lully, 90
Sebasiiani, 30
Tomlum, 60
Walter, 80
iSronae, Rwhord. Or.
*iruyB. Cemeliwf. Bi.
tCuyp, Banjamui, 40, Bo.
t r. J«ae$. laito. r. 78 > Ar. Bo.
*Oiwar, Tbonoa. Dr.
•BitcoanM. ArchihoM. Be. Or.
*To(r. NohucB. Be. Dr.
1853
CctfJ, 30
•Corelli, 17 Feb.
Jewett, e. 50
•Pachelbel, Aug.
•Pollarc^o
Reinken, ^
fRosai (Luigi), e. 55
tViuJi (F.), r. ?3
*Diirf«v. Thomao Li. Dr.
r. L««, Nothonirl. Dr.
1834
•ftankenburg
Charpenlier (M.*A.), 80
CigauU, c. 30
King (W.), 30
Krieger (A.), 80
Rogen, 40
fScheidt, 66, 30 Mar.
•Sicffani,
Tunder, 40
t Valeniini (P. F.), e. 84
«Habinfflon. William. 49. Bo.
Dr. ii.
9 Borlw««. Fraeriwe. 83. Ba.
fBoder. Baul. f«. Ba.
>655
Able (J. R.), 30
d*Anglebm, so
APPENDIX I
460
d’Assoucy, 50
fieaevoJi, 50
CAnBUDj, 50
Dragfai (A.)» 90
CibboQS (C.), 40
La Guerre (M.), <. 50
f ? Uadi, r. 55
Luccio, f. 30
Micheli, t. 80
Forcer, c. 60
Schulz, 70
fSiadeo (S. G 0 » 481 30 July
Turini, e. 60
\VUlOQ, 80
tlknrrce, CyrsM de, 36 . ^e.
tL« Sueur, F,uiuche, ji. N.
tL«4au, Friedrich VM. 31 . IH».
*Keiretrd, Jea^ Frafif«». E>r.
1656
Child, 50
Cooke (Ho. <■ 40
tKhlconicri, 70, *<9 July
Froberf^r, 40
Uwo (H.)i 80
Ufrenzi, 30
*MAr&u, 31 Mar.
Marini, r. €0
*Moeeau
Reu&ner, so
Scheidccnann, t. Go
fTomkinr, 64, June
t Turin!, <. 61
tC«ym. Jes van. 4*. P«.
rH»U. Utrfc, (. 49 . F*.
FfwtciMode, Mn., lo.
t |f«a ihMti . Cmrd van. 44. Fj,
*MMe. J«n vtB dcr, fuo. P«,
t Myua*. Daniel. 64, ft ,
««37
Buxiehude, so
CoJocuia, so
Ferrari (B.), Co
GauJiler (DO. Co
KerU, 30
*LalAf^r, Dec.
Fasquiryi, so
•Pitoni, iB Mar.
Cir«lo. Abbai* (m Saltmeoa)
*Deonn. Jahn. LL
^FanUnelW. SernanJ Lc Potier
de. Po. Dr.
tSnvden. Praru. >4. Pa.
*Solifneea. Fcanecacg fAbbaar
CiecM). Pa.
1638
Abbaaiai, e. 60
Camberc, t, 30
Cniger, 60
Herbst, 70
Lanier, 70
*BarTT. Ar.
iQevcIaAd. Julia, 4^ Po,
tCrarito, Baluur. $?. LI.
tLovelace. Rkhard. 40, Po,
*La Guerre (E. Jacquei)
•Fucocchi
fPorlcT, e. C4, Nov.
•Purcell
fUbelo. 30
Ro$enmuMrr, c. 40
ScHe. Co
VVeckmann, 40
*n<ady, Nkholai. I'v.
»Cauaaa, Nicc« 16 . Pa.
fOach, SioMi, S 4 . Po,
* f. Oeioc, Daniel. No.
*Racc«. Seloiiieno. Pa,
* Rifaud, Hyac iHtke. Pa,
iCCo
lUni»icr, c. 30
"Campra. 4 Dec.
Caazaii, t. 40
Dra^i (G. &), r. so
•r. Finger
Frcichi, so
•Fux
Hacquari. r. so
Ives (SO. Co
•Kuhaau. $ Apr.
*Ku»er, Feb.
Le &v|uc, 30
•r.Le Roux
Locke, e, 30
Lorenaani, so
Fallavicino (C.), t. 30
Roberday, e. 40
fe. Rorsi (M. A.), c. Go
Sabbaiini (GO. t. 70
tr.Sabbaiini <P. P.). t. Co
•Scarlaui (A-), a May
Sinangk (N. A.), so
tGau, Jakob, 9 % Po.
tCavcdofK. C^cwme, 4 ). Pa.
tLeoterciar, Jacques, t, 7$. Ai.
Sc.
'Mencua. »Vi«* Anihony. la.
Or.
tScaaroo, Paul, so. Po. Dr.
fUrqubaM, (Sir) Thoma*, 49.
LI
•VaUtquei. Die<o Rodrigues de
Silva V, 6 1. Pa.
16G1
•Bohm. s Scpi.
Franck (J. WO, e. sn
VOL. IX
S Q
466
APPENDIX I
•Perii, € June
•Rilxl (J..F.), Apr.
tRcb«Io, 52, 16 Nov.
Strungk (D.). 60
*r) 4 fKMri» FlofCBC CamMc Df.
t Puller, TbMAM, 53. U,
*CM(h. Sanuel. P6.
NkMas. Ar.
tMeU, Giambaiiiiia, 4t. Pi,
t^rctii. Andrea, *. 63. Pa.
1663
Bonini. 80
Bononcini (G. M.), 20
Cavalli, 60
Chambonni^o, 60
tCriiger, 63, 23 Kb-
* f.Desmareu
Gauiier» r. 90
Hacnmcrachmidc. 50
five* (S.)» 61, t July
Jcnkini, 70
fLawra (H.)» 6C» 2J Oct.
LuHy» 3«
tMaraaaoJi, 24 Jan.
tSabbaiinl (0.), t. 72
Sebastianii 40
Stradclla, 20
VVecker, 30
*Oriiun(e (J. P. van Bleemen).
Pa.
tPaKal, Blabe, at. LI.
fT^iirbaran, Franrlaeo, 64, Pa.
1663
•Albrrgaii, 90 Nov.
tUoninn $1, 3 Dec.
Ceati, 40
Jeuvu, r. Co
Reinkcn, 40
tScIieidemann, r, C?
tSrIle, 64, 9 July
"ZacKau, tg Nov.
* r. Brae«t**dle, AlHie. Ar.
*JafMariMt VkMr Henoriu*. Pa.
*KiKt, WHIaam, L*. Pe.
tt.a CalpreoMr. Cauiirr de
CmM, as. No. Ur.
1664
Riber, 20
Cabanillei, 90
Charpentier (M.>A.), 30
Gigaull, r. 40
•f. CJofczycki
King (W.). 40
Krieger (A.), 30
Rogers. 30
Tunder. 50
Viiall (C. B->, c. 90
•VftiArufh, John. Ar. JV.
1665
Able (J. R.), 40
*Aldfovaudioi
d'AnflebcTt, 30
d*Assoucy, 60
Bcoevoli, 60
Carusimi, 60
Draghi (A.), 30
•r. Fiacher (J. C.)
Gibbom (C.)» 30
La Guerre (M.), r. 60
Lbbner, 90
tMarini, r. 69
MuRat (Georg), (. 20
Reuaoer, 30
Schut^ 80
Staggins, e. 20
•c. Vi tali (T. A.)
^Vil$oo, 70
*Aain»e. Udr UriMt. Po.
*Cmp], ChMeppe Maria, fa.
tPaleene, AnleU&, t}. Pa.
tJaMaen. GenKliua, t. 75. Pa.
*afartelli. Pier Jaeepo. Po. Dr.
rPauaiia, KieeUa. r. 71. Pa.
* f. Reuter, Chriiiian. U.
iCM
*Ariot(i, 3 Nov.
Child. 60
Co^e (H.), e. 30
Fiacher Joh.), 90
Froberger, 30
fHerbst. 77, 96 Jan.
IKrieger (A-), 32, 30 June
tl.an»cr, 77, Feb.
Legrenai, 40
Theile, 90
tOavenant, (Sir) tVllliam. Sn.
Dr.
fCiurreine rClevanni rratHeKe
Barbieri), 73. Pa.
tUal», Prant, r, B$. Pa.
tHuHell, Jaoie*, 4 . 7e. Li. Po.
fMaiaai^, Pran^nM, 6t. Ar.
t Atoll, PierfianceMO, r. iC. Pa.
fSAir1e>', Jamn. 70. Po. Or.
1667
Aldrich, 20
Buxtehude, 30
Oohnna, 30
Ferrari (B.), 70
tFroberger, 50, 7 May
Gaultier (D.). 70
Humphre)*, 90
KerJJ, 40
c.Lolti
"Morttdclair, 4 Dec*
Fajquini. 30
APPENDIX I
467
*Pepusch
tTunder, 53, 5 No\.
*A«buthaot. Jolui. Li.
tHnmMiti, FraiKwco.tf. A#.
Aloazo, 64 . Pa. 4 (. At.
* <. Ccodivw. SuuMkAk. Dv.
tCowky. Abraban. 49. Po.
*Graavi! 1 e, Cc««fe (Lecd l^n>-
dawTtf >. Pa. Dr.
t 2 >(«Uu. Gabrkl. $7. Pa.
t$<u«krv. Gcor^n 4 e. 47. I>r.
*SwiP, Jenaibaa. No. Li.
1668
Abbatiai, t. 70
(^mbert, t. 40
*C.’oupcrin, tO Nov.
*Vxc\rs
^Guparini {F.)> S M^r.
Gianoriiifu, to
W'iie, r. 20
AbiT) K«n#. Dr. Nu.
fU'mivrrman. PTiilf^s 49. lb.
t$69
blow, 40
fOsli. 46. 14 Oct.
Colnnr, to
Krkjer{J. P,), to
*MarchAo(l, 9 Feb.
HMcnmultcr, (. 30
tSimpson (C.)
Werkmann, 50
tCartona, Pktra Bcrriiini ria. 7$.
Pa. Ar.
llTmlwiA. fSw) John. } 4 . ^
*KMtr, Henry, 79, f®.
tMorrto y (bbaAa. AcutHn, ai.
Dr.
tRrmhraailt, Harmeiu van Ri^
69 . Pa,
1670
Banuitr, t. 40
'Bononcini ( 0 .), iSJuly
‘Galdara
Caazati, <. 50
Draghi (O. B.),/. 30
rioCCO (P. A.), C. 30
Frcschi, 30
Hacquan, t. 30
Lclkju<, 40
•f, I,rv 4 rid^
Lock, t. 40
Lorcnzaoi, 30
Pallavicino (C.L e. ao
fc.Pfkiel
Roberday, t. 30
Roselngras** {D,), e. 90
Sirungk {N. A.), 30
Tudway, t. 20
Vcfacini (A.), e. 20
tCaMifKone, Ci<n*annj UenedrMo,
S 4 . Li.
*(bncvev», WiUivn. Dr.
tKebi, Banhalamargi van det,
S 7 > Pa.
*Xlaft 4 avUl«, Semaxd de. Li.
1671
* Albinoni, 8 June
*Forqucray
Franck (J. ^\^), r. 30
•Grigny, Feb.
Krieger (J-). 20
l,.alou«De. 90
Strung (D.), 70
Turner, 30
fYoung, 9 1 Dec.
tAourdon, $dl>4iiKr(, Pa.
*CiM*r. Cniky. Ar. Ik. Po.
* <. HiiViM, Ambtvir. Dr.
1672
tbenevoN, 67, 17 June
Boftoneini (C. M-), 30
CavalN, 70
tc«Chafnbonni6re7, 70
fCookc (H.), (. 56, 13 July
*Oeiiouehee, Apr.
tCiauUier (U,)» 74» J>n.
Gautier, <. 30
Hammenchtnidi, 60
Jenkins, 8d
Lully, 40
*t. Schwrmann
fSchuU, 8 ?, C Now
Scbasiiani, 30
ScradeIJa, 30
>Veckcr, 40
'AddHon. Jot«|>h. Li.
t C aa pe i, 6}. Pa.
*HouJard« La Mollc. Anioirtr.
Pa. Or.
*Sirrk. RiehanL U. Ik.
t^'aA 4 « VeWr, Adtiam, JJ, pj.
f AJiIe ( J. R.), 47, 9 July
Corelli, 20
Jcwcit, e. 70
Facbdbel, 20
FollaroJo, so
Reinkeo, 50
t r. ftaAboMio. Pki«( vaa Laer. t.
4 o. Pa,
tPralhwaiia. Pkhard. <. Sj. iVi.
tMalkie ejeao Baptnte P^
qudia), SI. Ae. Dr.
<R«a. SakaMr. jB. Pa. Li.
468
APPENDIX 1
i «74
Biber, 30
Blank«nburg» 20
CdbAnUIcs, 30
fCarisumi, B6> tajan.
CharpenJicr (M.-A.), 40
* e. Clarke
Gigaulc, r. 50
tHuraphiry, *7, 14 July
•KciKr, 9 Jan.
King (W-), 50
Regers, So
Steflani. so
Viuli (C. 8-). r. 30
tWeekmann, 55
t Wilson, 78, 22 Feb.
tClumitaitne, PbilipiK n.
t<!ha|wl«jn, J«ao. 79. I i.
*C:r«b)llon, PrMpex i«)rM 4 c.
Dx.
* C«ckli«u(. Oerbraod v«n den,
32. f».
tHerfkh, Rcbeti, 0 }, Fd.
T MilMA, 7 «hn. 66.
*Rowe, Nkholas. Fe. Dr.
tSorel, Cbarlet. 77. No.
rTrcberee, Thoma*. x. 37. h>.
1675
H'Anglobcrt, 40
d'Aasoucy, 70
Draghi < 4 .), 40
Gib^ns (C.), 60
tHammcrKhmidt, 83,
8 Nov.
tjoiveu, f. 72, 3 July
La Guerre (M.), «. 70
Lohner, 30
Muffat (Georg), t. 30
Reusner, 40
Staggim, t. 30
• f. N'jvaldi
t Uo<x. Gerard. 63. Fa.
* MafTei, Praace*c 9 Scipionr. Ur.
f Vermeer. Jan. 4^ Pa.
1876
fCavalJi, 73. 14 Jan.
Child, 70
*Q 4 rambauli, 19 Dec.
Fischer (Joh.), 30
TCibbons (C.), 81 , 20 Ocu
Legrenzi, 50
Marais, 20
Moreau, so
Theile, 30
•Weldon, 19 Jan.
tBerfOfnene. Jaeepo Cm Mi , 55.
Pa.
fCoiirioa, Jean. 55. Pa.
f Ccfhardi, Paul, 69. Pe.
tCn'ameHbausqi, Hau Jakob
Chxixtnffel von, r. 3 c. No.
*Plullipt, John. P«.
* 7 'boi^ll. Jamei. Pa.
1677
Aldrich, 30
fd’Aisoucy, 7«, 29 Oct.
•Boftoodni (A. M.), r8 June
Buxtehude, 40
fCamberc, <. 48, r. Feb.
tCaziatl, r. 57
•Glari, 27 Sept.
Coloana, 40
•Fago, 26 Feb.
Ferrari (B.), 80
Kerb, 50
Lalande, 20
fLocke (M.), c. 47, Aug.
Pas^uioi, 40
Pi lord, 20
tHollar, Weaecslaa. 70 . P«.
*Huc)Kt, John. Fb. Dr.
tLe Main. Machleu. 70. Pa.
tNeer, Acmewl van dcr, 74 . P*.
t Pete) wn. Jan. 5a. Pa.
1678
.Abbaiini, c. 60
fBonoflcim (G. M.), 36,
18 Nov.
•Croft
Gianneitini, 30
t Jenkins, 86, 27 Oct.
U'ise, r. 30
"Farnubar. Ccoree. Dr.
t r. Fkckttoe, FUKard, r. 96. Dr.
fHeoe^untco, Samuel van, 31.
Ps.
tjofdaem, Jaeob, 63. Pa.
tMarrell, Andrew, 37. Pe. Li.
1679
fBanisirr, r. 49, 3 Oci.
Blow, 30
Colasse, 30
Krkger (J. P.), 30
La Guerre (E. Jacquet), 20
fLa Guerre (M.), e> 74,
t3 No^•.
•Mamim
Pistocehi, 20
Purcell, so
Reusner, 44, 1 May
Roscnmbller, e. 70
•Sarro
t Tucker, 26 Feb.
•Zclenka, i€ OcL
*hmetf. Thareax. Po.
tS*ece, Jan. 39. Pa.
APPENDIX I
1680
tAbbaiioi, t. 6a
*A5C(^ga» 20 Mar.
Campra, 20
Uraghi (O. B.), <. 40
Finger, t. 20
Fiocco (P. A.), (. 30
Fmchi, 40
Fux, 20
*^.Galhard
Hacquart, t. 40
tKing (W,), 56, 17
Kuhnau, 20
Kuuer, 2U
U B^ur, yj
Ij: Roux, t. 90
*LoeilIec, tS Nuv.
Lorensani, 40
Pallavieino 30
Roberday, (. Co
Roseingrave (O.), c. 30
Scarlaai (A.). 90
Scrungk (N. A.), 41^
TudMay, <. 30
Veraeini (A.), f. 341
tBcrnkhi, Ciovanfu Lwrowe,
Ar.
AirUioW H«ihr«lk. IV.
tBulkr. S«rukU 6 a. IV.
•UaiMchn. I>>.
tCfiaiAWi. CiovMuti
74. Ar. V».
t(.a KechcfmauU. FrM»«w,
Due df, Li.
*Uh^.Rtni. 4 ^ li.
tUly (Sir) f<Ut.U. n.
tRoeheWr, JvH» UilmM. r.Ml at.
39. IV
S68l
Rohm, 90
TFerrarl (B.), 84, 99 Oci.
Kranck (J. W,), t. 40
Kfieger (J.), 30
Laloocuc, 30
*Malchc«on, 96 Sepi.
Prrti, 20
Rebel (J.*F,), 90
Sirungk (D.). 80
*TeIemann, t4 Mar.
Turner, 30
*VaU.'nt)ni (Gius.)
70, F*.
'bMMh. Ac.
t *. Hoa«l>. Pidrr dc. 4a> Fa.
tSlMra, Pf«n* vas. t*o.. 46. }*«.
tT etLanA. Cirrard, 64. Pa.
l6Ba
*])aftdricu
JJf'aniareis, r. 91J
Gauder, r. 40
Lully. 50
•Nfoorct, j 6 Apr.
Siebasiiani, 60
fStradella, 39. 96 Feb.
Weeker, 30
(Sir) Ihomas. 77. l.i
Caawk Lorraia IxrGelkv)
tCMio. Chwk*. 76. Vo.
tCcH^, CUud« (Claude L»r>
rain), dj. Pa.
* I tuynim, Jan \*n. Pa .
tMutdIu. harcolonte r.wrl^n,
Pa.
IKu^-mImI. | 4liul» tail. <, -^4. 1'^.
t€83
Albergati, 90
Corelli, 30
*Craupncr, 13, fan,
•Hciniehen, 1? .\pi,
Pachelbel, 30
Pollarolo, 30
*Kamcau, Sepc.
Keinken, Ou
fSebasiiani, Co, spring
Zachau, 20
tBrnlxm, .N’kulaat, 63. Pa.
tC;a4d«ni« dr b Barca, Duii
Bodro. Or.
*F«aMA, F4gah. Po.
tKilKrre«', ITkomai, 7r. Dr.
*OMA«ld. Amic (" Nanrr Ac.
I WaliMi. I laak, 90. Li .
r. |:d»aM. JV.
1C84
Bibcr, 40
Blanbcc^urg. 30
Cabanilld, 40
^Cemohorsicy, iC Fvb,
Charpemier (M,.A.), 30
r. Daginevurt
*Duraft(r, 31 Mar.
Oigauli, c. 60
Gorcyzyeki, r. 90
Roger*, 70
tRo»cnmuJlcr, c. 75, lo/ti
Sept.
Sieffani, 30
Viuli {G. 40
•Waliher (J. C.), iBScpi.
tColiavDe. (Sir) Aiioa. 76. Po.
fCb^aei (ConJ. (79aiale». 66 .
Pa.
tCuAcdb. Pkrr«, 74. Po, Hr.
Jaa D«VHltt van. r, 64.
Pa.
•IWb^, laidvie. U. Ur, IV.
*KcM. WilliaA, Ct. Pa. Sc. Ar,
"Waitoau. AMoinc. Pa.
470
APPENDIX I
1665
Aldrovandini, 3d
d’Angiebert, 50
•Bach (J. S.), 31 Mar.
Draghi (A-), 50
Fi«hct (J. 0, r. ao
•GeW (J. C.)
•HaiwicI^ 23 Feb.
Lbhner, 40
MufFat (Georg), t. 40
•ScarUcii (D.). 36 Oti
Suggiiu. r. 40
Vicali (T. A.), r. 20
JgKn. Pe. Ur.
tHerrer*, PraiKiKe 4 t, mo., 6 %
P».
Aaron. Ls. Dr,
tMoaiArurv. Anioine Jacob, 4 V
Dr.
tOtiodr. Adriaon von. 7 ). Pa.
tCJiwor, TKentM, 3 ). Or.
t (. Soehdcvra. CemcK*. r. 7a. Pa.
Ibaehikven. Herman, )$, Pa.
-Tukell, Thomas. Po.
i«86
Arieaii, 30
atild, So
•Fiocco (J..J.). ?D«.
FiKhcr 40
Lefrenti. 60
Marais, 30
•Marcclio, 1 .\uf.
Moreau, 30
•Porpora, (9 Aug.
Thcite. 40
fUoki, Carle, 70. Pa.
*Kanuar, Allan, Pe.
i6d7
Aldricli, 40
Buxiehuik» 541
r. Carey
Colonna, 50
•Feach, e. Apr,
•Geminiajii, Dec.
Ker]i» 60
Lalande, 30
Lotii, e. 70
fLulIy. 54, 72 Mar.
Mont 4 clair, 30
Pasquiai, 50
Pepuseh, 30
Pitoni, 30
•Senaill 4 , 33 Nov.
fVVise, e. 39, 34 .Aug.
tCwyo. Eleanor (Nell), 97. A«.
f Waller, Edm«0id, 0 i. Pu.
168a
Couperin, 20
Eedcs, 30
•FaKh a F.). 15 Apr.
Gasparini (F.), 30
Gianneitini, 40
• t. Nebra
tPallavkino (C.), c. 5?, 36
Jaa.
•Pfedicri, 13 5 epi.
* 7 jpoh, iG Oc(.
Bookinahun, Duke ef (>rr \'il.
lien, Georvel
tAunyae, John, Bo. Pe.
tPlaunan. Thomas, SI. Po.
*Leinevne, Fraecoii. IV
*kCarsvaux, Pierre de. No. Or.
tlNerauh, Qaude, 7j. Ar, M,
*Popa. Aleiaoder. Pe. LI.
t VjUieN, Geeefc (Duke of Huck*
iniham), 6 j
1689
Blow, 40
GoJajie, 40
Kricgcr (J. P.), 40
La Guerre (E. JacqueOr 3 ^
Marchand, to
Piitocchi, 30
Purcell, 30
IBehn, Ajdira, eg. Or,
*Broeene, William. Li.
*Pierre ft oei, Lady Mary (Woriley
hfeniaeu). LI.
*Rkhardsan, Sanvuel. No.
1690
Boooncini (G.), to
CaJdara, do
CaiDpra, 30
Draghi (G. B.). e. 31)
Finger, c. 30
Feocco (P. A.), r. 41*
fFreschi, 30
Fux, 30
Hacquarl, r. 30
Kuhnau, 30
Kusser, 30
LeB 4 ^, Go
tLegreiui, 63, 26 May
Le Roux, c. 30
Leveridge, c. to
Leveoxani, 50
•MuFTai (Coidicb)
f c. Roberday, e. 70
Roseingrave (D.), r. 40
•Ro*eingra\-e (T.)
ScarJacti (.A.), c. 30
StruQgk (N. A.). 30
Tudway, t. 40
APPENDIX I
471
Veracini (A.), t. 40
•Veracini (F. M.), 1 Fcb-
•Vinci (U)
*Lutcr«i» NtfolM. Pk
tL« Bnio, Chjrles 71 . P«.
tilfvICA, Adam van 6 tf, jB. Pa.
tT«nwn, David, ju«.» Pa.
1697
«UbiAonj, 30
td'Angkbcri, 55, 33 .\pr.
Bohm, 30
l''orf|u«rav, 30
Orif py, 30
Krkger (J.),do
Laloue Ur. 40
Prrti, 30
Ribcl (J.-F,), 30
^irui^k (D.), 91
1 urnrr, 40
t DaptMie, 4 Ja»par . Pa.
*flvroin. Jalin. IX
t<Sw)i>. Aalbvri. 74. I*j,
t^ihcinK. (Sw) Charge, Ik.
tMc««, Janvaadfr.ant., Pa.
*<}d<U. fKamM. Dr.
TlVhioi, lean, 9 ). Pa.
1693
]}c«marei», e. 30
Dttiouchrs, 30
Gaucirr, t. yt
t. Ci»eomi:Ili
-Schurmann, t. 30
* rarlini, $ Aug.
tViiali (G, B,), c. 4B, 13 On.
Wcckr, 60
*f ru«<iM, CarW luvK«nxiv. IV.
*U UuuaOv. JVrr« (Ma^
Nivilk «fe. Dr.
*j 4 «iu«rcu«. AdtknAr. ,V.
tl4e, Nalbankl. «. 99. Ik.
TStta<UvU. llioMM, ^ Pp, Ik.
* J K|N>la. OievaMu Kaciai^ P&.
1693
Allirrgali, 3*1
Corrili, 40
Pachrlbri. 40
Poliarolo, 40
Rrinkcn. 70
r.SaiTunarcini (G.)
Zachau, 30
rCoclk, Cbudi«, (. 47. P4.
tLa Fayette, atarie MaitekH.e
Comiesae d«, M. No.
*J Jlk. Georce, Dr,
I.Vfaes. Nieolae*, 61. IV.
Jaaiet. Ac.
tVan de Velde, Wilkm. wn..
c. Oa. Pa.
16^
Wber, 50
Blankrnburg, 40
Cabanillcf. 30
CUtarp^pfier (M.-A.), 6rr
C 3 arkr, r. so
*Daquin, 4 July
GigauJi, r, 70
Gorccycki, r. 30
Kewrr, 30
tKcrll, 65, 13 Fell.
■I^, 5 Aug.
Kogen, 80
*Komap, 36 Oct.
ScHTani, 40
fScrupgk (U.), 93
CHietierlield. I.ail «4 ikc Stan*
iMpe)
tl>e(b<>ulktn, AHuXiellr. -fi.
Pb.
*'M 4 AlMi|if, hiiliii Doinier
1^1 ( 3 i«tirrfie)dt. I.i.
*\*< 4 uHe. Frartcoti .Maile
.^reuct dc. U. Ik.
1695
.MJrovaiKlini, 30
fOtJonna, 38, aB No\'.
Draghi (A.), Co
hiachcc (J. (J.), <•, 30
tCaunrr, r. 55. Srjjt.
•Crwpe
•Locaifllj, 3 Srpu
l.ohncri 30
Muffat (Gcofgi, f- 30
IPurcrU, 36, 31 Ntiv.
Slagglns, <. 50
N'ilafj (r, A.), f. 311
Vivaldi, f. so
t'Vrcker, <13, ao Apr.
IK'tndrrceier, Mctcltior d\ 50.
Pa.
tKabcre*, (Skj \\’inia>n. HA
Dr.
tLa Poiitaiae. Jean de, 74. rv.
1 ai)««ard. Pierre, ty Pa.
IC>ib«nie, D«r«tliv (Lady
Te«ipk).«8, JX
'Raabillae, I^ogis Featjcoit. V.
tVAusfian, Kcary, 77. Pg.
1696
Alioni, 30
(•Itikl, 90
Ckrambault, 3 o
Fiscbrr(J<J».), y,
Marais, 40
472
APPENDIX I
Moreau, 40
Thcile, 50
Weldon, 20
tLa finiycrc, Jean de, jr. Li.
t Phillips, Edwvd, Li.
tS^vifne, Marie, Marine dc. 70.
U.
1697
Aldrich, 50
Bononcini (A. M.), so
Buxtehude, 60
1 Child, 90» «3 Mar.
Ciari, so
•Fabri
Fago> so
Lalande. 40
*LecUir» 10 May
Loiti, (. 30
■Maio (G»u*.)» 5 Dee.
Mont^clair, 30
Pa$quiiw, 60
Pepiuch. 30
Pitom> 40
*<^antz, 30 Jan.
*Vallocii, 11 June
'Canale, Amonio {Caaaleitar.
Pa.
DclTaiHl. MtiK du Utr \Vhr*
Chamrendk
* I logarth , WilUam. Pa.
t. hJacklm, Chark*. Ac. Dr,
'Privesi d'Kxiki. Anceiitt Fsan*
enk. No, Li.
f, Savaf*. Rickard. Pe. Dr.
*V'khi‘*OkMtrand, Mark da
(Mm du DefTand). Li.
169$
Couperin. 30
CreO. to
Eccles. 30
*FraiKceur. s8 Sepi.
Gaaparlni (F.), 30
Gianneuini. 30
*Logro3cino. Oct.
TRogen, 84, June
*Sammarlini (G. B.)
*Bo>{mer. Johann Jakob. I.i. Po.
*Dcu<kardor>, Cdmc. S<,
1699
Wow, JQ
CoJasse. 50
•Gibbs (J.)
•Haase, 25 Mar.
Kricger(J. P.), 50
La Guerre (E. Jacquci), 40
Mancini, so
Marchand, 30
PUtocchi, 40
Sarro, to
•Zaeh. 13 Nov,
Zelenka. so
*Biair. Robert. Po.
• Chardia, J«4a Baptuie. Pa.
tMranoyer, Jeao Baptiste, 64,
Pa.
Iftacioe, Jean, do. Dr, Po.
1700
• (. Araia
Aalorga, so
Bononcini (G.), 30
Caldara. 30
Campra. 40
fDr^hi (A.), 64, 16 Jan.
Finger, t. 40
Fiocco (P. A.), t. 30
Fux. 40
GaJliard, e. to
Hacquart, e. 60
Kuhnau, 40
KuMer, 40
Le Btguc. 70
Le Roux, e. 40
Leveridge, t. 30
Loeillet, so
Lorentani, 60
Roieingrave (D.), e. 30
Scariacti (A.), 40
fSiagfins, <. 53, 13 June
fStrungk (N. A.), 39,
25 Sept.
Tudway. t. 30
t<4bh«r. Caius Gabriel. 70. bv.
•Crawtarq. Hebert. Pe.
tDrydA, John, 69. Po.
•CotUch^, Johann ChriMoph.
Li.
•lltomwB, Jame». Pn.
1701
•Afrell. j Feb.
Albinoni, 30
Bbbm. 40
Forqiwray, 30
Crigny. 30
Kriegcr (J.). 30
Lalouetie, 30
Matiheson, so
Perti. 40
•Rdbd (F.). 19 June
Rdbel (J.-F.), 40
Tdemann, to
Turner, 50
Valentini (Cius.). so
*Scuddry, Madeleine de, 9 t'
No-
JSedkv. ISifLChark*. 68, W.
APPENDIX I
473
1702
Daadneu, 20
Desmarels, 40
D«»touches, 30
*£bcrlu], 27 Mar.
*Guigno&, 10 Feb.
tU Bigue, 72, 6 JuJy
Mourei, 20
Schunnann, t. 30
"AppMAi. Franrcaea. ^
* LioUrd. Jru) EiicAoe, Pa.
> 7«3
Albergati, 46
CoreJJj, 50
•FioccoU^H.)
Graupr>er, 20
tCrigny, 32, 30 No^-.
Heinkhen. 30
r. [^inpe
PacKelbel, 30
PoUat^o, y*
Rameau, 20
ReinVcn, 80
Zachau, 40
fi«Wi. Larenap.'. V*. P*.
Fraafoii. P«.
t |ehn, t. 63. Dv.
JUUn. La. IV.
rNeer, E4IM H«ivVk «mi 4ft.
60. Pa.
tNpn. SaiMtfl. f*. LL
tPvrMull, CturVa, 7 V
t.tAiA»(t» u i » nd. (2url«t M*f
fucttl dc S*ini'D«pi», ao. |j.
• 7«4
TBiber, 59, 3 May
BlankenbuTf . 50
Cabanilles, 60
Cernohonky’, 2b
fChaqxncier (M.*A.), (19.
24 Feb.
Clarke, e. 30
Da|iixourt. t. 29
Duranie, 20
Glgauh, c. 80
GofCtycki, t. 40
•Craun (C K.), 7 May
Keuer. 30
TMuffai (Georg), f. 39,
23 Feb.
"r.Peacecli
Sieffani, 30
Wallher <J. C.), 20
tB«wuei, Jacqon O^narw. 77.
U.
tMeqrioi, BcfwdtiM. 3B. Pp.
1705
Aldrovandirii, 40
Bach (J. S.), 20
Fttcher (J. C.), e. 40
GebeJ {J. G.). 20
fr.Gigaulc, c. 8 r
Handel, 30
tLohner, 59, 2 Apr.
Scarlatti (D.), 20
Viiali (T. A.), t. 40
Vivaldi, c. 30
tAuliM). CatlirriK 4\
N».
tOwrdwM, Luca. 7 $. Pa.
•MaMocK <kAKr MaJlei). David.
Pa. U.
tMrcr. Jan van 4cf, jun,, 42.
Pa.
*^a, Anioniu J«*d da. IV,
1706
Arioaii, 40
(^rambauU, 3<»
Fiocco (J.-J.). 20
Fischer (Joh.), Go
Caluppi, 1 8 Oct.
t^ampugnani
* Lustig, 2 1 Sepu
Marais, 50
Marcello, 20
•Martini ( 0 . D.), 24 Apr.
Moreau, 30
t Pachelbel, 52, 6 or 7 Mar.
Porpora, 20
Theile,
Weldon, 30
*PiwIk. Henry. No, Dr.
tOlceii, AJtdrta, Pa.
*CiCMr^. Giovanni Beitinn.
Pa.
tlliilUpi, John. 7^ Co.
1707
Aldrich, 60
lAldrovandini, 41, 8 Feb.
Bonortcini (A. M.), 30
t Buxtehude, 69, 9 May
Carey, r. 20
Clari, 30
tOarkc, c. 33, t Dec.
Fago, 30
Pesch, 20
Genuiuani, 20
LaJande, 50
t r. Le Roux, c. 47
Loiu, e. 40
Mont 4 dair, 40
Pasqubi, 70
Pepusch, 40
474
APPENDIX I
Pitoni, 50
ScnailI 4 , 20
tBfoekiiutfen. Jm taa. 67. fg.
*CnbiUon. Clud« Jolrot <fe.
No. Dr,
tFarquhar. C«oree, « 9 . Dr.
^Firldiof, Henry. No. Dr.
tFilwaii, Vieceetio da, 6 ».
*Gol 4 Mi. Carlo. Dr.
T\'*ti de Velde, Wilkm, |m.. 74.
1708
fBIow, 5 ^ I Ocl.
Couperin, 40
Croft. 30
Eccks, 40
FMch (J. F.). 20
Cdjptrtni (F.), 40
GiAnncitioi,
Nebra, r. 20
Predicri^ 20
•Reuiwr{J. A. K. G.), Apr.
ZipoJi, 20
*DA(eAi, l*nnipc« OiroUme. Pa,
rBonthew. CiovMMi Wnturj. 68.
r«.
•Delia. OkIvM. Pe.
tDoM, Nner, 61. Po,
•Hetedom. Friedrkh ««e. h».
•Heller. Albr«c6( *M). Pe.
tHobbrme, Meic^rl. 71. JV
tMen«erd, Julri llerdouln, 60.
Ar.
1709
•.\vBoo, Feb.
*Ucnda (F.), 24 N(».
tColaae, 60, 17 July
•Duni, 9 Feb,
•Cebel (C.). 25 0<L
Kricger (J. P.>, 60
La Guerre (E. Jacquel), y>
Mancini, 30
MarchanJ, 40
Piatocchi, 30
•RichiCT (F. X.), J Dec-
Sarro» 30
Zelcnka, 30
f Oeckeio, Gioveniit Aaiiuu
Ueuli. 70. Pe.
tCoenriUe. Thomas. 84. 1*0, Dr.
•Cmari. Jran fiaptisie Iauo.
Po. Dr.
•JohAMO, Samuel, Li.
t Phillip*, John, 3$. Po.
t Aeitnerd . Jren Francois se.
Dr,
1710
c- Alberti (D.)
t Aldrich, 63 , 14 D«-
•Amc (T. A.), 12 Mar.
A«orga, 30
•Bach (W. F.), 82 Nqv,
•Bonoo, 29 Jan.
fiononcioi (G.), 40
•r. Boyce
Caidaj^, 40
Campra, 30
Finger, e. 50
Fiocco (P. A.), e. 60
Fux, 50
GaJiiard. t. 30
Hacquart. e. 70
•Hopben, 7 July
Kuhnau. 30
Kusaer. 50
Leveridge. r. 40
l^UlH, 30
Lorenzanti 70
Muflat (Gottlieb). 80
tPaaquini. 72 . 21 .\ov.
•PcrgolcM. 4 Jan.
Roeemgravc (D.), e. $0
Ro*eingrave (T.), 20
Scarlatti (A.). 30
Tudway, t. $0
Veraciol (F. M.), 20
Vinci (L.), 20
tBetiertOA. Tbomai, 73. Ae.
•Hamawnd, James, Pe.
1711
Albinoni, 40
Bohm. 50
Feo, 20
Forqueray. 40
•Holabauer, 17 Sept.
Krieger {J.), 0 o
Lalouctie, 60
•Latilla, 12 Jan.
Mattheaon. 30
•MondonvilJc, Dec.
•Perez
Pertl, 50
R^bd (J.-F.). 50
Teiemann, 30
Turner, 60
Vaknlini (Giui.), 30
;Boiieau (•Dnpriaw*). Nicolas
7J. U. Pa.
•Lofoonewtav, Mikhail Vas*
•ilevkh. Po.
171 a
fCabaniiles, 67 , 29 Apr.
Darxlricu, 30
Dezenareu, e. 30
Deslouches, 40
Giacornelli. r. 20
Mourei, 30
APPENDIX I
*Rousseau» sS Juse
Schunsana, c. 40
•Smith (J. C.)
Tarcini, 2Q
tZachau, 48, 14 Aug.
FcafKctc«. Li.
*GI(nrr, RkttMd. Pb. l>f.
FruKcteB. Pa.
tUuMi. Carlo Akuandro, 4^.
h>. Dr.
tHr^dre. Jaa vaa der. Pa.
tKiaf. \Vdl 1 a 0 t. 49. la. Po.
•Movrr. tatward. Dr. f.L
tHvuiCf. Chrkiiaa. /. 4}. la.
*Ro«iuraH. J<ar»*)a<riun. IX
Nu.
1713
Alb«rgaii, yt
t Corelli, 59. 8 Jan.
•Dauverpic, 3 Ocl.
Grauprter, 30
Hvinichen, 30
*KreU, 10 del.
tUorvnxam. 73, aS (ki.
Pollarolv. Go
Rameau. $0
Reiakcji, 90
■.Sala, 7 Apr.
Sainniariini {G.), r. 90
•Sianky, i7jar»,
*’ri’rrailrlbf» I’Vb.
tHartr. l.liiaUdi, sv 'V.
*l)Hlervt. Ihnrt. U
*CJwr<i. (.ar|Nr» Pa. IX
tMvaUa. Carlo, aa. Pa.
tPiUairHf, ArrhikaM. ki. ISb
l>f.
*>lrni«. 1 JsrrtKr, No.
«7M
•Bach (C. 1*. E.),8Mar.
Blankenhvrx. ^
Crrnohonli^i
Dagincourl, e. 30
Da^uin, 20
UuiAAIr, 3 u
tl'ioceo {P- ,\.)» <. C4,
3Sq>».
•Gluck, 3 July
Corcayclu, t. 50
*H«(anJius. 3 Kcb.
•JommeUi, lu Si‘pl.
Kcuer. 40
Leo, 30
RomaA. 30
SicfTani, Go
Waliher {J. C-), 30
tCauaaa, NUeoWt {Nkrolinoi. $a.
Pa.
'MrentigM. SVPIum. Pw.
Iticliard. Pa.
* r. tVoffiogion. Maraarci i‘'P«s'*).
Ac.
47?>
>7*5
Bach (J. S.), 30
•r.C^aro
•c.Chiarioi
•r- Cocchi
•Fiorillo (I.), II May
Kischcf (J- C-), r.
Ccbel (J. G.), 30
Green, 30
IJaiHlel. 30
Locaielli. 30
•.Var<*s, Apr.
• f. KiiiakJo di Capua
ScarlaMi (D.), 30
Vivakli, f, 40
•WagrnMil, 15 Jan,
t Fdarkn. Fraiu ok . C «. t .1.
'(kOert. <3<rjtiian KiirrLirK'rfi.
1 * 0 .
*ijir«rd«o. FraiK«H. a?. Sc.
• I lclv«i iat. aantlc AtltiCA. Li.
r I M. NoluM. 4). J'e. Dr.
*\'auv«nArtuffc. Luc ik cajpicr*.
XlarquM «lc. Li.
t^^'>«lMlk«. W’llUain, 75. Dr,
1716
<Vrio«u, 30
•Uim, 21 June
CH^ambault, 40
Kiocco (J.-J.), 3i)
Ficcher 7^
•Giardmi, 13 A|)r.
hlaraU, Go
Marcello, 30
Moreau, Go
Porpora, 30
•Seegr, 31 Mar,
'I'beile, 70
Weldon, 40
•Oorrkk. Dovid, As. Or.
*Crav. ll.oniar. Ps>.
*S»int*L*Miljeri. Jean FrAivC)'i« <lc.
JSr. Li.
1717
Bvnoncini {A. M.), 40
(iarey, c. 30
CUri, 40
Falm, 2u
Fago, 40
Peach, 30
CecniniaAi, 30
LaUndc, 60
Lcclair, 3u
I cMii. r. 5«t
476
APPENDIX 1
M&io (Gius.), fio
Monciclaii, 50
*Njchelmaon, 13 Aug.
P^pM*ch, 50
Pilonc» ^
Quants, so
SenaiJI 4 , 30
•Stamlis(J,), 17 or »9 Jwm
V aJIoiii, 20
*Cart«r, Clitabeih. P».
*Rpdri^>«i. Vcotura. Ar.
•WAlpelt. HorKc. Li.
*\Vin«ketntan0, Johann Joarhim.
Li.
1718
Couperin, 50
CroA, 40
Eccles, 50
FaKh (J. F-), 30
Franceeur, so
Oasparlni <F.), y>
OianEfettiiai, 70
LogrosciiM, so
*Muchct, I7jaa.
Ncbra, t. 30
Predieri, 30
*Ko] 2 r, 83 Dec.
Sammardni (C. B.)i So
Zipoli, 30
r. Chipp«nOalr. Thomak Cr.
tMou«ua. Peter Aaihony. 5S.
Li. Dr.
tfamcll. ThomSH M. Po.
tPOHe, NkhoUa, 44* Dr.
1719
•Abol, 16 No\*.
f. Ciampi
Cibln (J.)» so
Hasse, so
Kricger (J. P.)» 70
La Guerre (E. Ja«)ueO* 60
Mancini, 40
Marchai^, 50
Pistoechi, 60
Sarro, 40
Zach, so
Zelenka. 40
tAddifCM. Jo*ri4). 4?. Li.
fBmyB. ComBw. $7. P«.
ICifDABi. Carlo. 91. Pau
f Carih . I&ir> Samuel. 58. Fto.
*Clc>in. joLoM Wilhelm Lu4w>f.
Fo.
1730
•Africola (J. F.), 4 Jan.
Araia. r. so
A$torga, 40
Boaoncicu (G.), 30
Caldara, 50
Campra, 60
Finger, e. 60
* c. Pi$cbie(ii
Fux, 60
Galliard, e. 40
Hacquart, r. 80
Kuhnau, 60
Kiisser, 60
Levcridgc, c. 50
LoeiUet, 40
'Meyer van Schaueiuec, 10
Aug.
Muflat (GoiUieb), 30
te.Rattondoo
Ro«*ngra\'e (D.), e. 70
Roeeingrave (T.), 30
ScarJatli (A.), 60
•r.Schoberc
Tudway, e. 70
Veracini (F. M.), 30
Vioci (L.), 30
tOwulieu, CuUtaume de. <. 9 i.
Fe.
*Poole. SofnweL Ac. Dr.
*Coai. Carlo. Dr.
fHamiltoe. Anthony, t. 94. LI.
No.
tHuiLaa, John. 43 . Po. Or.
1781
Agrell, so
AJbinoni, 50
Bohm, 60
Feo, 30
t<, Fischer (J^Oi 73
Porqueray, 50
•Gheyn, 7 Apr,
tGianneiiiiu, 73, July
•Heltendaa], Mar.
'Kimberger, Apr,
Krieger (J.), 70
LaloMtte. 70
Mauheson, 40
Peril, 60
Rdbel (?.)» 90
Rdbel a-F.), 60
Telemann, 40
Turner, 70
•Slaeklock. Thomai. Po.
Suclonrhan and Nonnanby,
Dbk« oT (wv Sheffield. John)
*Casii. Cievanfli BatiKta. Po.
•CoUiu. WiWam. Fo.
f CibbofM. CcuKof. 73. Cr. Sc.
rSbeffkId. Jobs { Duke ol* Bucklnr
ham and NorMsby). D*.
•SmoUcu. Tebiaa. No.
jWalMau. AoUue. 77. Pa-
APPENDIX I
477
«7*a
Beada A.), June
Dandrieu, 40
DesmareU, c. Go
Dmouches, 50
Eberlin, 20
GlacomelU, <. 30
Guignon, so
tKuhoau, 6s, 5 June
Mourei, 40
*Nanlmi» is Apr.
tPollacolo, 69
tReinken, 99, 34 Ncn'.
Schurmann, <. 50
Tartinii 30
John. l)r.
'(tocBc. John. JV.
*$rno/(» Clmiioahtr. 1*0.
I7«3
"Abel, ss Det*.
Albrrfati. 60
•Beck (F.), jjFeb.
Fiocco 30
Graupncr, 40
Heinichrn, 40
Lampe, <. so
Rameau. 40
SammafUni (C.), 30
"Uutni
t<ionllivr«, Sioonnoh. t.
tihirfcr. ThemM. 70. LLDr.
tKnrIkr. C oj &o y. 77. fo.
Jeon FvofKot*. No.
]>*.
»gwocho. Domonko, Sc. Po.
♦KcyfieHaioohoo. Po.
tWren. (Sir) ChciHoohcc. |t.
Ac.
1724
Blankenburg, 70
Cemohonk^, 40
Dagincourt, c. 40
Daquin, 30
Durante, 40
Gorezyck), e. 60
Graun (C. H.), so
Keuer, 50
Leo, 30
"Ixheliui. 31 Dec.
PcTcecii. e. 30
Roman, 30
Sieffani, 70
tTheile, 77, June
• f. Toesehi
WaJchcr (J. G.), 40
*K| p ui »t fc. FcK4ckh Gudteb.
?«.
* r. Sfisoo. WilliaB. IV Dr.
tSeuk. DkMah. 76. Pm. L>r.
*Srubb>. Coorae. P*.
17*5
Bach (J. S.), 40
"Beriom. 15 Aug.
Fixher (J. C.), c. 60
Gebcl <J. C.). 40
Greene, 30
Handel. 40
tKfieger (J. P.), 75, 7 »b.
Locaielli, 30
f Scarlatti <.A.), 65, 24 Oci.
Scaiiatli (D.), 40
Vivaldi, r. 50
* t. A 4 oin< Joimc*. Ac.
*Bor«ofo<(i. FrofKCkco. P«.
*<^iaoeT« <k ScinfAii.
OiovofMi Joto^a, (.1.
CUicoa (<rr L<rv)
Pnnck fo.
tDonccuri. Ptoceai Carton. A4.
Dc.
*Cr«v»>. Jean Bafniiie. fa.
"bent, Oairc Jo»I|>h« (Ckironj.
A«.
I7t$
Arioaii, 6o
Bononeini (A. M ). 49.
8 July
Cl^rambauli, 30
Fiocco O-J'). 4 ®
Gaiuppi, so
"Hartmann (J, E.). 34 Dec.
tLalanclc. 66, 16 June
Lampufnani. so
Luittg, so
MaraU. 70
Marcello. 40
Martini (G. B.). 30
Moreau, 70
•Phllidor. 7 Sept.
tPiMocchi, 66, 13 May
Porpora, 40
"Starser
tTodway, e. 76, 23 Nov
^Veldon, 50
tZipoli, 37, 2 Jan.
f Brady. NkhoUa. «7, IV
"Chodowkeki, DankI Nkela».
K.
♦Ppinay, Lmiw 4 ‘. la,
f PalonuBo de Cutro, Antonio.
H Pa.L*.
•Vaabr«fb,(&c) John.fij. Ar.
Dr.
1747
"Anibaai, S5 Apr.
Carey, c. 40
CUri, 50
4?8
APPENDIX I
fCroA, 48, 14 Awg.
Fabri, 30
Fajo, 50
Fcsch» 40
tGasp^iai, 59, n Ktar.
GminUni, 40
tK\isa<r, 67, ? Nov.
Leclair, 30
*Ldhl«jo
Lotri, c. 60
Maio (Gsus.), 30
Mont^laiCf 60
Pepusch, 60
Piloai, 70
Quaniz, 30
tRoseingrave (D.), t. 77,
May
•IVactia, 30 Mar.
VaUott:, 30
*BeIloy. DomwAi <fe. Ar. Dr.
*Cipri^,
r«.
Jaae. P».
*Gaimbor9«th. Taomat. Ta.
tMartellii Ptar lacoo^. €t. Pa.
Dr.
* Murphy, Acihur. Ac. Dr.
1738
Coupcrin> 60
Eccks, 60
FaKh Q. F.), 40
Franc<sur, 30
*Gavmiis, 11 May
"GugHetmi (P. A.), 9 Dec.
•Hiller a A.). 95 Dec.
fLalouette, 77, 31 Aug.
Logroacino> 30
tMarau, 79, 15 Aug.
Nebra, r. 40
•Piccinni, jbjan.
Predieri, 40
Reuttcr (J. A. K. G.}, 90
Sammartini (G. B.), 30
Senailk, 40
Sicffani, 73, 13 Feb.
*Adam, Kobcrl. Ar.
*Ool4sfniih, Ohrrr. Po. N«). l>r.
* Percy. Tbemaa. La.
*\Vanon. I'hemaa. 1S>. li.
17*9
■Adlgjmer, 1 Oci.
Avison, 20
Benda (F.)» 20
Duni» 90
•Gafimann, 3 May
Gebcl (G.). 90
Gibb* UO. 30
Haase, 30
tHeinichco, 46, <5 July
fLa Gwm (E. JacqucOi
70, 97 June
•MaWere, 16 Oct,
Mancinl, 50
Marcbai^, 60
•Moosigny, 17 Oct.
Richter (F, X,), 20
Sarro, 50
•Sard, I Dec.
•Soler, 3 Dec.
Zach, 30
Zelenha, 50
tCaAffitva, William, $9. Dr.
*Goite, GUt>die Maaeel da. Po.
*L«uinp. Cofihold Ephraim. L!.
Dr.
*Moer<, Jahn. No,
tJtrcle, {Sir; Rkhard, ay. Li.
Dr.
1730
Alberti (D.),r. 90
Anua, e. 30
Ame (T. A.), 90
Astorga, 30
Bach (W. F.), 90
Bonno, 90
Docioncini (0.), 60
Boyce, (. 90
Caidara, 60
Campra, 70
•Fenaroll, 95 Apr.
*<. Fills
Fux, 70
Galliard, <. 50
*c. Giordani (T.)
fr. Hacquart, <. 90
Hdpken, 20
■Jackson (W.) (i), 99 May
Leveridge, e.
fLocilkt, 49, 10 July
•<. Lolli
Mu (Tat (Gotilieb). 40
Pergolcsi, 90
Roscingraw (T.). 40
•Sacchini, 14 June
tSrnailk, 41, 8 or 15 Oci.
Veracini (P. M.), 40
t Vinci <L.). 39, 27 May
‘Bftrhrr. Reteri. Pa.
iBaarh. Ban«a, sp. Ac.
•CaHvrari, Oiumk. Ar.
tFeaion. eUiah, 47. Po.
*G«mer, Sainoa. Pa.
tLecouvmur. Adrieonr, sS. Ac.
tOWSrtd. Anne ('' Nance 47*
Ac.
* Wcdfwced . ioaab. Gr.
*73*
Agrell. 30
Albinoni, 60
APP&NDIX I
479
Bdhm, 70
*Cuuubich» Dec.
Fco ,40
Forqueray, 60
Holzbauer, 90
Krieger (J.), 80
LatilU, 20
Mattheson, 30
MondoQvilIc, 30
Perea, 30
Peril, 70
*Pugcuai, 97 Nov.
RiM (F.), 30
R^bel (J.-F.), 70
Telemann, 50
Turner, 80
*C*trprr. Po.
GuklAV Vihp, P«K
t(>cr«c, l>*niel. f. )». Ko.
tll'*v^r Jc Aniwin*.
•VQ. l>t. h..
• 73 »
Dandrieu, 30
Deimarcta, e. 70
Deatouchrs, bo
Ivbcrlin, 30
Oiaeofnelli, t. 40
Guignon, 30
* Haydn, 31 Mar./i Apr.
•Main tOiov.), 2.\ Mar-
t Mare hand, 63, 17 Frb.
Mourel, 30
Kouaeau, 3u
Sehumiann, r. <jo
Sntith (J. C.), 90
Tarimi, 40
*Hc«iinu(v>uU, K«rr« AiioMin
<^rofl d«. Dr.
*rUni«n. irn. I>r.
*i:iiinlKrljTid. KirhaH. IV.
*i'akof*«r. JS».
*>ia|ten»nl, Jean )*j.
TGar. Jehn. 47, fo. |)r.
fraiHK <lr. |j.
>733
Albcrgati. 70
IBohm, 71, 18 May
tCkiuperin, 64, 19 Sepl.
Dauvergne, 30
Kioeco ( y>
Graupner, 30
■King (M-)
Krebs, 30
l.ajnpc, e. 30
•Linley, 17 Jan
t Moreau, 77, 34 Awg.
Karaeyu, 5i»
Sula. *io
Samraarlini (G.), <*. 40
.Stanley, 90
Terradellas, so
•Trilto, 9 Apr.
tCrawTor^. Robert, sa. Po.
*l>wch. Jean Praatnir. Dr.
*Llor<]. Robert. l>o. Dr.
tafaB^evidc, Bernard de. 6 :t. Li.
*SVtcUad, CMtloph Marlin.
Po. No,
*/,« 4 [nr. lohann. Pa,
>?J 4
Bach (C. P. £. I. en
blankenburg, Bo
Ccrnoliorsky, 30
•C:oeke (B.)
Dagiiscouii, (. 'to
Oaquin, 40
Duranie, 30
GliKk, 90
tCrofcayeki, <. 7t», 30 .Vpr.
■C^oaiee, 17 Jan.
Graun (C. H.), 30
Homilius, 90
Jommelli, 90
■Kamirntld (M.), {3 Oct.
Keiier, Oo
Leo, 40
PesceiU, <. 30
Roman, 40
WaJ<hrf{J.C.),5n
*D«n<e. Nathaniel iDaiMe*
H«>lterMl!. Pa.
fDeonii. Jolin, 77. Li.
*M«nuel, FraiKtseo. Pu.
*.MkUe. W,niam Juiiuv At.
^Nasrimente. FramiKe Manorl
do. Li.
IKkci, SebaiUaiM, 7 j. P«,
•Ke wit y. <?eoffe. Pa.
t rhnmhdJ. |$ir) lanw*. % 6 . Pa,
*735
♦.MbcTfail, 71, 39 June
•lUcIi (J. C.), 5 Sepi.
Bacli (J.S.), 50
Caf^, c. 90
Chiarini, c. 30
Cocchj, f. 90
fEecIcs, 6C. 19 Jan.
Fiorillo ((.), 90
Fischer 0. 70
Ccbel (J.C.),3o
Greene, 40
Handel, 50
tKricger(J.>,83. 1 8 July
Locaiclli, 40
Narea, 90
Rinaldo di C^a. e. 20
Searlatii (O.), 50
4S0
APPENDIX I
•Schweitzer
•Vento (M.)
VcvalcU, c. 60
WagenwU^ 20
tArbuthiMl, i«hf», M. li.
Tbeous.
*fie«itie, Po.
* t. Bickent^, I«Me. Dr.
Graavillc. C«orf« (mt Lam-
<lowM, Lortf)
tHavrbtoor. Ntcbolu» Ar.
*Kruicki» Ifoaey. Fb.
f T.ui*dowBe» LoH (Ccorfe Gmn-
yint).€i. t^tk.
Jehane KacI Aunm.
No.
1736
Bint, 20
tCaldAra, 66, 26 Dec.
CkramiMuli, 60
•Faich (C F.), t8 Nov.
Fiocco 50
Caluppi, 30
Givdial, 20
LampufnMi, 30
Luatif. 30
Marcello, 30
Martioi (G. fi.), 30
tPcrgolesi, 26, 16 Mar.
Porpora, $0
Seep, to
tWeldon, 60, 7 May
« Ma<phrrwa. JaAM. Li.
*S<Me dc Mdttan. CahrM. Li.
Na.
« 7 S 7
Carry, t. 50
Oari, 60
Fabri, 40
Fap, 60
Fcich, 30
CemUuanl, 50
LecUir, 40
LoKi, (. 70
Maio (Ciua.), 40
tMonl6:iair, 6^ a? Sepc.
•Myiliveiek, 9 Mar.
Ni^elraann, 20
Pepuach, 70
Pitoni, to
Q^ianu. 40
e. Raimondi (I.)
•Schwindel, 3 May
Scamitt (J.), 20
Vallotd, 40
*Genl«Qb«ra, HaiOrich VrllhclA
vbo. Dr. Li.
* Gibbon, Edward. LL
*Haekerl. fbHipp. Px
*Kar>kirMoo, Pranris. li.
tLanoyoe, Fraafoii, 4%, ?a.
•NolkkcM, Jowph. Sc.
•SaiauFierre. fienurdia d«. LI
No,
* 73 «
•BaeiishiU, May
fDandrieu, 55, 17 Jan.
Faacb (J. F.), 50
Franeceur, 40
Lofroicino, 40
fMourei, 56, ta Dcc-
Miichel, 20
Nebra, c. 50
Predieri, 50
Rculier (J. A, K- G.), 30
RoUc, 20
SammartinJ (G. B.}, 40
*DeliUe, Jacaun. Fo.
*Laharp<. Jeaa Franfoii dc. Dr.
IJ.
*W«K. Bajamin, J»a.
*Welco(. JoLfi Feirr Pii^r’*).
Li.
>739
Abot, to
Aviion, 30
Benda (F.). 30
Ciampi, e. ao
•Diciendorf, 2 Nov.
Duni, 30
Cebel (G.h 30
Gibbs (J.). 40
Haase, 40
tKeiser. 63, It Sept.
tMaAcmi, to, 1 1 June
•Manfredini, 22 Oci.
fMarccUo, 32, 24 July
Richter (P. X.). 30
•Rust, SJuIy
•Sabbadni (L. A.)
Sarro, 60
•VaAhal, t2 May
Zacb, 40
Zelenka, 60
*BrMKhaeidcr. Heiwkh Gotl-
frM voo. Li.
*CMre&od. Susaone (Mine
Necber). U.
tlanaett. View Kocoriui, 7 ^
Fa.
*Kelh’. Hu«h. Dr. Li.
tLiBe, Goorfe, 46, Dr.
*Schubar(. Oxutiao Friedrich
Daniel. Fo.
tSiira. Aaiom Jo«i da. 2^ Dr,
1740
r^ricoU (J* F>)> 40
Alberti (D.), e. $0
Araia, c. 40
APPENDIX I
•f.Arac{M.)
Arne (T. A-), 30
* Arnold (S.), 10 At^.
Astorga, 60
Bach (W. P.), $0
t <. Blanl(enburg» 86
Bcnno, 30
Bononcini (G.), 70
Boyce, (. 30
Campra, 80
PiKhieiti, c. 20
Fux, 80
CallUnl. i. 60
tGi 4 Comclli» t. 48. *^4 Jaji.
* <. Giomo'ichi
Kopken, 30
Leveridge. c. 70
tUui.r. 7a, 3 Jan.
Meyer von Schauenwr, an
Muflai (GocUiebj. y>
*Pai»ictU>, 8 May
Roselngrave (T.), 50
^Scholirri. r. ao
tTurner, 66, 13 Jan.
Veraeini (F- M.K 50
•Webbe (i)
*lhllinM< K«rl Ki.
•ItoweH, J«nm. U.
*•. Cii«v«Mw P».
f f. Oria«(Me Pm» v«a |Ugr«
ttten). 4. fk. P*.
t I'kkeH. TbomM, Pn.
I74«
Agrcll, 40
Albinoni, 70
*Barihdenion, a? July
fDwmarew, <. 79, 7 Sepi.
Feo, 50
tFiocco (J.-H-), 38, aajunc
Forqueray, 70
fFux, 80, 14 Fvb.
Clheyn, ao
•Cr 4 iry, Feb.
flellendaa], 90
Holabauer, 30
*Jannaconl
Kirnbergcr, ao
Lalilla, 30
* Luce hoi, a8 May
•Mariini fj. P. A.), 1 Sepl.
Matiheson, Co
Mondonville, 30
"Naumann, 17 Apr.
Perea, 30
Perii, 80
Rebel <P.), 40
Rebel (J-.P.), 80
Telemann, ^
tVivaldj, t. 66, July
*BAtry, /aeiet. P*.
*C 7 Mn 4 (ofi, NkoIm ilf. |,i.
*Cembe. Williva. No.
*HoMOee, Jean Antoioe. Sc,
*KAutfm4nn. Aoa«li<a. Pa.
'l^vMrr. JoltatiA Kwpar. Li,
Po.
174 a
*.^lrasaj)dri
*.Aranaa
Benda (J. A.), au
fCernohorsk^, 58, t July
Desioucho, 70
Eberlin, 40
Cuignon, 40
e. Inaanguinc
Nardini, ao
Rousieau, 30
Schurmann, t. 70
Soich IJ. C.), 30
Tariini, 30
•C:mwav. hkluifJ. J'a.
*tueuH. Johann JJcinckli <(Aict
Henry PwtcU). Pd.
*HamiBon4, Jam**, ja. fo.
*>oVAt«, kKkdfd. <. 43 . Po. Dr,
>743
Abel, ao
Beck (P.), 20
*Boccherini, 19 Feb,
f Carey, t. 56, 4 Oel,
Dauvergne, 30
*Gatsaniga, Ocu
Graupr>er, 60
Krebt, 30
Larepc, <. 40
♦Lima (J. F.), 30 Sepu
tPi*0fil, 85 , I Feb,
Rameau, 60
Sala, 30
Sammariini (0.). r. 90
Stanley, 30
Tcrradellai, 30
UtiinI, 20
*Boe 4 nnovkK, Ippulii Frodem.
vkh. Pa.
♦Cowkv. Hjondli. Dr.
*OvnhnviA. Covril* KotruinM,
Hek. ^
* L««ld. Johonncb p)i.
tRifoud, Hyocinlbr. ^4. P*.
>744
Bach (C P. £.), 30
fCampra, 83, *9 June
Dagincourt, c. 60
Daquin, 50
Durante, 60
Gluck, 30
Craun (C. H.), 40
Homiliui, 30
a 11
' OL. IX
4d2
APPENDIX I
Jommelh, 30
tLeo, 50, 31 Oct.
LoheJius, 20
Pcsceiti^ c. 40
Roman, 50
fSarro, 65
TocKhi, (. 20
WaJlhcr(J.C.),6o
*Hrr4 <«, JoKam CMcfrM voo.
t*e. Li.
*J«v«IUiw*. Cwpv Klefebior dr.
Li. Dr.
tPop«. Akunder. $6. Po. U.
*Qu»ren|hi, Gi«c«Hn«. Ar. N.
<745
BacK (J. $.), 60
Eenoni, so
Cafaro, c. 30
Chiarini, t. 30
Cocchi, t. 30
•Dibdin
tPago, 67, iB Feb.
FioriJlo (I.), 30
Fiicher (J. C.}, t. 80
fForaueray. 74, s6 June
Gebcl (J. G.), 60
Greene, 50
Handel, Go
I^aielH. 30
*Mereaux
Nates, 30
Rinaldo di Capua, t. 30
Scarlatti (D.). Go
*$iamiiz (C.), 7 May
Wafenaeil, 30
tZclenka, 66 , 23 Dec.
tBrMm*. WiHiam. ad. Li.
•Karky. Williun. Li. ?•.
T>MAas. N». Dr.
fl^nercL Nicolai. U* P*.
*Macbcnsk. Henry. No.
*htore. Hannah. Li.
tSwift, Jonaihan. 74. Ne. LL
i74«
Bini, 30
*Cambim, 13 Feb.
Ddrambault, 70
tFioceo (J.'J.), 59, 30 Mar.
tFischer (J. C.), (, Bi . 27
Mar.
Oaluppi, 40
Giardini, 30
Hartmann (J* so
•Hook, 3 June
Lampugnani, 40
Luatig, 40
Martini (G. B.), 40
Philidor. 20
Porpora, 60
•Rauzzini, 19 Dec.
•Roasler, a6 Oct.
Se^, 30
Surzer. 20
•Umlauf
fBaillk, Lady Critd. 4 j. Fo.
tKair. Robert, 47, Po.
*8<uee, Michael. Po,
*Ceal«>. Sitphank Nlicit^ dr.
ti.
*Coya y Ludceica, Francueo de.
Pa.
*Necihc«ie, JadMf. Pa.
>747
Anfosai, so
Claxi, 70
Fabri, 50
Fetch, 60
Geminiani, 60
Leelair, 30
LdhJein, 20
Mato (Glut.), 50
NicheJmann, 30
PepiiMh, Bo
Qpanu, 30
7 R 4 bcl (J..F.),85,Jan.
•SchuJz, 3t Mat.
Stamitz (J.), 30
Traetta, 20
ValloitJ, 30
tBreebs. Bardtotd Helarich, 67.
Po.
*Bun«r, Co(i/>ied Aufusi. P«.
Ckcto, Ahbau («v Solimerta)
tCreifi, CluMppe Maria, 4 t.
Pa.
*Coosaf a, Ternhs Anienie. Po.
tLoage, Alaia Kcnd, 7 g. Dr.
No.
*0‘K««fr«, Jolio. Ac. Dr.
*Scward, Anna. Po. Li.
tSokmena. Fraemco (Abhaie
Ckcsoi. 20. Pa.
fVau*eAarrr<«i ^ Clapim.
hlan]uia de, Jt. D.
1748
Fasch (J. F.), 60
•Floquet, 23 Nov.
■Forster (A.), aG Jan.
FranetBur, 50
Gavinids, ao
Cuglielmt (P. A.), so
HilJerU* A-), 20
Logroacino, 50
Miithel, 30
Nebra, c. 60
•Neefc, 5 Feb.
Piedruu, 20
Predieri, 60
Reuuet (J. A, K. C.), 40
APPENDIX I
483
Rolle, y>
SasDjnariini (G. B.)> 50
* Shield, 5 Mar.
*Scadler, 4 or 7 Aug.
tWaJlbcr {J. G.)» 63, 23
Mar.
*B«atti4in« Jrteny.
Aaoc, <. Ss. Ac.
* David. J»c4wn Lamb. Pa.
*l>ay, Thomas. Li. No.
'GinfucM, Pietr* Lovi*. U.
IKeni, WiUiaoi, 64. (k. Pa. jk.
Ar.
'Logaa, Joha. Pa. Li.
*Siolb««9, Cbrktian, ^ Dr.
tThofMon» Jamei, 46. pu.
>749
\bta, 3«
Adlgascr, 20
AvUon, 40
Brnila < K.>, 40
Ciampi, c. 30
"CImaroM, 17 Drr.
tCl 4 rainbaul(, 73, 3 <»Oci.
tDntouchn» 78, 3 Fcl>.
Duiii, 40
fOalJiard. Ctj
Ga«inann» 30
Ocbel (G.)i 40
GibU (J.), 30
Kasac, 30
Maldrre, 30
MoAaigny, so
Richirr (K. X.^ 40
30
Sol«r» 30
•Vogler, isJum*
itach, 30
*Ain«ri, VithirHi. Or.
*Fedrrki. Camillo iGiovanM
ViMsotej. Dr.
*C«o«iW, Johann Woltiaiii von.
Po. Dr. U.
*H(inM. Johann Jakoh WillHm.
Ia. No.
Ulntvim. J«n van, 4 ?. Pa.
tOdrII, Tlioinas, 58, Or.
t n»ilip>, Antbnm, <. > 4 . Or.
1730
ARrlcoU (J. F.>, 30
t Albinoni, 78, 17 Jao.
Arhih, t. 30
Arne (T. A-), 40
Aiiorga, 70
JBach (J. S.), 65, 28 July
Bach (W. F.), 40
Boaao, 40
Bonondoi (G.), 80
Boyce, c. 40
Fenaroli, 20
FUtz, «. 30
Fi$chiet«i, r. 30
•Frigel, 3 Sept.
tCrbcI (J. G.). 75
GiordAAJ (T.), r. sci
Hopicen, 40
Jackson (W.J (i), 30
Lev’cridgCi (. 80
LoJIi, c. 30
*Mac(ci, 10 Feb.
Meyer von Schauensec, 30
MiifTat (Gottlieb), 60
Rttdngrave (T.), 60
Saeehini, 30
*Salieri, 16 At^.
t r^ammaritni (G.), c. 57
Sehohert. r, 30
•Smith (J. S.)
•Sterkel, 3 Dec.
fVeracini (F. M.), Go
• c. Ver he>*en
'lianianl. I.a<lr Anne. J*o,
*irr«biMn. Kobrri, Pe.
turn, Aaron. Li. Dr,
*tfiaric, Tunis dr. Pa.
*0»mjiirma, jAhan Gahricl.
Pe.
*Ss«lbcre. PrkdrKh Leopold,
Pa. Dr.
I75>
.\grell, 30
Cannahich, 3u
Kco, Go
Ghcyn, 30
Hellendaal, 30
Ifolabauer, 40
•Kullmandel
Kimberger, 30
tl^pc, e. 48, 35 July
•Lasema, 4 Feb.
Latilla, 40
MauJkeaon, 70
Mondonvitle, 40
Perct, 40
Peni. 90
Pugnani, so
R^bel (F.), 50
tSchurmann, r. 79, 23 Frb.
*<. Stegmann
Tricmaftn, 70
tTerradeltas, 3$, ao May
'KeSerm. Johan HrnriV. Po.
*Lrni, Jakoh MKha«l Itrinhold.
Pci.Dr.
*Shrrawe, TIiOfMS. Cr.
*Sbet>dU9. Richard Prin«ky. Dr.
> 75 *
Benda (J. A.), 30
•Bianehi
484
APPENDIX I
‘Bortnbmky
"dementi, 23 Jan.
Eberlin, 50
Guignon. 50
Haydn, dO
•Kneche, ^ Sept.
Maio (Giov.), 20
•Marsh
Naidini, 30
tPcpmch, 8$, 20 JuJy
•Reichardl, 45 Nov.
Rouseau, 40
Smith (J. C.), 40
Tarimi. 60
•Zingarelli, 4 Apr.
*Bun«r. PraiKet <F«M»y>. N«.
*ChAii<rmt, Themw. Bo.
*Cotettt, Joliii Robefi. B*.
*KUna«r, PxMrki) Ma<itnik*ik
von. Or. Po.
John. Ar.
>783
Abel, 30
Beck {F.l 30
"Dalayrac, l^Junc
Dauvergne. 40
•Fiorillo (F.)
tGcbel (C.), 43 i *4 Sept.
"r.CiordanI (G.)
Craupner, 70
King (M.). 20
Krebs, 40
Unley, 20
Rameau, 70
Sala, 40
•Schenk, 30 No*.
Stanley', 40
Tritto, ao
Uuini, 30
*Br*rhrv. tVilltoiM. i*«.
*roilh, Khiinvii. Be. Or.
*BicKlemont«, TppolMo. Bo. Or.
*$irnp«oci, ElisatKrh fblrt Inch*
bdU). Ac. Or. No.
*SeofK. John. Ar.
>784
Bach (C. P. E.>, 40
tGlari, 76, 16 May
Cooke (B.), 90
Dagincourt, f. 70
Daquin, 60
Durante, 70
Gluck, 40
Gcasec, 20
Graun (G H.), 50
Homilius, 40
Jommelli, 40
KamieAski (M.), 20
Lobelius, 30
•Martin y Soler, 18 June
Peacetii, 50
Roman, 60
Toeschi, c. 30
•Winter, Aug.
*Appioni, Aadrea. Bo.
•Crobbe, G«er(«, Po.
tOAieucfarr, PCalif^, 74. Dr.
tFirldiBs. Hoary, 47. No.
tHModem, F/ietlrich von, 4$,
Bo.
tHolhort. Ludv^, 70. Li. Dr.
Be.
f La ChaunS*. Pkrra CUtide
Niv«llc do. 6«. Dr.
*ACeiendes Valddi. Juan. ]*o.
* Monti, Vtnronto. Pe.
*758
Bach (J. C.), 20
Bertoni, 30
tBononcini (G.), 84
CaTaro, e. 40
Cocchi, r. 40
tDuranle, 71, 13 Aug.
Fiorilto (I.), 40
tGreenc, 60, j Dec.
•Cresnick
Handel, 70
Locatelli, So
Nam. 40
Rinaldo di Capua, e. 40
Scarlatti (D.), 70
Schwiter, 20
Venio (M.), 20 M
•Violti, 13 May
Wagenscil, 40
*Fabre d*Frt*n*>nr, Philippe
France)!. Dr.
^FU^atan. John. S<.
*FlerMn, Jrie B>crre Clara <lr.
Be. Dr.
*Kembk, Sarah (later Aiddom).
Ac.
Labnin. Mark touoe {Mt
Vighf
tMafS^i, Franeesro Scipionr,
hfarchete di, So. Dr.
Saddoru. Sorah (ift Konbk)
"Vifdo. Marie Louw (laicr tab-
run}. I'a,
1756
•Ahkiruin, 14 Aug.
BIni, 40
Fasch (G F.}, 2o
Galu(^i, 30
Giardini, 40
Hartmann (J. E.), 30
Lampi^nani, 50
Lustig, 30
Martini (G. B<), 5^
•MoMrt, 27 Jan.
APPENDIX I
fPCTii, $4, TO Apr-
PhUidor, 30
Porpora, 70
*RigKim, 22 Jan.
Se?gfT, 40
tScandfuai
Scarzer, 30
•Turk, roAug-
•Wtanhziy (P.), 30 D«.
*BilJcrd4>k, P».
*Co>iwin, WilUam. No. Li.
*Leo^elil, KaK Cuouf, ^ (h.
*Karb«icn, Krory.
* RiH» laA^MMt . Tltoma*. I**.
*757
.\nfoMi, 30
tAMorga, 7 G
Fabri, bo
Fe$ch. 70
Geminiani, 70
l.(cla»r, Co
Luhlein, 30
Maio ((»iua.), On
MysItvT^ek, 2u
Nich<rlniann, 40
■Plcycl, t June
Kaimocidi (I.), r. jh>
•Keeve
tS<arIaM»(D.), 7 i,‘i 3 Ji.|y
Schwindel, 90
fSianuiz (J.), 3<K 27 Mar.
Tracua, 30
VaJlolTi, Co
*BellaAty, Jacebu*. Pe.
*tUabc. William. Li. fo. Pa.
«Dridel. Phibppe Cyxiaiiw. li.
Po.
*CaMva, Anionio. Sc.
t Cibber. CoBey, 86. Ac. I>f. P.*.
TFoiKewlte, Bemanl La Boticr
•Ic, leo. Pa. Dr.
*n>Uray. Jamn. Pa.
*K«mbl». Joba PbiU|». Ac.
f Ntuarr, lUlisard, 4^ Ih. I.i.
•75$
UattUhill. 9u
tDagiftcouri, <. 74 , 18 June
tFa»ch {J. P\)» 70 , 5 Due.
Franeceur, 60
Gavinids, 30
•Gcijntk, 3 Dec.
Cuglxelmi (P. A.), 30
Hiller (J. A-), 3 o
tLevtrklgr, c. 88 , 22 Mar.
LofTOKino, 60
Muihrl. 40
Nebra, <. 70
PtccinnI, 30
Prcdicrl, 70
RcuTler fj. A. K. 0.), 50
Rolle, 40
tKoman, 63 , Oci.
Sammariini (C. B.), 6 u
•Schack
•Zeller, 1 1 Dec.
*Haaail(on. ElUabcib, Li. Nn.
*Koppocf, Joha. Pa.
* MiHiden, Jocepli* Ac.
*.'iauDyUi. AkaaA^er. Pa.
Pkrre Paol. Pa,
*Rafmar, Allan, 79. Po.
*\'enm. Horace. Pa.
<759
.\bos, 40
.\dJ|asier, 3 U
Avuon, 50
Benda (F.), 50
Uampi, <. 40
DUcertdorf, 20
Duni, JO
•Duquetno)'
Gattfflann, 30
Gibbi (J.), 60
tGraun (C. H.), 53 . 8 .\ug.
tHandcl, 74 , 14 Apr.
Haae, Co
Maid ere, 30
MaAtrcdini, 20
Momigny, 30
Rkhtcr (P'. X.), yi
Kw(, 90
SablMiini (L. A.), 2 u
Sarti, 30
Solcr, 30
VaAka), 90
Zach, 60
•BceUord, WilKam. No.
'Burnt. Knbrrt. Pe.
tCa>lliiu, WiNiam, jB. Po.
*l 4 aftd, Aho»i VViliKlin, Ac.
Dr.
'SchtUtr, KnrtlcHli. Ho. Dr.
*W«*lltiunr«ran, Man lOodwiii).
li.
17 C 0
f Abot, 40 , Ocl.
Agrkola f J. F.), 40
Ania, t. 60
Ame (T. A.), 50
Amc (M.), e. 20
Am^ (&}, 90
Bach (W. F.), 50
Boooo, 30
Boyce, r. 50
•CkenilMni, J4Sepi.
•Dussek, 19 Feb.
t Fabri, G 3 , 19 Aug.
486
APPENDIX I
F«ciaroli, 30
tFiJu, c. 30 Mar.
Fischitftli, r. 40
Giordani (T.), e. 30
Ciornovichi, r. ao
fCraupoer, 77, 10 May
Hdpken, y>
Jackjon (W.) (i), 30
•Louciir, jj Feb.
LoUi, c. 30
Me>Tr von Schauerwr, 40
Muffat (Gotilieb), 70
PaUicllo, do
Roseingrasx (T.), 70
Sacchini, 30
Schoben. t. 40
Webbe (i), 90
*Zumstec^» lojan.
Johann Filler. Po. No.
*KoktMai, KiTiiihitt Pa.
*MAraiin. Uandro Fmantkr 4e.
Po. Dr.
tQMaciM, Omboimo, Pa.
tWunMfion. Maramc
46. At.
1761
AgrcM, 60
Darth^lemon, so
C^nnabich, 30
tFco, 70
tFcKh, 73, 3 Jan.
* Fomin, 16 Aug.
*Gavcaux, Aug.
Cheyn, 40
Orrery, so
Halkndaal, 40
Holzbauer, 30
Jannaconi, so
Kirnbcrger, 40
*Kunzen (F. L. A.). 24
b<pc.
iatilia. 30
Lucchesi. so
Martini (J. P. A.), so
Mauheatm, do
Mondonvillc, 30
Naumann, so
Peres, 30
Pugnani, 30
R^bel {F.). 60
Telemann, 80
*KolMbuc< August FrMrich <rwi.
Df-
"Nfathinon. FranJrieh von. Po.
*Opie. John. Pa.
fRirhanhon. Samuel. 79. No.
1763
Aleuandri. 30
Aranas, ao
Benda p. A.), 40
tCUmpi, e. 42, 30 Mar.
Eberlin, 60, 19 June
OuignoD, 60
Haydn, 30
Icuanguine, c. 20
•Kelly, Dec.
Maio {Gtov.), 30
Nardini, 40
fNichelmann, 44, 20 July
•Portugal, 34 Mar.
Rousseau, 50
Smith (J. C.), 50
Tariinj, 70
*IUil!le, Joanna. Po. Or.
tBoucharOen. Eilnw, $4. Sc.
*Ch4mer. Andre,
*Colotaa. Ccorte. jun. Dr.
tCrebUlon, Prosper Jolyot dr, Sd.
Dr.
*Jordan. Dorotlien. Ac.
tMooiafu. Lady hlary Woriley,
T). Li.
tRoubiilae LowH Franeo)*.
Sc.
1763
Abel, 40
Beck (F.>, 40
Boccherini, 20
Dauvergne, 30
•Ferrari (G. G.)
Gasaaniga, 30
tCeminiam, 74, 17 Dec.
•r.Guglidmi (P. C.)
•Gyrowetz, 19 Feb.
King (M,), 30
Krebs, 30
Lima (J. F.), 30
Linley, 30
•Mayr, I4june
*.M^hul, 22 June
Rameau. 80
Sala, 50
Staoley, 30
•Stonce, 4 Jan.
Tritio, 30
Uiiini, 40
YBvfom, John, jt. Li.
*ChaudM. Antoine DcoU, Sc.
•Cobbeu. WiUiam. U.
tOalin. OtoTvoo. 95. Po.
Jeao Paul (itt Rioter)
*Haif<f«. Xavier dr. Li.
t Marivaux. Pfene dc. 7). No.
Or.
*KtortBBd. George. Pa.
f PrCvoel d'Exilet. Anioine FraA-
400, as. No. Li.
*RkhMr. Johann Paul C'Jran
PauV). No.
•R<«eR. Samuel. Po. Li.
tSbcmione. Wiiliam. ah P»-
• I'elma. FmiHoi* Joeeph, Ac.
APPENDIX I
487
Bach (C P. E.), 50
Cooke (B.), 30
Daquin* 70
•Fcdcrid
*Fioravaji(i (Val.), ii Scp4.
Gluck, 50
Gossec, 30
HomUius, 30
JommelU, 30
Kamieri^i (M.), 30
•Lavotu, 3 July
fl^lair, 67» 32 Occ.
i Locate! Ii, 4^ r Apr.
LohcUus, 40
tMauheson, 82, 17 Apr.
IVsceiti, (. 60
tRameau. 81, r 3 Sept.
Toeichi, f. 40
tAlganMli. Frjncrte*. IX
*8MCrvn. J«A» iMSkMiKt IV
*CW«icr, Jmeph. Po.
tOKirthiU. Chvics. )). IV
rite4«lev. KoU«i.6t. U. IV
VVilliAfn, 67 . N,
UJ*v4. Robert, SI. IV l>r.
•Nieu«U^. Pkier. IV
RkdchfTr. Ann (m W«/iJk
* Sehadvw. JdhaiM UMifrcd, Sc.
•W»r«l. Aftn (R»4<U1t<t. Ne.
J?8S
t^\greU, 63. 19 Jail.
* Atwood, 23 Nov.
Bach (J. a), 30
Berloni, 40
Clafaro, e. 30
Cocchi, e. 30
DdMc. c. 30
Dibdin, so
■Cyblrr, 8 »b.
Fiorillo (I.), 30
•Ulinmr!, 20 No^'.
Mercaux, 20
Narr*. 30
•Ofiitokl. 7 Sept.
RinaUo di Capga, c. 50
Schwrilter. 30
Slamila (C.). 20
•Sldbeh, 23 Oci.
Vento (M.), 30
^^'agclUcU, 50
Mano*! Maria BarboM
dc.
*KarM(M. Nikolay Mikhailo-
vkk. LL
tLonoeasMv, klikhail A'aaik«
vkk, S4. P».
tMalki foris. MaHocbl. David.
60 . Po. Li.
FVounr. Edward, c, S», Po.
1766
Bini.so
*Callcoit, 30 Nov.
Cambini, 20
*Ebcrl, 13 June
Fasch (C. F.)i 30
GaJuppi, 60
•Get!, s8 Oci.
Giardini, 50
Hartmann (J. E.). 40
Hook, 20
•Kreuticr (R.). iC Nov.
LampuRnanl. Go
Lusiig. Go
Martini (G. B.), Co
tMbsdn
tf.PrteeMj, f. 63
Philklor. 40
tPoTporm, 79, Frh.
Rauzzini, 30
fRosdngravr (T.), 76, 23
June
RotUcr. 30
Sergf, yt
Slarzrr, 40
tSuama>r
Umlauf. 30
38 Mar.
•Waky (S,), 24 Feb.
*M«onirKtd. Robert. Po,
JwhnAa Chriiioplk.
M. U.
^Xetkar. Anne LomUc Germaine
{MmedeSiael). Li. No.
*QuiA. Jaam, ?}. Ar.
.Sta«l. Anne LoviM Ormaine
dc iMt Knkn)
1787
.Xofoiii, 40
•Brrton, t? Scpi.
I.dlilein. 40
Maio (Gius.), 70
•MuJIcr, W'enzcl, 28 Sepl-
Mytlivciek. 30
tPredieri, 78
Quanta, 70
Raimondi (I.), r. 30
•Rombci^ (A.), 37 Apr.
•Romberg (B.), t2 Nov.
f Schoberi, r. 67, 38 Aug.
Schulz. 20
Schwindel, 30
tTetemann, 86, 25 June
Tractta, 40
Valloiti, 70
tbrv««. Mkbael. *i, IV
"Cdfeworth. Maria. No.
•babry. J«on Rapiitie. Pa.
*.SeMecH, Aupa< Wilhelm von.
La. Po. Dr.
436
APPENDIX I
1766
Bauishill, 30
Floquci, ao
Forster (A.), 20
FrAfic<Eur, 70
CaviAib^ 40
Guglielmi (P. A.). 40
Hiller (J. A.), 40
tMaldere, 39 , 3 Nov.
MQthela 50
*r. Nasoliai
fNebra, r . 80 , 11 July
Neefe, 20
Picciruii, 40
Reuller (J. A. K. G.), 60
RoJIe, 30
!>amcnarttnt (G. B.). 70
Shield » 30
Stadler» 20
tCaaalr. Anieme iC*n*k«io).
P*.
•ChiUMbraod. Frukcoii Hen*
d«. P»,
tPrufAni, Carlo (Anoc«iuio, 74.
Pe>
fSierne. LauiVAc*.
fVS’incfedniana. |oh«nA JoaeliMn.
Li.
t7«9
Adlga&ieri 40
*AHdit 30 Au|.
Avison, 60
Benda (P.)» 60
CimaroM, so
Dittendorf, 30
Duni, 60
*£Janer, 29 June
Gas»niann» 40
Gibbs (JO, 70
•Cneeco
Hasse, 60
*LicUf 1 J Apr.
Manfredini, 30
Monsigny, 40
■Penuis, 4 July
Richter (P. X.). 60
Rust, 30
Sabbatini (L. A.), 30
Sarli, 40
Soler, 40
VaAhal, 30
Vof ler, 30
Zach, 70
'Alfiman, Amlia (air& O^J.
No.
*B«rk«r. ThoetM, s«n. Pa.
*<2>diMdolU, Charlea Julirn
Licult da. Po.
"Cromc, Joko. Pa.
rPalMMr. Wninaw, S7. Po.
TCalktl. Chrwiian Furcataaotl.
54 . Po.
*Lawr«nc«, llumaa. Pa.
OpM. AoKlia {m Aldenoo)
*0><rov. Vladkbv Alesaodro*
vich. Dr.
tT7«f»do, Gwvaoai Battuta, 77.
Pa.
1770
Agricola (J. F,), 50
Ajto (M.), c. 30
Arne (T. A.)»6o
Arnold ($0, 30
tAvison, 6t, 10 May
Bach (W- F-), 60
* Beethoven, c6 Dec.
tBini, 53, Apr.
fionno, 60
Boyce, e. 60
Fenaroli, 40
Fischietii, e. 50
FrigeJ, ao
Giordaru (T.), r. 40
Giomovjchi, e. 30
Hbpken, 60
Jackson (W.) (j), 40
Lojy, e. 40
fMaio (Ciov,), 38, Nov.
Mattel, so
Meyer von Schaucnsce, 30
fMuflai (Gottlieb), 3o, 10
Dec.
Paisiello, 30
*Reidia, a6 Feb.
Sacchini, 40
Salieri, 20
Smith (J. $.), so
Sterkel, so
fTartini, 77, s6 Feb.
Verheyen, f. so
*Vitisek, 3$ Mar.
Webbe (i), 30
r.Webbe (ii)
t Boucher, Francoit, 67. Pa.
tCbattcnoa, Tboms. i9. Po.
lOfAaroU. Giovanm Bctiioo. 64.
Pa.
tCwei. Franeu. 45. Pa.
*Gerard, Fraocon Faecal. P«.
jamn. Po.
*Hold«clin, Johann (aimtian
Priadrt^. Po.
*Tberwa2d(eA, IkrWi. Sc.
*Wordiwortb, William. I**}.
I77>
*BaiNot, I Oct.
Bartb^mon, 30
Cannabicb, 40
*CrarDer, 34 Feb-
Gbeyn, 50
Orftry, 30
HeUendaaJ, 50
APPKNDIX I
Holzbauer, 6o
HuJIm^ndel^ 20
Jaonaconi, y»
Kimbcrgn*, yf
LaMma, so
LatiJIa, 60
Lu€chni» 30
fMaio (Oius.)> 7 $> r8 Nov.
Martini (J. P. A.). 30
MoAdonviilr, 60
Naumann, 30
•Paer. (June
Perea* 60
Pugnani, 40
R^bcl (F.)» 70
Sicgmann, t. so
*S(eginaycr, 29 Apr.
Chirki Brvcbdrn. Na.
fOrav. TIiMM*. ^
f Uawk A«b)rii. $ 6 .
l.i.
*Moniaon»rry, Jsmn. 7i>,
tV'Alwr, Pb. No.
t^fBari, C;iir»iopltrr. 4 ^ Fit.
tSmelktt. U'ebiM, No.
Li.
Alraaandri, 30
Aranaz, 30
Benda (J. A,), 30
Bianchi* 20
Bortniansky. 20
CJcmrmi, 20
TOaquin, 77, 15 June
Ggignon* 70
Haydn. 40
Iruangvine* e. 30
Knechi* 20
*Liverali* 27 Mar.
Marah* ao
fMondonvilk, 60, 6 Ocl.
Nardioi, 50
Reichtrdi* so
tReuuef<J. A. K- C.). 6 %,
1 1 Mar,
Rousseau. Co
Smith (J. Cl), 60
Zingarelli, 90
*Bird. £«lw&hl. IV
* C :i>h n o»o^lB». Aai4n»»i«».
*Cct«n4t*. ^miKl ToylM. Po.
*Cou«)rr rUe M<rei. PmI Log^
Ia.
Msrt AniMfM. Dr.
Po.
Fiau MkhwI. Pv
*H»rilcnl>frF. Friodrkfc
IV.
*S<hk(el. K«il M Acte Frktf
rka von. ti. No. Dr.
>773
Abel, 30
Beck (K.). 30
BocchWini* 3r>
*Catel, lojune
Dalayrac, 20
Daus’crgne, 60
FiorSllo (F.), so
Gaasaniga, 30
•GeoeraJi, 23 Oct.
Giordani (G.), c 20
King (M.), 40
Krebs* 60
bima i J. F.), 30
Linicy* 40
tQuanu, 76, 1 2 July
SaU* 60
Schenk, so
Stanley, 6a
Triito, 40
Uttini. 30
•\Voelfl. 34 D<t.
t ?2aeh* 73
*Rrrr, Mditliioi xjn.
Pa.
* C *aBapi. Aoionio, Fo.
*Ca«iuAkM. Sort of (Pliihii
Demer SiaahopeK 99. Li.
*C«okoAay. Vker Mxtitlv. Pa.
>774
f Agrieola fj. F.), 54, 2 IJec.
Dach (a P. £.), Co
Cooks (B.), 40
fCaantann, 44. 20 Jan.
Gluck, 60
Gosaec, 40
t Gulf non, 71, 30 Jan.
HoRiiliui* 60
tjommelli, 59, 23 Aug.
KamieAaki (M.), 40
Lohelius, 30
Mantn y SoJer* an
•Rode. 16 Feb.
•Sponcini, 14 Nov,
Toeschi, r. 50
•Tomalek, 17 Apr.
•WeyK, $ Mar.
SVincer, so
•Dr Como, kloru I bcicvj
IKomblc). Ar. Dr,
•Enirtoo. Robert William.
f Frifusoe, Kobm, 94, Po.
tColdiBuih. Olirer. 46. Fo. No.
Dr.
•OuMo, Ptrrre Narchse, Pa.
K«mW«. Maria ’Jtirma tm tk
Campi
•boMibry, Robert. |V I4.
APPENDIX I
4n'>
*775
Bach (J. O, 40
♦BainI, 21 Oct.
Bcrtoni, 50
*Boieldieu, c6 Dec.
Cafaro, r. 60
•<Uv«
Cocchi, <. 60
•Croicb, 5 July
Dcz^dc, e. 30
Dibdin» 30
tDum. iSt tt June
Fiorillo (I.), to
Grcsnick» 20
*lsouar(l, 6 Dec.
Mercaux» 30
Nam, 60
*RadtiwiU, Jejune
tR#bcl (F-), 74, 7 Nof.
tSammaMini ( 0 . B.)» 76,
J»n«
•Schweitzer, 40
Siamitz (0» 30
Vento {M.), 40
ViotU, 20
Wafcnseil, to
*AbHl«n, JaiK. No.
tBtIloy, Dormeni 4S. Ar.
Dr.
*Girii9t. Thomas, To.
•KrmMo.Caiarkv A<.
*Umb, Chorln. li.
'Landor. WaMer Savaft. Pi*.
No. ti.
*L«wis, hlactkcw Crrtorr
C‘ Moot *'). No. IV.
*Ne«a» AltarM. Or.
‘.Sherwood, Ma/y Martha. No.
* rumor. Jecoph Mallard Williain.
Pa.
1776
AhUtrdni, 20
Camblni, 30
Pasch ( 0 . F.>. 40
Galuppc, 70
Giardini, to
Hartmann (J. E.), 50
Hook, 30
Lamptignani, 70
Lusiig, 70
Martini (G. B.), 70
^fo^al’l, 20
PhUidor, 50
Kauasini, 30
Righini, 20
Rosaler, 30
Seegf, to
'Sey fried, J5 Aug.
Starker, 50
Turk, 20
Umlauf, 30
Vertto (M.), 4t, 22 Nov.
Wraniuky (P.), 20
*Comiable, Johe. Pa.
‘Giraud, Gkivaooi. Dr,
‘HofTmanft, Em««( Theodor Wi(.
helm (later Amadeus). No.
tl^inane, Jeanne do. 44. IJ.
*Maih«wi. Qiarloj, ten. Ac.
*777
f Adlga»cr, 46, 23 Dec,
Anfocsi, 50
Lohlein, 30
Myslivetok, 40
Pleyel, SO
Raimondi (I.), e. 40
Reeve, 20
Schulz, 30
SchtxiAdel, 40
Tract la, 30
VaKoitj, to
tWagemeil, 6a, t Mar,
‘Bartobni. torenio. So.
‘Oamphell, Thomas. Pn,
tCrdhtilos, Claude Jdyoi de, 90.
No. Dr.
t Foote. Samvel, jy. Ac. Or.
Fouque. P. H. K. de La Meiir
(srv La Mottc)
‘Crertei. Jeaa Ba^ote Louis. 6S.
Po. Dr.
tHaller, AIhroeht von, 69. Pe.
tKelfr. Hu|h. )«. Dr. Li.
‘Klein. Hcsnrieh *on. Or. No.
*La Mmu Fouqu^, Friedrkh
Keitukh Karl de. Po. No,
‘Raoeh. ChruUae Daniel. Se.
‘Kuofe, Philipp Qtio, Pa.
1778
tAmc (T. A.), 67, 3 Mar.
BaubMJI, 40
•Fbchcf (A.), Jan.
Floquei, 90
Foratcr, 30
Francosur, 80
jGasparini (QJ, it Oct.
Cavini^ 30
Gclinek, ao
GugJielmi (P. A.), 30
Hiller (J. A.), 50
fHdpken, 66, a8 July
•Hummel, 14 Nov.
Muthel, to
Necfr, 30
•Neukomm, to July
Piccinni, 30
RoUe, 60
fRcHisseau, $6, 2 July
Schjck, 20
Shield, 30
APPENDIX I
40 *
SiadJcr, 30
Zelter, 20
*BrenUfK>« Ctcmcos. IJ. ^o.
*FoscelA, fo.
WiUkofc. IX
tPfniiifiii. Je*n-jMQun» tt. Li.
N*.
•V»rlev. Pa.
t\'ollaire» Jean Fraafeis X(a/w
Afogrl «l«. f.i. I>t.
»779
Benda (K.)» 70
tfloyce, <- M, 7 Feb.
CHitiaroaa, 30
iJillendorf, 40
Lhaquesno^,
Ciibhs (J.), 80
Naaae, &>
Mantrcdini. 40
Monaigny, 30
VcrvtM
Richter (K X.), 70
Ruit, 4<>
SabkMtini fU .V), .|n
Sani. y»
Holer, ju
t rraeiia, 39, G Apr.
VaAhal, 40
Vogler, 3«
*<’4Hcoii, Amiv»iu< Watt. Pa.
tCharJln. Jeaa 8a. |*a.
t<rkMp|w)iflab, TlH»ma*, r. 8i,
<U.
*<Uh. Jnhn. No. Dr.
tOarrHb. DavkI, 69. Ac. Ur.
*Moorv, TImoxo*. Po. li.
*0«hkM^lilM«r, A«laai, Po. Dr.
*PaitMinc. JaiitA Kiibe, No, J i.
'Smjih. H'ftsiHt (H«rac<*j. Ji.
1780
Arnp (M,). r. 411
Arnold (S.), 40
Bach {W. F.), 7«i
Bonno, 70
Oherubini, to
D uuek, TO
Fenaroli, 50
Fiachieui, <. 60
Fflgel, 30
Oiordani (1*.), t, 30
^fionm'tchi, r. 40
Jaebon (VV.) (i),^©
tKrebs $ 0 , t. 1 Jan.
■Krcuuer (K.), 22 No»'.
I.e 9 ucur, 91)
Lolli, t. 30
Mattel, 30
Meyer von Hehaiirnsre, Co
Paisiello^ 40
Sacchini, 30
Salieri, 30
Smith (J. S.), 30
Sterkel, 30
tVallotti, $2, 10 Jan.
Verhr>*cn, e. 30
VVebbe (i), 40
Zunuieeg, 20
*lkraiicer. Pierre Jean <le. Pn.
tUelTand, Marie du, 83. L».
*Keanev. JaOMC. Dr.
•UMaw, William. P<*.
*Nodwe, t'iwrlef. .Vo.
1781
BarthrlemMi, 40
Cannabich, 50
Fomin, dO
GavTaux, 30
Ghe^’n, &>
Grrtr>', 40
Hellendaal, Co
MoJzbauer, 70
HullmaiKlel, 30
Jannaconi, 40
Kimberger, Co
Kuiuen (F. I.. A.), to
tLampiignanj, 75
Laaerna, 30
t^lilla, 70
tLohlein, 54. 17 Dec.
Luccheti, 40
Man ini (J. P. AJ. 40
tMyaliwerk, 43, 4 IVb.
Naumann, 40
Pugnani,
Stegmann, r. 30
*.Vfitun. Lvd«»ix AcliirM «mh.
N. No.
*< 9 Mm(>«e. <\ 4 allxri von. Po.
N«.
‘Uiantrev. Framn.
*EBiau. Ehenraer. Po.
tCwaU. Johaaner, )M, Po,
*ln(m, Jean Aufu«ie Domiiiioue.
Pa.
fl.e«ini. OomIh 4J tfrluaim %t.
li. Dr.
*Vartev. t^ieliu*. Po,
1789
Alessandri, 40
rVranaa, 40
•Auber, *9 Jan.
tBaeh fj. C.), 4C. I Jan.
Benda (J. A.), Co
Biaoehi, 30
Bonruansky, 3r>
Ctementi, 30
•Cooke (T.)
•Field. 9C July
492
APPENDIX I
Haydn, 50
Iruanfuiof, c. 40
Kelly, 20
Knecht, 30
30
*Ma2as, 23 Sept.
Nardini, 60
•Paganini, 27 Ocl-
Portugal, 20
Reichardi, 30
Seegr, 66, 22 Apr.
Smith (J. C.), 70
ZingarelH, 30
* Blkh«r, Siern SicriM«n. N>.
*CoimAn. Jobs SMI. !*«.
"Perrier, Sutaii EdmMHioec.
No,
* MAturin, CliArki Robert. No.
Dr.
"Nkcolini, CiovAMii BaiiisiA.
Pii. Dr.
tU'ilron. Rkhird. 66 . Pa.
>783
Abel, 60
Beck (F.), 60
Bcccherini, 40
DaJayrac, 30
bausTTfne, 70
J'crrari (C. G.), 20
FicrilJo (F.). 30
Gaiaanif a, 40
•Ceijef, 12 Jan.
Giordani <G.), r. 30
Guglielmi (P. C.), c. 20
C)Tnweu, 20
IHaiee, 64, j6 Dec.
tHolabauer, 71, 7 Apr.
King (M.), 50
tKimbcrger, 62, 27 July
Lima (J. F.), 40
Linlcy, 50
Mayr, 20
M 4 huJ, 20
fNarea, 67, 10 FcU
SaU, 70
Schenk, 30
fSoler, 34, 20 Dee.
Stanley, 7a
Storacc, 20
Tritio, 50
Uiiini, Co
*De>l«. Henri (SerndhAl). IJ. So.
7 Bodmer, JohAAfi Jokob. 6$. Li.
Po.
tBrookr, Henry. 77. No. Dr.
"B>*MrOin, JoliAf) NiktAS. 2$c.
•C«enrlt«. Peter veo. Pa.
tCptoAr, Lownr d*. s7. Li.
"Hebcr. Rcei"*bl. tJ. ^
*Irvio«. H’orhinaten. Li. No.
Hirndlwl (u*
1784
tBach (W. F.), 73, I July
Bach {C P. E.). 70
Gx*c (B,), 50
Federki, 20
Fktravanti {Val.), 20
Gluck, 70
Goaec, 50
Homilius, 70
Kamkikki (M.), 50
Lavoiu, 20
Lohelitu, Co
Martin y Soler, 30
tManini (O. B.), 76, 4 Oct.
•Morlacchl, 14 June
• 0 «low, 27 July
•Rica, Nov.
•Spohr, 5 Apr.
Tocachi, (. 60
U'inter, 30
"Boroo, Bcraard. I^.
"CvMiACbM. AIUb. Po.
"Drvriroi, Lvdwif. Ae.
tlMtroi, Deny*. 7J. li.
*Hua(, L«i(Ii (lAfim Henry
Ldfh']. Li.
t M a ion , 6»mue1, 7 ). Li.
"Koowlei, itmci SheridAn. Dr,
"QuAflio, Anielo, mh. Ar. Pa.
"Wint. Pder dr. Pa.
1785
All wood, 20
Bertoni, 60
•Bo«]y, 19 Apr.
Cafaro, (. 70
Cocchi, e. 70
Deside, e. 40
Dibdin, 40
Eybler, ao
Florillo (I.}, 70
tFloquel. 3^ 10 May
tCalupp, ? 0 , 3 Jan.
fOheyn, €4, 22 June
Gresnick, 30
Himmel, 20
fH<»)iljus, 71, 5 June
•Kurpihski, 6 Mar.
Mereaux, 40
Ogiiuki, 20
tRolle, 67, 29 Dec.
Schw^iuer, 30
Stamiu (C.), 40
Sietbcli, 20
• r. TadolinI
Vioiii, 30
AraioA. BciiioA voo («r
fiCvnUfM)
"BreiUADo, BetiioA. 14. Po.
fCipriAAi. CkvAftni BAitiiiA, > 6 .
Pa.
APPENDJX I
m
tCivMU, G«uC«T Filip> $4. Po.
*Dt Quiecvy. ThocMv L*.
tOlwr, meWd, 73. Po. U*.
•Orimoi. Jakob Ludw if. U.
*^fafltoni• Alcsaodn). No.
Of.
*PeMoek, Thomas Low. No. Po.
tRodr^uez. VVolwra, 61 . Af.
17B6
Altbuom. y>
tAme (M->, t. 45, i 4 ja>».
fBcnda (P.), 76, ? Mar.
*6Uhop, iS Nov.
Callcoit, SM
C4ambini, 40
Cberl, 90
FakH (C- F.), 50
Cerl» 90
Giardini. 70
Harimann (J. E.), Co
Hook, 40
*Horr), ai Junr
Krruiacr (R.), 90
*Kuhlau, II Sfpl.
I.ustif , 80
Mozart, 50
Philidor, 60
*E^imondi (P.), 90 l)rr.
Raiuzini, 40
Righini, 30
Rottler, 40
tSacchini, 56, $ Oct.
"Schneider, 3 Jan.
"Schnyder, iB Apr.
tSchwiodrI, 43, 7 Aug.
tSianIry, 73, 19 May
Starzer, ^
SussmayTi 30
Turk, 30
UmLauf, 40
■Weber, iB Nov.
Wrlgl, 90
NVrtIcy (S.), ao
NVraniUky (P.}, 30
tRcHamv. Jasobui. ml Pm
‘Far. AfKitA. Po. Nm
*loe*ia*re, a nn dkl Crlwid. s«.
tCaul. Gaipofe. )). fo. U.
Wilhelm Kaal, Li.
tKeppkwhile. 0 «erf«. Cr.
*i{iUon, NMIIiam. Pa.
*Kemer. Justuius. Pn.
* Mwlreadr. Willian, p«.
‘Quaelio. DooKfiko, Jun. P^.
>7«7
tAbcI, aojune
Anfo&si, 60
Berton, ao
tCataro, r. 79, 95 Oct.
■Carafa, 17 Nov.
tPiorillo (I.). 79, June
tPranctrur, 88, f* Aug.
tClMck, 73. 15 -
Kfullcr (W.), 30
Pkycli 30
Rairoondi (I.), r. 50
Reeve, 30
fRodrlgueade HUa, 91 Frk
Romberg (A.), 90
Romberg (B.), 90
Schulz, 40
^Schweitzer, 59. 23 Nov,
fStaner, 60, 99 .Apr.
tlLatooi. Pompro OireUiTio. 79.
Pa.
•Ciiv, Witliiai. Pa,
•Fuddiat, AAihoB}' CopUv>
*Mi«rora, Mary Ruu«n. Pm Dr.
No.
*A|iaarHt, JokaAit Kart Aufuil.
57 . No.
*NasiByih, P«i«« (Patrick). I*a.
*Procter. Bvsan >Valkr. Po.
*k’hlaad. Johann Ludavg. Pe.
L«.
178 $
tBach (C. P. E.), 74 i •:»
Dee.
Bauisinll, 30
tBonoo, ?8, 15 Apr.
Fonier, 40
Gaviniia, 60
Oelinek, 30
tOibht (J.), 89, 19 Dec.
Gufitelmi (P, A.j.Co
Hiller (J. A.), 60
tLohelius, 83, 29 Feb.
fMutheJ. 70, 17 Jan.
Naaolini, e. 90
Neele, 40
Piceinni, 60
Schack, 30
•Sechter, 1 ; Oct.
.Shield, 40
Siadlcr, 40
fToeachi, r. 64, 19 Apr.
^Ucr, 30
*Baabam, Rkhirtl (Harrhj. ],i.
*Or>w, George Cordon. |V>.
*De V«re. Aobcey. Po,
*£«benderfr. Jotrnh von. Po.
No.
tCo«f»bneou«h.Tboma5,6i. Pa.
Salomon, >6. Po. Pa,
*H«ok. Theodore Edward. Dr
No. U.
"IMaludr. Kirely. Po. Dr.
*l.oc«'t. John. 40, Po. Li.
t MkU«. William Julho, 54. Po.
*Pcllico, Silvio. Po. Dr.
*RiKkm. Friedrich, Po,
Vew, Aohtey De (w De Verc)
404
APPENDIX I
1789
Asioli» 20
•Camiccr, 24 Oct.
Cimarosa, 40
Ditterydorf, y>
Duqucsnoy, 30
El$ner, 20
•F«ca, 15 Feb.
Gnecco, 20
Uckl, 20
Manfred ini, 30
•Mayjedcr, 26 Oci.
t Meyer von Schauensce, 66
9 Jan.
Mon$igny, 60
Persuis, 20
t Richter (F. X->, 79, 13
Sept.
R«i» 50
Sabbaiini (L. A.), y>
Sarii, 60
V’ahhal, 50
V'ogler, 40
T*4ev VrMdaMencK.
Li. N».
•C!«op*f, JSMi Fcnknere. Ke.
tOay. TImaMi 41. l 4 .K».
Hi kn. Willem. Po.
* Kean. Edmund. Ae.
*Kn«x, Wdliana. Po.
tl.ieiard, Jean Eikiuie, 67. Pa.
*Manin. JehA. Pa.
*^(arlirtct da la Rau. FraiKiua
de Paula. Pa. Dr. LI.
*Oirrb«ck. Johann Prkdrkk.
Pa.
MkKad. Ma.
i7$o
ArnoJd (S.), 30
Beethoven, 30
Cherubini, $0
Dussek, 30
Fenaroli, 60
Frige], 40
Giordani (T.), e. 6 d
U iomovichi, r. 50
Jackaon (W.) (i),6o
]<CMaruT, 30
*I.iptn»ki, 30 Oct.
Lolli, r. (k>
Mallei, 40
Pamrlk), $0
Reicha, 20
Salieri, 40
Smith (J. S.), 40
Sierke), 40
•Thranc, 8 Occ.
*Vaccai, IS Mar.
Verheycft, e. 40
Vititsek, 20
NVebbe (i), 30
^V'ebbe (li), r. 20
Zurmteeg, 30
‘Atlorbom, Per Daniel Amadcui.
Po,
*Jlocjeaoi), Johan. Po. Dr.
tCmta, Claudio Maiioel da, 6 i.
Po.
Joha. $c.
*HaiKh, Johannee Cafilen. Po.
Dr.
*Kun(, Williim Henry. Pa.
*Lanijritoe, Alphomo Marie
Loiut da Prai de. Po.
*Jtaimund, Ferdinand. Ac. Dr.
fWarien, I'liomai, 69. Po. Li.
1791
Baillol, 30
Barihdiemon, 50
Cannabidi, 60
Cramer, 30
•Czemy, 20 Feb.
Fomin, 30
Caveaux, 30
Criiry, 30
Helkndaal, 70
•Harold, 26 Jan.
HuJInundel, 40
Jannaconi, 30
ljuema, 40
tUiilla, 80
*Lindpaintner. 9 Dec.
lAicchesi, 50
Maxiini (J. P- A.), 30
*Mcyerbeer, 3 Srpi.
t Mozart. 33, 3 Dec.
Neumann, 30
Paer, ao
Pugnani, 60
Siegmann, e. 40
Siegma)‘cr, 30
•V'eFBek, n May
*BeMr, William Henr>' tVeM. A<.
fBlackloek, Thomai, fo. Po.
*Brod«iA*ki, Katimierf. Po.
*Caldntlt. Anne (Manli*
Caldwell). No.
*Dahlgrcn, Karl FredriL Po. Li.
*C^rieauU, Jean Leuu. P«'
'Urdlpartar. Feant. Dr. Po.
*HeilMre. Johan Ludvig. Dr.
tHopkintoA. FrarOi. M* hi.
tifucie. Tomtade, 4 '« 1 *^
•Komee, Theodor. Po. Dr.
Macib-Caldntll. Anne <nr
CaUwein
tSehuban. Chtuiian Friedrich
Daniel. $e. Po.
•Scfthe. Eut^ae. Or.
179a
AlessaAdH, 50
Aranas, 30
Benda U« ''•)* 7 ®
APPENDIX I
49r)
Bianchi, 40
Bortniaasfcy, 40
ClemenU) 4Q
c. 47
Haydn, 60
losanguinc, (. 50
KtUy, 30
Knecht, 40
Kunzcn {F. L. A.), 30
L(\'erati, 90
Marsh » 40
Nardini. 70
PonufaJ, 30
RcicKardt, 40
*Rc«Mni, 99 iVU.
tkwsJer, 45, 30 June
Smith (J. 0» 80
2mgarclli^ 40
fAJam. R«b«n, 64. Ar.
1 AppUlWt FfAIKTMO^ 90. Pa.
*8araiifukv, Cvlray Abramovkli.
Pe.
*i)ar/vtaa/d, Iknrik Anhcr.
Fo. tu.
tBwRornf. Jvhn, f«». Dr.
* r. ChiiKolA, AUxaa^r. Fa.
*Cniiluhank, Oearta. Fa.
jakana L»>
tLans, Jahab Mulucl HnaltaU,
«i. Po. Dr.
* .Vtak MWik«. AftWM. Fm.
*K(arrTi<« Fr« 4 rr«l. .V<\
T Kavnal^ {iitt Jaahua. 49. Pa.
*HhcU«>, PrfCr Br^hr. Fw.
*793
Ikek (P.), ?o
bocchrbni, 30
Caicl, 90
f Cooke (B.), 59, HSepi.
Dalayrae, 40
Dauvergne, 80
Ferrari (G. 0.), 30
Fiorillo (F.), 40
GaunnJga, 30
Generali, 90
G*ordani (C.), c. 40
GugJielmi (P. C.), t. 30
Gyro'^'eu, 30
fHartnunn (J. E.), CC, 9 1
Oci.
King (M.), 60
Lima {J. F.), 50
Linley, 60
Mayr, 30
M^huJ, 30
fNardIfti, 71,7 May
Sala, 80
Schenk, 40
Storace, 30
Tntto, 60
Uumi, 70
Worjfl. 20
*AlaaQV'iM, Cart Jona* l.ov«. Li.
*Bodt<hrr, Uudwe Adolph. Po.
*BrowDe, FebcSa Dorvihra
(Hemaitf). Fo.
*Clar«. Joho. Po.
■Co*. David. Pa.
■Daabv. PraiKii. Pa.
■DclAvtgBe, Casinur. 1*0. Dr.
■Ceckhoui. Jacob Jo««ph. Pa.
9 GoU«*i. Cario, 9 ^ Dr.
fCoAtaca. ToBtdt Anloaio, 46.
Po.
tCuardi. Fraocctco. Bt. Pa.
Hmom, Fekrria tin Browiir]
*htaer«adv, William CSo/ks.
Ac.
■Quavlin. l.oTi'or. Pa,
»7M
Fedcrici, 30
Ficravanii (Vat.), 30
CoMre, (>c
Kamiertskj (M.), 4^
Las’oua, 30
Martin y Solrr. 41)
*MoKhelei, 30 May
Rode. 90
SpoAiinu 90
Tornakk. w
H>>V, 9i)
\\’inier, 40
t.Wam, JanMi./. Ar.
*Brvaii(, Wilhim C«ilkn. Po.
IKorter. Oonrxkd Au«Uii. 43.
Po.
Nkolai dr, 4S. Li.
iCMatirr. Andre. )a. Pk.
tColman, Oorge, ten,, Br. Dr.
lFal>red*F 4 knrinr, Pliilipix.
Franfoii, 94, Dr.
tPlorion, J«an Pkrre Oarir «lr.
M. Po. Dr.
tCibhon. tdoaril. j}, ].i.
■(•rote. Ceorae. U.
•Kork. Paul tie. .Na.
■Lerfac. Cliarlct Aebrri. Pa. U.
■Molkr. Pool Marlin. No. JV.
Lr.
•MMrr. SMIhelm. Po,
f.Vecbcr. Sueaitne {h Curebed;.
aa> Li.
tNicawlaod, Picier, 90. P«,
■Schaorr von Carahfeld. Juliuj.
Pa.
•Stark. Jatnei. Pa.
>785
Allwood. 30
Baini, 30
tBcnda (J. A.). 73, 6 Not-.
Benoni, 70
BoieMaeu, 90
Cavoa, 20
Coechi, c. 60
Croleh, 90
Dibdin, 30
APPENDIX I
EybJcr, $0
Gr«tnick, 40
HijDinei, 30
tlnsangyiiw, e. 52, 1 Feb.
IsouArd, 20
tLinJey, 6a, 19 Nov.
"Manchoer, t€ Aug.
•Mercadanie, Sept.
Mereaux, 50
Ogirtski, 30
*Pear»aJI, 14 Mar.
tPhllidor, 68, 24 Aug.
Radziwill, 20
tSmiih (J- C.), 83, 3 Oct.
Stamitz (C.), 30
Sieibelc. 30
fUtiini, 72, 25 Oci.
Viotli, 40
•B**ry. Ch»ri*i. At.
*8«ry«. Antoine Louie. Sc.
tBellinMi, Knrl Mikeel. 55. Po.
tBoevcH. Jemet. SS. I.i.
*Sr«ok*, Marie. Pe.
*Cerlyle» Thoniee. Li.
*U*rIey, CeoTf*. Po.
* Griboyedov. Alexonder
Serfcvevkh. Pe. Or.
*Ke«n. Johft
f KeHfren. Johen Henrik. 44. Po.
*KerHMdr. J« 4 n Pendkeoek No.
* OuacMa . Geoetee. Li.
* Poiidori. joha HilUea. No.
*^eelio, 3 *moa. Ar. Po.
•Scheffer. A/r. Pa.
tVS’edpeeed. iodoh. 62. Gr.
1796
AhUtrom, 40
*BerwaJd, 2$ July
Callcott, 30
Cambini. 30
Ebert, go
Faich (C F.), 60
Gerl, 30
tGiardini, 60, 8 June
Hook, 30
Kreutcer (R.), go
•Loewe, 30 Nov.
tLualif, May
* Pacini, 17 Feb.
Rjuxiini. 50
Righini, 40
fRust, 56, a6 Feb.
Seyfried, 20
tSioracc, 33. 19 Mar.
SuascDayr, 30
Turk, 40
tUmUuf, 30, 8 June
Weigl, 30
U'eaJey (S.), 30
Wraniizky (P.), 40
*Banim. Mkheel. No.
•SnkoM. BerBt*erd von. Po. Or.
•Booth. Junius Bmtui. Ar.
•Breidn de las Hermos. Maauel.
Dr.
f Burn*. Robert, 97. Po.
•CDte/idfe. Hanl^. li. Po.
•Coroi. Jean Bapiiste. Pa.
*Ocbureau. Jean Baptiste. Ac.
•Okie, Gcorie Robert. Li. No.
•ImmersuAft. Kart L«br«<ht.
Po. No- Dr.
•idsika. Uikidi. No.
t Maepberson. Jattws, 60. Li.
•Ptaten. Aufust von. Po. T>t,
•Roberts, David. Pa.
>797
f AnJbaai, 69, Feb.
Berton, 30
tOauvergne, 83, u Feb.
"Doniaetli, 29 Nov.
* Mil ray, 23 Nov.
tMereaux, 52
Muller (W.), 30
Pleycl, 40
Raimondi (I.), e. 60
Reeve, 40
Romberg (A.), 30
Romberg (B.), 30
*Schubcrt, 31 Jan.
SchuJt, 30
•Betiushev, Alexander. No.
BttiiuL AJbrechi (nt Coiihetf,
Jeeeimai)
•Detaroche. Paul. Po.
•DroeM.Nulaboff, Annette von.
Pa.
tCodwia. Mary Wellstenccran,
tea.. 90 . LL
•Godwin, hlary WolUtonccraK.
Jufi. No.
•OwihelL Jeeemiat (Albrecht
Pitiiui). No,
•Heine. Hrmrich. Po. No.
•Hiroehifc (Ando Tokitaro). Pa.
•Lover, Samuel. Po. No.
fhladiJin. Chartae. r. too. Ac.
Dr.
t Mateo. tl'iHiam. r. 7$. T«- Hr.
•Molhenvell. William. Po.
ShelleVi Mary (<rr Godwin;
t Walpole. Horace (Carl of
Orftrdl.So, Li.
1798
f.AJesaandn, 56. (5 Aug.
Baltiihill, 60
fCanoabich. $ 6 , 20 Jan.
Fischer (A.), to
Foncer, 30
Oavini^ 70
GellAek, 40
fCiordani (0-), t. 44. dJan.
•Gtaser, 1 9 Apr.
Guglidmi (P. A.), 70
HUJer(J. A.), 70
APPENDIX I
497
Hummel, 30
•Lvov, 6 June
Nuolini, <, 30
tNeefc, 49, 36 Jan.
Neukomm, 20
Piccinni, 70
tPu*nani, 66, 15 July
•Rci*$Her, 31 Jan.
ScKaek, 49
Shield, y>
Stadler, 50
Zeller, 40
*AiF(lio. T«p«r«lk
Li. Vm.
*B4Diin, Idm. No. Dr.
Aufiitw francuH. Pa.
*Biuen, HrnnaA Vilbalm. S<.
tC*uneva Srinvali. CiovanBi
JaMlpo, 7 ^ Li.
*Cetia, l»aM <Ia. Pe.
*DrlMrvia. Pj.
Hrerik. Pe, t>f.
*l 1 onnwfiii, .AuKinl HdnrkK IH.
ton killtfikbnK Po.
*Mohri, Karl £<tuar 4 voe. A«.
Dr. StK Po.
* 7 i*min, Jaequn {Jar«|wr« Bo/i.
Pd.
*Leon*rdi» OiaewfiM. Pw.
*Mukirwki. Adan. P«.
*SaMiiine, iairpa. N*. Dr.
‘Kolomvi. DionytiM, Pb.
>799
Aaioli, 30
CimaroM, 30
tl>iticr»dc*ff, $<►, 24 0<t.
Duque$noy, 40
I'/lsner, 30
•I’ioravanil (Vine.), 5 .\|)f.
Cnccco, 30
IGrewick, 44. 16 Oci.
•Hal^, 27 May
t HcMenOaaJ, 76, 26 Apr.
Uckl, 30
t Manfred In I. 59, 16 Aug.
Moruigiiy, 70
Penuis, 30
Sabbalim (L. A.), 6a
Saril. ?o
VaAlial, 6u
•Witiovsky, a Mar.
Vofler, 50
*aal<ar. Honored#. No.
*BrM*tarckaH. Pkrrv AufuuSn
i^tondc, 67 . Dr.
*llrylov. K«n»Uoi(B Pavlorkli
I'a.
JetM Robert, 47. Pa.
*H<>od. Pe.
*JatiKs. Crorre Payne Ran/onl,
No.
*I.ee. Frederick ftkhartl. Pa.
tMarntontrl, Jean Praitfok. 76 .
No. 1>(.
*NicaBdcr. Karl August. Po.
*Piishkin. Alexander Ser2e>vt'lcli.
Po.
AITrerf de. Po.
1800
Arnold (S.), 60
fieelboven, 30
Cherubini, 40
Dusaek, 40
tFaach (C. F.), 63, 3 Aug.
Fenareli, 70
tFomin, 38, Apr.
Ffifel, 50
tGaviniOs, 72, 22 Srpi.
Giordani (T.), r. 70
Ciornovkhi, r. 60
JaeluM (W.) (i), 70
Kreui<er (K.), 20
Leiueur, 40
Ldlii, e. 70
Maud, 30
Pabiello, 60
tPkdnni, 72, 7 May
Reidia, 30
Salieri, 50
tSchult, 53, (O June
Smith (J. S.), 30
Slerkd, 50
Verl>c>*en, t. 50
ViUiek, 30
Webbe <i), 60
^Vebbe (ii), f. 30
Zunuleeg, 40
*Bi«(h*Pfrilfrr. ChatMle. Na.
Dr.
'Boxalt, SVilIkam. Pa.
^(iMilho, Antenw Felidaaedr.
Po.
*CM«enBe4«.<ieerec, Pa.
William, 49 , Po.
*Fieldinv, Artna Maria. No.
Ifall, Anna Maria <tt4 Pirldiee)
*Ma<aala«. f'ltomas 6abitt«ion.
Li.
1801
Baillot, 30
Banhdemon, 60
tBauUhill, 63. 10 Dec.
•Bellini, t Nov.
tCifnaro»a, 31, Jt Jan.
Cramer, 30
Gaveaux, 40
Grdtry, ^
Hutimandel, 30
Jannaeoni, 60
•Kalliwoda, 21 Feb.
•Lanner, 12 Apr.
Lasema, 50
•I.Indblad (A.), 1 Feb,
•lAVieiftf, 23 (Vi.
2 1
VOL. IS
498
APPENDIX I
Mariini (J. P. A.), 6o
fNaumatu), 6o» 23 Oct.
Paer, 30
•Sala, S8, 31 Aug.
*Skroup, 3 June
t Slant! « (C.), 5$, 9 Nov.
Siegmann, r. 50
Slegrctaycr, 30
•Va/lamov, 27 Nov,
*BArAe<. William. Po.
*Br«m«r. Frediifct. No.
*Calder4o, Scrafto EsittMAe*.
Li.
*Car*«r, Lwifi. Pil
t€hedeMC<ki, DaoicI Nkol«s
'Cob. Thomas. Pa.
*Dcvmnt, C4«usd. Af.
*Grab^, Cbniita* Dkeirbh. Or.
*]netaA. Henry. Fa.
fKraaieki, Igeacy. S6. Po.
ttavacer. Johann Kaao^r* 4o.
U. Pd.
* Newman, John Henrv> f*-
tNovali) (Vrie4ricb roa Harriro*
berf ). 99 . Po.
*Paicton. Jowph. O. A*.
lS02
Aranas, Co
fArnold (S.), 62, 92 Oci.
Aubcr» 20
•Barncu (J.), 15 July
Bianchi, 30
Borinian^y, 50
CIcmrnli, 30
Cooke (T.), 30
Field, 20
Haydn, 70
KeUy, 40
KiKchi. 30
Kunsen (F. L. A.), 40
Livcraii, 30
fLolli, f. 72, 10 Aug.
Manh, 50
Masaa, 20
•Niedcfcneycf, 97 Apr.
Paganini, 20
Portugal, 40
Rekhardi. 30
fSarii, 72, 28 July
Zingarelli, 30
tZuimiccg, 42. 37 Jan.
*Bau«mfetd. Eduard vem ^
Dr,
*Bon«nflDn. Richard. Ps.
fFederiri. CamtfTr (CtovaMti Bat*
liica Viartolo), $3. Dr.
fCirlu). Thomat, 97. Pa.
'Hauff. Wilhelm. No.
'Hugd, Vktor. Po. Dr. Nrv
*LafKe. Ceorpe. Pa.
*Landen, Leihia Eliaabelh. Po.
No.
'(^rkbeer, EdHin. Pa.
Lonau. Nikt^ua (ut Nlemseli
von Sirehleoau)
*Lennep, Jacob van. Po. No.
'Manineau, Harriet. U. No.
t Moore, John, 73. No.
*NkmKb VOS Sirehkoau. Nlko'
lain (I.enau). Po.
*Pned. Winthrop Maokvorth.
Po,
} Romney. Ceorfe, 6d. Pa.
1803
•Adam, 24 July
Beck (P.), 80
•Bcrlios, ri Dec.
Bocchermi, 60
Caiel, 30
Dalayrac, 30
Ferrari (C. G.), 40
Kiorillo (F,), 30
Gazza>niga, 60
Generali, 50
Ceijer, 20
Guglielmi (P. C.), r. 40
0 x 70 ^* 012 , 40
tjackioo (W.) (i), 73. 5 July
King (M.), 70
•Laehnrr (F.), 2 Apr.
Lima (J. F.), 60
Mayr, 40
M6hu], 40
Schenk, 30
•Sowidski
fSUttmayr, 37, iC Sept.
Triiio, 70
VVodfl, 30
tAHkrt, Vilterio, 3a. L>r.
tBeaUie, Jamei. 4$. Po.
'Bcddoei, Thomaa LovrIL Po.
*B«2dafw>vich. Ippolit Peodoro*
vich, 6 a. Po.
^Borrow. Ceofffe. LI.
tCaldrrari. Oltonr, Ceunl. 73,
Ar.
* r. Calven, Fjjwatd. Pa.
tCaali, Gimanni BauUla. 6».
Po.
* r. Chamber*, Ceorte. Pa.
tOairon (Claire Jotdphc Ldrk}.
yt, Ar.
*Coo(»er. ITwma* Sidney. Pa.
*0«camp*. Alexandre GabrkK
Pa.
*l)wnat. Alewaadre. sen. No.
Dr.
* Emerson, Ralph Waldo. Li.
tekim. Johann Wtihelm Lw<l*
wif. 64. P«-
* Cram. Francis. Pa.
•GrifRn. CeroM. No. Or.
* Hawker. Robert Strr>hcn, Po.
fHeUue. Johann Jakob Wilhelm.
^ Li. No.
tHerder. Johano Courried r«n.
Po. Li.
•JerroM. Douelas. Dr. No.
tKlo^tock. Ffkdrkh Goltikh.
72. Po.
APPENDIX I
499
J^o Frinfeif dr, 4^
Dr. U.
'Lyttoo, Edward Eulw^r. N».
C&aries. )«p, Ar.
Prot^r. U. Ka.
*Rkhter. Ludwif. Pa.
tSaiANLanben, Jtan FraiH'kt dr.
ft?. Po.U.
t$^MC dc MrilhaA, Cabrirl, ft?,
UNo.
*S«irim. Robcri ftmiih. Nai.
1804
•Brnfdici, 97 Nov.
tCoeehi, Sc)
•Dorn, 14 Nos',
Tcderici, 40
I’tordvAnu (Val.). 40
tCiomo'irhn r. C4. 31 Nus.
"CilinkA. 1 June
(icnrt. 70
fCiuBlIrlmi (P, ,V). 75. iB
Nnv'.
t Hiller fj. A.), 75, 16 Jmiv'
Kamiert^kl 70
Lav at la, 40
Marlin y Soirr, yy
■Mfehum, a Kvb.
*Monp<iu, 13 Jan.
Morlaccin. 30
Onslow, 30
Rics, 30
Rode» 30
Spohr» aa
.Sponlini» 30
*Strauas |J.) (ij» i.| Mar,
'rnnialHi. 3»
NVc>*>c, 30
^V»n1cr, f/*
RidKri MtHiictMfwrr. I>r.
Xm.
*lhip(i>. AmiaiHlinc Lvnfe
Amocr ttkorcc ^and). Ko,
*Duracli. Rt njamM. Na.
*<:i*rrr.v»ri, Ftanre^o J>iMHriiKo.
Ntp.
*ll««Ui^or. Ndikankl. N«k
*J anMi. Juk« Oabrkl. I4, K<n
"MyfiW. Uluatd. Po. Na.
tMflrkml. GmrRT. 41. pj.
* Plwlp*. Sannirl. «V.
*HuaeW<a. Ludvqr. Pw.
*Sa<ttlr.B«uv«. <:»urlr« Aw«umm.
Li.
Sand, Orocsr (wr l>u|iiB)
*Schwind. Nloriir r»n. P«.
•Sh«. Fuc^. Nn.
s 8«5
Auwood, 40
fiaini, 30
Btnoni, 60
tfioccherini, 63, a8 May
Pocly, 20
Boieldifu. 3a
Cavo$, 30
Cpoich, 30
Dibdin, 60
E) bkr, 40
•Hartmann (J, I*. K->. 14
XUy
Himmd> 40
Isouard, 30
Kurpii^i, 3<»
Ogirtshi, 4a
RadaiwHi, 30
•Ricci (L.). 6 July
SiribcJi, 40
Tadolini, <*. an
viotii, 4a
*AiiiiwBrlh, ^ViHiaM ilarcMiM.
N«.
*.Sii4r*(r*, llam Cl»r4ifian. I.i.
.Xn.
IBanki, Ihnnut, 70. *k.
*Baibkr, Henri Autv>'*e. l‘o.
tBarace, Manorl Maria djri>»»a
de. fte, P<i.
*tlaeper, 'IVimai, pn.
tCaalwnas , .Milvtlv, ya.
Pn.
fbllki, Jane, 7ft. pa.
tCirmse, Jean Hapiatr, ftn. pa.
*KMlbaeh, Wilhelm van. I’a.
•hfariKlKtti. (Urk. 8e.
thlnrphy. Anhnr, 7ft. Ac. I>r.
•Palmar, ftaiunel. Pa.
*S«lBlkr, Frkdntb vnn, 4ft. |*i>,
Ik.
i8«6
AiiUiruni,
Bishop, 30
(lallcoit, 40
(lamhinl. Ik)
EbeH, 40
(•crl, 40
tCiocdani (T.J, c. 75, IVh,
Kook, 60
Horn, do
KrcuUrr (R.), 40
KuHlau, 30
tMariin y SoVr, r,i. 50 J.m.
tr. Naaolini, c. 3B
Raimondi (P.), 30
Kauzxirvi, 60
Kift^ini, $0
Schneider* 30
Schnydrr, st)
Seyfried, 30
Turk, 50
Weber, 20
WdgI, 40
Wesley (S.). 40
kVraniliky (P.), 50
fftatber, Robert, 7ft. Pa.
•Barreir. E|icab«di |Bf«»«,rie).
Pa.
500
APPENDIX I
tD«rty, James. 65. Pa.
BrowDin^, ElSsabetlt BarfcK (iir
Barren)
fCarter. Cliubeth, 69. Po.
'Feuchtenlebco, Ernst veo. Po.
t Fragonard t Jean Honors, 74.
P*.
tGo«3«, Carloi SB. Or.
*HariieobuMh. Juae Ewienio.
Dr.
*Laub«. Heinrich. No. Dr.
* Lever, Chartee Jamca. No.
*MacIite. Daniet. Pa.
t Sheraton, Thomaa, Cr.
tSiubbe, Georg*. S*. Fa.
*NVjnicrhalt««, Prana Xaver. Pa.
1807
Bcrioni 40
Carafa, 90
tEberl, 40, ci Mar,
*Lachner (I.), 11 Sept.
Muller (VV.), 40
Plcyel, 50
Raimondi (l.)» 70
*Reb«r, 9i Oct.
Reeve, 50
Romberg (A.), 40
Romberg (B.)> 40
*Per(rand, JacQue*, Po.
*Cantbi CcMre. I.i. No,
*Caflen, Emilie. No.
*Chriwi«, Alrtandcr. Pa.
tHackcre. Philipo. 70. Pa.
tKaufTmann, Xnaelira. SB. Pa.
*LeReuve, Crrsesi. Dr. LL
*Lengrellow, Henry Waihworeb.
Po.
*Opt€. John, a$. Pa,
*Welkav«n, Joban. Po, Li.
*V>'hili<cr, John Creenletr. Po.
1808
*Balfc, 15 May
fBarch^lcmon. 66, 93 July
*Oapiaaon, 15 Sept.
fFiacher (A.). 30, t Dec.
Fonier, 60
Gelinek, 50
•GrUar. 96 Dec.
Hummel. 30
Neukomm, 30
Schack, 50
Sechter, 20
Shield, Co
Stadlcr, 60
fVVraniuky (P.), 51, 96
Sept.
Zelter, 50
*Bal(anrirM. James. li.
*6arbey d'AurevUIr, Jules
Amddd*. No.
^BlommaerT. PhiHp. M.
"Daumier. Hooore. Pa.
*Eiex, Anioiot. Sc.
John, 6S. Dr.
"Karr, AlphooM. No. Li.
"Lahruoi*, Gdrard (Gerard He
NcTvaJ). Li.
"Norton. Caroline^lixabeUt
Sarah. Po. No.
"Wergeland, Hendrik Amoldue,
Po
180$
Asiedi, 40
fBcck (F.), 06 , 31 Dec.
Camicer, 90
tDalayrae, 56, 27 Nov,
Duquesnoy, 50
Elaner, 40
Feaca, 20
Gneoco, 40
tHaydn, 77, 31 May
LickI, 40
•Lindbtad < 0 .), 31 Mar,
Mayseder, 20
*MeAdeliaohn, 3 Feb.
Momigny, $0
*Paciu$, 19 Mar.
Perguis, 40
•Ricci (F.), 92 Oct.
fSabbalini (L. A.), 69, 29
Jan.
VaAhal, 70
Voglcr, 60
"Blaelu*. John Stuart. Li.
"Berel de Hauierive. JoMpli.
No. Po.
tCowIcy, Hannah, SS. Dr.
•FiiiGenld. Edward. Po.
"Ci«Bti, Giureppo. Po.
"Gogol, Nikolay Vaerikeieh, No.
Dr.
"Hake, Tltontai Gordon. Po.
tKoleroA, Tltomav 64. Nu. IV.
"Holmei, Oliver WendeU. Li.
Po.
" Kembl*, Prancei. Ae.
"KoltMv, Alexey. Po.
"Paludaji'MulleT, Fredrrik. Po.
"Poe. Edgar Allan. Po. No.
tSeward. Anna. Se. Po. Li.
"Slowaekl. Juhum. Po.
*TenB)*oo, Alfred. Po.
I0IO
Beethoven, 40
t Blanch j, 58, 27 Nov.
Cherubini, 50
•Cht^in, t Mar.
•David (F.), t$ Apr.
Dusaek, 50
•Erkel, 7 Nov.
Fenai^i, 80
Frige], 60
tGnecco, 41
•Kaatner, 9 Mar.
APPENDIX r
5 ^»i
Kreulzer (K.)» $o
Lesueur> 50
Lipid$ki, Qo
*Lumbye, 2 May
*Matdefhein
Klaiiei. 60
•Mwmei, 5 Jan.
*Nico)ai, 9 June
Paisielio, 70
fRauzzini, 63, 8 Apr.
Reieha, 40
*Rosai (Lnurv)» 19 Frii.
Salieri, Go
"Schumann, 6 Junr
Smiih (J. S.^ <x)
Sterkel, 60
Thranc, 20
\'accai| 30
Verheyen, t. 60
40
\Vcbbe <«), 70
\Vcbbe (ii). r. 40
*\Vc»ley (S. S.>, 14 Ai«.
H«inrkh
frmi von, 71. Li.
t Drawn, ChnrI** Brarltilm. W'
S’^
•Cal 4 mr. AlewniMlra. P*.
tCliawlei. Anibkic Dwm. 47.
S«.
Colet. L4MiiM («• Revo»>
*£«proiwrila, joie tto. Po.
*F'rn(uMn. S^iniMl, Po.
*^reklicr»ih. F<r«lin*nd, P*.
*yu)ler. .M^riarci. I.L
Uwikell, eiizabcth Cl«tlMro (u>
SuvcAwn)
'Ou^rin, (k«r|c> ai*u«ke Oc.
LI.
tlleppiwt, J«ha, $ 9 . Pa,
tJev«IUMs, Cupar Nkkhiet dr,
66. Li. Dr.
*M«r«au, K^iauppe. Po.
•Muuei, Alfred dr. Pa. No. I>r.
*Rr«ir«, Fxiti. P». No.
*RrvMl, Lo<i«M {Lounc Coin).
Po. No.
tRunge. Pliilipp Omo, )). Pa.
*Sieien>on. ELtAbri}> Ckirhorii
(Mn. Ca»kc)l|. No,
"Troyon. ComUnL Pa.
tZoffonv, Jobs, 77. Pa.
iBit
BaiUoi, 40
Cramer, 40
Czerny, w
Gaveaux, 30
Grelry, 70
Hdrold, 20
•Hiller (K), 24 Ocu
HullmMdd, 60
Jannaconi, 70
Lazerna, 60
Uculpaimner, 20
•Utti, 22 Ocl.
Martini (J. P. A.), 70
Meyerbeer, ao
Paer, 40
•Stamaly, 13 Mar.
Stegmann, f. 60
Siegmayer, 40
"Tbomaa (A.), 5 Aug.
Vofilek, 20
*BclMukv, Vmarioii tiriKurriich.
li.
*Bmrdu(. Julius, Ik. I j.
teneokr, Jmrph, 47. tSi.
•Cfofwkk, 7 boniai. Pa.
f Cumberland, RkKard. 79 , llr.
IDaaCT'HoUand, (Sir) Kathankl.
77. P*.
*OaHoon. Hrhrv, P«.
•Ouprd. Juki. I'a.
«CaHtkr. 1 lid..,>).ik. l.i. Hm.
No.
*(;uI<Im««. Kj«I. Ur,
*Halbm. AriiMir liriin*. I'u.
*K<an, Charln. A«,
*KkHi. Hriarkti von. 34. Or.
Na.
*Pcr(v. Ibemu. dl. U.
*>atMleau. Juki. No. Ur,
Crorse Oitbrn. Ar.
*'lhacbrrav, U'llhatn Ntakriirarr.
.Vo.
i8ta
rVranaa, 70
Auber, 90
Bortniamlcy, Go
dementi, 6u
Cooke (T.), 30
tUuizek, 52, 20 Mar.
FieW, 30
•FJotow, a6 Apr,
Kelly, 50
Knechi, Go
Kunzen (P. t. A.;, 50
Liveraii, 40
Marsh, 60
Maaas, 30
Paganini, 30
Portugal, 50
Reiehardc, Go
tRighini, 56, 19 Aug.
Roazini, 20
•Thalbe^
•Wallace (V.), i j Mar.
fWodfl, 38, 21 May
Zingarelli, Go
•Ai bi finrn. Prtre CStrUtiaii Li.
•.kurrUach. Brrlhold, No.
Brrrhrc Siowe. Hatrki {tv
Stowe)
t Bicfcmum. Itaar, t, 77. Dr.
*bosbooin, Anaa Louisa. No.
*Bio*>Bine. Koben. Po.
*CareaDo. Ciulio. Po. Ko.
•Cooocknre. Hrmltik.
•Dkkrm. Charks. Kn.
* Gaear. Jonos. Po,
APPENDIX I
*C«(Khatov» Ivan Aleiaodro*
vich. N'o.
*K«nen» Alaxaftdec. LL No.
*KTaM«wa((>, J 6 nt Isb4«v. No.
Po. LL
*L«ar, Edward. La. Pa.
*Oxen£ord. John. La. Or.
‘Rmumau. Pkrra £ti«imc TUth
dore. Pa.
*5(ow«, Harrwi (BtMbrfStowel,
No.
1813
•AJkan, 30 Non-.
tBcrioni, 88, J U«c.
Caid, 40
•Dargomiihaky, t4 Feb.
Ferrari (C. 0 -), 50
Fiorillo (F.), 60
Gaazamgai 70
Geycr, ^
Generali, 40
fCrdtry, 72, 24 Scp«.
Guglielmi (P. C.). r. 50
Gyroweu, 30
King <M.), 80
Lima (J. F.), 70
*Loder
*Macrarrcn, 2 Mar,
Mayr, 50
Mdhul, 30
fRaimondi (I.), t. 75, r4
Jan.
Schenk, 60
Tritto, 80
flMrk, 57, aC Aug,
fVafihal, 74, 2$ Auff.
•Verdi, 10 OcL
•\>’agner, aa May
*Ay(oun. William EdineoMounv.
Po.
*INi(lw»rr. Coorf. I>«.
CoHcir, Joiobate (k« \V«rvv
land],
tDrlilk, Jae«)iirt, Po.
*Hebb«i, CHixniian KrtedrkJi.
Po. l>e.
tKdrner, Throdor. tt. Po. Dr.
*r>id«*i«r, Ouo. Dr. No.
*Moc,Jort«n. Li. Po.
'Wm^Uod. JakolHcte Camilla
(J. aCuiku). No.
tNVkland. CUraioph bfattin. &>.
1*0. No.
1814
tDibdIri, 69, 25 July
FcdcrIcI, 50
Fioravanti (Val.}. 50
Gossec, do
•Heller. 15 May
•Hcmelc, la May
fHtmmel, 48, 8 June
KamieAaki (M.>, 80
Lavoiia, 30
Mortacchj, 30
Moscbeles. 20
Onslow, 30
tReichai^c, 6], 26 June
Ries, 30
Rode, 40
Spohr, 30
Spondni, 40
Tomaiek, 40
fVogler, (>4, C May
Weyse, 40
•Xyndas, 8 June
Winter, 60
*Bceu, Nieolaar. Li. Po. No.
*Ck«Mieer, Jean Bapririo Aufui<e.
Se.
*Dc Vere, Aubfey HMmaj. Pa.
*D«^Uiedi, Franz Ferdinand.
Po. Dr. No.
flflUad. Aucvti tVillielm. sa*
Ae. Dr.
*Lc Fanu, Joieph Sheridao. Nu.
*L«rmoncov, Makkad Yurevich.
Po. No.
«Maekav. CKartn. Vo,
Jean Franfois. J*a.
*kMlrr, P«ier Ludvie. Po. L(.
*Nkoll, Rebcri. Fe.
*Prke, Ellen (laier Mn. Henry
Wood). No.
*Reade. Charlei. No.
tSainuPkrre, Ifemardin de. 77.
Lr. No.
*1'tdeinaod, Adolf. Pa.
Verv, Aubrey Tliontai De <»rr
De Ver«}
•VMki'V'Doc. Cuclne Fm*
otanue). Ar.
*W90d. Mfi. Henry («n J*rii e)
1815
Acc^^'ood, 50
Baini, 40
Boely, 30
fioicldieu, 40
Cavos, 40
Crotch, 40
EybJer, 50
•Fran*, 26 June
•Fry, 10 Aug.
Isouard, 40
•Jackson (\V.) (H), 9 Jan.
•Kjerulf, *5 Scpl.
Kurrw&iki, 30
Marschner, 20
Mercadantc, 20
* Moson)!
Ogiwki, 50
Pearsall. 20
•Pierson (Pearson), 12 Apr.
RadsiwiJI, 40
tReeve, 58, 22 Jum*
Stcibelt, 50
Tadolini, e. 3«>
APPENDIX I
y )3
Violti, 6o
*Volkmanji, 6 Apr.
Thorns*, iui. ?&.
tfisrifileiii. F/afiMSco, oo. P*.
*Gc>bel, Ensnuel «oa> Po.
tGiUrsy, Junn, P«.
Ankec. Po. Ko.
*LAbkb«. EvtkA«> Dr>
*M«iBeoi)ief, Low
Pj.
f Meli, Cicviani, c. 99. Po.
*M«niet, Adolph voo. Po,
tQgogliu, AnpeV), 91. Ar. Po.
*Trollopc. Anchonir. No.
1816
AjiUirom, 60
•Iknncu, 13 Apr.
bcr>sAtd, 30
Bishop, 30
CaJicoU. y>
l^mbini, 70
Ocrl, 30
Hook, 70
Horn, 30
tjannaconi, 74, i 4 > Mar.
Krcuizer <R.}, 50
Kuhlau, 30
tl^rciB, Cf,. 6 Aug.
Locwc, 30
fMaMlfti (j. P. A.). 74, 10
Fch,
Pucini, 30
tPalsirllo, 7C, 5 June
RaimoiHji (P.}, 30
Schneider, 30
Schnyder, 30
Seyfried, 40
tWeUbc (i), 75, 35 KU>
Weber, 30
W'eigI, 50
W«ley (S.), 50
*Bronte. Cl<otM(«. No.
*Cu*hmoji, CliarlWR. A(.
tDcrsbovin. GovFiU Koinorw.
vUh, 73 , Po.
tDueu, Jc«R ProncoM. #3. I>r.
*Puch«r, Jehoaa Ocovi v«e, Pv.
lit,
*Ft9yUf, Gusiov. No. Pr.
tOineucoe, Pkfre Low. (a. L».
•r^obicoau. JoKph ArltM* df.
Lj.
*KMUoii«l<r, PriadrkK WOboIni
von. No. Dr.
filamUtoe, Lli^bcth. jB. LI.
No.
*J«rK^w. Jerii AdolT. &c,
IJordut. OorMlm, 94. At.
lOttn¥. Vlodialov Akuodro*
vkL, 47. l>f.
*kelh<l. Alfred. Po.
tShendao, Rkhord Bnulcy. 65.
Ur.
1817
Berlon, 50
Carats, 30
DonuetU, 30
*Gadc, 33 Feb.
tCugliclmi (P. C.), f. 53 »
26 Feb.
tKnechc, 63, 1 Dec.
IKunzeo (F. L. A.), 54, 36
Jan.
*Mabellini, 2 Apr,
*Maillarc, 34 Mar.
MBcray, 30
tMchul, 54, (0 Oci.
fMoruogny. 87, 14 Jan.
Midler (W.). 50
*Pedrotu, 13 No^^
I1e>el. 60
Romberg (A.), 50
Romberg (B.J, y»
bchuberi. 30
t.Sierkel, CO. 31 Del.
f ApfHoni. Aiidm, B3. I’o.
*.Sr*hV, JoiiQ». Po.
tAuMrn, Jone, 49. No.
"Bonvin, Pranfou. Po.
•Brkelr. Oswald k>'«Uen. Po.
‘CoApooiuor y Centpoesorin,
Ramte dc. Po.
*U«ubitny. Charles PraiHu**.
Po.
"Cilbers, ioliA. Po.
*KerM«ffli. (.;earo. Po.
*Horsky. John Ckleoii. Po.
* Lewes. Ceuree llenrv. LI.
IMekDiks Vald^. Juan, 4 j.
Po.
fQare«>irhi. Gioeomn. 73, Ar.
Po.
tikoel. AoM Louhe Germohie <le
31. LI. No.
*$ioe«n. IVodor. Po. No.
* rhoetoo, Henry David. J J.
* Polstoy. Aleaeyev, Couni, IG.
No.
* " am, Oeorye Frvderk h . Pa,
Se.
*Zordla y Moral. Jok. Po, Dr.
i8>6
fFenaroli, 67, 1 Jan.
Fbnier, 70
tGasasn^a, 74, 1 Feb.
Gelinek, 60
Oliuer, 30
*Gouj>od, 18 June
Hummel, 40
flsouard, 43, 33 Mar,
•Uiolff, 6 Feb,
Lvov, 30
Neulcomm, 40
Reissiger, 30
Seback, 60
Seehter, 30
5^4
APPENDIX I
1820
Shield, 70
Stadkr, 70
Zch^r, 60
*Bc«n»» Emily. No.
*CooV, Elito. Pd.
♦Poky, John Henry. S«.
* Proude, Jonrn Aaihony. U.
*Leconi« dc Lnle, Charles hf»rir.
Po. Dr.
tLewik Mauhew Ortirory
rMook"),4S. No. Dr
*Meurke. Paul. Dr.
tOaens(i«rn«. Johan Cabrid. 6S.
Po.
*R«ul. Thonta* Ma)7te. No.
*Sttvtn», Alfred. Sc.
•Turgenev, Ivan. No.
•Whitman, VVaUfer). Po.
■819
•AU, Q2 Dec.
Aaioli, 50
Camiccr, 30
Ouquongy, 60
Eisner, 50
Fesca, 30
Fioravgnei (Vine.), 20
Hftldvy, 90
LickI, 50
May»e^r, 30
*Moniuszko, $ Mhy
•Offenbach, aojunc
fPenuia, 50, 90 Dec.
*bupp<, 18 Apr.
fVerheyen, <. 68, u Jan.
Vcwoviky, »
tBird, Edward, 47. Pa.
•Bodcaitedc, Fri^rieh ve«. Po.
•Clough, Arthur Hugh. Fo.
•Courbet, Cuitave. Pa.
•Evani. hfarian <Oeen« Elioi).
No.
•Faed.John. Pa.
•Foniane. Theodor, Po. No.
•Frith, William Powell. Pa.
•Croth. Klaus. Po.
•Harpignie*, Henri Jeaeph. Pa.
•Hook, James Clark. Pa.
•Keller, Goterxied, Po. No.
•Kingsley, ChaHe. No.
f Koiwbue, August Friedrich von.
30. £>r.
•lowell, JaiTws Rgn«n. Po. li.
t Manvel, Franc hco, 05. Po.
• Marueet, Jehik Westland. l>r.
Li.
•Melville. Herman. No.
•Millet, Aime. Sc.
f NaacinMnio, Franciseo hlao^l
de, 65. Po. U.
Pindar. Peter (srr Wofcot)
•Auskio, John,
tSiolberg. Friedrich Leopold. Sp.
Po. Dr.
tWokot. John (** Peter Pindar”).
01. Li.
Beethoven, 50
Cherubini, 60
Frifel, 70
Kreutzer (K.), 40
•Kfiikovsky, 9 Jan.
fLavotia, 56, 1 1 Aug.
Lesueur, 60
Lipinski, 30
Mattel, 70
Rcicha, 50
Salieri, 70
•Sctov, «3jan.
Smith (J. S,), 70
fStegmayer, 49, jo May
Thrane, 30
Vaccal, 30
•Vieuxtempa, 17 Feb.
VitAsek, 30
Webbe (ii), r. 50
•Augier. Guillaume Vidor Emile.
Dr.
•BroikU. Anne. Na.
•Fat. Afanasy. Po.
•Prometsiitk, LimNiic. Pa. (.j.
tHaylcy. William. 75. Li. J’n.
•logelovr. Jeaik. Po. No.
•Jones, Ebeneser. Po.
•Tenniel. John. Pa.
tW'est. Benjamin, fit. Pa.
a8et
fAranat, 79
Baillot, 30
Bellini, 20
fCallcott, 54, 15 May
Cramer, 30
Caemy, 30
Gaveaux, 60
Hdrotd, 30
HullmandrI, 70
KaliitktxJa, ao
tKamiehski (M.), 86, 35
Jan.
Lanner, ao
Lindbl^ (A.), ao
Lindpainlner, 30
l.eriaing, ao
Meyerbeer, 30
Paer. 50
fRomberg (A.), 54. 10 Nov,
Skroup, ao
Stegmaon, r. 70
Varlamov, ao
Vo#Sek, 30
•Baudelaire, Cbarfe^ Po.
•Brabacoo. Hercules. Pa.
•Brown, Ford Mados. Pa.
•Budoo, Richard Francis. LI.
•Chami^uey, Jules Husson. t.i.
No.
fCosway, Richard. 79*
APPENDIX I
505
tC n a» e . Joha» y. Pji.
*DupoAi, Pkn«. fo.
•F^ix, £la*bc«h (RkIwI I . Ac.
•Fcuilln. Octxv«. N». D*.
* Feydeau, Ernest. Po. Ke. Li.
*Flaubert, Guwave. No.
tlnehbald, Elivabetb. U. M.
Dr. No.
t KraU. Joho. Po.
*Lo<ker*Lan)pMn. Prederkk.
Po.
‘Maikov, ApoOen Nikolayrvkh.
Po. D*.
*Molb««b, Cludtian Knud
Frederik. Po. Dv.
‘N'ekrasMv. Nikolov Akxryexkh.
Po.
‘Palofl. JoMpb No«l. Ka. fo.
tPoUderi. John WiHian. •&. No.
Rachel (m« F«Iu>
tSlolberf, Chtittian. 73, Po. IV.
i8aa
•Abrinyj fK.). 15 Oei.
Auber, 40
Barnctl (J.), 30
fionnijM^y, yo
Clemcnli, 70
Cooke (T.) , 40
tDuquesnoy, 63, 9 May
Field, 40
•Franck fC.), 10 Dec.
•CasumUide, 7 Feb.
Kelly, 60
tLima (J. F.), 78, 19 Keh.
liwraci,
Marsh, 70
*Mau^, 7 Mar.
Mar.as, 40
Nlcdermeycr, at»
Paganini, 40
Portugal, to
•Raff, 37 May
Rouini, 30
Zingardli, 70
‘AriinIJ, MaUhew. U. Po.
‘Doth. )kik. Po, Dv.
‘Bvnheur, Rou (Roaalir Markr.
Pa.
‘Boucicauk. l>k« <f>k«riHi*l.
Ac. Dr.
‘Caoiobcll, John Prancit. JJ.
tCaoQva, Antonie, 63. Sc.
‘Ilmieye^y. Frodoc Mikkatfe.
vkh. No,
‘Prekmann, Emik. No.
‘Ferrari. Paote, Dv.
‘Pwlkr, Georfv, Pa.
‘Ceoaouvi. Edmood «le. No. if
Erow Thredox
Amadrus, 46, No.
‘Hughn, TVemaa. No.
‘Muntcr. Henri, No.
‘Riitoxi, Adelaide. Ae.
tbhclky, Peeey Byuhe, 30. Pu.
1633
Adam, 2f>
*Barbkri, 3 Aug.
Berlioz, 30
Caiel, 50
Ferrari (G. G.), 60
Fiorillo {F.), 70
fPdnier, 75, Nov.
Ceiier ,40
Generali, 50
Cyrotvecz, to
fHullmandcl, 73, ig Dec.
tKjng(M.),«9.jA«-
•Kirchner, 10 Dec.
Lachner (F.), ao
•Lalo, 27 Jan.
Mayr, to
•Rcycr, i Dec-
Schenk, 70
Sowifblci. ao
tSieibeh, 57, a Occ.
Triito, 90
* Bant ilk. ’PModore ck. Po, No.
Dr.
♦ BloomAeM. Robert, S7. Po.
‘C.ob*A*t. Akaandre. Pa.
tCombe, M'lUfam, Be. No.
WtIlijBt Johnton. Po.
tOeealenhetf, Hrutrkh N>'ilhclm
voa. 96 . Dr. Li.
‘Uencalvei Dias, Aittonk. Po.
‘Geiucball, Rudolf voa. Po. Dr.
U.
‘InaeM. Georgr. P«.
tKrmble. John Phili|>. 66 . Ac.
tNolkbeoi, Joteidi. M. Br.
‘Pattisore. <Vvcntry. Po.
t Prvd'hoA. Pkrre Paul . B5. Pa.
tRadclifle, Ariel, 34. No.
^Raeburn. iSie) Henry. 67. Pa,
‘Vongr. (Iharlour Nfary. No.
1834
Benedict, ao
•Bruckner, 4 Srpl-
• Cornelius, 24 Dec.
Dom, ao
Pederki, to
Fioravanti (Val.), to
Glinka, ao
Cossec, 90
Mtohura, ao
Monpou, ao
Morlacchi, 40
Moscheles, 30
Onslow, 40
•Rcincckc, 33 June
Rks, 40
Rode, 50
•Semet, 6 Sept.
•Smetana, a Mar.
Spohr, 40
APPliNDIX I
Sponimi, 50
Slrauw (J.) (i), 20
Tomaifk, 50
tTriiio, gt, 16 Sept.
fVioni, 60 , 3 Mar.
VVeysc, 50
Winter, 70
fByroe, Ge«<tr Gordoo. Lard.
96. fa.
*('/ollirvs, William Wilkie. No.
Atexaadre, jun. Dr.
tFeitK, RhijavM, 71. ?o. Dr.
*Fremie(. CmmaAwel. S«.
tC^rieauIr, Jem Louii, $). Fa.
*Geram«, JeaA L^oe. Pa.
*Urael*. jo«er. Pa.
tMaturin, C^harWr Poben. 47.
No- Df.
*Palt««ve, Francis Tu/aer. IV>.
ti.
*ruvii d« C^havanncr, PWrre
<^^il«. Pa.
1035
At i wood, 60
Baini, 50
BotJy, 40
Boicidieu, 50
tBoftniawky, 73, 10 Oct.
tCamiMftj, 79, 29 Dec.
C:avos, 50
Crotch, 50
Eyblcr, fo
fGaveauK, 63, 5 Feb.
tOeiinek, 66, 13 Apr.
Hartmann (J. P. E.), 30
■Hen*d, 30 June
KurpiAaki, 40
Marschner, 30
t Mattel, 75, 13 May
Merc ad ante, 30
OgiAaki, 60
Pearuii, 30
Radziwilt, 50
•Ricci (U), 30
tSaileri, 74, 7 May
•Straus* (J.) (ii>, 95 Oct.
Tadolini. t. 40
f VoPtlck, 34, jg Nov.
t Winter, 7*, *7 Oct.
'Ilallanlrne, Robert klieharl. ]j.
*AaItico. Alfonso. Sr.
tBornard, Lady Anne. 73. Po,
*D)a<kinorr. Rkhard Doddrxipe.
No.
* Boudin, Cwifne. Pa.
*Bouguereau. Adolphe. Pa.
*Ca»tcllo' Branco, Camrllo. No.
U.
* (Caplin, Charles. Fa.
tCourier (de Mdrdl. Paul Louts.
S 3 . Li.
tOavid, Jacques Louis. 77. Fa.
*Fosier. M^tes Birh«(. Pa.
tpH’eli, Henry, fl$. Pa.
*Oar 9 i«r. Jean Louis Clia/les.
Ar-
•Gude. Haas Frcdrkk. Pa.
J«ao Paul (srr RicJitari
•Jdkai, Mor. No.
tKnox, tVilliam, 36. Po.
tMakaeushi, Antoni, $$. Po,
* Meyer. Cosrad Feedinaod. Po,
No.
* Procter, Adelaide Arm. Po.
f Richter, Jobana Paul (‘^Jean
Pau]*^;,fi2. No.
1636
Ahbuom, 70
Berwald, 30
Bishop, 40
IFederici, 63, 36 Sept.
iFcsca, 37, 84 May
•Foster, 4 July
GeH,6o
•Haflsirom, 5 June
•Holstein, t6 Fell.
Hook, 80
Horn, 40
tKelJy, 63,9 0 ci-
Kreuucr (R.), 60
Kuhlau, 40
Loewe, 30
Pacini, 30
Raimondi (P.), 40
fSchack, 66, 1 1 Dec.
SchrMider, 40
Schnyder, 40
Sey fried, 50
tStegmann, e. 73. 37 May
t Weber, 39, 5 June
'Veigl, 60
\N'e*ky (S.). 60
rSafiffeten. Jcni Immatiuel. Ca.
Po.
Crad, hfrt. (srr htulock)
*Chatrian, Louia. No.
*Faed, Thomas. Pa.
tPlaxman. Jolin, 7i« &<•
IGlee, tVilliam, 37. Ihi.
tHebel. Johann Peter, *6. ]*o.
No.
tHebcr. Reginald. 43. Li. Po.
tKa/anain, Nikolay hfikhaile*
vkh, at. Li.
* Moreau. Gustave. Pa.
*Xlu)ock, Dinah Maria (Mrs.
Geaik). No.
*lMlliliov. Mikhail I.ygrakivich.
No.
*$chelFel. Jeue^ k'ietor von.
Po- No.
7 Talma. Ftanfots Joseph, C3.
Ae.
1037
fBecihoven, 56, 26 Mar.
BeriM), 60
Carafa,
APPENDIX I
Donizetci, 50
Lachner ( 1 .), io
M^iray, $0
•M«rke!, ti Nov.
MuJIer (W.), 60
Pleyel. 70
Reber» 20
Romberg (6.), 60
Schubert, 30
t61ak«, tSilliam, fo. Li. Po.
Afnohl. P*.
* Breton, jutn AOulftfae. Po.
*CArpeau2. Jeon Boplule. Sc,
tlVuuciert. hforc Anwiite, 5V
Pr. Po.
t>Wolo, U'lo. 4Q. fc-
tHaulT, j). No.
•Hum, illiom Hobiian. Vo.
tLJuMer, %% pu.
t|tuw|4iHl«Mi. Thoinm, 71. fo.
i8«8
Dalfr, 90
Clapitfon, ao
•Gevaert, 31 July
GlikMr, 30
Gr)»ar, 9 o
tHook, 6 t
Hunmiel, 50
Lvo^ , 30
fMAnh,
Ncukumm, 30
Kci&iigcr, 30
fSchuberi, 3 t. 19 Nov.
Sechirr, 40
ShivUI, 60
Stadicr, 80
t llirane, 38, 30 Drc.
Zeller. 70
•Bkibtreu, tieuec, pj.
tBonihiiwn. RkkorJ, a6. P«,
TPoy* y l.uetchiFi. Fr*Khco de,
Hi. Po,
tHuuden. Jeon Aiwaim. t). Sc.
•Hum, Richoid Morre. Ar.
•Ibeen, Henr>k. Di. Po.
•MeeediOi. Gcurf*. No. Pw.
t Monti, V ineento. 74. 1^,
tMorotln. l«andn> PerhirHlei tie
66. IS>, Ur.
OMphwii. Martatei (m Wibon;.
thnOemoAie. (ppoUlo, 7^ Po.
Ur.
•Rouetti, Uante Cobrkl. Po.
Pa.
•Kydbera, AStahaot Viktor. Pe.
N«.
•Si«*ea«, Alfred. Pa.
*'l'aifve, Kip^yie Adolphe. U.
* 1 .Ottvy. l4* .Vikoiayevich. No.
IN>. (.1.
•Verne, Jgler. N®,
•WiWi, Mar^rel <Mn.
phanlh No.
1829
Asaoti, 60
Camiccr, 40
F.lsner, Co
Ftoravand (Vine.), 30
^Gosscc, 93, 16 Peb.
Hal^%-y» 3®
LickI, Co
IJrulblad (O.), 90
Kfayscticr, 40
Mciitli’l»obn, 9ir
Pacius, 20
Kkci {F.J, so
tbhietd, 60, 93 Jan,
S*mlo\«ky, 30
•Borraniet, k'iiuente. Po. Li.
•Cherbuliei. Utarlr) Victor. No.
•Uuboit. Paul. Sc.
•Feuerbach, AtMekn. I'a.
tOnteyedov. Alexander Serfeve*
tich, 7|. Po. Dr.
tLe.*pbld, Karl Oukiaf. 7|. Po.
Ih.
•MilloH, Jfdm TtereM. P*.
•Hwbenton. Ihumm VVilliaiM.
Ar. IV.
• Kerl UiUKlm Fiictl*
tuh tort. S7. li. No. IV,
1830
tGaiel, 37, ^ Nov.
Cherubini, 70
Chopin, ao
Da^'td (F.), 20
Erkot, 20
Krigvl, 80
•(Mdmark, 18 May
•llebc. Cl Feb-
KaMncr, 30
KrcuUcr (K.), 30
•Lassen, 13 Apr.
Lraueur, 70
Lipirtski, 40
Lumb)*^, 20
Maldeghem, 20
•Mermel, 30
Nicolai, 40
tPorti^aJ. C7, 7 r«b.
Reicha, 60
tRod«. 5$, 95 Nov,
Rossi (Lauro), 90
•Rubinstein, 38 Nov.
Schumann, 90
Smith (J. S.), 80
Vaccai, 40
Vicasek, Co
Webbe (ii), <. (k>
Wesley (S. S.), 90
•IVtu .Vocueira Kunoc. JoLo de.
I^.
•Die Hnr i ’ i et , &(u1y. Po.
5 o8
APPENDIX I
tCcnlif, Si^hank F^lieU* 4 «. 84.
Li.
*C«2«IIe. Guido. Po.
*Con<euri. Juki de. No. U.
Robert. Po.
tHaelin, WillUm. 59. LL
Paul. No. Fo.
• Hoamc r. Horr >«c Sc.
*Hun(. Alfred WilUom. Pa.
*Kint«ley, Henry. No.
tKisfeludy, KAroly. 4s. Po. Or.
tLawreckce, (Sir) TbooiaA. 61.
P*.
* Leif li ion. Frederick. Po. .Se.
*N}is(rol. FrM^rcc. Po.
*Pi*»erro. Camiik. Po.
*Ro»«ettt. Chriitina. Po.
1831
Ballot, 60
Bellini, 30
Cramer, 60
Czemy, 40
H^rokl, 40
HiJJcr (F.), ao
KaJIiwoda, 30
tKreutzer (R.), 64, 6 June
Lanner, 30
LindbJad, 30
Lindpaininer, 40
Liizt, ao
Loruinf, 30
*Marchctd, a6 Feb.
Meyerbeer, 40
*Norman, a8 Aug.
Paer, 60
tPleyel, 74, 14 Nov.
akroup, 30
Scamaty, ao
Thomaa (A.), 20
Varlamov, 30
tAmim. Ludwif Achim eon, 50.
Po. No.
*BorreM. Ltwreore. A<>
*Det 4 S. ReinhoU. 5 e.
tBilderdijk, Willem, 75. Po.
*Cftl««rley. Chork* Scuart. Po.
*£d«rord>. Amriio AarK. No.
fCllitton, Robeil Witliom. }7.
Ae.
*Folfuikre, Jeoo AleiLondre
Joseph. Sc. Po.
*Jocksofi, Helen Morio, Po. No.
tKlinfer. Frkdrich Uooinulion
voB. 79. Dr. Po.
* Leskov, Nikoky. No.
IMaihisson. Fri^kh voo, 90.
)'o.
*Mesdof. Hendrik. Po.
*Meun>cr, Consiooiio. Se. Po.
tNasmyth, Peier (Patrick). 44.
Po.
f Noftheole, iomes. 6$. Pa.
*Roobe< WiUielm. No.
*Sardoo. Vktoriea. Dr.
t^iddoni. Soroh. tS. Ae.
1832
tAaioli, 6a, 18 May
Auber, 50
Baroclt (J.), 30
tOemend, $0, 10 Mar.
Cooke (T.), 50
Field, 50
Flotow, ao
tGenerali, 59, 3 Nov.
tKuhlau, 45, ta Mar.
•Lecocq, 3 June
Liverali, 60
Mazaa, 50
Niedermcyer, 30
Paganini, 50
Rosalcii, 40
•Sbderman, I7juiy
*Sokalsky, 26 Sept.
Thalberg, ao
Wallace (V.>, ao
f Zeller, 73, 15 May
Zingarelli, $0
tDenihom. Jeremy. 84. Li.
^Sjormoo, Bjorait/eros. Po. Oi.
Wilhelm. Po. Po.
tCanoppl. Antonio, $4. Po.
CorrolJ, Levis (m D^fson)
tCrobbe, Ceorce, 78. Po.
tDcvrienl. Lvdwif, 48, Ac.
*Dedfsoe, Charles Lutwidfe
(Lewis Carroll). Li.
*I>or 4 . Cufiave. Pa.
*Eehetiray. Josd. Or.
tCocihe, Johana Wotfioof von,
8s. Po. Dr. Li.
*kfaMt, Cdouord, Pa.
tMunden. Joseph. 74. Ac.
tScost. (Sir) Wilier. 61. Po. No.
"Stephen, l^Mie. Li.
1833
Adam, 30
Alkan, ao
BerJioz, 30
*8orodin, la Nov.
*Brahms, 7 May
Dargomifhsky, 30
Ferrari (G. C.), 70
Ceijer, 50
Cyrowelz, 70
fH^rold, 41, igjan.
Lachner (F.), 30
Loder, ao
Mactairen, 20
Meyr, 70
tOgiiteki, 68, 1 8 Oci.
tRadziwilJ, 57, 7 Apr.
Schenk, So
So^vinski, 30
tSiadJer, 85. 8 Nov.
Verdi, 20
Wagner, ao
APPENDIX I
5«9
*Alftrc6e, P«4ro Apimio. N».
L4oa RorttiiiB.
r*.
"Booth, C4win Thonaa. A<.
"BimC'JetM*. Edward. Pa.
*Chala«rn< Gcargr. Pa.
"Cha^ti, Hcn«i. S«.
tCUMdolU. J«ap Jutiea Lkmlt
dc, 64.
"Chutiat, Giuacppe. Po. Li.
"Cole. GeMte Vicat. P«.
"Cerdoo, Adan Undsay. Po.
t Guerin, Pierre Kareitfe, )g.
Pa.
tHallaat, Arthur Hriu*, 99 . Po.
tKean. EdaMarul. 44 . A<.
"Lie, Jorva^ No.
thiorr. Hannah, 00. Li.
to* Keetle, Jolui . 06, A«. Pr.
"Pereda, Josd Staria de. No.
*.‘>ie<lfnan, Cdmurtd Clarence.
Po. U.
Bt’nc^ict, 30
*BvAoil, 1 7 .\uj(.
tBukUJiru, 58, 8 Oci.
Dorn, 30
I’ioravanii (Vol.), 70
Glinka, 30
HcJler, 90
HenKlc, 90
MOchura, 30
Monpou, 30
MorlaccUi, 50
MiHchrlrs,
Onslow, 30
"Ponchirlli, 1 Sept.
"Reubke, 93 Mar.
Rics, 30
Spohr, 30
Sponiini, 60
Sirawi (J.) (i), 30
Tomakk, 60
\N'cy»o, 60
Xynclar. 70
"Btoeh, Karl Henrik. Pa.
"Btnwiie, John Farrar '.ArteuHn
Ward), Li.
tCeleridcc, Samne) Taylor. 6a,
Po,
'Cnwa. Pietro, Dr.
"Deta*, Edgar, Pa.
"Du Maurier. George. No, p*.
tCiraod, Crovaont, )0, Dr.
"Kivi (Stenvall). Akou. No.
fLamb. Charka, 39. U.
"Morrit, William. Po. Li. Cr.
"Shorthowe, Joaeph Heory. No.
Ward, Artemu* fur Broam«>
"Whuiler, Jamri M<NeUI. Pa.
i«3S
AKts'ood, 70
Uaini, Co
*Bel>CMy, 10 Aug.
tBellini, 33, 23 Srpi.
Body, 30
Cavos, 60
Crotch, 60
*Gui, t8Jan.
"Draeaeke, 7 Oci.
Eybicr, 70
Fraru. 20
Fry, 20
Hartmann (J. P. E.), 30
Jacluon (W.J <h), so
Kjertiir. 90
KurpiAski, 30
Manchnor, 40
Mcrcadanio, 40
Moa^yj, 90
t Muller (W,), 67, 3 Au^.
Pearsall, 40
Pienon. 20
Ricci (L.), 30
*$ 4 iAt«Saena, oOct.
Tadolini, <. 50
Volkmann, so
*\Vieniawski (H.), jo July
"Auttin. Alfred. l*o.
*Brod<oiilii. Kaihnim, 44. Po.
"Sutler. Samuel. .Vo.
"CUemem, Samuel Langhome
(MaA Twaio). No.
ICobbeti, ^^'ln(am, 7a. Li.
"Defregger, Pxant eoA. Pa.
fHemane, FelkU Deroiliea. 44,
Po.
tHoM, Jamet, 6). Po.
tSCaihewi, Charki. ten., 49.
A<.
taiotherwell, William, )9. Po,
t.Vaeh. |eha, I}. Ae.
"Oechardton. William, Pa
tmalon, AuguM voo, S9. Po. Dr.
"Peeieoat, Harriet Lliaabeth
(later SpolTord 1 . .Vo,
1 Scott. Klkhacl. 46. No.
SpoAbnl, Harriet Pliubeth (rrr
Pretcott)
"Stcohenr, Jamet Brunten. Po.
Twain. Slarh (err Oemcni}
183^
Ahbirom, 80
Benneti, 20
Bcrwalrl, 40
Bishop, 50
*Oelib«, 2J Feb.
Gerl, 70
•Goows, II July
* Hartmann (E.), 91 Feb
Hom. 30
Loewe, 40
Pacini, 40
Raimondi (P.), 30
IReicha, €6, 26 May
fSdwnk, 73, 20 Dec.
5*0
APPENDIX I
Schneider, 50
Schayder, 50
Seyfried, 60
t Smith (J. S.>, 86, ai Sepi.
70
Wesley (S.), 70
*Alma-Tadem«, L^urenct. Pa.
*Be<quer, CiuUvo Addfe. Li.
Po.
*8cMnt. U'alicr. U. K«.
*Bumand. Fraiwu C^le)*. Dr.
*Carducci, Cimui. P9.
tColoian. (•cotfe, jun., 74. IV.
*Faniijt>LJ>i«u«. H«ikri. Pa.
* Gilbert, UilHam Seb^vucb. IV.
f Godwin, WillMm, fto. No. I.i.
TGrabbe. Chritiian Dielrkb, %%.
Dr.
*Lcnbaeh. Frani. Pa,
t Maekeniie, Henry. IK. No.
*Neuvill«. AtphOfM* de. Pa.
*PovT)irr, fcdwanl. l*a.
tRairnund, KrrJinarMl. 46. Ar.
Dr.
*Saeher-M«oeh, l.eepeld yon.
No.
fWmet, Horace, 7b. P*.
1837
"Udlakircv. a Jan.
•lUrncu (J. F.), 16 Del.
Bcrcon, 70
Oarafa, 50
iVmitetti, 40
tFiekI, 54, 93 Jan.
tPioravami (Val.), 72, 16
June
Cade, ao
'Guilcnani, 12 Mar.
*Guiraud, 23 June
tHumriKl. 5^ 17 Oci.
‘feruen, lajan.
Lachner {!.), 30
fLesucur, 77, 6 Oci.
Mabel I ini, ap
Nfaidart, ao
Mat ray, 40
Pcdroiti, ao
Rebcr, 30
Romberg (D.). 70
t Wesley (S,), 71, II Oci.
*\Vicnia>\'ski (J,), 23 May
* 2 cleA»kj, 6 July
tZingarelM, 85, 5 May
*Be«Qur, Henri. IV.
tBectushei’, Akiander. 40. No.
*boHVnaer, Pierre CoimaiHiel
Hippalytr. Pa.
"Braddon. Mary* riiubclh. No.
tlktchncr, Geocf, 94. Dr.
Carolus.Duran (*rr Durand.
Charier)
tConsiaMr, John. 6t. Pa.
*Cul«‘erw«)l. CbarieS (later Wynd*
hant). Ac.
*Duraod, Gharlca (Carolus^
Duran). Pa.
*Ebcn. Georg Uorits. No.
fGdnrd, FraA^i Pajcal, 87. Pa.
*Howells, Wiiliaoi Dean. Li. No.
Po.
* Kipling, John Lockwood. 8e.
Pa. Li.
*Legro3, Alphonse. Pa.
tbeopardi, Giacomo. Ckuiil, S9.
Po,
IN'icoll, Robert. 9$. Po.
tPusbkin, Aleaaoder ^rgeyevich,
Po.
tQujglio. Domenico, jun., sr.
Pa.
tSoane, (Sir) Joho, 84. Ar.
'Swfflburm. Algernon Charies.
Po.
Wyedham. Charles (ut Culver*
wall)
1838
fAhhlrom, 81, n Aug.
tAiiwood, 7«, 24 Mar.
Balfe, 30
*Bendl. 16 Apr.
*Biiei, 25 Oct.
*Bruch, 6 Jan.
*CastiJlon, 13 Dfc.
Clapitaon, 30
•Clay, 3 Aug.
GJascr, 40
Gounod, 20
Crisar, 30
LitolfF, 20
Lvov, 40
•Morales (M.), 4 Dec.
Neukomm, 60
Reitsiger, 40
fRici, 53, 13 Jan.
Sechter, 50
t< 3 aaniMse, Adalbert von, 77.
Po. No.
*Dalou. Jules. Sc,
*Gray. David. Po.
*lr\ inff. Henry. Ae.
t Kemble. Maria Therera, 84.
Ae. Dr.
*l.ando«). Lclilia Ellialiedi, 36.
Po. No.
^Lccky, ^^'illia^) Cduaid Hart,
pole. Li.
tMoOcr. Paul Martin. 44. Pn.
Dr. Lt.
tMoreau, Hdgdsinpc. 38. Po.
1839
Ab«, 20
Carnicer, 30
Ebner, 70
Fioravanti (Vine.), 40
Hal^vy, 40
LickI, 70
Lindblad (O.), 30
APPENDIX I
5*^
Ma>'seder, 30
Mendel&sohn, 3Q
Mociiuszkp, 2 f>
*Mui$org$ky, 2t Mar.
*Nipravnik» 24 Aug.
Offenbach, go
Paciui. 30
tPaer, 67, 3 May
•Paine, 9 Jan.
•Rhclnlwrger, 17 Mar.
Ricci (F.), 30
Supp^, 20
\Vf»»vv>kv, 40
tVUisek, 69, 7 Dec.
*Anaexk| ruber. (.tnlHic, \<>.
»Bc««lirv. (Siff M. |>«.
tBrce, Sfahhiu Icmamm v»n, 66.
Pa.
I.immL Pe. Ih.
t.i.
»CV(aiiiw. lUul. I'e.
I)e Nlursan, WilliaMt Mf
Nhuran)
tc;ali.)v}»n. 6e. N.>. Ik,
^UniA, Pn. Ik.
tCw^ria, Ge«r«n Mauritr ile,
Li.
* Marie. P/aiMM Brel. Na,
* 1 1 ilii M». il lism. <11. Pa.
*l.s Mack lM*>e iKe
N*<x
* Nf«c\VI»ir Irr. JeJm , I'a.
* Marian. William Ik. N'w.
TN'irander, Karl Aucu«*. 4A, Pn.
OuiJa Ittt 1.4 Rani^l
» Paler. WaUrr. l.i,
tlVard. Winthrt.p Md<k«e«ili.
37. P«.
*^^ull> »PfwJhemme. Hmit Kran*
l<« 4 Armanil. Pn.
1B40
•.\udran, igApr.
•Ikiiraauh'IXfCvtMJras. j
III).
tC<avo», 64. 10 May
Cherubini, Bo
CHiopin, 30
David (F.), yt
Erkel, 30
•I'acciu, B Mar.
Frigi l, 90
•Cola, 7 Dec.
Kaalncr, 30
Kreucaer (K.), Co
K^UkON*»kf, ao
•I.angc (S. dc), 22 Fcl>.
I.ipihiki, 50
Lumbyc, 3U
Malilcglicm, 3U
Mermot, 30
Nicglai, 30
1 Paganini. 57, 27 May
Rvssi (Lauro), 30
Schumann, yt
Sorov, 20
•Stainer, 6 June
*S^'eodsen, 30 Sept.
•Tchaikoi^ky, 7 May
Vaccai, 50
VieuxiemfK, 30
Webbe (ii), <. ?o
Wntty (S. S.), 30
Ahrrne. Jacaer (kt Meme,
Jamet A.)
*Baj#mbacli, Ruduir, Pa. S*o,
fBwmei . Franret (Panov. Mme
d'Arfclav). U. No.
*Caain. Jeaa Oharlr*. Pa,
tUiaAibm, George, r. %y. P*,
*dareiir. Juirt <An 6 ne Amaud).
.No. Dr. Li.
*Daude«. AlpiMoie. No. Dr.
*IX4b«eo, Heory AuMiA. Ia l.i.
KlnflW). Gerakl. 37, N'o. Ik.
* Hardy. Tkamat. Na. Pw.
*lt«mr. Jamet A.
Afceroej. Ac. Or.
tlfiimemuan, Ka/I Lebrerlii. 44 .
Pa. .No. Dr.
•.Makan. HaM, Pa.
•Monel, Gbwde. Pa.
^Vaimvdi. Akfander, B 4 , Pa.
•Riviere, Briton. Pa.
•Rodin, .AuguMc. $«.
•HMley. .Alfred. Pa.
•Svmmvdi. John Adtiinffion. Li.
•A'lUren d« l'Jile.,Adani. l’hilip|>e
.AufiHir Mriliiai. hi.
•^•da. £mile. No.
1B41
Daillol. 70
•Chabricr, iBJan.
Cramer, 70
Caerny, 30
•l>vo#ik, B Scpi.
Jollier (F.), 30
•Homcman, 17 Ucc.
Kalliwoda, 40
•l^nge (D. dr), ii JuJy
l^nncr, 40
Undbl^, 40
landpaintnrr, yj
Uut, 30
Lonsing, 40
Meyerbeer, 30
tMonpou, 37, 10 Aug.
tMortaeehl, 57, /B Oil
•.N cwler, 28 Jan.
•Pedrcll, C9 Frb.
TRomberg (B.), 73, jj Aug.
fSeyfned, 65, 37 Aug.
•Sgarabati, 28 May
Skroup, 40
Stamaly, 30
Thomas (A.), 30
VarUmov, 40
•Baacrvft, Sqotrr. A<,
fBertrand, Jaeqoei, 54 . po.
512
APPENDIX I
•fiia<k. William. No.
*Bu«hafiaji, RoWrL No. Fo. Dr.
tChanire>', (Sir) FraAcU, «o. Se.
*CoqueUn, B«oo(i FraAfou. A«.
fKook» Thoodoco EdvanS^
Dr. No. L*.
'Hudson, William Henr>*. Li.
• /. Keodall, Henry CUrcitcc. Po-
tLermoniov, Mikhail Yuiwich.
97. Po. Dr.
•MerwUi, Caiulle, Po. No. Dr.
'Moor*, Albert Joseph. Pa.
*E^id. Ceorye. Pa.
'Renoir. Aufuste. Pa.
1842
Abrinyi (K.)» 30
Auber, 60
fBaiUoi, 70. 15 Sept.
Barnett (J.)» 40
•Boiio, 34 Feb.
fCherubini, 8i» 15 Mar.
Cooke (T.). 60
fFerrari (O. G.)» 7^, Dee,
Ftoiow, 30
Franck (C.), 30
fFrigcl, 93, 34 Nov.
Castambide, so
*l.iuertko, 33 Mar.
Liverati. 70
90
*Ma»er)et, 13 May
Mazas. 60
*Mihalovich» 13 Sept.
*Milldeker, 39 Apr.
Niedermcyer, 40
*Nordraak, 1 2 June
PafT, 30
Pouini, 50
"Sullivan, 13 May
Thai berg, 30
Wallace (V.), 30
t^>'cyse. 60 , 0 Oci-
f Banim, Johe. 44. No. Dr.
tBevle. Henri (Stendhal), pp. Li.
No.
'B<«r<e, Ambrose. LI.
tBi«rre(aard, Henrik Anker, yx
Po. Dr.
* brandet. (ieorf. Li.
fBrentano. Ormcoe. £4. Po.
' (:a«4l lost i. Fclke. Po. Dr.
*Copp 4 «, Franfoii. Po. Dr.
tC^tman, John Sell, bo. Pa.
tCur>nin«hain. Allan, .sS. Po.
t| 4 peonceda, Jos 4 de. 3*. Po.
*Poc*>*«ra. Antonio. No.
'DaWde, Benito P^rrt, No. U.
'Heredia. JoH Maria dc. Po.
» Koltsov. Aleaer. 33. Po.
'Lanxr. Sidne>*. 1*0. LI.
ILebrun, Marie l.ouiae B).
Pa-
'Mallarm^, St 4 |>hane, Po.
' Patrlew«lia. Klhe (Orxeahni.
No.
htendhal (sreBeyk)
tVarley, John. 64- Pa.
1843
Adam, 40
Alkan, 30
Barbieri, 30
Berlioz, 40
DargomizKsky, 30
•Grieg, 13 June
GyroweU, 80
Kirchner, so
Lachner (F.), 40
Lalo, 30
f Lanner, 42, (4 Apr.
tLickl, 74, 13 May
Loder, 30
Macfarren, 30
Mayr, 80
Reyer, 20
Sowidaki, 40
Verdi, 30
Wagner, 30
fWebbe (ii), r. 73. 25 Nov.
*Oabn, Felix. No,
tOelavifne, Cajimir, 30. 1*0.
Dr-
*£ca dc Qurtroz, JoH Maria.
No.
'Perrier, Paul. Dr.
FouduL F. H. K. do La Mottc
(uf La Moue)
tHaWerlin. Joliann Christian
Friedrkh, 73, Po,
*Jame«, Henry. No.
tLa hfoiie Fouqud, Friedrich
Heinrich Karl 6b. Po. No.
'Rrcnault, Henri. Pa.
'Rkhmoad, Wijliam. Pa.
'Rooefeer. Peter, Po. No. Dr.
tSouthey, Robert. $<). Po. LI.
1844
fBairti, 66, 21 May
Benedict, 40
fBerton, ss Apr.
Bruckner, 30
•CeiJier, 1 Dec.
Cornelius, 30
Dorn, 40
tCerJ, 77 . *3 Apr.
"Gigout, 33 Mar.
Glinka, 40
Heller, 30
Henselt, 30
M^hura, 40
Mcechcles, 50
Onslow, 60
Reinecke, 30
•Riinsky«Korsako\', 18 Mar.
•Selmer, 30 Jan.
Semet, 20 *
Smetana, 20
Spohr. 60
Sponlini, *0
APPENDIX I
5*3
Sirauo (J*) (*)« 40
TooiaM, 70
Xyn(b», 30
WiUiim, By Ko.
*BebelmftAa. Qtrulun L«au.
Pa.
* Bridge. E^obert, P«.
* Cable, G«»rf« WaduDgioii. Ke.
t^koii. (Stf) AugetxH Wall.
6^. Pa.
t Campbell, Thomui 67. Pa.
*Carpeaier, Bdwiml. Pa.
tDahlgreo. Karl Predrik,
Po. U.
•Fitdei. Lube. Pa.
*Fraoc«, Anstole (ThibaulO. U.
Na,
* Hare. Jobs. A<,
'Hepbiu. Gerard Maatey. Pe.
*Lao8, Andrew. Pa. Li.
*mitBcrer>. Ocilcv voB- Pa. Nw.
Madioba. Helena (w Opi^l
•Munbiety. hlUtily. Pa.
*Nt«uacbe. Fricdriek La. Pe.
tNedier. Charlee. B4. He.
*0»idv. IJekna (Med>Mha>.
A«,
*0*Sbauclmewy, Arthur. Pe,
*ftep«n, Ilia Verteietkb. Pa.
*ReuMeau. Henri, Pa.
*Therwal<bcn. Beriel, 74. $«.
» Verlaine. Paul. Pe.
184s
fiodly, 60
Croich, 70
Eybler, do
*Fnur^, I a May
Frnni, 30
Fry, 30
Gcijer, 60
Hbrimnnn (J, ?, E.)» 40
H«rvd, 30
JnduQA (W.) (ii), 30
Kj<ruir, 30
KurpiAalu, Go
Mnrschner, 50
t Mnyr. 82, 7 Dec.
Mercadnftte, 50
Mosonyi» 30
Peamll, 50
Pienoo, 30
Ricci {L.), 40
Suau 39 (J.) (it), 70
Tadolini, c. 60
Volkmaim, 30
•Wldor, 24 Feb.
tBaratirokr, Evgeny Abeame«kb.
ii- Po.
t Barham . Rkhard. ^7. LL
* Bernhard 1. Sarah, Ae.
• Bk«afnen, Beraardu* iehiAna
Pa.
fBtidel. Philippe Gyria^ we. BB.
Li. Pe.
tBrnebe. Maria, »o. Pe.
*Canetao(, BeojaodA. Pa.
*ilelL FniKia Mmtiague. Pa.
tHnnd. Thomaa. 46. Po.
ILauDaw, William, Bs< Pn,
*Le«n{mfber, Camille, la. No.
*Mercid. Mariuf Jean Antonin.
Sc. Pa.
*Snia«sbury. Geur|e. Li.
tSehIcfcl, August \SiU»elm vui>.
tB. U. Pe. Dr.
•Spiiteler. Cart Pe.
tWerfcland. Hendrik Ar«Kddu«,
JT. Pu.
1846
Benncti, 30
Berwbkl, 30
Bisltop, Go
•Brull, 7 Nov.
fEyblcr, 61, 24 .July
FoMcr, 30
^Hnllen, 23 Dec.
lialUirom, 30
HoUtrin, 30
Horn, 60
LoevKT, 50
*Noskoi''ski, 3 May
Pacini. 30
Raimondi (P.), Go
Schneider, Go
Schnyder, Go
*Solovicv, 9 May
•Wcfcliui, 10 Nov.
fWcigl, 79. 3 Feb.
*Aniieii. Cdmende d«. Ne.
‘Barren. Wilton. Ac.
•CaJdeeoti, Handulph. Pa.
*Ce<h. Svalopluk. Po, [>r.
‘Conrad, blkhael Grerg. Li. Ke.
Dr.
‘Crane. U'alter. Pa.
IDarley. Oeerce. 71. Pe.
lOebureau. Jean BaptiMc, 70.
Ae.
•MreuHde. Paul. LI.
fDe Vote, {Hui Aubrey, 7®, J»a.
‘Farina. SaUaiore. Ke.
‘Creenavray. Kale. Pa,
tinman, Henry. 43. Pa.
* 0 *Cra«lp, Standuh. Li. Ku.
‘SknbkHiee, Henryk. No.
Vert, (S«r| Aubrey (wv De
Vere)
1847
Carala, Go
fCroich, 73, 7 <j Dec.
Donizellj, 30
•Frank, 7 Feb.
Gade, 30
tGcijw, 63, 23 Apr.
•Holmes, 16 Dec.
Lachner {I.}, 40
Mabellini, 30
VOL. tx
2 K
APPENDIX I
514
"Msckcnzk, 92 Aug.
Maillari, 30
M 4 (ray, 50
t Mendelssohn, 36, 4 Nov.
Merkel 20
Pedrotil, 30
R«ber, 40
*Salvayre, 24 June
•Scharwenka (P.), j6 Feb.
fBarker. Thomas. Ke., 78. Pb
*Brock. Thomas. Sc
tChuholm. Alesaodor, t. 5^
Pa,
•Climiie, JariKs £»««. Pc
tCSirUtopoulos. Aibaaasios, 75.
Pe-
*Cou]bstih. Joa DoetBB. Po.
tFrans^n, Frans Mkhact, 75.
Po,
*Hil(lcbraAd, AMI v«a. Sc.
*JacobMn, Jeas Pelcr. Po. No.
*Lkberfnann» Mac Pa.
tNo<a. Atberio, 79. Dr.
‘KoMbery, Archibald Philip
Pritnroi*. Lari «l. U.
*Thaulow, FriU. Pa.
184B
Balfe* 40
ClaptMon. 40
t Cooke (T.), 65. 26 Feb.
fDonisclis 90, B Apr.
*Duparc. 9i Jan.
Gevaert, 20
Glaser. 50
‘Goldschmidt (A. v.), 5
May
Goun^, 30
Griaar, 40
‘Kbticr, 12 Mar.
LiloJff, 30
Lvov. $0
‘Mailing, I June
*Mancmclli> $ Feb.
Neukomm, 70
■Parry, a? Feb.
■Planquette. 31 July
Rcissiger, 50
■Schylte, 28 Apr.
Scchtcr, 60
fVaccai, 58» 5 Aug.
t Varlamov. 46} Oci.
*Barlholome. Paul Albert. Pa.
Sr.
*BMMpft*l.«oafr. Juks. Pa.
tBelinshr. Vitsamn Griaoravkh.
37- U.
tBIkhcr. Siren .Sseetuen. 66. No.
IN).
tikonie. Emitv. S*- No-
tByelrw. Johan NlUas. 65. Sc.
fC^iraubrUad, Fraacois Rend
de. So. Po.
fColc, Thomas. 47- Pa-
*Coaueiin. Emesi Aleaaodrc
Heoord. Ac
*DecaiUe, Jeaa Bapliita. Pa.
tDrace*H2lsho/r, Annella von.
$r. Po.
‘Gai^uiii, Paul. Pa.
*HarTis, Jod Cbacdler. Li. No.
*HuysiMiis. JorU Karl. No.
*Jefrcriea, Richard. No.
*Ohoc<. Ceorget. No. Dr.
■Terry, Eiloo, Ac
I &49
Abt, 30
Carnicer, 60
fChopin, 39, 17 Oct.
Eisner, 80
Fioravanti (Vine.), 30
■Godard, 18 Aug.
Halivy, 50
fHom. 83, 21 Ocl.
fKreuuer (K.), €9, 14 Dec.
Undblad (O.)*
•Uoyd (G. H.), iSOcl.
Mayseder, 60
fMas^ 67
Moniusako, 30
fNicolai, 36, n May
Offenba^, 30
Pacius, 40
Ricci (F.), 40
fStraui* (J.) (I), 45. 95 Sept
Supp 4 , 30
Vcrsiovsky, 30
■Ztchy, 22 July
tBarton, Bernard, 63. Po.
tBeddoea, Thomai Lovell, cS.
Po.
tBroace, Anne, 09. No.
■Brvnetkre, Ferdinand. LL
■Bulihaupi. Heinrich. Po. Dr.
U.
*lhimeu. Francos. No.
■Carrkre, Cuahoe Anatole. Pa.
*ClhaM. Ilian MerriiL Pa.
tCokrsdBc, Hanley, 93. Li. Po.
•Ean. Allred, Pa.
tEdfcworcb, Maria, Se. No.
■Ederen, Anna Carleua. No.
tEllkxi, Ebenracr, 66. 1 * 0 .
t £1 ly, William, 6e . Pa.
TFeu^ienlebco, Errui vofi. 43 *
Po,
*Coasc. Edmund. Li. Po.
■Henley, WJliaa Ereveai. Pw. Li,
■Herhomcc, Hubert voo. Pa.
tHohusai. KaUuhika, 69. I'a,
JKconey, James. 64. Dv.
■Lucas, Julio Seymour. Pa.
fMarryat. Frederick, 96. No.
MeyocU, Alk« <srr Thompson)
■Konlaw, Max. No. Dr.
f Poe, Edsar AUan, 40. Po. No.
■Rioheptu, Jean. Po. Dr. No.
tSIowacki, Juliuss, 40- Po-
tSmith, Horatio (Horace), 70.
•Siris^berg, Aimmsl No. Dr. Li,
• Thompson. Alke Chrinlaca
(Alke Meynell). Po. Li.
JWint, Peter de, 69. Pa.
APPENDIX I
515
i# 5 ®
"Brecon, 39 Dec.
David (F.), 40
Erkel, 40
"Fibich, 21 Dec.
■Georges, 25 Feb.
Goldmark, 20
tGyrowcia, 87, 19 Mar.
Heise, 20
•Heuberger, rSJune
Kasuier, 40
Kfiilcovsky, 30
•Langc-Mo!kr, * Dec.
Lassen, 30
Lipirtski, 60
Lumbye, 40
MaJdeghem, 40
Mermec, 40
■OUen, 4 July
Roui (Lauro), 40
Rubinstein, 30
•Scharwenka (X.), $ Jan.
Schumann, 40
■Scontrino, 17 May
Serov, 30
■Thomas (Coring), 30 Nov.
tTomalek, 76, 3 June
Vieuxeemps, 30
Wesley (S. S.), 40
tbslisf, H«n«rS 4 e. $1, No.
ta*rioUni. Lerense, 73, ««.
Avc^uM. Li.
tC 4 fr«r. Lvi|i. 44, fo.
«Coll>«x. /ohA. Po.
tPulWr, ^roh M*fcore«, 40. U.
tCiwti, CiuMOiM. 41. P^
*H«axA. LslMdio. Li.
*Heckioc. S*lu. No.
tL«B«u (Nknuch von Streb*
knoui. NiSolow, 4a. Po.
Loll, Picxrs Loukl
•Mtnion. Philip Bourkc. Po.
*MBup«Mn(, (^uv d«. No.
*Mirh«»v, O«(ove, No- D(.
tO«hknKblit4«r. Atiom. 9t. Pe.
Dr.
tSchodow, JoKaiwt ConfrkO. M,
Sr.
*Stiwipon. Rohm Loom. Po.
No. Li.
*Thomrcron. WilUom. Sc.
"Vioud, Lowa (Pkxre Loli). Ko,
fWocOrworih. William, 0o. Po.
($ 5 S
•BJockx, 35 Jan.
Cramer, 80
Czemy, 60
■Farkai ( 0 .)
HiUer (F-), 40
■d’Indy, 27 Mar.
KaUiwoda, 50
Lindblad, 30
I 4 ndpalotner, 60
Lisat, 40
tLortzir^, 49, 3i Jan.
Marchetii, 30
Meyerbeer, 60
Nomsan, so
Skroup, 30
tSpootiru, 76, 34 Jan.
Scamaty, 40
Thomas (A.), 40
*AneW, Mary Autnua lUcrc
Mn. Ilumphxcy Ward). No.
tft«iU*e. Joanna, Ap. Po. Dr.
tOoeper. Jamrt Frnimore. 4?.
No.
*r>olUnan. iohnCliarief. Pa.
*Joneo. Kenxy ArihHr, Or.
tSbeUry, Mar>' S>'ulUtoiir«raR,
54. N«.
tSKcrwoed, Mar> ^far<ha, 76.
No.
(Tomer. Jotrph Malkrd Wdliam,
76. Pa,
Ward, Huieipl.tey (k«
Amohit
l 8$3
Abrinyi (K.). 30
Auber, 70
Barneit (J.>, y>
■Co wen, 39 Jan.
Flosow. 40
Franck <C.), $0
Cascambidc. 30
Lecoeq, 20
Masse, 30
Niedcrmcyer, 50
RalT, 30
Rosiini, Co
Soderman, an
Sokabky, 80
■Stanford, 30 Sept.
Thaibcrg, 40
Wallace (V.), 40
fB«e«h, Jonioa tteuiMf, Ac.
*Bour|tc(, Paul. No.
*CUu»co, Crorpr. Pa.
*Dafnao.8owvrrvi. Paacal. Pa.
*K<inJ. Ldword OnUov. Sr.
*Grr>rx. Keori. I'a.
t C oaol. Nikolay VaMikvirh. 43.
No. De.
O r r eofv, Lady («re Peeaic,
tiahelloj
*Kine«kT. hlary {Lucm XIaleo.
No.
tUaaie*, Xavier d«. 89. Li.
MaSei. Lucaa (*r« KinAlcy,
"Markham, Charles £4win. P«.
* Macradi, Ciovaaai . Po.
"hfoerr, CooTfo. No.
tUoore, Thomai, 77, Po. Lt.
"Onaai, AlTvedo. No. Li.
tOaoDcoux, Cooeprs. 77. Li.
"Pardo-Baian, Ee^lia, No. IL
•Pcrire, Isabella (Udy Ceetory).
Df«
APPENDIX I
i «53
A 4 am> 50
Alkaji» 40
Barbieri, 30
Berlios, 50
Borodin, 30
Brahms, so
Dargomithsky, 40
•Foote, 5 Mar.
Kirchner, 30
•Koesslcr, i Jan.
Lach ner (F.), 50
Lalo, 30
Loder, 40
Macfarren, 40
•Message, 30 Dec.
•Nicodi, 13 Aug.
fOmlow, 69, 3 Oct.
t Raimondi (P.), 66, 30OCI.
Reyer, 30
tSchneider, 67, 33 Nov.
•Sjogren. 1 6 June
SowiOski, 50
Verdi, 40
Wagner, 40
•B«taK0. DavmI. Ac. Vt.
tBrvlev, KonxAOCia Pavlevkh.
,S 4 . Pa.
*Cainc, Themaa Hcnn' Hall.
No.
*IXckM«, Praaci* Bernard. Pa.
*F«cb«»Rab«ri#ofi. Johcttcon. Ac.
tCarav. JiAM. 41 . r«.
'Oofh. VirKcfii van. Pa.
*Haniilioft. JoKq McLurc. Pa.
*Hodtcr, Ferdinand. Pa.
*JehiM«o. Robert Uarlerweed.
Pe.
* Korolenko. Vtadinur. No.
*Lemalire. Jnlca. Po. Dr.
tOpic. Amelia. B4. No.
*Soloviev. Vladimir Sereeiwkb.
1 * 0 .
*Tre«. Herbert Beerbohm. Ae.
•Vrchlicky, Jareelav. Po. Dr-
1854
Benedict, 30
Benoit, 90
Bruckner, 30
•Chadwick, 13 Nov.
Cornelius, 30
Dorn, 50
fEJsner, 64, 18 Apr.
•Oast, lojao.
Glirtka, 50
Heller, 40
Henseit, 40
• Humped irtek, 1 Sept.
•Janifek. 3 July
M^hura, 50
Motcheles, 60
•Mosekowski, 93 Aug,
PonebieUi, 90
Reinecke, 30
Reubke, 20
Semet, 30
•SmaregUa, 5 May
Seneuna, 30
Spohr, 70
•TineJ, 37 Mar.
Xyndaa, 40
•Zdllner, 4 July
•Zweers, 18 May
tBird. Robert Moniaomery, 50.
Dr. No.
Biiuua. Albreebt (we Oouheir,
Jeremiaa)
*Cnw{ord. Francis Marioa. No.
*Corel. Fcaaeois de. Dr.
tEckermaaA, Jobaiui Peter, 8a.
No.
tFerrier, Suaaa £dmofutone, 7*.
No.
rFofelberc. Benediel Briand. 66.
Sc.
*Fraacr, George JaiM*. Li.
^Gilbert. Alfred. Cr. So.
tCosibetf. Jeremiai (Aibreehi
Biiiiui). $7. No.
•HarrU. Frank. U. Dr.
rKaenble, Cbaclm. 73. Ac.
tMartm, Jeha. 6}. Pa.
tMoeit^mcrv, Jamea. 6}. Po.
7 PelUco, Silvio, 66. Po. Dr.
*Rimbai>d. Arthur. Po.
1855
Belkzay, 30
t&ishop, 68, 30 Apr.
Beely. 70
tCamicer, 65, ty Mar.
•C 3 iau»on, 31 Jan.
Cui, 30
Draeseke, so
Pranz, 40
Fry, 40
Hartmann (J. P. E.), 50
Hervd, 30
Jackson (W.) <ii), 40
KjerulT, 40
KurpiAski, 70
•Liadov, It May
Marschner, 60
Mercadante, 60
Mosonyi, 40
Peanall, 60
Pienon, 40
(L.), 50
•Rdatgcn, 9 May
Saint^aeiu> so
Strauss p.) (li), 30
Tadolini, <• 70
Voikmann, 40
Wieniawski (H ), so
lAtterbeo). Per Daaiel Aenadrus,
65 . Po.
tBroete. CharloMe, 99> No.
APPENDIX I
5>7
M«rr. H.
*Ci&fnpDli, Decneiuco. N'o. li.
t Field iB|» Aolbooy Copley, 6S.
P».
‘HoebAf. jBwph, No,
tiubey. Jeu Bopit&le. W. fo.
tMicUcwkl. Adw. ) 9 . Po.
fMitfoed, Moey RumU, Fo.
Dr. No.
*M«ntc«quiou. Rnbeci <lr. U.
Po.
tKmol, C^rord de, 47. Li.
*Pwcali, GtovAnoi. Fo. IX
*Pioero. Aeibur. At. Dr.
*Kodei)bieli. Ueorgn RAyntood
CoAitAAiin. Pv. No.
fRoten, S 4 inu«l. pt. Po. Li.
*W(hMrrn, Smile. Pu,
*W«r*mb«y. ErX. Fa.
tWerdiweeili, Duroihy. LI.
1856
tAddfn, 52, 3 May
B cfuicu, 40
BcnvAld> (hi
D elibck, w
Poser r, 30
Contrs, 'M>
H&llsir6in, 30
Hartmann (£.), 30
IloUtrin. 30
*Kuialsky, 36 Nov.
fLindpaininrr, 64. 31 Aur.
Lorwr» 60
*Marcucci, 6 Jar)
E^acini, <x>
tPranall, 61.3 Aur.
Schnyder, 70
t Schumann, 48, 39 July
*Sindir)g, 1 1 Jan.
•TaiKyev, 35 Nov.
*n<hari, Ale»AfMl«r. F*.
*D 1 oml>rk|. KrginAld. Ar.
tOrUroelie, Paul, 99. Po.
Ridee. No.
tH«ine. HeittTKh, Po. N*.
*MicaiUitrAy, Jamci. Sc.
Moetoed. Fm* {we Shorpi
MorCw. Jew) (we PopMji3m«n«o>
pMloti
*N«viaMn. Henry Woodd. Li.
*PAp 4 di»mMl«poako*. JoAoertO
(Jeoo Fu. No.
*S«r3enl. John SiOfer. Po.
*Sherp. William {" Itono
UoeW*'). Fo. No.
*S|ia«e, Oeorge Rernatd. Ue. Lo.
*SmiU. Jakob. Fa.
•Wilde. Oicar. Pe. No. Dr. Li.
1837
Balakirev, 30
Bameic (J. F.), 3u
*Bruneau, 3 Mar.
CaraJa, 70
*Chamin^e, B Aug.
fCzemy, 66, 15 July
•Elgar, 2 June
Gade, 40
tOlinka, 33, 15 Feb.
Guilmani, 30
Guiraud, 30
Jensen, so
•KienzI, (? Jan.
tKurpinski. 73, i 0 .Sepl.
Lachner (I.), 50
Mabdlini, 40
Nfaillart, 40
Milray, 60
Merkel, 30
Pedrotti, 40
Re her. V)
\Virniav\'aki fj.), so
Zetenski, so
*ftari4, HcrmaoHi |o*<|iifn. No.
\a.
*8ortow, Jaiw. No.
*Reraiiaee, Jraii Pirrre de, 77.
Po,
(jMirad. Juwph iwf Kuitictiioyy
tilt}
•Campl^rll. Mat«4rtltj (Mat*
larelta VVadr llrlaitd). N".
•Potidon. John. I'o. I>r. 1.1.
*F.Mhmdnrir. Jwtepli voii, C9,
Pu. No.
•Ftirbn. Nuahope Alraaivdrr.
Pa.
•Uu>ine, Oorzr, No. Li.
•Girllerup, Karl .AtMl*. I'n. No,
l>r. ].i,
•Gould, NaflianwI. N\i,
•lirtvirii, Paul Iviirti. Dr. D<.
*Jrr roW. IkuisUt, Y 4 . Dr. No.
•Kknsrr, SIa«. Ne.
•Kwrre*tinu»ki, jdrrri rvdur Ki>n
rati ijotcph (^uAradj, No.
•Lavaty. John. Pa.
•hlttnlhr, Anal. Lt.
tMtMMt. Airted lie, 47. Po. No.
Or.
•PenloppHlaii. Hanrili. No. J'o.
tRavch. Chrntiaii Oanwl, Ho.
Se.
•Robeeii, Motky. No.
tSolomot. DtonyMot. 59, Po.
•Sudmn«iin. HrtmuMi. Or. Nn.
1838
Balfe, 50
bendl, 30
Kzei, 30
tBoeJy, 73. a?
Bruch, 30
Caslilkm, 30
Clapiason, 50
CUy, 30
tCraiOCT, 87, 16 Ajir,
Gevarn, 30
Glazcr, 6(1
Counotl, 40
Gruar, y>
•Leoncavallo, 6 Mar.
5«8
APPENDIX I
LitoJff, 40
Lvov, 60
•Major (J. G.)» J3 Dec.
Morales {M.), 20
tNeukomm, 79, 3 Apr.
■Puccini, 22 D«.
ReUsiger, 60
tReubkc, »4, 3 June
Sechier, 70
■Smyth, 23 Apr.
*firirux. Eu(^. Dr.
Vinceni Marie AJTreO.
Dr. No.
*l>Mc, Elearwa. Ac.
*C«urnM*ni. Kemy 4 c. No. ]J.
tHifoihiee (Ab 4 o Tokitaro), €1.
P*.
Srlrna. No. Po.
rRaehel. Dim i£Uzab«ib F«Ua).
) 7 . Ac.
tSekeffer, Ary, 63, Pa.
*S«n»<rviU*. £diik (EAOoe. No.
Pa.
1859
Abt, 40
•Che^’^U•r<^, 14 Oct.
Fioravanii (VirK.), 60
•Focrsier, 30 Dec.
Hai^vy, 60
•Ilyinsky, 24 Jan.
•Ippo)iiov>|vaA4v, 19 Nov.
■Liapunov, 30 Nov.
LinJblad < 0 .), SO
May'sctler, 70
Moniusako, 40
Mussorgsky, so
Nkpravnlk, so
•Nioviadomski, 4 Nov.
OfTersbach, 40
I’acius, 50
Paine, so
fReisiiger, 61, 7 Nov.
Rheinbrrger, 20
Ricci (K.), 50
tRIcci (L.), $4, St (?) Dee.
■Schjrklcrup, 17 Nov.
fSpohr, 75, 22 Oct.
Supp<, 40
Ventovsky, So
tAmim. Bcttina vae, 74. Li. Po.
*Ber«l 4 c Hauicrivc. Joseph, jo.
No. Po.
Brenlano, Beilina (jrr Areim)
*Bute^r,*n, Tarfey Vefrctfiktovich,
)o. La. No.
tCM. Davia. M. Pa.
tl> Qaiiwcy. TIaomaa. 74. Li.
*Do«inay. kfavrae Charl^ Dr.
*Dovle, Ariliur Cuoan. No.
*Cilb«ra.Ca^ Ar.
*Crali.ime, KeoMibt. No, U.
fOrimm. Wilhebn Karl, 72 >
*Oulbrie. Jamec. Pa.
*Hamjun. Keui. No.
■HeidenaiazB, Carl Cuaiaf Venier
VOD. U. No.
■Housman, Alfred Edward. Po.
IHuai, J.«leh (Jama Heory
beigbO. 7 $. U.
tlrviog, Watbiogioc, 76. IJ. No.
■Jerome, Jerome Klaeia. No.
Dr,
tLeclie, Charier Robert, $4. Fa.
Li.
1 Macaulay. Thomas BabiogioB,
Lord. Li.
■Moakhouse, Allan. LI, Dr. No.
tReihel, Alfred, 43. Pa.
■Bchreaner, Olive, li. No.
■Seurat, Georgei. Pa.
tSiarh, James, Sj. Pa.
ISue, £ug 4 ne, 4?. No.
1860
•Albdniz, 29 May
Audran, so
BourgauU'Ducoudray, 20
•Charpcniier, 25 June
David (F.), 50
•Enna, 13 May
Erkel, 50
Facdo, 20
■Prancheiii, 18 Sept.
Goldmark, 30
Cou, so
Heise. 30
Kasiner, 50
KPiikovsk^, 40
Lange (S. dc), so
Lassen, 30
IjpiAski, 70
Lumbye, 50
•MahJer, 7 July
MaJdeghem, 50
Mcrmct, 50
■Paderetvski, 6 Nov.
•Rezni^k, 4 May
Roaai (Lauro), 50
Rubinstein, 30
Serov, 40
Siaioer, 20
Svendsen, ao
Tchaikovsky, 20
Vieuxtemps, 40
Wesley (S. S.), 50
•WoJf, 13 Mar.
■Banre, Jamei. Dr.
IBarry. (Sir) Cbarics, 6$. Ar.
■fiaibbiruev. Marie. Li.
tCbririic. Alewander. 33 . Pa*
tCosta, luM da. dz. Po.
fDeeampc, Alexandre Gabriel. 37 *
Pa.
* r. Dtinkexicy. William Arthur
<jAlm Oxenhamt. No. Po Li.
*£edeii. Froderik Willem van.
Po. So.
■Prampeoo, George. Se.
■Garlaod. HanJin. Li.
•Gieaud. Albert. Po.
APPENDIX I
ti »****»- Ac.
tHeibecf. Jobaa Ludvig, 6^ Dr.
*Hyd«, C^ugUs Li. F«. Dr.
tjaan. Ceorge Fayrte RainifOrd.
6i. Ko.
tjano. £b«ftrter. 4 a. P».
*L4l»rfM, JuJ«9. Fo.
K^l. Fe. Na.
Osroham. John (mt DmkerleyJ
tPauUing. Jatau Kube, 6r. Ko.
Li.
*R<*berl>. Gharleo. Fo. No. LL
*5icb*ri. Walur Richard. P«.
*S(««r, Philip Wilioxi. Pa.
*Tchckhov« Anton. Dr. Ko.
*ThompMA, Francii. P». LL
1861
*Areruky, 1 1 Aug.
*Boui, 25 Apr.
•Dr«vilk, 21 Feb.
ChhbKer, 20
Dvof4k, 20
tGli*er, 03, 29 Aug.
Hiller (F.), 50
Homcman. 20
KaUiwoda, 60
l.ange (D. dr), 20
l.icKJblad> 60
tLipiiSaki. 71, 16 l>ec.
l.iut, yi
•Lorffler. 30 Jao.
•Mac Dowel I . id Dec.
Marchcili, 30
tMarschnrr, 6$. 14 Dec.
Mryrrbrrr, 70
•Misaa, 12 .lunr
Nrssirr, 9**
1 Nicdermeyer, 56, 14 Mar.
Norman, 30
PrdrrU, 20
Sgambaii, 20
dkroup, 6c
Slamaty,
Thomas (.V.), 30
•Thuille. 30 Nov.
•Volbach. c7 Dec.
*blan<hr. Jiici*ie« £miL. Pa.
^BovrdrlW. Emile Ar^ioino. Sc.
tProwniac. EliuLeih SarreN. iy
Po.
*CafinaA. William Rliai. Po.
trao«wth< Arthur Kueh, 49. Po.
tDanbr. PraiMis, 44 . Pa.
tCerbhewi. Jacob Jotoph. M.
Pa.
fCrar. DavW.ej. Po.
*K««kU. hfaurkc. No. Po.
*L<rbcrtbe. Charln «4«. P«.
•Maillol. Arithde. Sc.
TMur^er. Henri, yK Mo.
TKkcoIjni. Cfiovanni lUttnU. ?«.
Po. Dr.
t^ribo. Cuvene. 70. Ik.
•Tagore. Rabindranath. Po. LL
•Tyaan. Katharine. Po. Ko.
*Va<h^. horoee AnnnleT. >^0.
^9
186s
Abr^yj (K.), 40
Auber, 80
Barnett (J.), 60
Boito, 20
•Debussy, 22 Aug.
•DcUus, 29 Jan.
•Dicpenbrock, 2 Sepl.
•Emmanuel. 2 May
Flotow. 50
Franck (C.), 40
Gasiambide, 40
•Cerman, 17 Feb.
tHal^vy, 63, 17 Mar.
•Kovafovie, 9 Dec.
•Le Borne, 10 Mar,
Leeocq, 30
Lissenko, 20
Mass^. 4c
hlassenet, 20
MIhalovich, 20
Milldckrr, so
Nordraak, 20
Raff, 40
Roasini, 70
fdkroup, Go, 7 Feb.
Soderman, $n
Sokaltky. 30
Sullivan, 20
Thalberg, 50
fVcTstov^y, $3, 17 Nov.
•Wagenaar (J.), 1 Nov.
Wallace (V.), 50
•Weis (K.), 13 Feb.
•^V)lliafn$ ^.*\|licno), 23
Nov.
*8ah«, He«nuiw>. Li. Dr,
•Brtion. Arthur Ghrhlopher. Li.
•Conradi, Hermann. Li.
*D»«ie«, Arthur 8, Pa.
•F.etauai«. Edouaitl. No.
"Fulda, |.udwig. Po, Dr.
"Haupcmann, ^rhart. Dr. No.
Po.
Henrr. O. (let P«tier>
"HermarU. Abel. No.
•|oi»e«. Edith (later Wliariool.
No.
tKeeitcr. Jivtioiu. 76. Po.
fKnowlee, Jamci Sheridan, 78,
Dr.
•Maehcn. Arthur. No. U.
"Maeteelioek. hlaurke. [V. Po.
Li.
•MaHine. Violet Florence (Mar-
tin Rom). No.
tMarUne* dt fa Roi«, Frcacitco
dc Faula. 77. Pw. Dr. Li.
MmiAart. Henr> Seion tut
ScMt. H. 8.1
*Ke«*b«lt, Heorv* Po. U.
"Phillpotu. Eden. No. Dr.
•Porler, William Sydney (O.
Henry). No-
*Pi 4 ««Ml, hlarcd. No.
Rob. hlariin (m hfarline)
•Sehoicaler. Anhw. Dt. No.
520
APPENDIX I
* Score, Duncib Campbell. Po.
No- U.
*Scotl, Hufh Stowell (Hearr
Selon Memnma). No.
tTboreau, Heory David, 4 $. LL
t C'hlaod . Johano tudwif . 75. Po.
U.
NChartOA. Edith favJoAev)
1863
Alkan, 50
Barbien, 40
Berlioz, Co
*Bordc3, 19 May
Borodin, 30
Hrahrm, 30
Dargomizhsky, 50
Crieg, 20
*Kaiin, 21 Mar.
Kirchner, 40
Lachner (K.), 60
Laloi 40
■Lcroux, 1 1 Oc<.
Lodcr, 50
Maefarrcn, 50
*Ma4eagnii 7 Dec.
tMayaedrr. 74, 21 Nov.
•Mobr. 19 Feb.
•Parker, 15 Sept.
■Picro^, i€ Aug.
Rcycr, 40
•Sarpara, 22 No\’.
•Soliyi (M-\ 7 Feb.
•SQmcr>*ell, 5 June
Sowirtiki, 60
•Srendy, il Aug.
Vcfdl, 50
\Vafncr, 50
•Weingariner, 2 June
*Annunti«, GabrkV d’. Po. No.
Dr.
*Ck(i«(. Charki. Pa.
*Couprrui. Lnvichfarie*Anne.
Po. No.
t Delacrois. Eivfene, 4 s. Po.
tCrimm, Jakob budwic. 7$. U.
*Jlawkim, Anrhonv (Hope). No.
tHebkel. Cbrntian Friedrich, .so.
Po. Dr.
*Hcr<acc, Fercnci. No.
Hope, Alithonv <*rr HawkrM>
*Ja«ob». Williacn >Vvmark. No.
*Jar. Harrkti. Ac. No.
* Locke, William Jehtt. No.
^Mockerinal. Bcrlram. 5 c.
*M«crill, Stttari. Po.
tMuIrcady, WMliam. 77. Pa.
*l*emb«rien. kfaa. No.
*Piwarro, Luckn.
‘Quilkr-Coych. Anbur. La.
*Shaf>non, Charkt. Po.
*5ulozub, Kcodor (F. Kuomkh
Teremikov). Pe. No.
* 5 utcT>, Alfred. Dr.
tThackcrov, William hfakepcaee.
Sa. No.
Alfrvd dr. 64. Po.
18S4
•d’AJbert, 10 Apr.
Benedict, €0
Benoit, 30
Bruckner, 40
CelUer, 20
Cornelius, 40
Dorn, 60
tFostcr, 37, »3 Jan.
tFry, 49, 21 Sept.
Gigoui, 20
•Grechaninov, 25 Oct.
•Guy-Ropartz, 15 June
•Haivorsen, 15 Mar.
Heller, 50
Henseli, 50
•Lavranga, 17 Oci.
tLindblad (O,). 54, 24 Jan
M^hura, 60
t Meyerbeer, 72, 2 May
Moschelcs, 70
Ponehietli, 30
Reinecke, 40
RimskV'Konakov, 20
Selmer, 90
Semei, 40
Smetana, 40
•Strauss (R.), 1 1 June
Xyndu, 50
•BMkr.Jowpli. Li. Po.
^Botifchrer. Arthur. Ac.
rCaUme, Akxat«dr«. 34 . Po.
tClorc, John, 7 r. Po.
*Corelii, No.
tFay. Andria, ?5. Po. No.
tGor>(alvt« Dias, Antonio, 41 .
Po.
f Hawthorne, Nathoniel, 4o. No.
*HeiJer 7 nooa, Dermoa. No, Dr.
"Hkhcru. Boberi, No,
*Hevey. Richard. Po. Dr.
*Huch, Ricardo. No. Po.
iHunt. Williacn Hortrv. 74. Pa<
tjasmirt, Jacques (Jacquo* Bod),
45. Po.
«Karireld<,&fik A«el. Po.
tt^Bcc. Coorfc, 5a. Pa.
tLandor. Walter Savage, 99. Po.
No. Li.
*Machar, Jexf $vatopluk. Po.
*lt4orrtek, Loeoard. No>
*MuAro, Noil. Li. No.
*Pain, Barn'. Li.
*Fhilljp>. Stephen. Po. Dr.
t Procter, Adelaide Arm, $9. Po.
*R4fnier, Heori de. Po. No.
iRoteru, David, 48. Pa.
tSuriees, Robert Smith, 4i, No.
"ToukniK'Lautroe, Heori de.
Pa,
*Unoif>«oo, Mizuel de. No.
*;Unswill, Iwoel. No.
1855
Beliczay, 30
Cui, 3®
APPENDIX I
521
Dra«s«k«, 30
*I>uku, j Oct.
Faui^, 20
Franz, 50
*GihoQ, 13 June
*G]a2unov, 10 Aug.
Hartmann (J. P. E.), 60
Hctv^, 40
Jacbon (W.) (ii), y>
Kjerulf, 50
fLoder, 5c, 5 Apr.
•Magnard, 9 June
Mcrcadanir, 70
*Morera. 22 May
Mosenyi. 50
"Nielsen (C.), 9 June
Pierson, 50
Saint'Saens, 30
•Sibelius, 8 Dec.
Straus* fj.) (ii), 40
•Siopski. 5 June
Tadolini, c. 80
Volkmann, 30
t Wallace (V.), 53, t« Oet.
VX'idor, 20
W'ieniatsslii (H-), 30
* AyWmi. Willism EdowMSMuM.
At. Po.
BimtHif h « m . (*«««(«
tftmncr, Fredrilia. 64, N«.
*CinMron. t>«v<d Yeynf. fa.
r.«mpb«li. Mrs. Pairirk (wr
Taae^ri
*Efnini*el, Prank. P».
*Piicb, WidwmChtir. Dr.
rUuk*ll. Etiubrib CMwni. )v
.V#,
*Hann«v. Jan>et CKcb (C«ene
Dirniir«h 4 (nj. No.
'Houiman. Po. Ii.
P *.
f Jteika. MikMs. 69. No.
•KkpliriM. Rutlyard. Po. No.
tLudwif , Quo. Dr. No.
"Moron. Alfred Edward Weodky.
No.
"MmsKkovtkv. DuMry Sorcero.
vich. No. Pe. Li.
tMolkr. Pci«r LuJwic, &i. Po.
Li.
Oresv. BaroAoM (irrTomoonr
I PoziAtt, (Sit) Jtoepa. C4. Cr.
Ar.
tkoiiMia*. Jooeph. a?. No. Dr.
"StniUi. Lofott P«ar^•H. Li.
"Symoiu, Anhux. Po. Li.
"Tattnev, Boairiee SwUa (Atn.
Patrick Caoipb*)!). Ao.
"Tamaor*, Emnusko (Parcmiu
Otexv). No,
•Txonch. HerkoTt. Po,
tTroton, CeosUot, 6^ Pa.
"Yeau. WiHiatB Bgtkr. Po. Dr.
Li.
•866
•Aulin, CO Sept.
Bennett, 30
Benvald, 70
Brull, 20
•Busoni, I Apr.
•CUesu 2C July
tClapbson, 57, jp Mar.
Delibes, 30
•Drysdale, 3 Ocl,
Gomes, 30
Halldn, 20
Hallstrom, 40
Hartmann (E.), $0
Holstein, 40
tjackson (W.) (U). 31. 15
Apr.
•Kallmnikov, tjjan.
fKalliwoda, 65, 3 Dec.
Loewe, 70
tNordraak, 23. 20 Mar.
Noskowski, 20
Pacini, 70
•Reblk^, 31 May
•Satie, 17 May
Schnydw, 80
Soloviev, 20
Wefelius, 20
•Wood (C.), 15 June
tAlAqvwt, Cad Jooaa love, ?).
Xj.
tAarfUe, Moiaitno Tanarolll d*,
«•. Li. Pa.
"Bakrr. Leon. Pa,
"Benavenie y Mardnoi, JaeiniA.
Dr.
"Bernard. TrirUA. Li. Dx. No.
"Beruand. Leuia. N«. Li.
IBorieaMO, Johan, yd, Po. Dr.
"£U»ennetoa, Maxv Saran iMoxio
Tontpew). Ac.
•Pry. Rofcx. Pa, LI.
tGibaoo, John, sd. Be
"Halbcrom. Pn. No.
"HomoAf, EroMi William. No,
*Le CallMaoc, Rkliard. No.
Po, U
"MaiwaU, WiXIiam Babinetoa.
No.
"Murray. Gilbert. U. Po.
" Op p c ^ c iiP. Edward Philhpa.
No.
IPeocoek, Tbofoaa Love. dt. No.
Po,
*Pryd«. Jamm. Pa.
"Rkbciu, Chaxk*. Pa.
•RoHaad, Ronwo. U. No. Dr,
JRdekert. Friedrich, yd. Po.
TerspeM. Mark <xer Bcherioe*
toe)
•Welh, Heeben Goorte. No. Li.
1667
Balakirev, 30
Barnett (J. F.), 30
Carafa, &
Frank, 20
Gade. 30
•Giordano, 27 Aug.
592
APPENDIX I
"Granados, 27 July
Guilmant, 30
Guiraud, 30
Holm^, 20
Jfwn, 30
tKascrwr, 57, iQ Dec.
•Kccchlin, 27 Nov.
Lachner (J.), 60
Mabcilim, 50
Mackenzie, 20
Maillart, 50
Nfltray, 70
Merkel, 40
tPacIni, 71,6 Dec.
Pedroitc, 50
•Peterson •Berger, 27 Feb.
Reber, 60
Salvayre, 20
Scharwenka (P.), 20
t^echier, 78, 10 Sepi.
•Saabados, 3 June
•Terrasse, 27 Jan.
\Vieniat\‘ski (J.), 30
2elei^ski, 30
(iH RiMell)
K«tnti«n(in. Pe.
r8«M(kl*«rr. Charln, 46. Po.
*8«nn<t<. AriicU. N«.
*ll«Awin, RdwftrH Frederic, Ne.
ti.
*D«nn«rtl, Pietre. P*.
«Bovlnv«. Reo4 (Kene Tardi<
vetuh No.
*Branrwrii. Freak. P«.
ItrnwiM. John Forror Word.
Arirmuo}
tCoWeren, 8«roffn Ctiebonos. 6d.
Li.
tCemolius Pct«r voo. F4. Po.
* 0 «rifl, RuMr>. Po.
*GoUwonhr, Jefin. No. Or.
MoOb«», J^A Olivor («r
Rkhoid*)
^tboaci, ViceiKc BliMo. No.
t lA(r««, Jeon Aueune DoatieioM.
M. Po.
*MonUsu«, Qtorla Edword. Ll.
No.
*Pjrond«llo. Lu^. Dr. No.
*Pkhordf, Prorl Morv Tb«r«so
{John Oliver Hobbes). No.
rRcuMOoo, Piem Eikrino
ThSodor*. nj. P4.
«RuaMll. Ccoffc WUlioBi
(" /«-"). Po,
•Vonbruch. Viotec. Ar.
tWard, Artomus CJohn Farrar
Browne), 3 ). Li.
1868
Balfc. 60
•Ban lock, 7 A«g.
Bendl, 30
fEJerwald, 71,3 Apr.
Bizei, 30
Bruch, 30
Caslillon, 30
Clay, 30
Duparc, 20
OavaerC, 40
•Gilbert, 26 Sept.
Goldschmidt (A. v.), 20
Gounod, 50
Gnsar, ^
Kistler, 20
tKjcrulf, 52. 1 1 Aug.
Litolff, 50
Lvov, 70
•MacCunn, 22 Mar.
•McEwen, 13 Apr-
Matling. 20
Mancinelli, 20
•Merikanio ( 0 -), 5 Aug-
Morales (M.), 30
Parry, 20
Planqueite, ao
t Rossini, 76, 13 Nov,
•Schillings, 19 Apr.
fSchnyder, 82, 27 Aug.
Schyite, 20
•SeiaccMi, 8 Dec.
•SirtigagJia, 14 Aug.
•Viana da Mota
* I. Belloc Lowndes, Mark Adelaide.
No.
tBrAow, Bernhard von. ?S. Pe.
Dr.
tBireh'PfeiRer, Charloiie, 66.
No. Dr.
tBiiaeA, Hermao Vilheloi, }e.
Sc.
tCairerm^, Georte, 66. Pa.
*ClMidel, Paul. LI. Po. Dr.
*Ceoder. Charka. Pa.
* n au d e<. Ldoo, l.i.
*Douclaa, Norman. Li. No.
*Fune, Charka Weltinirion. Pa.
*Geoev«, SteCM. Po.
*Oorky. Masim. No.
*Kolmes. CHarks. Pa.
*Jainme«. Praocis. Po.
fKaan. CKarki. 33. Ac.
tLcwieii, Jacob vae, 66. Po.
No.
3L«wr. Samuel, 71. Po. No.
*Luc«. Edward Verrall. Li.
*M*ekir>ieih, Charles Renoie.
Ar. Pa.
tMarocheui. Cask. Baron. 6$,
Sc.
•Oboume. Lioyd. No-
*ReMaf>d. Edmond, Pn. Dr.
1869
Abt, 50
tBcrJio*, 65,8 Mar.
f Dargomizbsky, 55, 1 7 Jan*
* Davies, 6 Sept.
Ftoravanii (Vine.), 70
Godard, 20
fCrisar. 60, 15 June
•J.-imefeli, 14 Aug-
Uoyd (C- H.), ao
APPENDIX I
6*3
fLoewe, 72, 20 Apr.
Moniutsko, 50
Mxmorgslcy, 30
N^pravnik, 30
Ojf«QbacIi. 50
Pacicu, Oo
Paine, 30
•PfiizncT, 5 May
Rheinberger, 30
Ricci (F.), 60
*Rouuci, s Apr.
*Siojowiki, 14 May
Supp^, 50
2ichy» 70
*Dmituu, LAnrentr. IV.
* 0 l 4 ck%sood. Alfernod, U.
*Dro«>n. DwwcLu. N*
tCrrawkk, TbOHus IV.
*iiuk, Ai>dr<. I j.
K. N«. L>. !>/.
tl.unariinc. Alplwuir ^l«ric
l.oui< dr yr^i <i>', 7^ |V>
l.inrvinkMk«, J«<h^iitac* iMt
IMieaed/
Rd«>ih. .\r.
•Ma(U»r. Ilr«ui. y«.
*Mo«dv, WiUiun \4«whd*i. JV.
lit.
TOvrrbrrk, Johanu l>i«d«kb. ko.
Pa.
*IVK»nrn, Viklarl
I.irin«Akw*ki}. N». Ik.
fUuaitlHs Lareni, 76. Pa.
IV.
"Kwl.MiiUlvIatMaM «l«x Scbalb.
lirnririir, IV.
tKa»ni«>U«ur<, Cha/ln
65. Li.
*N'<g«1and. a*.
JkanidaM Ko.
i$70
Audran, 30
tBalfe, 63, 70 OcL
fidurgault'Dgcowdray, 30
Ureion, 30
David {F.}. 60
Erkcl, Co
Faccio, 30
Fibich, 30
TGaziambide, 46, 16 Mar.
Ocgri;ca, ao
Goldmark, 40
Cota, 30
Hcisc, 40
Hruberger, 3o
*Komhchcfiko, j6 Dm.
Kli2ko>'»ky, 50
Lange {S. de), 30
l.ange*Mulkr, ao
Lawco, 40
*Lohir, 30 Apr.
•Lekeu. 3u Jail.
Lumbye, 60
fLvov, 7a, a8 Dec.
Maldoghcm, 60
tMFchura, 66, 1 1 Feb.
tMcrcadantc, 73, 17 Dec,
Mcrmci, 60
fMoscheles, 75, 10 Mar.
tMosonyi, 55, 3* Oct
•NwAk, 5 Dec.
OUen, 20
"Opiemlu, 13 Jan.
Kos&i (Lauro), 60
Rubinsiein, 40
Scharvsvnka (X.^ au
^.Schmitt, 38 Si'pi.
S<onlrino, au
Serov, 30
Stainer, 30
Siamaiy. jiM, *<j .\pr
♦.Suier, 38 .\pr.
Svendern, 30
'l’chaikov»ks, 30
J Ihmiui i<*orinsh ao
* ruurnriiurr, 23 Jaii.
•Viemv, $ Oct.
Vieuxtemps, 30
•Walker, 13 July
U'l'iJey <8. S.). 60
tBCeqwrr. CuMavo Ad«IC». $4.
I.i. 1*0,
•BcHve. U. IV.
^HonicMi;. Krnrv. No.
*B>4nin. IvM Alrte>evjrU
tikckni*. Cliortn. ^ Nu.
«IVv<t4», I.0H Alfrrd. I'v.
tIkHiiJi. Aku^ndn*. tru., 67,
.SV (k.
tia*|«el, •■•cMr, 4v. IV,
Jwki dt. 4 t>. No. Li,
Adam Lioduy. jf. IV.
tlleiu, llrofik, 79. 1*0. Ur,
*Hr<i«n. AkBondrt, sA. U. No.
*Kroiirdv. Jefcii JViMiUion. 75.
No.
'Kopna. AkKAiickr (v»iiovici>.
No.
tMo«iae. Oontd, 64. P«.
tM 4 ruB 4 e. Proper, 47. Li, No.
* Moore. TNomoi Siiurge. Po, L*.
•Nrfti. Adi, Po.
•Norrii. Friak. .No.
•Rodr, Krlse. P*. Ck. Li,
*SaKlair. Miy, No.
1&71
lAubcf, 89, 13 Mar.
•Blech, 31 Apr.
Blockx, ao
•Uuttykay, a 2 July
Chabricr. 30
•Coov'cree, 5 Jan.
Dvolik, 30
Farkai (O.), 20
•Hadley (H.), ao Dec.
IliJkr (F.), 60
5^4
APPENDIX I
Homeman» 30
d*Iody, 20
Lange (D. de), 30
•lie, 23 May
Liridblad, 70
Liszt, 60
•Lunasens, 16 Apr.
fMaJUart, 54, 26 May
Marchelti, 40
NessJer, 30
Norman, 40
Pedrell, 30
fSerov, $1, » Feb-
Sgambati, 30
•Spendiaiov, 1 Nov.
•Stenhammar, 7 Feb.
fThalberg, 59, 97 Apr.
Thomas (A.), 60
’Andreyev, Leonid Niteleyevieb.
No. Dr.
rUommeert, NiiUp, 6). Li.
’ChurrkiB. WiMon {VS.A.i.
No.
*Cr*nr. ScepHen. No. re.
’Device, WiUiea Henry, yo.
’Dreiser. Theodore. No.
’Pebrieiue, Jea. Dr.
tCrote, CeoTfe. 77 . Li.
’Kodrion. (Ulph. Po.
*(rvin«. Leumwe. Ac Or.
tKoek. Peul de. 77> No.
’Mena, KelaricJi. No.
’Peploe, Semuel John. Pe.
*Pr^K. Mereel. No.
’^inwro. Serefio Atveree. Dr.
rRctieuli. Henri. eS. Pe.
T Roberteoo, Thontee WitUem. 4 s.
Ae, Dr.
*Rouel(, Ceorfc*. Pe,
tSohwind. Meriu von, 4?. Fe.
’4ynfe. jehn MiMinfSon. Dr.
•VtUry, Peul. Po.
1879
Abranyi (K.}, 50
•AIfv<n, t May
Barneit (J.), 70
Boilo, 30
tCacafa, 84, 9$ J\Uy
Covv«n, 20
■Farweli, 23 Apr.
FJoiow, 60
Franck (C.), 30
•OraencT, 1 1 Jan.
*Jo4cyko, J Apr.
*Juon, 8 Mar.
Lccocq, 40
Liesenko, 30
Ma»^, 50
Massenet, 30
Mihaiovich, 30
Millockcr, 30
fMoniuszko, 53, 4 June
"PcToai, 30 Dec.
Raff, 50
•Sekles, 90 June
•Skriabin, 6 Jan.
Sdderman, 40
Sokabky, 40
Stanford, 90
Sullivan, 30
fTadolini, c. 87, 39 Nov.
•Vassilenko, 30 Mar.
•Vaughan Williams, 19 Oct.
•ZemJiosky, 4 Oct.
’BeteiUe. Henri. Dr.
*ficardilev, Aubrey. Pe.
’Aecrbobm, Mex. Pe. No.
’Craic, Edwerd Cordon. Ac.
tCeuiser, Tbeophile, dr. Li. Po.
No.
tCnJlper«er, Freu, dr. Dr. Fo.
tHeu^, Joheiuwe Ceneo, 09,
Po. Dr.
’Jooee. Thornes Cwyeee. Po. Li.
tKivi (SienveJlL Aleciie, $1. No.
t Lever, Cberk* Jeaee, ^ No.
’Nkhohoo, WilUem. Pe.
’ReUieneiein, Williem. Fe.
tSehnerr von CereUTeld, Julius.
74 . Pe.
’Veabruab, Irene. Ac.
*«73
Alkan, 60
Barbieri, 50
Borodia, 40
Brahms, 40
tCaaUllon, 34, 3 Mar.
Foote, 20
Grieg, 30
•Jongen, 14 Sept.
Kirchner, 50
•Kocssler, 30
Lachner (P.), 70
Lato, 30
Macfarren, 60
•MaJiixewski, 30 July
■Mason (D. G.), so Nov.
Messager, so
Nicodd, 30
tPiefSon, 37, 28 Jan.
•Rabaud, 10 Nov.
•Rakhmaninov, 1 Apr.
•Reger, 19 Mar.
Rcyer, 50
•Roger-Ducasse, 18 Apr.
•Sdvcrac, 30 July
Sjdgrtn, 20
Sovnrisid, 70
•Tcherepnin (N-), 14 May
Verdi, 60
Wagner, 60
Aeorin (sw Merlloerj
rBenedis. Julius. 4s. Dr. Li.
’Beresfaid, John I>»v>-s. No.
’Bielib, Ciuim Ntchmen. Po.
’Braithweile, Litieo. A<.
tBretOn de to* Kerreror. Meeuel.
77. Dr-
APPENDIX I
525
*Cotettt, &(dofue C«bmtk
Qoudiofi. N«. li.
* De U Mue, Wdicr. Po. No.
tFeTd««u, Crac»(, $ 9 . ^ No.
Li.
tOuerraui, Fraaceu^ Domcfiko,
No.
*]nvko«oki. Kjrel. No. Df. Fo.
Li.
*J«(U«o, JohjQoa ViUkIb. No.
(Sir) E 4 wia. 91. Pa.
Fun. JcMpb SheridoA, S 9 .
No.
tLyCton^ Edward Butwcr, ^rd.
TO. No.
tMooreody. Willium Charles. So.
Ae.
tMansoni. Akaandro, tt. No.
Po. Dr.
*MuUnef, RwioJoidC* Aaortt '*>.
No. Dr. U
^Oliver, GeorRc (Oliver 0(WM4).
No.
*Plfsiy. Charles. U.
*Qwiaiero, Joa^yin AKare*. Dr.
*TemlinMo. Keiiey Ma^. la.
Nv.
tVa/leVi Conwliuk, Pa.
TWelhtven. Johan, tt, Po. la.
tWiBlerhalter, Frane Xaver, S7.
Pa.
i8?4
fieoedicl, 70
ficBoic, 40
Bmckncr. 50
Cellicr, 30
Chsdwick. 20
tComcUua^ 49, 26 Oct.
Dora» 70
Gut, ao
Gifoui, 30
HdUer.
HtnuN. 60
*HoUc, 91 Sept.
HumperdiACk. 90
•Ivc» (C.), 90 Oct.
J«fti£ek. 90
fLumbye, 63, 30 Mar.
Moukowiki, 30
Ponchielli. 40
Hciiwckc, 50
Rimsky* Konakov, 30
*Schmidt. 33 Dec.
*Schoenb<rg, 13 Sept.
Selmcr, 30
Semet, 30
Smar^ia, 30
Smetana, 50
•Suk, dJan.
Tinel. 20
Xyssdas, 60
Zollnor, 90
Zvreen, 9o
tBaoini. MiehacI, 7S. No.
‘BarbuMe. Keon. Po. No.
*Barina. Maurice. Li. No.
fBotiy, William Henry West. B3.
A<.
tBodccber. Ludvig Adolph. Si.
Po.
‘BoMomky. CordOA. Po.
tBouknaer. Pierre £amanuel
Hippetyte. a?. Pa.
*Ches(crtoa, Gilbert Xeiib. Li.
■Dodd. Fraoeu. Fa.
t Foley, John Heory. flS. Sc.
'Clastow. EJIeo. No,
tllollmane von Fallepakben
(A«*ruM Hemrich H.), 96. Po.
"Kofmaruisihal, HwfO Von. Po.
Dr.
•Jaeboa. Hdbrooh. Li.
tjaain. Juki Gabriel, 70. La,
No.
♦ Kaolbarh, Wilhrlm von. 69,
Pa.
‘KMbbiKh (later Knoblock),
Edward. Dr.
"Kraus. KoK. Po. Dr. la.
"Lowell, Amy. Po. LI.
"Machado, Manuel, Po. Li.
"Maufliam. tVilltacn Somenri.
No. Dr.
tPeoeier, Bryan tV'aUer. B?. Pn.
tReuter, Frill, 6a. Po. No.
".'tiein, Crnmdr. Li.
1875
Belicsay, 40
tBeimcci, 38, t Feb.
tBUei, 36, 3 June
*Camllo, 98 Jan.
Chauuon, 30
•Colcfidgc-Taylor, j 5 Aug.
Oxi, 40
Draeteke, 40
Faurt, 30
•Fdvriep, 9 Oct.
Frana, 60
•Cliefc. II Jan.
•Hahn, 9 Aug,
Hartmann (J. P. E.). 70
Harv*, 50
•Labey, 0 Aug.
Liadov, 20
fMktray, 77, 1 7 July
•MeUrtin, 7 Feb.
•MontccDczsi, 4 .\ug.
•Nougu^ 23 Apr.
•O’NeUI, t4 Mar.
■Ravd, 7 Mar.
Roncgen, 90
•Rootbam, 3 Oct.
Saiat^Saerks, 40
Stiaua{J.) (ii), 50
•Tovey, 1 7 July
VoUunann, 60
Wider, 30
Wieniawiki (H.), 40
tAndenu), Haru Chrisiian, 70.
Li. No.
Aateine Loub. So, Sr
"Buehao, Johrt. No.
5^6
APPENDIX I
ICarpcaux, J«*i) 46.
Se.
tC*sijlbo. Antonio F«ikwo <k,
75 ^ P«.
f Corot. J«»o BasKim, 79. Pa_
*Dele<lda. Gruia. No.
*F/o*t, Robert Lee.
tHawker, Robert SiapiMn. 79.
Po.
tHerwegb, Georg, sS. Po.
tKiBgiley, Charles, 5$. No.
• M a e bedo, Antooio. Po.
*blaj)Q, T^mas. No.
Jobn Edward. Po.
Or. No. Li.
*Milks, Vilhelm Carl Eoiil. Sc.
tMillei, jean Frartcoit, Si. Pa.
thforike. Sdoard, 71. Po. No.
t. Rieherdton. Henry Handel. No.
'Rilke, Rainer Maria. Po.
'Sabatini, Kafael. No. Dr.
t Steven, Alfred, 97. Sc.
t J'obioy, AJexeyev. CoMt. 9S.
Po, No.
1876
•AJfdno, 6 Mar.
Brull, 30
*Carpencer, ^8 F«b.
t David (P,), 66. iQ Aug.
Dviibrs, 40
"Faila, 43 Nov.
Com««, 40
fCdta, 36, 3 Dec.
Kaltdn, 30
Hallbirom, 30
Marimaiin (E.)» 40
Holstein, 50
*HurUtonc> 7 Jaa.
*lngcnhovcn, 29 May
*Karlossics, ri Dec.
KastaUky, so
*LaparTa, 13 May
Martucci, ao
■Morawski, a Nov,
Noskowski, 30
*SchHling. a6 JuJy
•Shaw (M.), 9 Mar.
Sinding, ao
tSoderman, 43, JO Feb.
Soloviev, 30
Tancyev. 20
•Vreuls, 4 Feb.
WcgelluJ, 30
tWcoJcy (S- S.). 65, 19 Apr.
•Wieniawakj (A.), 27 Nov.
*Wolf-FcrraH, 12 Jan.
'Bcnuleia. HcOeV. Dr.
•Bibeaco. Aoaa (Comiew de
Noailkf}. Po.
•Bone. Muirhead. Pa.
•Carher. WUU Sibert, No.
•Cobb, Irvin. No.
tCelet. l.o«in (b. Revoil). 6S.
Pc. No.
^Cuehmao, CbarioRe, 60. Ac.
tFreiiigratb. Fecdcoaod. SS. Po.
IFrooKotio, Eugbae, 96. Pa. LI.
•Giloiao, Harold. Pa.
tKiogsley, Ueary, 46. No.
•London, John Griffith (**Jack’*).
No.
•Marioecti. Fjnilto Filippo Tom*
maeo. La.
fMariioeau, Harriet, 74. Li.
No.
Noailtn. Anna, Contesie de (iu
Btboseo)
tPaludaO'MoUer, Frederik. $?.
Po.
f Saod. George (Anundioe Lueile
Aurore Dudevaat). 78. No.
tTidensand. Adolf, St. Pn,
•TrevelyoA, George MocagUy.
U.
1877
•Auberi, 19 Feb.
Balakirev, 40
Baroeii (j. P.), 40
Bruneau, 20
Chaminade, ao
•DohnSnyii 27 July
•Dunhill, r Feb.
EJgar, 20
•Fairchild, 2$ June
fFioravanU (Vine.), 77, 26
Mar.
Frank, 30
Cade,
•Gardiner, 7 Nov.
CuUmanl, 40
Guiraud, 40
HolmSf, 30
JenKn, 40
•Karg'EIert, sj Nov,
KienzI, 20
Lachner (I.), 70
•LadmirauU, 8 Dec.
Mabellini, 60
Mackenzie, 30
Merkel, 50
Pedroiti, 60
•Quilier, 1 Nov.
Reber, 70
f Ricci (P.), 68, 10 Dec.
Salvayrc, 30
Seharwenka (P.), 30
Wicniawski (J.), 40
Zeleibki, 40
tBaliaatioe, James, Sfr. Li.
tCeurbet, <^tave. 56. Pa.
tDevrient. Edward, 76. Ac.
•E>yk, Vkter. Li. Dr.
*Dser>Liaikv, Fein Edmuado*
vkh. No.
•Crao><lle>Barker, Harley. Ae.
Dc.
f HacUtoder. Friedrich Wilhelm
voo, St. No. Dr.
•H^c, Hermann. Nd> Po. Li.
tNekroMov, NtkoUy AlcMyevkb.
jd. Fo.
APPENDIX I
5*7
t NerisA. CM«li5e EliMbctk Su^b
fLady Stiflioc U«AweU). 69.
Po. No.
tOxenford, John, 65. LL Or.
tRuftobery, Johno Ludvig,
Po.
1S78
Bendl, 40
*B<>ugbion, 33 Jao.
firuch» 40
*CapIei» 43 Nov.
CUy.40
Duparc, 30
Gcvaert, 30
GoldscKmidc (A. v.), 30
Gounod, Co
■HoJbrooke, 5 July
tHoisiein» 59, 9 a May
KisUer, 30
Leoncavallo, ao
tLindbia«l. 77, aB Aug.
Licolfr, 60
Major (J. G.}, so
MaJliAg, 30
KUcKinclIi. 30
Morales (M h 40
*PaJmgn’n, 16 Pcb.
Parry, 30
Planqueiir, 30
Puccini. 90
*Schrckrr, 93 Mar.
Schyue, 30
*SU06s, aCJune
Smyth, so
*Tomma9ini, 17 Sept.
•Zagwijn, 17 July
MaMiRw. Pv. K».
tBry&nt. William CuHco. 94. P9.
'Cammarrli, £nwlv. Ij. Pu.
tChAloktra, C«org«, 4). P«.
tCrwibbana. C«^r. W. Pa,
tDaybifBv. Qurkv 44.
Pa.
t LJa«,wn . Hcnrv. 67. J’«.
• thiecaa . 1 *a 09««. O*.
"tWnniy. edwariljohn (Lvrd
D.). Ni>. Dc.
*r«R»^. Jcffcrv. No.
*C«e«*. Addinr. Da.
*Cibian. WiKrHi. Po.
tCfani, {Sir) Franca, 75. Pa.
tOuUkow, Karl. 4?. Or.
*Kauer, Georg. Or.
tLawrr, Georga Heary. 4f. IJ
*McLvt)y, Ambroar. Pa.
rMail(vw«, Charin. jun., ?». Ar,
AirrvtL Pa.
•N.ven, PrrOrrkk John. iV No.
li.
*Ur^e, William. Pa,
tPbelpa, Samuel, 74. Ac.
tOuaclM. Simaa. 03. Ar. Pa.
*$aadbwr|, Caai Po. No. LL
tSeotr. (Sir) Gilbert. 67. Ar
*SiBcUir, UpCQQ. No.
*WilkifaeQ. NonucB. Pa,
*879
Abe, Co
•Aadrcac, 5 July
* Bridge, v6 P'eb.
*Campo, 28 Oci.
ChcvilJard, so
•Ficelberg (C.J, iB Ocl-
Foersicr, so
Godard, 30
•Gro\'Iea, 4 Apr.
'Haas, 19 Mar.
tHcise, 49, rs Scpc.
Ilyinsky, so
Ippoliiov'Ivanov, so
* Ireland, 13 Aug.
fjetuea, 4a, S3 Jan.
Liapunov, 20
Uoyd (a H.), 30
Mussofpky, 40
Nipravsik, 40
NiewiadomskI, so
OlTrnbach, Co
*Os4rril, 33 Feb.
Pacius, 70
Paint, 4u
•RtspighI, 9 July
Rhtinbergcr, 40
Schjrlderup, so
*Scoii (C), S7 Scpi.
Suppd, 60
•Trtink, 10 Keb
*Zich, 35 Mar.
Zkhy, 30
IBoaall. (b>r} William. 7». Pi.
*CabeU. Jamn Vraoek. No,
*CMfieM, Dorothy. L>. N».
lOiuKucr, Hoaort. 71. Po.
*Dkb, WilliJB Raid, So.
*Foaier, Edward Margaa. No.
U
*i^n, Augtucui. Pa.
•Klee. Paul, Pa,
tLce. Frederick KJthard, 8u. Pa.
•Linduy, NichoUa Vachrl. Po
*Lv*d. Robert. LI.
*Menea, SiganioMl. No.
*Sioiih. hlatibew. Pa.
tViolkt-k.DiM. E«ig4«e Em*
maovel. bv Ar.
18B0
Albeoia, so
Audran, 40
*iUocb, 94 July
Bourgaull-Ducoudray, 40
Breton, 30
Cbarpentier, so
Enna, so
Erkel,7o
Pacdo, 40
Fibkh, 30
•Fourdrain, 3 Feb.
Prancbetli, 20
APPENDIX I
Georges, 30
Goldmark, 50
Heuberger^ 30
• Karel, 9 Nov.
KK2kov«ky, 60
Lar)ge (S. de), 40
Lange* Muller, 30
La&&^, 50
Mahler, 20
Maldeghem, 70
■Mcdincf, 5 Jar>-
Mermet, 70
tOHenbach, 6(. 4 Oct.
Olsen, 30
Paderewski, 90
*Piz2elli, 30 Sept.
tReber, 73» *4
Rernidek, 90
Roui (Lauro), 70
Hubicutein, 50
Scharwenka (X.), 30
Scontrino. 30
■Scon (F. C.), 35 Jan.
fSowiiSskl, 76, 3 Mar.
Stainer, 40
Svendien, 40
Tchaikovsky, 40
Thomas (Goring), 30
*Uribc Holguin, 17 Mar.
Vieuxtemps. 60
tWieniawski <H.), 44. 3
Apr.
Wolf, 30
*Apollinair«. CuilUuiM. LL Fe.
*BcV, Aiidr«v. Po. Nft.
"Blok. AleKMtdtr. N.
*D*r»iA, Ax>dr 4 . T*.
t&liet. Ceorfe (Mariui Evam}.
61. No.
*£^(ein, ]a<eb. 5 e.
tFrurrbacb. Aiuelm. 91. F*.
trUub«M. Ko.
*FokiB, Mikhail,
fHtrtacsbuich. juan Eofeeio. 7 «.
Dr.
"Hcrfctheimer. Jowph. No.
tHolMi. Karl Eduard xon, •».
Ae. Dr. No. Po-
•Nov«J, AUVtd. Fo. LI.
t Richter, Ludwic, 77 . Fa.
• Strachey, Gilo Lvitor*. Li.
1881
■Alaleona, 16 Nov.
Arensky, 20
•Bart 6 k, 95 Mar.
Blockx, 30
Boasi, 30
Brdvilk, 30
•Cadman, 34 Dec.
Cbabrier, 40
■Dresden, 30 Apr.
Dvofik, 40
■Enesco, tg Aug.
Parkas (O.), 30
■Gibe, 1 1 May
•Gram, 95 Nov.
Hiller (F.J, 70
Horneman, 40
d’lndy, 30
•KalUtenius, 39 Aug.
•Knab, 19 Feb.
Lar^e (D. de), 40
•Le Flem, 18 Mar.
Liszt, 70
Loel^r, 90
MacDowell, 20
MarcbeitJ, 50
•Miaskovsky, so Apr.
Missa, 90
t Mussorgsky, 43, 36 Mar.
Ncssler, 40
Norman, 30
Pedrell, 40
•Rofowtki, 3 Oct.
Sgambati, 40
Ibomas (A.), 70
Thuille, 90
fVieuxumps, 6t, 6 June
VoJbach, 20
*Avala. Ramen Fdrei Je. U.
Bcacorxaheld, Eart of itrt
Drtra«li)
rSecrow. Coorge. tB. Li.
*BeMue. Georges. Fa.
tCarlyk, Thomas. M. Li.
tCoesa. Fieire. 47. Dx.
fChageWcdi, Franc Ferdirtand,
Freiherr woe, $7. Po. Dr. No.
CDisraeli. l)cn>a'"*'*> 77 > No.
tDMMve^y, Feodor Mikhaile*
vkh. 99. No.
fHall, Anna Xtaria, 9 i. No.
tLanser, Sidney, 39. Fo. Li.
•Loesdok. Fraderkk. Dr.
*Ludwif , Emil. Li.
*Martis du Card. Roger. No.
* Norris. Charles Gilman. Li
No.
tO'Shaughnessy. Arihu*. 37 . FO'
t Palmer. Samuel. 78. Pa.
*Fapini. Giovanni. Po. Na. L».
*fk«fO. Fable. Fa.
•Sierra. Gregorio MtrKnr*. Dx.
No.
•Webb. hUry. No.
•Zweig, Sidan. Lt. No.
1883
•Abrinyi (E.). 22 Scpi.
AbrAnyi (K.). 60
Samcil { J.), 80
BtMto, 40
•Braunfels, 19 Occ.
Cowen, 30
Debussy, 20
Delius, 20
APPENDIX 1
Di^abrock, so
Eimnasuclt so
Flotow, 70
Fr&ick (C.), 60
Fryklof, 14 SepL
O^roiAj), 20
*Kodi)y, 16 Dec.
Kovalovic, 20
•KHeka» 97 ^\ug.
■Laitu&da, 5 Frb.
Le Borne, 20
Lecocq, 50
Lbsenko, 40
*MaJipiero, c8 Mar.
*Marx, sc May
MaMi, 80
MaucneCi 40
Mibalovich, 40
Mill6ckrr» 40
•Pick-ManfiafaUi, 10 July
•Pence, 8 Dec.
*Rad 6 i 9 <S Dee.
tKaff, 60, 94*25 June
■Samimky, 8 Non*.
Sokabky, y)
Kian/ord. 30
•Stravimky, 17 June
Sullivan, 40
■Szymanou'tki, 6 Oct.
■Turina. g Dec.
•Vyepalek, 93 Feb.
Wagenaar (J.). 20
Web(K.), 90
WilliatTu (Alberto), 90
f/^iMwetih. >ViUi*m llvru**. ^ 7 ^
N«.
tA«tov.ilnoi. 63 . ^
t AwerUch . gerih^W . 90. Ne.
tlwawr. Henri A«r 0 W. 97. ^
Thom«», )un.. $7-
* 9 «rrvnMre, ]nhr>. Ar.
tBiafU. Aveuite Fra»t«^. 44 . Fa.
‘Drinkwater. JoKn. Ac. ?«. Dr.
*Dulac. CdiMind. Pa.
tCincrton, Ralph tS’aMa. 94 . Lk
•CiU.Brk. Sc. C».
•CirauJewa. Ho. Dr.
•GlMpeSl. Sima. Ho. Dr.
tGobiAcaw. }a>*9>h Arthur 4*. 64.
U.
*Jevec. Jama. No. Po.
tKciMlall, H«nry OaroKC, r. 4 C.
Po.
*L 4 nocinand. Rene. Dr.
tLooerrUow, Kaorjr Wadrworth.
99. Po.
‘Mackenitc. Compton. No.
*M»lnc, AUa AlevaBAer. Or.
tMoe, jorfcn, 69. Li. Pe.
tKoaceiti, Dontc Cabriol, S 4 .
Po. Pa.
* Stephen. Virfiaia (Uor Waotf).
No, U.
*Slephea3, JiBNO. Po. No.
^Thorndike. Srfail. Ac.
tTroUopc. Anihonr. 67. No.
* Un^d . Stfrt^ Ko,
Woolf. Vu^ioia («« Stephen)
t$83
AJkan, 70
Barbicri, 60
•Bax, 8 Nov.
•Bemera, 16 Sept.
Bordcs. 20
boroclin, 30
HrahDu, 50
•CaselU, 93 July
•Dyson, 28 May
•Fabiiu, 18 May
fFlotow, 70, 24 Jan.
Foote, 3®
•Furuhjelm, € July
•Cnesun, 2 Feb.
Grieg, 40
•Hauer, 19 Mar.
•Kalomiria, 26 Dec.
Kaun, 20
Kirchner, Co
•Klenau, n Feb.
Koculer, 30
•Krcin (A.), ao Oct.
•Kuula, 7 Jo*y
Lachner (F.). 80
l..alu, bo
Lrroux, 20
•Lloyd ( 0 .), 30 Apf.
Macfarren, 70
Maacagni, 90
Mesaaget, 30
•Moonie. 29 May
Mo6r, 20
Nkcode, 30
Parker, 20
Piem^, 20
Reyer, 60
■RolOn, 22 June
Samara. 20
Sjogren, 30
Sdlya (M.), 20
Sommel), 90
•Steinberg, 4 July
Szendy. 20
Verdi, 70
f Volkmann. C 8 , 29 Oct.
twiner, 69, 13 Feb.
•Webern, 3 Dec.
Weingariner, 20
•Zandonai, 28 May
tCaivcd. Edward, c. Bo. Pt.
tCUuBcer. Jean BaptUtc
Avto*t«. 64.
tCeoKie«K«. Hendrik. 7<
rDo«e. GuMve. &(. Pa.
*£rviBo. St. Johf]. Dr.
•Foeher. Otakar. Li. Po.
tFiieCerald. Edward. 74. Po.
yjerkhau, Jens Adolf. 67. Sc.
•Kafka. Frans. No.
thtauei. £deuacd. $1. Pa.
•Mdtmd. Ivan. Sc.
•Motcram. Ralph Hale. No.
tReid. hlarB*. 69. No.
530
APPENDIX 1
tS*iide*u, Jul«a, 79 . No. D*.
*S«v«Kni, Gioa. Ptt.
*1'oU(or. Alexey NUoUyevkh.
No. Dr.
ITuigenev, Ivait. 6$. No.
1884
d’Albert, 3 C»
Benedict, 8o
Benoit, 50
Bruckner, 60
Cellier, 40
Chadwick, 30
•Dieren, a? Dee.
Dorn, 80
Cast, 30
Gigout, ^
Grechaninov, 30
•Grifles, 1 7 Scpi.
•Gruenbcrg, 3 Auf.
Guy-Ropartz, 30
Halvorsen. 20
Heller, 70
Hccvelt, 70
Humperdinck, 30
Janiiek, 30
Lavranga, 30
tMa»<, 63. 5 July
*Mi]ojevic, 15 Oct.
Moezkowaki, 30
Poncliietli, 30
*RangitrOm, 30 Nov.
Kemecke. 60
Rinttky*Konal(ov, 40
*Roaycki, 6 Nov.
Selmer, 40
Semet, 60
Smareglia, 30
tSmciana. 60, la May
Sirauu (R ). ao
TincI, 30
*\Vhiihorne, 6 Sept.
Xyndas, 70
Zollner, 30
Zween, 30
fOMahitur*. > 4 . ti.
tBMi>rn-L«o*fe. iwkt, Pa.
*BloeK. Jeaa lU^ard. No. Dr.
tCoiwrky. Cha«k* Siuut, ftV
Po.
*GaAnan, Gilbert. No.
tCo/cono, Guilto, 79. P«. No.
*Duliaen«l. Georfe. No.
*Feuchivrooeer. Lion. No.
*FleoLer. JoitMs LIroy. Pe. Dr.
tPutkr, George. &S. Pa.
tCeibel. EiMOBucI voa. 69. Po.
*Graboo«, Stepbeii. No. Li.
tt^ube. Heinrieh. yS. No. Dr.
*Le>vi», Wyndbajn. Po. No. Li.
fMahorl. Nau, 44. Pa.
‘Modifliaoi, Ajmi^. Pa. Sc.
* 0 *Caacr. Seaa. Dr.
fReodc. Cbarka. 70. No.
*R«jnyoo, Atfrrd DaoKMi. No.
*Sqiijre, John Colluiev li. Pe.
*SwinAenoa. Fraxtk. No. Li.
*U(rUlo. Maurice. Pa.
"Walpole, Nugh No.
*YeuAg, Francia Breu. No.
f86s
fAbi, 65, 31 May
Beliczay, 50
fBenedtct, 80, 5 June
•Berg, 9 Feb,
•Buuerworlh, la JuJy
Chauaaon, 30
Oii, 50
•Dale, trJuJy
Draeseke, 50
DuJcaa, ao
Faur^, 40
Franz, 70
GiUon, 30
GJazunov, ao
Hartmann (J. P. £.), 80
Herv^, 60
tHilJer (F.), 73, to May
•Josien, 13 June
•KamMiki (L.), 7jan.
fKNikoviky, 6$, 8 May
Liadov, 30
MagnarJ, ao
tMerkeJ, 57. 30 Oct.
Morera, ao
•Mul6, 38 June
Nieben (C.), ao
tNorman, 53, 26 Mar.
•Reti, 37 Nov.
•RIeggcr, 29 Apr.
ROntgen, 30
tRo« <Lauro), 73, 3 May
Saint>^linr, 30
Sibelius, so
StrauM (J.) (ii), 60
Stopski. ao
•Taylor (Deems), 32 Dec,
•Var^, 22 Dec.
•Varvoglis, 33 Dec.
•Weiner, 16 Apr.
•Welless, at Oct.
Widor, 40
tAeb j ofi M eo. Peier Ghristlaa. 7$.
LL
tCampbclI. John Franck. 6 s. Ll.
*De la Roche. Maae. No.
•Duiet. A»hl«y. Dr.
•GotiM, CeraM. Po. U.
"Graoi, DuACao. Pa.
*Guitry, Sacha. Ac. Dr.
•Henoff. £mik (Aodti Maerou).
LL
tHugo, Victor. 0$. Po. Dr. No.
tjadwe, HeleA Marla. S4* P^
No.
tiocoteae. Jem Peter. $0. No.
"Jazger, Qurlea Sargeaot. Sc.
*Lawrcoc«, David Herhen. No.
Pe.
APPENDIX I
53(
*Lvwit, Sincbiti Ne>
No. Po.
Mouraist Aodrt (mt KtfvesJ
tN*«ydk. AlMde,49« P**
*PftTlo««. A&oo. Da.
•Pouadi Eara. Po.
"RomoiM. Juk*. Po. Dr. No.
*Woir«. Hgmbert. Po. LL
1636
Aulia, 20
BruU» 40
BusoQi> 20
Ci]«a, 20
DcIIIMi 50
Drysdale, 20
•EspU, 5 Aug.
*C*agnebiA, r 3 Mar.
Gome. $0
'Guridj, 25 Sept.
Hall^n> 40
Hallfirom, 60
Hartmann (£.), 50
Kalinnikov, ao
*Kaminski, 4 July
ka»iabkr. yt
*Levlcli$, fl Apr.
fLUn, 74» 3* J«*y
Martucei, 30
No9kow»ki. 40
tPonchklli. 51, 17 Jan.
Rebikov, 20
Ruyneman, 6 Aug.
Satie, 20
*Schoeck, 1 Sept.
Sinding, 30
Soloviev, 40
Tancyev, 30
Wegeliui. 40
\Ve^ (C.), 20
* AlAin.Poumicr. Hreri. No.
TParAM, WilkMH. 9 $, Po.
•laj.U<lTor 4 . Po. Dr.
‘Brnwit. Pkrr«. No.
tBoibonm. Anna Loom. >4. No.
tCaklMoK. lUMMpa. 40. Pa.
*CkM«r 4 n. Veniura OorcN. No.
*Car(o. PraM0. Po. No.
tDkkiiiiun. Emilr, S 9 . Po.
tFonuMi. (Sir) Samuel, Po.
*Fku;Wr. Jeha Ce«M. Po.
*Kok^hka. Oikar. Pa. Dr.
«Ma.i«r^a. Salvador d«. li.
*N)cobon, KaioU. LL No.
"RoWuon. LeoDoa. Dr.
*^aaiaoo, i«afn« 4 . Po.
tSehelM. Joarph Victor roo. 60,
Po.No.
1837
*Atterberg, 12 Dec.
Balakirev, 50
Bametl (J. F.), 30
tBorodin, 53, a? Feb.
Bruoeau, 30
Clhamioade, 30
Elgar, 30
Frank, 40
Gade, 7Q
Guxdano, 20
Granados, 20
CuUmaot, 30
Guiraud, 30
40
KienzI, 30
K<rchlut, 20
Lachner (I.), 80
•Lindberg. 23 Feb.
*Lualdi, 22 Mar.
Mabellmi, 70
tMacfarren, 74, 31 Oct.
Mackenzie, 40
*Madetoja, 17 Feb.
Pedrotti, 70
Petresoa-Berger, 20
SaJva)*re, 40
Schar>«enka (P.), 40
fSokal^y, 34, 1 1 Apr.
Saabados, an
Terrasse, 20
*Tie«en, to .Apr.
■Toch, 7 Dec.
•Trapp, t Nov.
•Valen, 25 Aug.
*ViJ]a*I.obc», 5 Mar.
•Vochc, 21 Sept.
•VonUHa, 96 Juoe
\Vieniawski (J.), 30
ZeleiSski, 30
tSonvin. PranfOii. 70. Ps.
Fupcrl. 1 * 0 .
"Chaaall. Marc. Pa.
tOaik, Mrt. (Dtaalt Maria
Malock}. 61. No.
•IMooo. rraob. Sc.
*lai«0, Jamn Dkkron. Pa.
tjeffrrio*. Rjehtrd. 99. No.
tKr«*ar«nb(. Jdief lena«v. ?$.
No. Po. Li.
tLoTortue, Juloi. 07 . Po.
tManton, Philip D^rke. 27. Po.
•Muir. Cdwio. Po. No.
•Overiand. Aruulf. Po.
•PearMo. Hethoih. Ae. Li.
•Sii««U, Edith. Po. U.
tVVeed. Elko Mn. Heotv
Wood!. 7 ). No.
•Zvfeia. Arnold. No.
1333
fAlkan, 74, 29 Mar.
Banlock, 20
BeodI, $0
Bruch, 30
CUy, 30
•Delviftcouri, 12 Jan.
Duparc, 40
•Du^, 27 May
53 »
APPENDIX I
•Frazzi, i Jan.
Geva«r(, 6o
Gilbert, 20
GolcbchniKlt (A. v.)» 40
Gounod, 70
fHeller, I 4 jan 4
Kistler, 40
Leoncavallo, 30
Licolir, 70
MacCunn, 20
McEwen, 20
Major (J. G.), 30
Mailing, 40
Mancinelii, 40
Merilcanto (O.), 20
Morales (M.), 50
Parry, 40
Planquette, 40
Puccini, $0
Schillings, 20
Schyuc, 40
fSemet, 63, (5 Apr.
Sctaccioli, 20
*Sigtenhorst Meyer, 17 June
Sinigaglia, 20
* Ski a VOS, 20 Aug.
Smyth, 30
Viana da Moia, 20
tArnoM. 4$. Li. P».
* Derniivd, J«an Or.
Jatnci (Oibome Hriwy
Mavor). Dr.
* Klloi, Th«nia» Stesras. Pe. Or.
rEua, Aacotae. to. Sc.
*CvM*. 64iih. Ac.
tCkic. Ccotfc Robert, ee. Li.
No.
tlloll. Prencb Montofue. «$.
P«.
tLobicbe. Eocene, 79 . Dr.
rLacretelle, Je«4u«e 4e. Ho. Li.
* Lawrence. Thorrm Edwerd. U.
tL««r. Edward, tS. Li. Pa.
•UOward. Gdberc. Se.
tMeibech. Chttfiian Knud
yraderib.ST. Po. Dr.
*Morand. Paul. Po. Ho.
*0'He*l(. Eii|toc. Dr,
*Roland Hobt, Adriaen. Pe.
*Sedkir. Michael. Li. Ho.
*bUlaapaa. Fnaa Cenil. No.
tStorm, Th e o d or, 71 . Po. Ho.
rUarub, Fritz von. Or. Ho.
1689
Chevillard, 30
fCJay, 5J, 24 Nov.
Davies, 20
Foerster, 30
t Frank, 42, 17 Aug.
* Gibbs (A.), 10 Aug.
Godard, 40
fHcnselt, 75, 10 Oa.
Ilyinsky, 30
Ippolitov'Ivaiwv, 30
J^efelt, 20
*Kapr 4 l, 26 Mar.
Liapunov, 30
Llo^ (C. H.), 40
fMcrmct, 79, 4 July
Ndpravnlk, 50
Niewiadoznski, 30
Pacius, 60
Paine, 50
Pfiuner, 20
Rheinberger, 50
Roussel, 20
Schjelderup, 30
*Shaporin, 8 Nov.
Stejowski, 20
Suppd, 70
Zichy, 40
tAnsencruber, Ludwig, jo. No.
tAufier. Cutllaunve Vidor Emile
62. Dr.
tBarbev d*Aurevilly, Juice
Amddde, Si. No.
tBrowoinc, Robert, 77. Po.
tCabanel, Alexandre. 6€. Pa.
tChamjiAeurv. Juice Huieon, SI.
U. No.
•Chaplla. aiadas (*' CharUa *’)•
Ac.
tColljM, William WAkk. 65.
No.
tCook. Eliza. 71. Po.
tPuprd, Juk^ 7S, Pa.
•(>^edaJla. fhtlip. Li.
tHamerline. Robert, 50 Po.
tHopUiu. Gerard Manley, 49.
Po,
*Huat, Faaaie. No.
*Kaye^mith, SbeiUu No.
cLkbaee, Sarah Gertrude (Sarah
Millia). U. No.
*LiDklaicr, Erie, No, Dr, Li,
tMackay, Charlee, 79* Po*
•Nadi, Paul. Pa.
•Ncvmeon, Chrbloalter, Pa.
fSalukav, hlikhail Evgrafovich.
65. No.
•Spring. Howard. No. Li.
•Iftagra, Klcomcoie'Ceorga. No.
tVilliere dc litle Adam, Philippa
Augusta hfathiae, 49. Po.
•Waddell, Helen. Li.
•WadvHOrtb, Edward, fa.
189®
Alb^is, 30
Audrao, 30
t Barnett (J.), 87. 16-17 Apr.
Bourgauli-Ducoudray, 50
Bretort, 40
Charpentier. 30
Enoa, 30
Erkel. 60
Faccio, 50
Fibicb, 40
Frutc^td, 30
tFranck (G), 67, 8 Nov.
APPENDIX I
533
*Frdiaa Braoco (L.), I3
Del.
tCdde, 73 . a* D«c.
•G 41 , 5 Aug.
Georges. 40
Goldjnark. 60
*GuerTini, ti Sept.
•Gurliu (M.), 6 Scpi.
*Gumey, 28 Aug.
Heubeirger, 41)
•Ibert, 15 Aug.
Korcsbehenko, 20
I Lachcier (F.), 66, 20 Jan.
Lange (S. de).
Laage-Multrr, 40
Lassen, 60
Lthir, 20
Lekeu, 20
Mahler, 30
MakJrghem. Bo
*Mariin, 15 Sept.
"Martini^, 6 Drr.
•MoU) 4 r, 7 Jan.
fNessler. 49, 28 May
Novfik, ao
•Nyitfom, 13 Oci.
OUen, 40
Opiei^i, 20
P^ereuaki, 30
Resniiek, yt
■Riadis, 13 May
Rulucuiein, Go
‘Salazar. 6 Mar.
Scharwenka <X.>, 40
Sohmiit, 20
Seonirino, 40
•Soltys (A.), 4 July
Kiainer, 30
Suler, 20
Svendsen, 50
Tchailio^tky. 30
Thomas (Goring), 40
Touraemire, ao
VIerne, 20
Walker, 2u
Wolf, 30
f 9 «u«mrF(d, CJuArU «««t, SA
IV. J>r.
tftlwcli. Karl Hcrtrik. yA Pj.
tB 9 Mckaul(, IKsn iDtMtwnl. M,
Ac. Itr.
tfiurlofl, (Su) Hkhsrd Franck.
6o> L.i.
Karel. CJ. I>r.
tC«Mll^Br*fKo, ('.aaiUlo. Gs<
N«.Li.
tCbairian. l.owij. 64. Ko.
tCaneadi, Hermanu. rt. li.
t Fevkirt . ( K lave. 69. Nn. I>r.
t(;«irh. ViiKeni vaf», ay. Pa.
*He(ber(. ALt» PaictcK P«. No.
tliuni, Alfred WillcADi, fe. Pa.
tKart, AJphQ«ie. a*. No. Li.
tKelkr, GotUried. 71. Po. No.
* c. Macaulay, Keec. No. Li.
*aiansfiekl. Kachcrirte. li. No.
t.SlanUn, John WeSiUnd, 71.
Pr. Li.
tSewBcao. John Heocy, 69. Po.
"NiiUrnky. Vaslav. Ua.
•SVcrIcI, Kcana. No. Pd, Dr.
1691
.Arensky, 30
Blech, 20
•Bliss, 2 Aug.
Blockx, 4U
Bosu, 30
Br^villr, 30
Buitykay, 20
t Ollier, 47. 28 Dec.
Qiabricr, '/>
Converse*, jo
tOelihes, 54, iCJan.
Dvvtik, 50
tFaccIo, 51, 21 July
Farkas, O.. 40
•finke, 22 Oct.
Hadley <H.). 20
Horneman, y>
d'lndy, 40
•Jirak, 28 Jan.
•Komauth, 14 May
•Krejd* (M.), 4 Nov,
Langv (P. dc), 30
•Lemaclirr, 26 June
Lie, 20
fLiculff, 73 i € .Vug.
Loclllrr. 30
Lunssens. 20
MaeDuux’ll, 30
Marrlirui, bu
‘Migot, i? Feb.
MhM, 30
tPacius, 81 , 8 Jan.
Pedrdl. 30
•ProkoTiev', 23 Apr.
•Rallio, 15 Apr.
*Roland‘Manuel, 22 Mar.
Sgambaii, 50
Spendiarov, 20
Slenhammar, 20
'Fliumas (A.), 80
Thuille, 30
Volbach, 30
t Ala«e«n, MrO Aiiiohju. 20. No.
tBanvilk, l-beodvretk. 611. Po.
No. l>r.
tRwmr. l.aHrmce, 6u. Ae.
f Okapfen, Chariei. 66, Pa.
fUupu. ILenri, >6, Se.
•CecCeau. jeao, L^ IV.
tGurKharuv. Ivan AleKanilroxich,
7 » No,
"Hindus. Maurice. No.
tLocvdl, James KusmII, ye. Pv.
Li.
tMfwsMonkc. Jean Louis Ltncsi.
y 6 . Pa.
taielviUe. Herman. 73 . No.
534
APPENDIX I
tMilki, AioW, 7 d. 5 «.
t Rimbaud, Actbu^, 37.
Georges, 39. ^
169a
Abrinyi (K.)» 70
Al/v^, w
Boito, 50
Cowen, 40
Ddbuuy, 30
DeUus. 30
Diepen brock » 30
tUorn, 87, so Jan.
Emmanud» 30
Fanvell, 30
fFrana, 77. 34 Oci.
German, 30
*Ger$ibcrger, ra Feb,
•Ghcdini, I j July
Graener, 30
fGuiraud, 54, 6 May
*Heaoikaioen, 19 Oct.
fHervd, 67, 4 Nov.
*Honewr, 10 Mar.
*Howej]j, 17 Oci.
*Jarnach, 36 July
Joieyko, so
Juon, 90
^KiJpiAen, 4 Feb.
Kovatovic, 30
*Kvapd, 91 Apr.
*Lajiha, 30 June
tLalo, 69, 99 Apr.
Le ^rcie, 30
Lecocq, 60
Lissenko, 50
*Louri^, 14 May
MaMcnei, $0
Mihalovich, 50
"Milbaud, 4 Sept.
Milldcker* 30
tPedroiti, 74, 16 Oci.
Perofli, 90
*Peiridb, 93 July
*Poniridy, 6 Oct.
■Radnai. c Jan.
■Roseaberg, 9J June
Sekle9» 90
Skriabm, 90
Stanford, 40
Sullivan, 30
•TalJleCwre, 19 Apr.
tThomaa (Goring), 41, 20
Mar.
Vasulenko. 20
Vaughan Willianu, 20
Wagenaar (J.), 30
Wie$ (K-), 30
Williams (Albeno), $0
•Wood (T.), 98 Nov.
Zemltnslry, 20
•Benton, Siella. No.
tUeiOcreu. Ceora, 64. Pa.
tBeOea»(«d(, Friedrich v«o. 73.
Po.
tCartte. Eoiilie, 83. No.
tCooper, Thomai, 87. Pe.
iCofv, Wtlliaa Jc»hfuan, 69. Po.
tEdcrrn, Aaos CariolU, 43.
No.
tEdtrards, Amelia Aane, 6t. No.
tFcl, Afanasy, 79. Po.
*Gariiet, David. No.
*Crievc, Chrutopber Murray
(Hugh Maediarinid}, U.
*L4^l(ova, Lydia, Da. Ae.
Xlacdiarmid, Huyh Grieve)
*MacLe»h, Archibald. Po.
*MilLay, E^a S(. Vincent. Po.
Or.
*llke, Elmer. Dr. No.
*$a<kville>Weei, Victoria. Po.
No. U.
*Shanb. Edward. Po. U.
*$ji»«tl, Osbert. Po. No. Li.
*2ipenecr, Stanley, Pa.
tTennyeon, Alfred, Lord, 83. P
*Wc«(. Rebecca. LI. No.
tWIiiimaa. Wall, 74. Po.
tWhlitier, John Greenleaf, 83.
Po.
7893
•AbsU. 93 Oct,
Barbieri, 70
fBelicxay, 57, 30 Apr.
•Benjamin, t8 Sept,
B^es, JO
Brahms, 60
fErkel, 82, 1 3 June
Foote, 40
•Cooasens, 96 May
tCouood, 75, 18 Oct.
Grieg, 50
•Haba, 9J June
JoDgCQ, 90
Kaun, 30
IGrchner, 70
KoodJer, 40
Lcroux, 30
tMaldeghein, dj, tj Nov.
Maluzewski, 90
Mascagni, 30
Mason (D. G.}, so
•Merikanto (A.), 99 July
Messager, 40
•Mompou, 16 Apr.
Modr, 30
•Moore, 10 Aug.
Nkode, 40
•Orr (C. W.), 3* July
Parker, 30
Kerne, 30
Rabaud, so
Rakhmaninov, 20
Reger, 20
Rcycr, 70
APPENDIX I
S33
Roger-Ducasse, 90
*Rogtn« 4 Feb.
Samara, 30
S^verac, 20
Sjogren, 40
Sohys (M.), 30
Somervell, 30
Szendy, 30
fTchaiko^y, 53, 6 Nov,
Teherrpnm <N.). ao
Verdi, 80
Wcingarmer, 30
*ZeUnica, 13 Jan.
Tbeovte, te. Ac.
tarnwA. Ford Kladov, 79 . P«.
7Cuk, Grotto Vk«I. 60, Fa.
^PolUdo Hatu. Ke.
*FecW>. ftoMla. I
0«orte> Fa.
tKcenUr, Francn. $4. Ar.
*Mar)7uan«l. Johct Pltdlipc. No.
tMawaoMOM. Cuy dr. 49. No.
tKlourr. Albccl Jocrph, 59 . Pa.
"Nash. Jelu) Nocihroie. Pa.
*N'Kholt, Hobrri. Po. Li.
*No*dlo. Ivor. Ac. Or.
•(>w«a. W.irrnJ. Po.
*Sayrn. OoroUiy. No. D*. Li.
t^yiAOCKh, jAhn AddMCton. s%
Li.
t'l'aine, HippoUtc AaMpbr, is.
U.
tZorUUy Moral. 7 «. P».
Dr.
d’ Albert, 30
tDarhicri, 70, 19 Feb.
Bertoii. bo
fChabrier, 53, 13 Sept,
Chadwsek, 40
Cast, 40
Gigoul, 50
Grechaninov, 30
*Grou, 1 1 Aug.
<ruy*Rop4rtz, 30
Halvonrn, 30
HoUl, 20
Humperdinck. 40
Ives (C.), ao
JanideV, 40
I-avranga, 30
tLckeu, 24, 21 Jart.
*Moeran, 31 Dec.
Moszko«>9ki, 40
•rijjwr, 8 Sepi-
*PlMon, 20 Jan.
Reinccke, 70
Kimsky'Konakov, 50
Rubimtcin, 83
Schmidt, ao
Schucnbrrg, 20
•Schwlhoff (R), 8 June
Sclmcr, 50
SmaregUa, 40
Strauss (R.)i 30
Suk, 80
TineJ. 40
•Vi^i (j.). n Jan.
*\Vagenaar (B,), 18 July
* Warlock, 30 Oct.
Xyndas, 80
Zdllocr, 40
Zweers, 40
tBaUMCVAr, Kobcri Michael. Cq.
U.
•BcMtard. Pawl Albeti. Pa.
t8wkrlfnanr>. Chchiian V>.
P«.
tBrkrh*. iWt Oinaki Walters.
77- Po.
fProudr, Jamc* AiitlHviy. 76.
Li.
t Hoba rt . Olnvr U'ciidcll. 6$.
U Po.
*H«alrr. AMwor. No.
flttfWM. Ccorgr. 69. Fa.
iLcroatc dr Lule, Gharlo* Marie.
?«, Po. Dr.
*Lewa. Domtftk Vet an tS’yod*
ham. Li.
*KlortaA, Cliartn. No. Li.
*.Vathan. Robert. .No.
tPaice, Walter. 55. Li.
^FrMlIey. |ohn fioyaton. No.
De.
tRomeeti. Chrudoa, €4. ]*«.
tbirveftioft. Robed Lown, 44.
Po, No. D.
•IWber. Jamn. Li. Pa.
iSpi
•Carneyro, 27jan-
Carrillo. 20
*Casiclnuovo'redcsco, 3
Apr.
Chausooft, 40
CokridgC'Taytor, so
Cut, 60
*Dai^eloi, 8 Dec.
*David (J. N.). 30 Nov.
Dracseke, 60
Dukas, 30
Faur*. 50
F^vrier, 20
Gilson, 30
Glazunov, 30
Gli^e, 20
tCodard, 43. 10 Jan.
Halm, 20
Hartmann (J. P. £.}, go
^Hindemith, 16 Nov.
•Jacob, 5 July
l.abey, 20
fljichocr (I-), 87, 24 Feb,
Liadov, 40
•laatoshinsky, iCJan.
Magnard, 30
53^
APPENDIX I
•MartcIU, F«b.
Mclartin, 20
Montemezzi, so
Morera, 30
Nielsen (C.K 30
Nougu^s, 20
O^Ndll, 20
•Orff, 10 July
*Rathaus» 16 Sept.
Ravel, 20
Ronigen, 40
Rootham, 20
•Rudhyar, 23 Mar.
Saint'Saeru, 60
Sibelius, 30
•Sikorski, aSJune
•So'verby, 1 May
•Siill, II May
Strauss (J.) <ii), 70
tSupp^, 74, 21 May
Szopski, 30
lovey, 20
•Voormolcn, 3 Mar.
Widor, 30
•Zidor, 5 Nov.
tBIachir. John Stuart. B 6 . Li.
fC'^ntti, C«ur«. as. Li. No.
tColleii, jakobine CanulU (b.
NV«rrcUnd). 3*. No.
tDHmas, A)rsond(c. jun., 71 .
Dr.
tFfc> IS*. CuiUv, 79 , .N'o. Dr.
'(irave*. Robort. Pa. No. LL
tHabo, Tbomaa Oordoir, 33. l*o.
Richard Murth, 3?. At.
*JuA«cr, I.mai. No.
ti.ciknv. Nikolay. 64 . N«».
tlxi\b«r*].aiMp»on, Prrdrrkb, 74.
Po.
*NcumaM. Alfred. No. l)v.
‘Kerlaot*. Maurkc. Po. No.
tKy«lhrrc. Abraham N’lkior, 37.
Po. No.
tSochrr'Maaoch, Lee|ioU roo,
59. N«.
189b
Alfano, so
Aulin. 30
t Bruckner, 11 Oct.
Brull, $0
BviStMi, 30
Carpenter, 20
Cika, 30
DrysJale, 30
Falla, 20
•Gerhard. 25 Sepu
fComes, 60, 16 Sept.
Halkn, 50
HalUtrom, 70
•Hanson, 28 Oct.
Hartmann (E.), <k»
Hurlsione, so
ingenhoven, 20
Kalinnikov, 30
Karlowicz, 20
Kastalsky, 40
•Koffler, 28 Nov.
•t^broca, 22 Nov.
Laparra, 20
Mariueei, 40
•Monnikendam, 28 May
Morawski, 20
Noskowski, 50
Kebikov, 30
•Rivicr, 21 July
Salic, 30
Sehelling, 20
•Sessions, 28 Dec.
Shaw <M.), 20
Sinding, 40
Solov’iev, 30
•Szeligowski, 13 Sept.
Taneyev, 40
tThomas (A.), 84, J2 Feb.
•Thomson, 23 Nov,
Vogel {V.), 29 Feb.
Vreub, 20
Wegetius, 50
•Weinberger, 8 Jan.
Wieniawski (A.), ao
Woir^Perrari, 20
Wood (C). 30
fXyndaa, 82, 25 Nov.
* 8 luAd«n, Cdmuitd. Po.
•Jbomlwld. Lout*. No.
*C«onki. Archibald Jowph. Ng.
t|>cui Noffurira RarnM, JoSo de,
33. Po.
*I>M PaMo*, John. No.
tDu hfaNfirr, Cieoree, 3?. No.
Pa.
7(«oncouft. Ixiniond dc, 74 . No.
Li.
tHowaaayc. Aratnc. 3i. 1*a. .So.
tHufhe*, Thomas, 74 . No.
t Leigh Ion, FroderKk, l.ord, 63.
Pa. Se.
* Mauon . Andrd. Pa.
tMillair. ($irj Johit £v«rctr, 3?.
Pa.
*Morna. VViUlam, 32. Po. LL Cr.
1 Patmoio, CovoAiry, 73 . Po.
tRktoci. Addakk, 74. Ac.
*Sb«rrilT, Robert Ccdrk. Dr.
*bhcrwood, Robert Emmet. l)t,
r^cowc, llarrrel Bccchcr. 64 . Nw.
'Strong. Leonard Alfred (ioorge.
U. Po.
IX'erlaane, Paul, 3 a. l*o>
*887
Aubert, 20
Balakirev, 60
Bameii (J. F.). 60
tBendl, 59, 20 Sept.
•Bcniaon (J.), 14 Feb.
t Brahms, 63, 3 .\pr.
Beuneau, 40
APPENDIX I
5%7
Chamioade, 40
•CoweU, II Mar.
Dohninyi* 20
Dunhill, 20
Elgar, 40
Fairchild, 20
•Femstrdm, 6 Dec.
Gardiner, 20
•Gerjter, 29 Jane
Giordano, 30
Granadoa, 30
Guikaiant, 60
Holmis, 50
Karg-Eicrt, 20
Kienzl, 40
KcechlUi, 30
^Komgold, 29 May
*K6sa, 24 Apr.
Ladmirauli, 20
*Lorcn20 Fernlndcr. 4 Non*.
tMa bell ini, 79, 10 Mar.
Mackenzie, 30
* Mocachinger, cojan.
"Moreno Oaiu
•Neteriiis, 1 Dec.
Peterson* Berger, 30
Qvilier, 20
"Riisager, 6 Mar.
•Saeverud, 17 Apr.
Salvayre, 30
Scharwenka <P.), 50
Stabadoi, 90
•Tansman, 12 June
Terraue, 30
Wieniawski (J.), 60
2elehski, 6 a
tr>Midrl. AlithufM. &T* Ke.l>r.
tPMkcr. J«k«AA UMrs at.
fp. Ur.
t Gilbert, (Sir} j*bn, Oe. fa.
* Haldane, Naaim blargam
MMcbMaal. Ha, fo.
tlna«Ww, Jnn, 77- K. Ha.
rMaika*. AaaHwt NiM4v««wb,
H. P«. K>*.
MiKAkaa , Haam* (M HildiM/
•CypUbrrtv. Ua». Na.
T OMmai . Mar*a#«(. Ha.
tfaWtav*. Fran«» Turner. 7a>
fa. U.
* SUwtH. 5achev«r«11. Pa. Li.
*WiUier, Themcao. Dr. Ha.
1896
Baniock, 30
Boughton, 20
Bru^, 60
Caplet, 20
•Delatinoy, 9 July
Dupare, 50
*^er, 6JuJy
‘Gershwin, 25 SepL
Gevaert, 70
C^lben, 30
Goldschmidt (A. v.), 50
•Harris, 12 Feb.
•Harsinyi, 27 June
fHartmann (£.), 62, 18
July
Hdbrooke, 20
Kiscler, 50
•Knlpper, 16 Dec.
i,eoncavaJlo. 40
MacCunn. 30
McEwen, 30
Major (J. G.), 40
Mailing, 30
Mancinelli, 50
Merikanio (O.). 3^
Morale* <M.), 60
Paimgren, 20
Parry, 50
PlanC|uei(e. 30
Puccini, 40
•Rieii, 20 Jan.
Schiilioga, 30
Schreker, 20
Schylie, 30
Seiaccioli, 30
SiUds, 20
Suugaglia, 30
Smyth, 40
Tosnmasini, 20
Viana da Moia, 30
•\Vcil(F.), 15 Apr.
Zagwijn, 20
tkarrante*, N’intrnir, Go. Pu, Li.
tkr«#d»Wr. Aubf«r, a6. fa.
t Btu k. Williank. )t. He.
19Qud«, ku«hir. fa.
t8u#n«*JeAa, (S^l Ldwanl, $3,
fa.
tCarrall. Le«*i< (Charkt Lui*
mdae Dadpoa], 66. U.
tCavaUaui. F«lk«, }6, Pa. Dr.
tLb*M.C«aef MaHis. 61. Ne.
tfeauBT, Thrader. 72. Pa. He.
tCarBMr.ieaa Lauu Charl«, 7).
Ar.
•Haimban. Oive (Cine Staples
Lawisj. LL
♦Hnanwr>«ay, Ernest. Ne.
*iMibr. Wtnibed. Ne. Li.
*Kr«fnev. Eekb kfaria <R«*
mM(|ue). Na.
Lewis. C2«v« SUfilo (cm Hainil*
•an)
IMalUrro^, 96. fa.
t Meyer. Owed Ferdinainl, 7$.
Pa-Na.
•Moore, Henry. Sc Pa.
t kfarcau, Cunave, 7 *> Pa >
•O'Brien, Kaia. Ha. Dr.
f Puvii <le Cbavannes, Pierre
cecae. 74, Pa.
Reeiarqoe, Ctkh Maria lut
Kramev)
tPwtenbarh, Ckarses ftayiDond
Consuntin, 4*. Pa. Na.
538
APPENDIX I
1899
Andreae^ 20
•Auric, 15 Feb.
Bridge, 20
CampOi 20
tChau&soD, 44, 10 June
•Chives, 1 3 June
ChevilJard, 40
Davies, 30
Fitelberg (G.), 20
Foerster, 40
Grovles, 20
Haai, 20
•Hadley (P.), 5 Mar.
•HefTding. to Mar.
Ilyinsky, 40
IppoliioV'lvanov, 40
Ireland, 20
Jkmelelt, 30
•Jemniu, 9 Aug.
Liapunov, 40
Lloyd (C. H.), 50
•Maklakiewics, 24 Nov.
tMillockcr, 57, $j Dec.
Nipravnik, ^
Niewiadomski, 40
0»tr£U, 20
Paine, 60
Pfitaner, 30
•Poulenc, 7 Jan,
Respighi, 20
•Revueliai, 31 Dec.
Rhcinberger, 60
Rouuel, 30
•Santa Crus, 5 July
Schjeldrup, 40
ScoK (C.), 20
•Skold, 29 Apr.
•Souris, JO July
Stojowvki, 30
TStraus# (J.) <ii), 73, 3 June
■Tchcrepnin (A.), at Jan.
•Thompson, 21 Apr.
Trunk, 20
•Woytowtca, 5 Dec.
Zich, 20
Zichy, 50
tlWIske, AKmm. 74. Sc.
rSe«eue. H«nri, 6 a. Dr.
tB—k. F.rik. 77 , Pd. |>r.
tBwilMwr. Ro«« (RMAlie MmmK
77. P».
*Bow«n, Kliza(««h. N«,
tCherbulirt. Chaik* Vkcor, 70.
No.
* Coward, Noel. Ac. Dr.
tSfckmaos. fistSk, 77. No.
tPrrrari. PmSo. 77. I>.
tFoaUr. Myin Krbrt. 74. Pa.
tC«Mlk. 69. I^.
f('.ro(K. KUua, 9o. Po.
*Kas(fMr, Erkh. No.
*t.aveh»oa. Chark*. Ac.
*Lorea. Paderieo Garda. Po. Dr.
*Mar«o<an. Haodrik. Po. No.
*MLro, Joaa. Pa.
fSisky, AJG^, 52 , Pa.
1900
Albania, 40
•Aniheil, 9 July
Audrao, So
Bloch, 20
BourgauJt^Ducoudray, 60
Breton, 50
•Burkhard, 17 Apr.
•Bush, 22 Dec,
Charpentier, 40
•Copland, 14 Nov.
•Dunayevsky, 30 Jan,
Enna, 40
•Ferroud, 6 Jan.
tFibicb, 49, 13 Oct.
Fourdrain, 20
Franchetii, 40
Georgee, 30
Goldmark, 70
•Halfficr (R.), 30 Oct.
fHartmann <J. P. £.), 94.
10 Mar.
Heuberger, 30
Karel, 20
•Klamt, 20 Sept.
Koreshchenko, 30
•Kleoek, 23 Aug.
Lange {S. de), M
LangC'Muller, 30
Lassen, 70
Lehir, 30
•Listov
•Lonque, 8 Nov.
•Luening, 13 June
MalUer, 40
•Mansiarly, 13 Oct.
Medtner, 20
•Mossolov, JO Aug.
Nov6k, 30
Olsen, 30
Opiedski, JO
Paderewski, 40
Plasetd, 20
•Reuiter (H.), 17 June
Retnifek, 40
Scharwenka (X.), 50
Schmitt, 30
Sconirino, 30
Scott (F. G.), 20
•Skcrjaac, t? Dec.
Stainer, 60
tSullivan, 58, 22 Nov.
Surer, 30
Svendsen, 60
Touraemire, 30
Uribe Holguin, 20
•Veretti, 20 Fcb-
Vienae, 30
Walker, 30
APPENDIX I
559
•WeUJ, 3 Mar.
Wolf. 40
•Wyonc, * Jiine
tBUetauK, Rkhftnl I>od4ndce»
»j. N«.
tCnft*. Supbea, >». No. P».
tE«« de Joid Muia.
No.
tFacd, TbooM. 74^
tFolfwAM. JcoB Afesoodr*
JoMpb. 69 . Sc.
tHovcy, R»«bord, >6. P«. Dv.
*Haca«. lbcbor4 AcUwr Womn.
H Df. No.
•MiwtKU. >>Urt«fc(> No.
«Mooia«rl*o(. Heon <le. No.
T Mookioy. MJiNr. jS. P*>
fNicUKbc. Ffirdfick. i6. li.
Po.
^O'FooUiM. Seon. No. Li.
•PciKhcti, VktecSowden. No.
U.
tR\»k»a. Jobn. t(. Li.
•SoiovLoopCrr. Aoloiae dc. No.
Sa«m. IfOAiM {#MTrM4wiUi>
tSolovMv. Modiauf ScrtcycMCh.
4?. Fo,
•TrooquiUi. Sceeodo (Ifoouo
SiloMj. No.
tWM«. Oscor. 44* Fo. No. Pv.
li.
t<K»(
AlaJeona, so
*Apost«l» 82 Jan.
Arooiky, 40
tAudrao» 6c, 17 Aug.
BartOk, iO
•Beck (C.), 16 June
fBc&oU, 6 Mar.
Blech, 30
Blockx, 50
Bosfti, 40
Br4v)lle, 40
Buttykay. 30
CadiiUfi, so
•ChevreuiJIc, x? Nov.
Cofiverse, 30
Drodoo, 30
Dvofik, $0
•Egk, 17 May
Eneco, 3o
Fark^ 0 ., $0
•Finzi, 14 July
•Fuleihao, s Apr.
Gibe, 20
Gram, 30
Hadley (H.), 30
tHalbtcdm, 72, xi Apr.
•Henneberg, 27 Mar.
Homeman. 60
d'lody, 30
tKalinnikov. 34. 1 1 Jaa.
Kalbte&iua, so
Knab, 20
Lange (D. de). 60
Le Flam, so
Lie, 30
Loc&r, 40
Luntacena, 30
MacDowdI, 40
•Major (£.), 26 Jan.
Marcbetti, 70
Miaskovaky, so
Mma, 40
Pedreili 60
•Pepping, IS Sept,
•Foot, 7 May
tRheioberger, 6a, 25 Nov
Rogewtki, so
•Rubbra, 23 May
•SaugueC, 18 May
Sgambaii, 60
Spendiarov, 30
tSuiner, 60, 3 1 Mar.
Stenhammar, 30
Thuillc, 40
t Verdi, 87, 27 Jan.
Volbach, 40
•Wbyic, 1 3 Aug.
t AMrw, JoCMi (Jama A. Heme).
4i. Ac. Or.
iBcMot. (Str) Walter, $y LI.
No.
tSacUio, AnaeU. 74. Fa,
t SucluaaB, Robert, So. No. fo.
Or.
tCampoamor v Camf»oo*ofio,
Ramba dr, B4. Pa.
tCaw), Jeaa Cbarla. 4i. Pa.
•DoMr. Wall (Walter EUu).
Pa.
t Ford. Edward OmIow. 44. Sc.
tOroeoawav. Kate. $9. Pa.
•Sackrilk WeW. Edward. U.
No.
tTotdouae-Lauirre. Heori de. $7.
Pa.
tYo«ee.<AarIeiie Mary, 7 B> No.
190 a
Abri«yi (K.). 60
Abrinyi (E.), so
AUvdn, 30
Boito, 60
Braunfeb, 20
•Brooian, 25 Mar.
Cowen, 50
Debuasy, 40
Delius, 40
Diepenbrock, 40
•Durufld, c I Jan.
Emmanuel, 40
Farwell, 30
PryUOf, 20
German, 40
540
APPENDIX I
Gracncr, 30
Jolcyko, 30
Juon, 30
Kodily, 30
*Kondracki, 4 Oct.
Kovafovic, 40
KiiCka, 20
Lattuada, 90
Lc Borne, 40
Leeocq, 70
Lisenko, 60
*Loihar, 23 May
•Maler, 91 June
Malipiero, 90
tMarcheiii, 70, j6Jan.
Marx, 90
Maarenet, 60
Mihatovieh, 60
*Moriari, 6 Dec.
Peroal, 30
Pick*Manpagalli, 90
Ponce, 30
Rad6, 90
* Rodrigo, 32 Nov.
Samicuky, to
*Schouwman, 8 Aug.
Sekles, 30
*ShebaUn, 11 Juxte
Skriabin, 30
Stanford, 30
Siraviiuky, to
*$2abd, 97 Dec.
Saymanowski, 90
Turina, to
Vaaailenko, 30
Vaughan U'llMarm, 30
Vycpalek, to
Wagenaar (J.), 40
* Walton, 33 Mar.
We« (K.), 40
Williams (AJberto). 40
"Wood (R.). 31 May
ZemJiniky, 30
tBrewe, C«orfe Dou|l*s, 95.
No.
f SjimtKi. 67. Li. No.
tC:onWoAt» 97. f*.
tCeoar#. Thetnos SiAter. 99 .
P».
tDolou, Juks. 64. Sc.
1D« Verv, Aubrey Thomao. 88,
Po.
TFaed, Johji. 89. Pa.
tHanc, Franco Br«(, 69. No.
tNorrb, Pronk, jt. No.
tPMM. (Sic) Jowpa NoH, 8t.
P*. Po.
‘Richardson. Ralplu Ac.
‘Robson, P(^. Ac.
‘Steinbeck, John. No.
tSicpheiu. James Rrunton, 87.
Po.
Vcr«. Aubrey Tbomac Ek (mr
Ue Verv>
IZola, Emile. 82. No.
*»®3
fAbrinyi (K.), $1, so Dec.
Bax, to
•Berkeley, 12 May
Berners, 20
•BJacher, 3 Jan.
Bordes, 40
CaseUa. 20
Dyson, »o
Fabini, 20
•Farina, 30 Oct.
•Fiielberg (J.), to May
•Fleury, 25 July
Foote, 50
Furul^jelm, 20
Cnessin, 90
•Goldschmidt (B.), 18 Jan.
Grieg, 60
•Halloas, 24 May
Hauer, 20
tHolmi, 33, 28 Jan.
Jongen, 30
•Kadosa, C Sept.
Kalomiris, to
•Karyoiakis, 2t July
Kaxifl, 40
•Khachaturian, € June
tKirchner, 79, id Sept.
Klenau, so
Kocader, 30
Krein (A.), to
Kuula, to
Leroux, 40
Lloyd (D.), 20
"Lotpainikov, c6 Mar.
•Lucas (L.).5jan.
Maliszewski, 30
Mascagni, 40
Mason (D, G.), 30
Messager, 50
•Milford, tt Jan.
Moonic, to
Mo6r. 40
•Nabokov, 17 Apr.
Nkod8, 50
•NoetcJ, 30 Oct.
Parker, 40
Piern8, 40
fPlanquelte, 54. 36 Jan.
Rabaud, 30
•Rainier, 3 Feb.
Rakhmaninov, 30
•Raphael, 30 Apr.
Reger, 30
Rcycr, 80
Roger-Ducasse, 30
RolOn, 20
Samara. 40
Sdverac, 30
SJdgrcD, 50
S^ys (M.), 40
Somervell, 40
APPENDIX 1
541
Sl^inWrga 40
Szeody, 40
Tchmpoin (N.)> 3^
•Wagocr-Rfgeoy, aB Aug.
Weben)> ao
Weingvtner, 40
tVVolf, 4a, aa F«b.
Zandonai, ao
tBeeu. Nicobw, U. 1 ^>. N«.
tc;«uc«in. Paul. U* P**
tC#ia»MlC« 46 . K«. Li*
r(iu*. K4 m Fn^ik. 79. ?».
fH*i 4 «T. William £meM. 54. P».
Li.
*Honl«y. joLa CakoM. B4. Ps.
tLfcky. William EdvrardHartpak.
63 . y.
9 d. Dr. LL
*Luec. Clare B«Mk Dr. U.
tMcfriman. Hearv Scroo. 4 i>
Ke.
* Piper. J«hn. Pa.
IPuMcro, (lamitte. 1^. Pa.
tShorihouM. Jowpli Kcnrv. dO.
No.
"Simeoort, Orortrr. No.
*NM(lMrland. OraSam. Pa.
*NVauRh. Evelyii. No.
tWKMiUr, Jamca MeNeill. 69 <
Pa.
1^4
d'Alberl, 40
*Burian, 11 Apr.
Cihadvrkk, 50
■DaUkpiccola, % Feb.
Diercr), ao
tDvoFik. 6 ai ( May
* Fagan, 3 Nov.
•Frid
Gail, so
Oigoui, Co
Grechaninov , 40
GrifTea, ao
Gruenberg, ao
Cuy-Ropariz. 40
Halvonen, 40
HoUt, 30
Kuraperdinck, 30
Ives (C.), 30
JaniCek, 30
*Kab*lev«ky. 30 Dee.
"Kauem. 19 Mar.
•Krejei (I,), CO July
tLasacn, 73 , *sJan.
Lavranga. 40
tUc, 33 , 3 oScp«,
MiJo|tvic, ao
Moc^owtki, 50
‘Pecraui, 16 July
RaogMrOm, 30
Reinecke.
Riiiiaky*Konakov, 60
ROxycki, 30
Schmidt, 30
Schoenberg, 30
Selmcr, 60
■Skalkous
Smareglia, 50
Strauas (R.), 40
Suk. 30
•Szel^yi
Tinel, 50
•Valb
V>'hiihrayie, ao
ZoUner, 50
Zucers, 30
tBomit. W'ibofl. $0. Ac.
^Ivador, P*.
tPaniiiwl^iour. Henri. dA. ]*a.
*Porrell. Joirm TIiMiiOf. No. Li.
tPum. Charlre IS'ellinrion. 76 .
Pa.
fCdrAnw. Jean Ldon. 6n. Pa.
*Ci«lcvrl, juhn. Ac.
* 4 kccnc. <j(AliAm. No. Dr.
'MAimltoA. I'Airjrk. IV.
tIleAm, l.AlrAdH>. $4. L«.
*ldierwood. Chriuopher. No.
Dr.
iJokA«. Llw. 74. No.
tl.en(uea. fram. dd. ]*a.
•Lewo. Cmil Dav. Po.
t&wpdie*. (K«r| Letlie. 7 i. I>.
tTehefcho*. Anion. 44. Dr. No.
tW'aiu. Georse PrederKk. $?•
Po.^.
*905
•Alu^n, 7 Nov.
Serf, ao
*BUizsidn, a Mar.
BuHerw'onh, ao
Carrillo, 30
ColeridgC'Taylor, 30
Cui, 70
Dale, 30
Draeseke, 70
Dukas, 40
*Fark4s (F.), 15 Dec.
Faurd, ^
Fdvrier, 30
GikoA, 40
Glaaunov, 40
GUdre, 30
Haha, 30
"HaJITter (£.}, 16 Jan.
•Jollvci, 8 Aug.
Josten, ao
Kamiehski (L.), 20
Laboy, 30
•Lambert {C), 33 Aug-
• Leigh, aa June
Liadov, 50
Magnard, 40
Melanin, 30
•Menaace, 19 Aug.
Mooiemcaai, 30
54*
APPENDIX I
MorcrA, 40
Mul^ 20
Niel9«n (C.), 40
Nouguis, 30
O’NeUl, 30
Ravd, 30
*Rawsthome, 2 May
Red, 20
Riegger, 20
RSnigeo, 50
Roothaui, 30
SaiDt'Satttt, 70
*Seiber, 4 May
Sibelius, 40
Szopski, 40
Taylor (Deems), 20
•Tippeii, 2 Jan.
Tovey, 30
Var^, so
VarvogUsi so
Weiner, so
WellcM, 20
Widor, 60
•Wir^n, 13 Oc(.
H«rbcfl £rMl. No.
t BagmbMh. Rvdoir. 4$. P«.
No.
tBouawrvou. Adolpbe. 4o. Pa.
tOulChawp*. Hcioncb. iS. Po.
Df. Li.
tDubo*. Paul. 74 . S«.
rKm4ia. JoU Maria 4e. 4$. Po.
ttrviof. (Sirj Haary. 4?. Ac.
Mocifoe. f*o»a (m $bar|>)
tMcaatl.A4olpavea.ae. Pa.
fMcedoc. Hcadrik. 74 . Pa.
CooMaaiiA. 74> Sc.
Pa.
tMeurice. Paul. 4?. Dr.
*4artr«. J«an Paul. No. Dr.
fSharp. WiUiam (** Fieaa
Ma«kod").4» Pe.No.
*SheIokhev. Mikkail. No.
tVerac, 77. No-
*Whiiiier. Rea. Pa.
1904
AJfano. 30
tArensky, 44, 25 Feb.
Aulin. 40
*Baudrier, 1 J Feb.
firtUl, 60
Busoni, 40
•Capdeviellc, 1 Feb.
Carpeoier, 30
*Caruin, 1 Dec.
Cilea, 40
•Cooke <A.), 4 Nov.
•Creston, to
Drysdale, 40
£apl4, so
FaJIa, 30
•Finney, 8$ Dec.
•Fraokcl, 31 Jan.
Gagoebin, so
tGoldschmidt (A. v.), 54, 21
Dec.
Guhdi, so
Halloa, 60
tHomeman, 64, 6 June
tHurUtone, 30, 30 May
logeohoven, 30
Kaminaki, so
Kariowica, 30
KaaiaUky, 50
•Kenessy, 23 Sept
Laparra, 30
•Leoz, 10 Jan.
Levidts, 20
•Lier (van), to Sept
•Lopes Cra9a, t? Dec.
•Lutyens, 9 July
Martucci, 30
Morawslu, 50
Noskowski, 60
tPaine, 67, 25 Apr.
Rebikov, 40
Ruyneman, SO
•SaikkoJa, $1 Mar.
•Sanders, s July
Sade, 40
ScheUing, 30
Schoeck, 20
Sbaw <M.), 30
•Shostakovi^, 25 Sept.
Sioding, 30
Soloviev, 60
Taneyev, $0
Vreu^ 30
fWeg elius, 59. 3 Mar.
Wieaiawski (A.), 30
•WUliams (C.)
Wolf.Fcrrari, 30
Wood (C), 40
tftiheri, Aloxender. 50 . Pe.
tBrobeson, Htr«ule>. 4a. Pe.
tPretoo. Juki Adolphe. 79 . P«.
tPniorti^. FcrdinoAd, 57 . Li.
lCom4re. EusNte Anotole, jy.
Pj.
tCdcofuie. P»ul. 47 . Pc.
tHobfeei, John Oliver (Pecrl Mery
Tbervt* CreifieK $9. No.
tlbtea. Hcn/ik, 76 . Dr. Po.
•Odets. Cliirord. Dr.
tPeredc, Joid Marie de. 73> No.
tStettM. AJM. 76 . P4.
fThaulow. Frio. $9. Pa.
1907
Atierberg, 20
Aubert, 30
•Aul^, 6 Dec.
•Badiogs, 1 7 Jan.
Balakirev, 70
Baroett ( J. F.), 70
tBrOB, 60, 17 Sept
APPENDIX I
S43
Bnioeau, $o
CbMniB«Uf» 5»
Doku^yit 30
DimhiUf 50
EJgar, 50
Fairchild, $0
"Foriaer, c3 Oci.
Gardiner, 30
Giordano, 40
Graoadoe, 40
fCrieg, 64, 4 Scpl.
GuUmaot, 70
•Holler, as July
Karg'Elert, 30
Kie^, 50
fKutler, 58, I Jan.
K(Echlio, 40
LadmirauJc, 30
•Langlais, 15 Feb.
lindbcrg, ao
Lualdi, ao
Mackenzie, 60
■Maconchy, 1$ Mar.
Madrioja, ao
•Pal«<cr. ao Dee.
PcterwA'Berger, 40
Quilier, 30
Salvayrc, 60
•Saygun, 7
Schanvci^a (P.), 60
Szabadoa, 40
■SzaJowaki, ai Apr.
'I'crrasie, 40
tThuille, 4S, 5 Feb.
Tiezaen, ao
Toch, ao
Trapp, 30
Valen, ao
•Verezz, r Feb.
VUla>L«bos, ao
Vochi, ao
Vooiaftka, ao
Wi«oiiwiki (J.), 70
2«leiS»ki, 70
iwu Dr.
*A«drn. Wv*Uii Huffr. ?o, t>r.
tG*r 4 i*cci. Cmm*. 91.
•Pry, Chrawpeitr. Dr.
tK«*k. JsMCUrft. tt. Pa.
tHuywM*. 1 m>s KatI, >9. No.
tL^botfh*. ChArtes voA, 06. fo.
*l.kw«llva. Rkhor 4 . No. Dr.
*Ho(N«ior, Lmci, Po. Dr.
*Olivicr. l^urcner. A<.
tCMoM. Alfredo. SS. No. LL
tSoltf'Prvdhortunr. KciN
Fronfoir AmMAd. 6& Po.
rTbonpoao. PrAAcb, 49. Po. li.
tWyipiodikS. StanifUw. 3a. ?o.
130$
Basrock, 40
Bougbtofi, 30
Bruch, 70
Capici, 30
Delvincourt. ao
•Dhder, 34 June
Duparc, 60
DuMy, ao
•Ferguson, at Oct.
Fraisi, ao
•Frumerie, aojuly
fCevaert, 60, 24 Dec.
CUbert, 40
•Heaseoberg, 17 Aug.
Holbrooke, 30
Leoncavallo, 50
•Lesur, 19 Nov.
•liastead, 24 Jan.
MacCufU), 40
fMacDoweU, 46, 33 Jan.
McEwen, 40
Major (J. G.), SO
MaJiing, 60
Mancinelli, 60
Klerikaolo (O.), 40
•Messiaen, 10 Dec.
t Morales (M.), 69, ra May
•Muradely, Vano, 6 .^pr.
•NktIsco (R.), 3 Mar.
Palmgren, 30
Parry, 60
Puccini, 30
fRimsky-Korsakov, C4, ai
June
Schillings, 40
Schreker, 30
Scbyiie, 60
SeuedoU, 40
Sigteabont Mayer, ao
SikJds, 30
Sinigaglia, 40
SIdavoi, 30
Smyth, 50
•SuchoA, 9$ Sept,
•Tarp, 6 Aug.
Tommasini, 30
Viana da Moia, 40
•Wordsworth, 17 Dec.
Zagwijn, 30
tAoikii, EdmoAdo d«, 4 s. U.
No.
tBuMK. Wilhotm. 94. P«.
tCedk, Sv*«opluk, 4 *. Po.
rChiortei. Cwppc, 9 ). Po. li.
fCoiMlor, Chorte*. 41, Po.
fCojipSc. FcAAfou, 4 s. Po. Dr.
tHorm. Jo«l CboAdler, 4 o. Li.
No.
IHcobm. Horoict. 94 . Sc.
tLk.loAM.9S. No.
tOoids <Mark Lo«uK d« La
IU rae«), 49. No.
ISardou. Vkiorwo, 77. Dr.
^SoroyAo, WilUAio, Dr.
tStedmoo. Bdauod ClAreoeo. 7 S.
Po. Li.
544
APPENDIX 1
1909
tA]b^n»» 48, 16 May
Aodreae, 30
tBordes, 46, 8 Nov.
Bridge, 30
Campo, 30
*Caaal Chapi, isJaa.
CheviJlard, 30
Davi«s, 40
tDrysdale, 4a, iBJune
* Daerzhiiuky, 2 c Apr.
FiieJbe^ (G.), 30
Foentcr, 50
*G«vaascni, 23 July
•Gcnamer, 2 Feb,
Gibbs (AO, 20
Crovlex, 30
Haas, 30
20 Dec,
Ilyinsky, 30
I ppoiitov- Ivanov, 30
Ireland, 30
JamefeJt, 40
Kapr4J, 20
fKarlowicj, 32, 6 Feb.
Liapunov, 50
Uoyd (C. H.)> 60
fMartuccl, 53, 1 June
*Murri]], Herberi, 11 May
Napravnlk, 70
Niewiadormki, 30
fNoskowski, 63, 23 July
*Orr (RO. 2 June
Ostr<cy, 30
Pfiianer, 40
Respighi, 30
tReyer, 85, »5Jan.
RoxisscI, 40
Schjelderup, 50
fSchyite, 61, ro Nov.
Scott (C.). 50
Shaporin, 20
Stojpwiki, 40
*Swanson, j6 Aug.
Trunk, 30
Zich, 30
Zichy, 60
tCoeuelie, BenoM FrsfHOis. 68.
Ac.
tCoqucUn, Emeii AlcUA^re
HofMKe, 61. A«.
tCfawford. Fr*Aci9 Sfirion. 5^
No.
fDavidwn. J«hA, 53. Fe. Dc.
Li.
t Fitch, William Clyde, 44. Df.
tFriia, William F<»wcll, 90. Pa.
tCotiachall, Rudeir voa, 86. Po.
Dr. Li.
tJ.j)iciKrofi, Ddkv voo, 6$. Po.
fMaadia, CaluUc, 68. Po. No.
Dr.
faieredilb, Gcotfa, 8x. No. Po.
IModjcika. Helena, 63, Ac.
*Soeader, Stepbea, Po. Li.
f Swioburoe, AJaeroon Charin,
W. Po-
tSynce, Joho MiUiapen, $0, Dr.
ipie
t Balakirev, 73, 29 May
•Barber, 9 Mar.
Bloch, 30
fBourgault.Ducoudray, 70,
4 July
•Bowles, 30 Dec.
Breton, ^
Charpeotier, 50
Bnna, 50
Pourdrain, 30
FranchettJ, 30
Freitas Branco (L.), 20
CsU. 20
•GaJando, 3 Feb.
Georges, ^
Goldmark, do
Guerrtni, 20
GurlUt (M.), 20
Gurney, 20
Heuberger, 60
Ibert, 20
Karel, 50
•KaaasogJou, tj Dec.
•Koch (E. V.), 26 Apr.
Koreshchenko, 40
Lange (S. de), 70
Lan^Mtiller, ^
Lehir, 40
•Maci^ewski
Mahler, 50
Martin, 20
•Martinon, 10 Jan.
MartinA, 20
Medtner, 30
tMissa, 48, 29 Jan.
Molnir, 20
NovAk, 40
Nysirom, 20
OUen, 60
Opiehski, 40
Padere^viki, 50
Piazelti, 30
fReinecke, 83, to Mar.
Resniiek, 50
Riadis, 20
Salaxar, 20
Sebarwenka (X.), 60
Schmitt, 40
•Schuman, 4 Aug.
Scontrino, 60
Scon <F. C.), 30
tSelmer, 66, 2J July
Soltys (A.). 20
Suler, 40
•Sutermeister, 12 Aug.
APPENDIX I
Svaodses, 70
Toumeoure, 40
Uribe Holguin, 30
Viente, 40
Walker, 40
rBj«r« 30 O, B)armi)rn««. fC ?o.
Dr.
Glcmeru, Seauel L.u)|horw
(mt Tw^o. Muk)
tPrrmiM. EmioMutl, Sc.
tHenrr. O. (WilUtm Svilscy
Peeler), 46 . No.
tHwai. WiJUom Hdaun, B), Pa.
tMooBy. Wihiun hlauchao, 41.
Pe. Dr.
»l4»r«u. Jeaa.
tOKhardMa. {Sir} WUUam. 75>
P».
tUfMko. r.ter. M. No,
tRMbt. WillMlB. 74 . Ke.
tftMWCMI. H •ar>, «& r*.
rT«4Mor. L«v Nikoloycvkh. 0».
No. Po. IX
tTHoio, Mark i&arowei Xanf'
home Cleinem). 7i. No.
1911
* Ala in, 3 Feb.
Alaleona, 30
Dar(6k, 30
Blech, 40
filiu, 40
Blockx, 60
BoMi, 30
Br^villc,
Butlykay, 40
Cadman, 30
Convene, 40
■t>egen, leJ*"*
Drnden, 30
Enetco, 30
Karkaa, O., 60
Finke, so
Oilie, 30
Gram, 30
*GwlUnani, 74, 49 Mar.
Hedley (K.), 40
*Hovbanes9, 6 Mar.
d'lndy, 60
JirSk, 40
KalUieniiu, 30
Knab, 30
Kornautb, 40
Kr^il (M.>, 40
;Lange (S. de). 7 ». 7 July
Lange (D. de). 70
Le Flcm, 30
Lemacher, 40
Loeffier, 50
LujiMCQs, 40
fMahler. 30, 18 May
*MeQotti, 7 July
Miaskovsky, 30
Migoi, 40
Pedrell, 70
Prokofiev, 40
Raiuo, 40
*Rei2eiutein, 7 June
Rogowski, 30
Rolaod-Manucl, so
•Rou, 3 Dec.
Sgambaii, 70
Spendiarov, 40
Sienbanimai, 40
fSvendsen, 70, 14 June
•Tate, 6 Apr.
Volbuh, 50
tBrsM, RcioltoW, So. Sc.
tPoCMtaro, Anionto. 6g, No.
fCel^rt. (Stf) Will tom ScKwenck,
7J. D*.
tCmf, klariao, 79. Pe. Dr.
tI»roeli, Joecr. 87, P«.
tKtpboi, John 1.«kweo«l, 74.
Sc. P*. hi.
tWerut, AI(*Wfi«r, 74. P«.
tkfoeWhiner. Job(», 79.
*af«rluA'«, AlkiA (Alk« Morks).
D«.
191a
Abrknyi (B.), 30
.Mfv4n, 40
tBlockx, 6(, sC May
BoKo, 70
Braudels, 30
tColeridge«Taylor, 37, i
Sept.
Coweo, 60
Debusy, 50
Deliui, 30
Diepenbrock, 30
Emmanuel, 30
tKarkaa, 0 .. Ui, 1 1 .Sepi.
Far>vell, 40
•Franfaix, 23 May
Frvklof.30
German, 30
Ceniberger, 30
Chedini, 40
Graener, 40
Hannikainen, 20
Honegger. 20
Howells, 40
Jamach, 4 o
•Jonca (D. J.), 7 Dec.
Joieyko, 40
Juon. 40
Kilpinen, 20
Kodaiy, 30
Kovafovic, 50
Kri£ka, 30
Kvapil, 30
Lajlha. 40
Lattuada, 30
Le Borne, 30
Leco e q,
54 ®
APPENDIX I
fLisMnko, 70> 6 Nov.
Lourj^» ao
Malipioro, 30
^Markevich, a7juJy
*Martm«t, 8 Nov.
Marx, 30
tMa54cn€t, 70, 13 Aug.
MihaJovich, 70
Milhaud, 20
*MoD(&a 2 vatge
Peroai, 40
Pecridi», ao
Wood (T.), 20
Zemliniky, 40
(Si«> LAU#m<ei
H.
H«nnann J»Mhiai. ss.
No. Li.
tDoltn. F«IU. 79 . F«.
rDcuUk. J««a Bopib(«. 6^ Fa.
tLoat. Andrew, 60. Po. U.
tPoMOd. Giwonni, >7* ^ Li>
tSirindborf. Avptii. 6». N«. Dr,
Li.
tVrthlkif , JororUv, S9> Po. Dr.
7913
Absil, ao
Bax, 30
Beajamin, ao
Berner?. 30
*firictcn, aa Nov.
Caaella, 30
*DelloJ«Mo, 24 Jan.
fDraeseke, 77, ^ Feb.
Dysoo, 30
Foo(e, ^
Purubjebn, 30
Coossens, ao
Hkba, ao
Hauer, 30
Jongen, 40
KaJonuris, 30
Kaun, 50
*Khrezinikov, so June
Kleaau, 30
Koessler, 60
Krein (A.), 30
Pick'MangiagalU, 30
•Leibowitt, 17 Feb.
Ponce, 30
Leroux, $0
Poniridy, ao
Uoyd {D.), 30
Kadnai, 20
•Uoyd (G.), 28 June
Radd, 30
MaUuewzki, 40
RoaentKrg, 20
Mascagni, 30
Saminsky, 30
Mason (D. G.), 40
Scklcs, 40
Merikanto (A.), 20
Skriabin, 40
Measager, 60
Stanford, ^
Mompou, ao
*Sirategier, jo Aug.
Moonie, 30
Slravinaky, 30
Modr, 30
*Sz 4 kely> S Apr.
Moore, ao
StymanowikJ, 30 *
Nicod^, 60
Tailleferre, 20
Orr (C. WO, ao
tTinel, 38, 28 Oct.
Parker, 30
Turina, 30
Piemd, 50
VaasiJenko, 40
Rabaud, 40
Vaughan Willitnu, 40
Rakhmanlnov, 40
VycpAlek. 30
Reger, 40
Wagenaar (J.), 30
Roger*Dueaise, 40
WeU (K.), 30
Rogers, ao
fWienlawski (J.), 73, is
Roldii, 30
Nov.
Samara, 40
oeverac, 40
Sjogren, 4 o
Soltya (M.). 50
Somervell, 50
Steinberg, 30
Szendy, 50
Tcherepnin (N.), 40
*Thorpe Davie, 30 May
Webern, 30
Weingartner, 50
Zandonai, 30
Zelinka. ao
tAyriin, Airred, ?6. Po.
f CUrriir, Julet (Aodne Arnoud),
73, No. Dr. U.
}E«t. (Sir) Alford. 64 * P**
fLoiooBoicr, ContiMo, JJ,
No.
Itjonooketkj, Johoonn (Viktori
Pelbonro), 44. No. Dr,
f Reid. (Sir) C«orf e. 7«. P«*
•Sroti. WilLitm. Po.
1914
d 'Albert, 50
fAtilin, 47, ( Mar.
Chadwick, So
APPENDIX r
547
Dieren, $o
G«$t, 6o
Gigoui, 70
GreebaAioov, $0
GrifFcs, 30
Gro$2, do
Gruenb«rg« 30
Guy-Ropartz, 50
•Haieff, 25 Aug.
Halvonen, 30
tHtubergcr, 64, Oct.
Holst, 40
Humperdinck, 60
Ives (C.), 40
Jani^ek, 60
•Kapr, ca Mar.
Lavrartga. 50
t Liadov, 5<>, 28 Aug.
•Loud, 3
tMagnard, 40. 3
■Mdlcra, a6 Apr.
•Mills, 8 Jar».
Milojrvlc, 30
Mocran, ao
Mosskowski. 60
•Panufmk, 24 Sept.
I’ijper, ao
I'iaton, ao
tRad6, $s, 7 Sept.
RangsirOm. 30
Rdaicki, 30
Schmidt, 40
Schi>enbcrg. 40
Schulhoff (E.), ao
tSfambaii, 73. *4 Dec.
Smareglia, 60
SirauM <R.). 30
Suk, 40
Vogd (J.), ao
VVagenaar (B.), ao
Warlock, ao
Whithorne, 30
ZOllner, Go
Zwel^^. 60
tAUin.Fvumier, Henri. 96. Nn.
t • Bierc«, AnibroM. 7 «. U.
tBImntnvn. ll«ntAt<Sus Jobsnnei.
09 !*•.
fChraiM, Fldcr. 67. fa.
tn«riMlW«. Paul. 49 . U.
tHerkemer. <tMr) Hubctl vcei. 6 s.
Pt.
tHrvM. Paul.a 4 . H«|. Pe.
tlnn«), Janes l>kksoo. * 7 . Fa.
tlrrini. Law/fne«. 49. Ac. l>c.
tl^naSrrc. Jwka. 4 i. Pe. I>r.
tMutral. PrMerk, 84. P«.
tP^a^y, <%arkt. 41. li.
t reitnici, (Sir) John, 94. P*.
* rhanaa. Dylaa. F^.
*To 4 d. Iturbveik. Po. No. Li.
191$
Berg, 30
Butterworth, $0
Carneyro, 20
Carrillo, 40
CastelQuovo^Tedeaco, ao
Cui, 80
Dale, 30
Dan^loi, 20
David <J. N.), 20
•Diamond, 9 July
Dukas, 30
Faur^, 70
F4vri«r, 40
Gilson, 50
Glazunov, 50
Glt^, 40
tGoldmack, 84. 2 Jan.
Hahn, 40
Hindemith, ao
HoHcf, 20
Jacob, ao
Josten, 30
Kamicmki (L.j, 30
•Kapralova, 34 Jan.
Labey, 40
Liacoshinsky, ao
t Mailing. 67, 3 Oci.
Maridli, ao
Melanin, 40
Montemcaai, 40
Morera, 30
Mul6, 30
Nielsen (C.), 30
Noufuds, 40
O'NeiU, 40
Orff, ao
Rathaus, 20
Ravel, 40
Retl. 30
Rieggcr, 30
Rontgeo, 60
Rootham, 40
Rudliyar, 20
Saint-Saens, 80
•Searle, a6 Aug.
Sibelius, 30
Sikorski, ao
tSkriabin. 43, 27 Apr.
Sowerby, ao
Still, 20
Saopski, 50
tTaneyev, 58, 19 June
Taylor (Deems), 30
Tovey, 40
Vartse, 30
Varvoglis, 30
Voormolen, 20
Weiner, 30
Wellesz, 30
Widor, 70
Zador, 20
fbeMldee, blAry Cliubeth. 70 .
No.
tBroebc. Ruperi, ad. Po.
548
APPENDIX I
tC*puafu. Luifi, ^ 6 . No. Po.
Of. Li.
term. Walur. Pa.
tneclKr, Jaota Elroy, 31.
Dr.
tGounogot, Remy dc. jf. No.
Li.
tHerviou, Paul Ernest. 5C Or.
Po.
* Lewis, Alua. Po.
t Merrill. Slu«ri. 59. P«.
tPhitlipo. Stephen, ji. Po. Dr.
tRoM. M*nia (Violei Floreocc
No.
1916
Alfajio, 40
*Aplvor, 14 Apr.
tBarn€» (J. F.), 79, a4No\-.
Biisoni» so
tBuuerworih, 31,5 Atig.
Carpenirr, 40
Cika, 50
"DuitJJcux, 39 Jan.
Erplh, 30
Falla» 40
Oafn^bin, 30
Grrhard, 30
fCranados, 4B, 34 Kfar.
Guridi, 30
Hall^, 70
Hamon* 3 o
InganJioven, 40
Kaminaki, 30
KasuUky, 60
Koffler, ao
Labroca» 30
Laparra, 40
Lcvidai, 30
fMacCunn, 46, 3 Aug.
Monnik^ndam, ao
Motawaki, 40
tNapra>*nik, 77, 33 Nov.
Rebikov, 50
t Reger, 4a, u May
Rivier, 30
Ruyorman, 30
fSaJvayre. 66. >6 May
Satie, so
Scbelling, 40
^Schiake, la Feb.
Schoeck, 30
Sessions, 30
Shaw (M.), 40
Sioding, 60
fSolovtev, 70, 14 Dec.
*Stevens (B.), a Mar.
Saeligovi^i, 30
Thomson, ao
Vogel (V.), ao
VreuU, 40
Weinberger, ao
Wieniawski (A.), 40
Woir>Ferran, 40
Wood id), 50
* 2 uIawsLj, 14 Feb.
tCh«*e, Willitu Merritt, 67. P«,
tDarfo. RubSn, 49. Po.
f Cchegaray, }«U, 64. Dr.
tHarpjgnies, Heori josepb, 97.
Pa.
tjames, Heory, 73. No.
tLoedon. John GrifSiK (** Jack *’),
40. No.
taferct 4 , Mariui Jean Anipoin,
7c. Sc. Pa.
fSiesUevic*, Mearyh. 70. No,
tVerhacrca, Battle, 6 t. Po.
* 9*7
*Amd], 15 Sept.
Aiierberg, 30
Aubert, 40
Benuon (J.), 30
Bruneau, 60
CJiaminade, 60
Cowed, ao
Dohoinyi, 40
DunhiU, 40
Elgar, 60
Fairchild, 40
Femstrom, ao
Gardiner, 40
*Car<lner, a Mar.
Center, ao
Giordano, 30
Karg-Elert, 40
Kie^, 60
Kcecblin, 50
Komgold, 30
Kdsa, 30
Ladmirauil, 40
Lindbcrg, 30
Lorenao Fernindez, 30
LuaJdi, 30
Mackenzie, 70
Madetoja, 30
Moeachinger, ao
Moreno Gans, ao
Ncaerida, ao
Petcnon-Bcrger, 30
Quilter, 40
Riisager, 30
Saeverud, ao
t Samara, 33, 7 Apr.
fScharwenka (P.), 70, iSjuly
Saabados, 30
Tansman, ao
Terrace, 50
Tiessen, 30
Toch. 30
Trapp, 30
Valen, 90
VilJa«Lobos, 30
Vocht, 30
Vomaika, 30
BeleAski, 80
APPENDIX I
549
tBwIow, Juie, 6o. N«,
tfiufuad, (Sir) Francii CowWy.
01. Dr.
lC 4 roluvDur*o (Chftckt
Duraad), 00 . P*>
tDcfM, E^Ugv, 03 . Fa.
De Morgan, William (««
Morgan)
tMirb«au, 0 «U*«. 07 < No. Dr.
t Morgan, William 4 l«. 70 . No.
tRodin, Auguatr, 77 * Sc.
tTrc«, (Sir) H«rben Brrrbohm,
04 . A<.
1918
Bgrttock, ^
jBoiio, 76, CO June
bvughcon, 40
Bruch, 80
Caplet, 4U
tCui, 83, 34 Mar.
tUebuMy, 55, - 2 ^ Mar.
DelanJtoy, ao
Delvincourc, 30
Dupar<', 70
Durey, 30
*£itiem, 34 Jan.
K.islrr, uo
I'razzi, 30
fGaai, 64, 13 Aug.
Gerahwin, so
(JUbcri, 50
Harris, 30
Harsanyi. an
llulbroukv, 40
KiiipiH'r, 30
t KuuU, 34, 18 Nfay
tl.ange <U. <lc), 7^. 3 * Jan*
tUxocc), 86, 34 Oci.
Leoncavallo, ^
McUwvn, 30
Major (J. G.), 60
Mancinelli, 70
Merikanio (OJ, 50
PaJrngrcn, 40
t Parry, 70, 7 Ocl,
Puccini, 60
Rieti, 30
Schillings, 30
Schreker, 40
.Selaccioli, 50
Sigtenhorat Meyer, 30
SiU6s, 40
Sinigaglia. 30
t Sjogren, 64, 1 Mar,
Sklavos, 30
Smyth,
Tornmasini, 40
Viana da Mota, 30
WcU (F.), 30
Zagwijn, 40
tApoUinairc. Owillaumc, 30. LL
Po.
TFanna, Salvaiore, 7 a. No.
tHodW. Ferdinand. 63, Pa.
tOfaoel. Georges. 70. No. Dr.
tOwea. WiUrid, 9$. Po.
f Repin, lUa Ye6movieh, 74. Pa,
tRoeegger, Peter. 75. No,
Dr.
tRos«and, Edmond, 50. Po. Dr.
K919
Andrcae, 40
Auric, 30
*Bentaon (N. V.), 34 Aug.
Bridge, 40
Campo. 40
Ghivez, 30
ChevUlard, Go
Davies, 50
Fitelberg (G.), 40
Foersier, ^
tPrykldf. 36, n Mar.
Oibba (A.), 30
Orovicz, 40
Haas, 40
Hadley (P.), 30
Holding, 30
tJIyuuky, Co
Ippoliiov* Ivanov, 60
Ireland, 40
Jamefelt, 50
Jemniiz, 30
Kapril, 30
tl.eoneava]lo, Gi, 9 Aug.
tLeroux, 55, 3 Peb.
l.iapunut', 60
•Lloyd (C. H.>, 70. tb Oci.
Maklakiewica, 30
tNicodd. 66. 3 Qci.
Niewiadomski, Co
*Orrego*Salas, 18 Jan.
CHtr<il, 40
•Parker, 56, 18 Dec.
PCuner, 5a
Poulervc, 30
Reapighl, 40
Revoeiias, 30
Rouaael. 50
Santa Cruz, ao
Schjelderup, Co
Scoti (C.), 40
Shaporin, 30
Skokl, 30
SourU . 30
Siojovk’ski, 50
Tchcrepnin (A.), 30
'J'hompson, 30
Trunk, ^
Woylowicz, 30
Zieh, 40
Ziehy. 70
lAndreyev. Leonid Nikwlav«v>e)i.
40 . No. D«.
tOifTord. Sophia t.vcy. No. Dr,
ICUfMO. Harold. 49. Pa.
550
APPENDIX I
tC^lkrvp, K«ri AAaif, 63. Ki.
No. Dr. Li.
tGould, N 4 (bafud. 6t, No.
tPoysicr. (Sir) E4^»^. 8$. Pa.
tRcoear. AugusM, 78. Pa.
fWrrtdhaia, (Sir) ChaHes, 8f .
Ac.
i$to
Antheil» so
Bloch, 40
Breion, 70
tBruch, 89, 9 Oct.
Burkhard, 90
Bush, 90
Charpcniicr, 60
Copland, 20
Dunayrvsby, 20
Eniia, 60
Fcrroud, 20
FourOrain. 40
Francheui, do
Frchu Branco (L.), 30
•Ffickcr, 5 Scpl.
Gil, 30
Gcorgej, 70
tOriffes, 8 Apr.
Cucrrini, 30
GurUu (M.), 30
Gumcy, 30
HalITter (R.), 90
Ibcrc, 30
30 Jan.
Karel, 40
Klami, 20
Korcshchenko, 50
tKova^ovic, 57, $ Dec.
Kfenek, 90
L^nfC'MuJIer, 70
Lebar, 50
Liitov, 90
Lonque, ao
Luening, 90
Manaiarly, ao
Martin, 30
Martind, 30
Medtner, 40
MolnAr, 30
Mosaolov, 90
Novak, 50
Nyilrom, 30
Oben, 70
Opieibki. 50
Paderewski, Go
Piszetii, 40
fRcbikov, 54, I Dec.
Reulicr (H.), 90
Rezni^ek, 60
Riadb, 30
SaJazar, 30
Schanvcnka (X.), 70
■Schiblcr, 90 Nov.
Schmitt, 50
Scootrioo, 70
Scott (F. G-), 40
Skeijanc, 20
St^tys (A.), 30
Suter, 50
Toumenure, 50
Gribe Holguin, 40
Vcrctti, 20
Vieme, 50
Walker, 50
Weill, 90
Wynne, 90
tPerrier, PauJ, 77. Dr.
tCaMte, Beaiic PTres, 78, No.
U.
tHoMvIU, WiUiam Deaa, 83. U.
No. Fo.
tKUn^er. M«i, 8j. 8c.
fModbliaai. Astadce, 98. P».
Sc
IRivi^re, Briton, 80. Pa.
tScKrcteer, Olive, 8(. Li. No.
tWard, Mn. Hgmpkrey (Mary
Au^U, b. Arnold), No,
1991
AJaJeona, 40
Apostel, 90
‘Arnold (M.), 21 Oct.
Ban^, 40
Beck (C). 90
Blech, 50
Biin, 30
Boat, Go
Brdville, Go
Buttykay, 50
Cadman, 40
Chevreuilic, so
Converse, 50
fDiepenbrock, 58, 5 Apr.
Dresden, 40
Egk, 90
Enesco, 40
Finite. 30
Final, 90
Fuleihan, 90
Gilse, 40
Gram, 40
Hadley {H.), 50
Henneberg, 90
‘Hopkins, 9i Mar.
f Humperdinck, 67, 97 Sq7t.
d*lndy, 70
Jirtk, 30
Kallsteniiis, 40
Knab, 40
tKoreshchenko, 50, 3 Jan.
Kornauth, 30
Krejcl (M.), 30
Le Flem, 40
Lcmacher, 30
Loeffler, Go
APPENDIX I
55«
LuTifnt. 50
Major (E.), 20
tMancindli, 72, 2 Feb.
Miaskovsky> 40
Migot, 30
PedreU, 60
Pepping* 20
Foot, 20
Prokofiev, 30
Raitio* 30
Rogowski* 40
Roland- Manuel. 30
Rubbra, so
ISaint-Sadis. 66. 16 Dec.
Sauguec. ao
tS6verac, 47, 24 Mar.
Spend iarov. 50
Stenhammar. 50
Volbach, €0
Whyte, ao
t 2 cleriaki, 83, a^ Jart.
tBIeb. Alez«nd«r. 41 •
tJ>rfr«ci«r, Ffdot ven, 66. Fa.
tl>obwn. ilearv Atuiin. 6i. Fa.
U.
tHiliiabraiMl. Adolf voa, 74* S<>
tHonkUMC. Crnni William. &».
No.
tKorolenbo. VUdimir. 6a No.
tafonUaquioM. Roberi <le. 66.
TJ. Po.
TVavd^BAZan, £fnili 4 , $6. No.
Li.
tKtelimoiid, (Sir) 76.
Fa.
t6i)0lTor«J, Vlarriac Ehubaih. 66.
No.
1923
AbrSnyi (E.), 40
Altv^n. 30
Braunfela, 40
Droman, ao
Gowen, 70
Delius, 60
Duru86. ao
EmmanMl, 6o
ParwcU. 50
•Fo« (L.). 15 Aug.
German, 60
Gcratberger, 30
Ohedini, 30
Graener, 30
* Flamilton, € J une
Hannikalacn, 30
Honegger, 30
Howelb, 30
Jarnach, 30
Joteyko, $f>
Juon, 50
Kilplnen, 30
Kodily, 40
Kondracki, 20
KK£ka,40
Kvapil, 30
Lajtha, 30
Lattuada, 40
Le Borne, ^
Lothar. 20
LiOurii, 30
Maler, 20
Malipiero, 40
Marx, 40
Mihaiovich, 80
Milhaud, 30
Moriari, ao
tPedreki. 61. 19 Aug.
PerosI, 50
Pelridia, 30
Pick-MangiagaUi, 40
Ponce, 40
Poniridy. 30
Radnai, 30
Rodrigo, ao
Rosenberg, 30
.Samlcuky, 40
Sehouwman, ao
tSconirino, 71, 7 Jan.
Seklea, 50
Slrebalin, 20
Stanford, 70
.Stravinsky, 40
SsabO. 20
tSaendy, 39, to Sept.
Szymanowski, 40
Tailleferre, 30
"Tranehell, 14 July
Turina, 40
Vassilenko, 30
Vaughan \Vilhamj, 30
•Veale
VycpAlek, 40
WagenaarfJ.), 60
Walton, 20
Weis (K.). 60
Williams (Alberto). 60
Wood (R.), 20
Wood (T.), 30
Zemliruky. 30
tBstsilte, Maori. 30. Dr.
tBonnsc. L 4 «n Flereetin.
69. Fs.
tBreck, (Sir) ThoniM. 7 $. Sc.
fCspuj, ViMsat Nlsrie Alfrod,
64. Dr. Na.
tHudtAA, WilliAin Hertrr, 61. LL
Sidney. Po.
tMeyaall, Alice, 79. Fa. Li.
tProuai. Msr««l, 31. No.
1923
Absil, 30
Bax, 40
Benjamin, 30
554
APPENDIX I
Berkeley, dO
Bernen, 40
Blacher, 20
tBrelon, 7a, 2 Dec.
CaseJU, 40
fChevilUrd, S3, 30 May
Dyson, 40
Fabini, 40
Farina, 20
Fitelberg (J.), ao
Flcury, ao
Fooie, 70
tFpurdrain, 43, 23 Oct.
Funibjelm, 40
Goldschiniclt (B.), ao
Goossens, 30
Hdba, 30
Halinu, ao
Hauer, 40
Jongen, 50
Kadosa, ao
Kalomiru, 40
Karyocakis, ao
Kaun, 60
Khachaturian, ao
KJenau, 40
Koeasler, 70
Krein (A.), 40
Uoyd <D.), 40
Lo^tnikov, ao
Lucas (L.), ao
Malissewtki. 50
Mascagni, Go
Mason (D. G.), 30
"Mcnnin, 17 May
Merikanio (A.), 30
Message r, 70
Milford, ao
MompoUi 30
Moonie, 40
MoOr, ^
Moore, 30
Nabokov, ao
Noetel, ao
Orr (C. W.), $•>
Piem^, 60
Rabaud, 50
Rainier, ao
Rakhmaninov, 30
Raphael, ao
Roger>Ducas$c, 30
Rogers, 30
RolSn, 40
SoUys (M.), 60
Somervell, $0
Steinberg, 40
Tcherepnin (N.), 50
tTerrasse, 56, 30 June
NVagner-Rigeny. ao
Webem. 40
VVeingariner, 60
Zandonai, 40
ZeJinka, 30
tBcmbsrde, Sanfa, yg. Ac
fCoupenu, LouiS‘Mane^\aoe,
go. Po. No.
IHewlMi, Maurice, gr. No. Po.
tLoti, fiem (Louis Viaud), ys.
No.
ILucas, Jeba Seymour. 74. Pa.
f MaasfieM, Katheribe. a, Li.
No.
f (. Mamdi, Gwvaaai, 71. Po.
fNordau, Max. 74. No. Dr.
tTreoeb. Herbert. Po.
1924
d*A]beri, 60
Burian, ao
fBusoni, 38, 27 July
Chadwick, 70
Dallapiccola, 20
Dieren, 40
Fagan, ao
tFaurg, 79, 4 Nov.
Fnd, ao
Gigoue, 80
Gneasio, 40
Grechaninov, 60
Groat, 50
Gruenk^rg, 40
Guy-Ropariz, 60
Halvorsen, Go
HoUt, 30
N« (C), 30
JanA^ek, 70
Kabalevsky, ao
Kassem, ao
Krej2i ( 1 .), 20
Lavranga, Go
fLiapunov, 64, 8 Nov.
tMerikanio (O.), 53, 17
Feb.
MiJojevk, 40
Moeran, 30
Moatkowski, 70
■Nigg, 6 June
Peirassi, 20
Fijpe^ 30
Piston, 30
t Puccini, 65. 29 Nov.
RangslrOrn. 40
Rdzicki, 40
tScharwenka (X.), 74, S
Dec.
Schmidt, 30
Schoenberg, 50
SchuJhoff {£.), 30
Skalkotas, ao
Smareglia, 70
t Stanford, 7J, 29 Mar.
Strauss (R.), 60
Suk, 30
Szeknyi, 20
Vails, 20
Vogd a.), 30
APPENDIX I
553
W^naar {B.)> 30
WarJock, 30
Whilhome, 40
tZichy, 74, 14 Jan.
ZoUn^r, 70
fZwccrs, 70, 9 D«c.
tBabc* Lcoo, 9$. P*.
tBucMli, Fr*n<u> fs* No.
tConn^, JoMpb» 67. No.
tCordli. Mark. 60, No.
tDuM. Ekaoora. £6. Ac.
t»aivc«. Anatok. 90. U. No.
t H€ii«rTnaii», Herman. 6o, No.
Dr.
tKa^a, Frans, 41. No.
tSpiUeler, Carl, 79. Po.
1925
AJwyn, ao
Berg, 40
bUiucem, 30
fBoui, 63, 30 Fob.
fCaploc, 46, 33 Apr.
Carneyro, 30
Carrillo, 30
Castelnuov<^'redewo, 30
Dale. 40
Dandelot, 30
DavUl (J. N.), 30
Uukaa. 60
Farkas. K.. 30
F^vrier, 50
t<«igoui, Bi, <j Dec.
GllMn, 60
Giaaunov, bo
Oii^rc, $0
Hahn. 50
llalHtrr (K.), 30
tHaU6n, 7R, 11 Mar.
Hindemith, 30
Hbflcr, 30
Jacob, 30
Jolivei. 20
Joalen, 40
KamieAski (L.). 40
Labcy, 50
I.ambert (C.), 20
Leigh, 20
Liatoahiniky, 30
fMajor (J. G.), 66, 30 Jan.
Martelli, 30
Melartin, 50
Menaace, 30
"Milner, 13 May
Montemezai, $0
Morera, 60
tMoazkowski, 70, 4 Mar.
MuR, 40
Nielarn (C.), 60
Nougucs, 50
O’Neill, 50
Orff, 30
Rathaus, 30
Ravel, 50
Rawsthornc, 20
Red, 40
Riegger, 40
Rdnigen, 70
Roolham, 50
Rudhyar, 30
tSaiJC, 59, I July
Seiber, so
fSeiaccioli, 3C, 5 Dec.
Sibelim, 60
Sikofski, 30
Sowerby, 30
Still, 30
Scopaku, 60
Taylor (Deems), 40
Tippett, 30
To\*ey, 50
Varese, 40
V'arvoglU, 40
Voormolen, 30
Weiner, 40
Welleu, 40
Widor, 80
Wir^n, so
ZAdor, 30
tSrcMon. Arthur Chri<to|>her, 63.
No.
f Cable. <*e«rv« WatUinsten, 81.
No.
f Cooei . Cliarkr, 4s . I'».
ttfuiiev. Lucien. 63. Ar.
I HMSarO, <ltir| Utdrr. 63, No.
ILoodl. Amr, SI. Pu, 1.1.
tNersrn*, Jnl»h JSinerr. 6 m, Pa.
t'l hornttroh, (Slrf VS'iIJiacit, 93.
1926
Alfano, 50
Baudrier, 30
"Uouiez, S3 Mar.
Capdevielle, So
Carpenter, 50
Cartan, so
CiJea, 60
Cooke (A.), so
Crrvon, so
EspU, 40
Falla, 30
Finney, so
FrankcE, so
Gagnebin, 40
Gerhard, 30
Ctiridi, 40
Hanson. 30
•Hcnae, 1 July
Ingcnhos’cn, 50
Kaminski, 40
tKasulsky. 70, *7 Dee,
Kenessy. so
tKoesslcr, 73, 23 May
554
APPENDIX I
Koffler, 30
Ldbroca, 30
f Langc-Miilkr, 75, 95 Feb.
Laparra» 50
Lcoa» 20
Le\ 40
Lice (van)» 20
Lopes {Gra^), 20
Lutyens, 20
MonniJeendam, 30
MorawtJci, 30
*Oldham, 6 Sepi.
Rivicr, 30
Rxjyncman, 40
Saikkola, 20
Sanders, 20
SehelUng, 50
Schoeck, 40
Sesaiom, 30
$ha\v (M.)« so
Sboatakovich, 20
Sinding, 70
tSuter, 56, 22 June
StelifowsJu, 30
Thomson, 30
Vogel (V.), 30
Vrculs, so
Weinbe^r, 30
Wieniawski (A.), 50
WiUiams (O.), 20
Wolf'Ferrari, 50
fWood (O, 60, t2july
tBancroA, <S*r) Seui*e, 45. Ac.
fBe)4«*e, Rend (Rene Ter.
div««uj, sa*
tCMUil, i^ry. 71. Rs.
tDaeratunsay. F«lu Edin«Mi^
vieh, sa*
tMoMl. Oavek. W, P«.
f hkhcoin. Jean. 77. Fo. Dr. N'tt.
fRilkr. Rainer afar*4, si. Pe.
tZanewill. Iwael, 6s. No.
1327
"Angerer, t6 May
Atlerberg, 40
Auberi, 50
Aubin, 20
Badings, 20
Benlson (J.), 30
Bruneau, 70
Chaminadc, 70
Cowell, 30
Dohninyi, 50
DunhilJ, 50
Elgar, 70
Fairchild , 50
Frmstrom, 30
Fortner, 20
Gardinn*, 50
Gerster, 30
Giordano, 60
Holler, 20
Karg-Elert, 50
ICteiuJ, 70
KoschJitt, 60
Komgold, 30
Kd$a, 30
Ladrnirault, 50
Langlais, 20
Lindbei^, 40
Lor«mao Femandea, 30
LuaJdi, 40
Mackenzie, do
Maconchy, 20
Madetoja, 40
Moeschinger, 30
Moreno Cans, 30
Nearrills, 30
fOlsen, 77, 10 Nov.
Palcsier, 20
Peterson-Berger, 60
QuiJier, 50
Kiisager, 30
Saevrrud, 30
Saygun, 20
fStenhanuTur, s$i 20 Nov.
Saabados, 60
SsaJowski, 20
Tansman, 30
Tiessen. 40
Toch, 40
Trapp, 40
Valen, 40
Veresa, 20
Villa-Lobos, 40
VocM, 40
Vomadka, 40
fBeurehier, Arthur, $). Ac.
tBeandct, Ceort, 9 s« Li.
tConrad, Michael ( 7 eort, 4 i, Li.
Na.
nXiocan, IradMC, sg. Da.
rrOdes. (8ic> Luke.aj. 7 a.
tj«e«*nc.jerg(ne Klapka.6S. No.
Dr.
fMeC«^, Ambrou, 49. Fa.
tSo l afwb. Feodor (F. Kuamich
Tetereikov;, 64, Pe, No.
TWebb. Mary, 46. No.
1928
f Alaleona, 47, 28 Dec.
Baniock, 60
Boughion, so
*Oamase, 27 Jan.
Dclannoy, 30
Delvincourt, 40
Disder. 20
Duparc, 0o
Durey, 40
Eisler, 30
Ferguson, 20
Frazai. 40
Frumerie, 30
APPENDIX I
595
Genhvvin> 30
fOilbcrt, 39, *9 May
Harris, 30
HanAnyi, 30
Heisenberg, so
Holbrooke, 50
tjani£«k, 74, 12 Aug.
Knipper, 30
Leiur, 20
Llnslcad, 20
Me E wen, Co
Messiaen, 20
MuraJely, ao
NicUen (R.), ao
l^almgrcn, 50
Ricii, 30
Schillings, 60
Schreker, 30
Sigienhont Meyer, 40
Sikids. 30
SinigagUa, 60
SkUvus, 40
.Sniyih, 70
fSpendiarov, 36, 7 May
Suchofi, 20
Tarp, ao
Tommasini, 30
Viana da Klota, 60
Weii <r.)> 30
Wordsworih, ao
Zagwijn, 50
P*ul Albert, On,
Pa. Nr.
r<^MulbriOi. lt »4 l>D«ie«. ai. Po.
tCurcl, >r.irice0 d«. 74. Dr.
tDavKi. Artliur fi.. 06 . P»,
tOwkrer, (Sir) FraiKit BenurJ.
?a. Hj.
fFrampion, <$ir) Crfvmc. 60 . Si.
tOone, (Sir) LUmiine, 99. U.
P«.
fHArtly, 't'lkumei, 69 . No. Pe,
tlbaftes. M<«nM BI«ko. 6t.
No.
tMackiounK. Chark* Reiiok, 60.
Ar. Pj.
rMeotaawc. Cbark* PldwarO, 61.
Li. No.
tO'CxAdy, SiAbdaJt, 9 t. L^. No.
tPoiA. Borrv, 64. Li.
tSeiiu. Jokob, 7a. Po.
tSudemonn. HemtoAn, 71, Dr.
No.
tTerrv, tDomo) Pllen. 0 o. Ae.
i 9«9
Andreae, 50
Auric, 30
Bridge, 50
Campo, 51*
Caaal Chapi, 20
Chivea, 30
Davies, Go
C^erzhinsky, 30
Fiielberg (G.), 50
Foenter, 70
Gavaazeni, ao
Genzmer, 20
(A.), 40
Grovlez, 50
Haas, so
Hadley (P.). 30
Hdffding, 30
HvJmboc, ao
I ppolilov* Ivanov, 70
Ireland, 50
JarnHelt, 60
Jemnitz, 30
Kapral, 40
fLe Borne, b6. j^Jaii.
Maklakii’Micz, 30
fMfssager. 73. 24 IVh.
tMihalovicIi, Bd, 22 .Apr.
Murrill, ao
Niewiadonioki, 70
Orr (R.). 20
Ostriil, 30
Pliuncr, Go
Poulenc, 30
Respighi, $0
Kevuelua, 30
Roussel. 60
.San la Cruz. 30
ScHjeJderup, 70
Scon (C-), 50
Shaporin, 40
Skold, 30
tSmarcglia, 74, 13 Apr.
tSolt)9 (M.), G6. I a Nov.
Souris, 30
SuQOM'^i, Co
Swanson, 20
Tcherepnin (A.), 30
Thompson, 30
Trunk, 50
Woyiowic, 30
Zkh, 30
fBourdcUe, Ginik AatcMiie, 66.
6c.
fCormvt. Williom &U>k. 6B. Po.
t Carpenter, Edward, 0 ). Po.
fCiampoli. DomenKO. 74. No.
Li.
rDacnan>Bovi«tet. Pascal. 77.
Pa.
tCcrrei, Henri, 77. Pa.
tHoffnaonethal. Hufo von, sj,
Po. Dr.
tjones, Henry Axilivr, 76. Dr.
t Rosebery. Anhibald Philip Prim*
rose. Earl of. 0e. Li.
193®
Anlhcd, 30
Barber, 20
Bloch, 50
Bowles. 30
556
APPENDIX I
Burkhard, 30
Bmh» 30
Charpenticr, 70
Copland, 30
Dunayevsky, 30
Enna, 70
Ferroxid, 30
Franchetti, 70
Freitai Branco (L.), 40
Gkl, 40
Galindo, do
Oeorfo, 80
Guerrini, 40
Gurliu (M,), 40
Gurney, 40
Haiffier (R.). 30
Iberc, 40
Karel, 50
Kazasoglou, V>
KUmi, 30
Koch (£. V.), 20
Kfenek, 30
Lehir, 60
Listov, 30
Locique, 30
Luening, $0
Maeiejevi^, 20
Manaiarly, 30
Martin, 40
Martinon, 30
Martini), 40
Medtncr, 50
Molflkr, 40
Moisolov, 30
Novik, Co
Nyatrdm, 40
OpicAiki, bo
Paderewaki, 70
PissetU, 50
Reuttcr (H.), 30
ReaniCek, 70
Riadis, 40
SaJaaar, 40
Schmitt, 60
Schuman, 90
Scott (F. 0 .)i 50
Skerjanc, 30
Sdlys (A.), 40
Sutermebicr, 90
Toumemire, 60
Uribe Holguin. 50
Verrettl, 30
Viemc, 60
Walker, 60
t Warlock, $€, 17 Dec.
WnlJ, 30
Wynne, 30
tBhdfw. Rvbcn, M. 1*0.
tboyk, (Sir) Aribur Conaa, ?(.
No,
TGuduk, ($«r> James. ?>• Pa*
tLawT«M«, tUvsd Herbert, ss.
No. Po.
tLocke, WilliaiD John, $ 7 .
tMui)r«.Netl.66. U. No.
1931
Alain, 90
AposteJ, 30
Bartdk, 50
Back (C.), 30
Blech, 60
Bib*, 40
Br^ville, 70
Buitykay, 60
Gadman, 50
tChadwick, 76, 4 Apr.
Chevreuille, 30
Converse, €0
Degen, 90
Dr^en, 50
Egk, 30
Bnesco, 50
Finite, 40
Pinai, 30
FuJeihan, 30
Cilie, 50
Gram, 50
Hadley (H.), 60
Henneberg, 30
Hovhaness, an
fd’Indy, 60, 9 Dee.
Jirkk, 40
Kallitenius. 50
Knab, 50
Kornauth, 40
Kr^ii (M.), 40
Le Flem, 50
Lemachcr, 40
LoefRer, 70
Lunuens, $0
Major (E-), 30
Menotti, 90
Miaskovsky, 50
Migot, 40
fModr, 91 Sept.
tNleCsen (G.), 66 . 9 Oci.
Pepping, 30
Foot, 30
Prokofiev, 40
Raitio, 40
Reitenstein, 20
Rofowski, 50
Roland-Manuel, 40
Rota, 90
Rubbra, 30
Sauguet, 30
Tate, 90
Volbach, 70
Whyte, 30
^Belasco. Oavki. 96 . Dr.
taeoaett, AmoW. 64 . No.
tCainO, (Sir) Thmas Henry Hall
78 . No.
1Dyk.VkMr.94* U. Dr.
No.
APPENDIX I
557
Frani* 9?. Li. Dr.
tIUrifeMi, Erik AmI. «7. Po.
tL&rwo, Kwl. 7 C« Fo. No.
tUodMv. NkbolAs Vochel. it.
Pe.
tMockeaoAl. (Sir) Bcrlr*m. 6S.
Sb
tMaUt. Lucas (Majv Sr. Lc^cr
KftrrUoii.b. Kingly). 79 - No.
tOrpce. (Sir) Willuio. 53. Pc-
tPavlovA. Anna. 46. Da.
tRicketu. ChAfles. 6$. Pa.
tSchsiuIcr. Ankur. S 9 . Dr. No.
tTynaji, KaUiAriDe. 70, Fo. No.
193a
AbrSnyi (E.), 50
td'AJbert, 67, 3 M«.
AJfvto, 60
Uraunfeli, 50
Broman, 30
tC)arcan» 75 , *.16 Mar.
Cow«n, Bo
Delius, 70
Durud^, 30
Emmanuel, 70
Ear well, 60
Fran^ix, ao
German* 70
Orrsibergrr, 40
GhediDi, 40
Graener, 60
Harm! ka men, 40
Honeggrr, 40
Howells, 40
Jamach, 40
Jono (D. J.), ao
Ool«yl»<‘. 60, 19 Aug.
Juori, 60
f Kaun, G9, a Apr.
KUpinen, 40
Kod4ly, 50
Kendracki, 30
Khika, 30
Kvapil, 40
Lajiha, 40
Lattuada, 30
Lodiar, 30
LourK, 40
Maler, 30
Malipiero, 50
Markevich, 30
Martinet, uo
Marx, 30
MUhaud, 40
Monlsalvatge, 20
Mortari, 30
INouguis, 37, ad Aug.
Perosk, 60
Petridis, 40
Pick'Mangiagalli, 30
Ponce, 50
Poniridy, 40
Radnai, 40
Rodrigo, 30
fRdntgcn, 77. 13 Sept.
Rosenberg, 40
Samimky, 30
Schouw’man, 30
Sekles, 60
ShebsJm, 30
Strategier, 30
Stravinsky, 50
Ssabo, 30
Ss6kely. 30
Szymanowski, 30
Tailleferre, 40
Turina, 50
Vassilenko, 60
Vaughan Williams, 60
Vycj^lek, 30
\Vagenaar<J.). 70
Walton, 30
Weis (K.), 70
Williams (Alberui), 70
Wood (R.). 30
Wood <T.), 40
Zemlinsky, 60
tOricus. EuffSac. 74. i>r.
tbedei*, Frc^rik \Stllcm tAf>, 79.
Fo. .No.
t<irAhAtnc. Kcniwih. 79. No. ].l.
tCrctarv. Lady (IsAbrllo l*ccwe),
So. Dr.
tjay, HAm«t(. 64. Ae. No.
tSirachey, Ctk* LytMo. ss. Li.
>933
Absil, 40
Bax, 50
Benjamin, 40
Berkeley, 30
Berners, 30
Blacher, 30
Britten, 30
flasella, 30
Dellojoio, 30
fDuparc, 83, 13 Feb.
Dyron, 30
Fablni, 30
tFairchild, 55, 23 Apr.
Farina, 30
Fitelberg (J.), 30
Fleury, 30
Foote, ^
Furubjelm, 50
Gnessin, 50
Goldschmidt (B.), 30
Goossens, 40
Hiba, 40
HalLnas, 30
Hauer, 30
Jongen, $0
Kadosa, 30
Ksdomiris, 30
55&
APPENDIX 1
tKarg-EIcrt, 5$, 9 Apr.
Karyotakis, 30
Khachaturian, 30
Khrcnnikov, 20
Klcnau, 50
Krein (A.)« 50
Leibowiu, 20
Lloyd <D,), 50
Lloyd (G.), 20
Lopainikcw, 30
Lucas (L.), 30
Malisaew^, 60
MaKagm» 70
Mason (D. G.)> 60
Mcrikanio (A.), 40
Milford, 30
Mompou, 40
Moonic, 50
Moore, 40
Nabokov, 30
Noeiel, 30
Orr (C W.), 40
Piernt, 70
Rabaud, 60
Rainier, 30
Rakhmaninov, 60
Raphael, 30
Rofcr-Dueaue, 60
Rogen, 40
Rol6n, 50
tSchjeldcrup, 73> »9JuJy
Somervell, 70
Steinberg, 50
Tcherepnin (N,), 60
Thorpe Davie, 30
\Vagncr»R^ny, 30
Webern, 50
NVeingartner, 70
^andonai, 50
Zelinka, 40
t8«mon, Si«l(s, 4 r. No,
tBifMlI, Aufuktine, 9 ). Li.
tCskworihr, John, $ 6 . No. Or.
tCcorv*. $HrsA, Pe.
fHswkica, (Sir> Anihonr
(Antbony Hope), re. N«.
IMoATC. C«orer, 9 i. No.
tNoailIra, Anns, Comiow Or. S 7 .
Po.
tStinubwry. Gcorer, M. Li.
tSv;ro, AJfred, tck Dr.
<934
tBruneau, 77, 15 June
Burian, 30
Dallapiccota, 30
tDelius, 72, JO June
Dieren, 50
t Elgar, 76, 93 Feb.
Fagan, 30
Frid, 30
Grechaninov, 70
Gross, 40
Gruenberg, 50
Guy*Roparta, 70
Haieff, 90
Halvorsen, 70
fHolsi, 59, 25 May
Ives (C.), 60
Kabalevsky, 30
Kapr, 90
Kakem, 30
Kr^ei (I-), so
Lavranga, 70
Louel, 20
MeJIers, 20
MUb, 20
Milojevic, 30
Moeran, 40
tO’NciJI, 58, 3 Mar.
PantJhik, 20
Pdraasi, 30
Pijper, 40
Piston, 40
Raogsirdm, 50
Rdiicki, 50
Schmidt, 60
Schoenberg, 60
fSchreker, 55, 2 1 Mar.
SchulholT (E.), 40
fSekles, €2, 15 Dm.
SkaJkotas, 30
Strauss (R.), 70
Suk, ^
Saeldnyi, 30
Vatls. 30
Vogei (J.), 40
Wa^oaar (B,), 40
Whithomc, 30
fZich, 55. 9 July
Zodner, 60
tgohr. Hrtmson. 7s. Li.
tDrly, AfHfrey, S4, Po. No.
tBriAOnd, Paul Albrri, 40. Pa.
fgiaUk, Ghaim Nachman, 9 i.
Po.
tColIrrr. John. 84. Pa.
tDolInvtn. John Clharlei. 8s. Pa.
fPry. Potcr.88. Pa. Li.
tCilbtrt, (Sir) Alfrtd. So. Cr. 5 e.
tOilbcrl, Caai, 75. Ar.
tPInrro, (Sir) Arthur, 79. A<.
Dr.
<933
AlwyT), 30
tBerg, 50, *4 Dcc«
Bliczstein, 30
fButiykay, 64, 29 Oct.
Carneyro, 40
Carrillo, 60
Ca5ielnuot*o>Tedesco, 40
tCowen, 83, 6 Oct.
Dale, 30
APPENDIX I
559
Dandelot, 40
David (J. N.)» 40
Diamond* 30
f Dukas, 69. 18 May
Farkas, P., 30
F^vricr, 60
Gibon, 70
Glasunov, 70
Cli^re, 60
Hahn, 60
Haim^r (£.)*
fHaivorscn, 71, 4 Dec.
Hindsmilh, 40
HoHer, 40
flppolKov -Ivanov, 75, 28
Jan.
Jacob. 40
JoUvci. 30
Jo«c«n, 30
Kamirrtiki (L.)» 30
KapriJova, so
l.abey, Co
Lambcrl (G-), 30
Leigh. 30
Lialashiruky, 40
tJ.ocfllcr, 74. *9
tMacki^nvie, 87, 36 Apr.
Mariclii, 40
Melanin, 6n
Mcnasce, 30
Nlontcmceai, 6u
Morera. 70
Mul^, 50
Orff. 40
fOsiT^I, 36, 90 Aug.
fRadnai, 43, 4 Nov.
Kathaus, 40
Ravd, Go
Ka Wit home, 30
Reli, 30
tRIadli, 45, »7 July
KJegger, 50
Uoolham, 60
Rudhyar. 40
Scarle, so
Scil>rr, 30
Sibelius, 70
Sikorski, 40
Sowerby, 40
Slill, 40
tSuk. Gc. 39 May
Saopski. 70
Taylor (Deems), 30
'I'ippeli, 30
Tovey, 60
Vartee, 30
Var\x,glis, 30
Voormo)en, 40
Weiner, 30
Wrilesz, 30
Widor, 90
Wir4n, 30
Zidor, 40
A. (m RuimII)
iBarbum, Heori $1. Pe. No.
tfiourgel, Paul. 87. Nu.
IHockins, SiUt*. <7. No,
IHohby, Winifred. 37. No. LL
tiaac«r> CharWs Sarfcani, so.
Sc.
Lawrenee. Tlioma* Edward (u*
Shaw)
tldebermann, Max. 66. Pa.
tWploe. Samuel Juha, 64. Pa,
tR^navn. Edwtu Arlinslon. 66.
Po.
tRueaell. Ceorae VN'>llia,n
(iE.K 66. Po.
tShaw (oria. Lawrence). Thoma*
Edward, 47. U.
1936
AJfano, Go
Apivor, 90
Baudrier. 30
Capdevielle, 30
Carpenter, Go
CU«a, 70
Cooke (A.), 30
Cresion, 30
tDieren, 31, 94 Apr.
Duolleux, 90
Ejplk, 50
Falla. 60
fFcrroiid, 3C. 1? Auf.
Finney, 30
Frankei, 30
Gagnebin. 50
Gerhard, 40
tCernian, 74, 1 1 Nov.
fGlaxunov, 70, 3i Mar.
Guridi, 30
Hansen, 40
Ingvnhoven, Go
Kaminski, 50
Kennsy, 30
Koffler, 40
Labroca. 40
Laparra, 60
Leoa, 30
L^vidis, 50
Lier (van), 40
Lopes Gra^a, 30
Luiyens, 30
Monnikendani, 40
Morawski, Co
fNiewiadomski, 76, 15 Aug.
t Respighi, 56, j 6 Apr.
Rivier, 40
Kuyncman, 30
Haikkola, 30
Sanders. 30
Scheming. 60
Schiske, 90
Schoeck. $0
Sessions. 40
Shaw (M.), 60
56o
APPENDIX 1
Shostakovich^ 30
Sinding, 60
Sicvcns (B.), 20
tSzabados, 15 Scpi.
Sscligowsid, 40
Thomson, 40
Vogel (V.), 40
Vreuls, 60
Weinberger, 40
Wieoiawski (A.), 60
Williams (G.). 30
Wolf-Fcrrari, 60
2uUwski, 20
tChcsKfCOB, Cilberi K<tih,
U. No.
t Dekdds . CrszU, . No.
tCofkv. Muim, No,
tHoniilion, Johe McLur«. dj.
?«.
rHolmoi. (Sir) Clurtn« 66. Ps.
IHousnwn, Alfml Edword. 77.
Po.
tKipliof, Rudyard, 71. Po. No,
Kotl, 6*. IV. Po. IJ,
tLorra. CaKla. 97. Po.
Dt.
f Menkhoiiie. Allan, 77. Li. Dr.
No.
t Pirandrilo, Luifl. 69. Of. No.
t R^tnirr. Hriui de, 73. Po. No.
t Unamuno. MifucI de, 78. No.
*937
Arnell, 20
Aiterberg, 50
Aubert, 60
Aubin, 30
Badings, 30
Bentzon (J.). 40
Chamina^, 80
Cowell, 40
Dohndnyi. 60
Dunhill, 6c
Pemstrom, 40
Foote, 84, 6 Apr.
Fortner, 30
Gardiner, 60
Gardner, 20
fGershwin, 38, i r July
Gerster, 40
Giordano, 70
tCurncy, 47, 26 Dec.
tHadley (H.), 5 $, 6 Sept.
H^ler, 30
Kieiul, 60
Koechlin, 70
Komgold, 40
K6sa, 40
Ladmiraull, 60
Langlais, 30
Lind berg. 30
Lorenzo Femindez, 40
Lualdi, 30
Macoochy, 30
Madetoja, 50
t Melanin, 62, 14 Feb.
Moeschinger, 40
Morezio Gans, 40
Neaeritls, 40
Palester, 30
Peieraon-Berger, 70
fPiemi, 73, 17 July
bo
fRavd, €2. 28 Dec.
Riisager, 40
t Roussel, 66, 23 Aug.
Saeverud, 40
Saygun, 30
fSomervelJ, 75, 2 May
Ssalowski, 30
tSzymanowski, 34, 29 Mar.
Tansoian, 40
Tiesaen, 30
Toch, 30
Trapp, 50
Valen, 30
Veresi, 30
tVieme, G6, 2 June
Villa-Lobos, 30
Vocht, 50
Vomaika, 30
fWidor, 92, 12 Mar.
tBorm, (Sir) Jamr*. 77. Dr.
tDri«kwai*r. joka. 55. Ac. Po.
Dr.
tPofbaa R oh o uoft. (Sir) John*
MOD. 64. A«.
tCoidd.Ocrald, s«* Po. U.
tHecUoa. Joaeph, 8a. No.
f Johaaea. Robert Underwood,
84* Po.
tRock. Hcif*. 67. Po. Dr. Li.
iSbaaooB. Chsrki. 74. Pa.
tUTtartOB, Edith, 77. No.
1939
Baniock, 70
Boughion, 60
Delannoy, 40
Delvincouri, 30
Distler, 30
Durey, 50
Einem, 20
Eisicr, 40
t Emmanuel, 76, t4 Dec.
Ferguson, 30
Frazai, 50
Frumerie, 30
fOeorges, 87. 1 8 Jan.
Harris, 40
Harsisyi, 40
Heasenberg, 30
Holbrooke, ^
Knipper, 40
Leaur, 30
Liaslead, 30
McEw'en, 70
APPENDIX 1
561
Meuiaen, 30
Muraddy, 30
Ni^Uen (R.)> 3 ^
Palmgr«n» ^
Rieli, 40
fRooLbam» 6s, 18 Mar.
Schillmgs, 70
Sigicnhont Mayar, 50
SikJds, 60
Sinigaglia, 70
SIdavos, 50
Smyih, 80
SucboA, 30
Tarp, 30
TonuTUttini, 60
Viana da Mota, 70
WeU (F.). 40
Wordsworth, 30
Zagwijn, 60
tAnnuniS^, C«jlrfirkr d*, SS.
So. Of.
tlMdier, JoMpU. 74. I.i. I*«k
tFUcher, l.i. P«>.
Ffsnctt. 70. r»,
tKupr<M, Ale*af>«lrr
f> 8 . No.
tlAicAJ, Edward \'rrrall. To. t.i.
T M«<cdlivr«v. i«nw<. 89 . St .
tMaHWfll, Wtlliarn ItjlHnclAit,
No.
tNcwbeU. (SirJ M«n/y, 76. IV.
Li.
tQuiniero. ^Mrafin Alvam, 87.
Of.
TWcrcrukiold. F.rik. 8i. Fa,
1939
Andreas, Co
Auric, 40
Bemson (N. V.), so
Bridge, 60
Campo, 60
Caiai ChapI, 30
Chavez, 40
Davies, 70
DaerzlUnskv, 30
tEnna. 79. 3 Aug.
Ficclbcrg (G.), bo
Foenter,
Gavazzeni, 30
Cienzmer, 30
Gibbs (A.), 30
fOrosz. 45, 10 Dec.
CrovJea, 60
Haas, Co
Hadley (P.), 40
HofTding, 40
Holmboe, 30
Ireland, ^
Jamefelt, 70
Jemniu, 40
KaprA), 30
Maklakiewkz, 40
tMaliszewski, 66, July
MurriU, 30
Orr (R.), 30
Orrego-Salas, so
Pfiuner, 70
Poulenc, 40
Revucitas. 40
Santa Crua, 40
fScKclling, C3, 8 Dec.
fSchmuit, 64, M Feb.
Scott (G.l, Co
Shaporin, 30
Skold, 40
Souris, 40
Stojowski, 70
Swanson, 30
fSaopski, 74
Tcherrpnin (A.), 40
'fltompson, 40
tTourncmire, C9, 3 Nov.
Trunk, 60
Wnyiowicz, 40
tCuprk. Karel, 49, Pr. I.i.
t Fulda, LudMte. 77. Fo. Pr.
iSlMhatSo, Aniwniu, 84. I'.i.
taieffiek. Leviiard, 77 . N.>.
iVeaii, William Butler, 74. IV.
Dr. Li.
S940
fAJain, 09, OO June
AnibeiJ, 40
Barber, 30
Bloch, Go
Bowles, 40
Burkhard, 40
Bush, 40
Charpenlier, 80
tConvene, 69, 8 June
Copland, 40
Dunayevsky, 40
Prancheui, 80
Freitas Branco (L.), 50
Fricker, so
Gal, 50
Galindo, 30
Guerrini, 50
GurLiii (M.), 30
HaliTter (R.), 40
Jbert, 50
Jirdinyi, ao
tjuon, 68, 21 Aug.
tKaprilovii, 25, iG June
Karel, 60
Kazasoglou, 30
KJami, 40
Koch V.), 30
Kfenek, 40
Lehir, 70
Liscov, 40
Lonque, 40
Luenlog, 40
2 N
VOL. IX
56a
APPENDIX I
Maci^ewski, 30
Manaiarly, 40
Mariin» 50
Mar(inoR» 30
Martind, $0
Medtiwr, 60
Motnir» 50
Mossotov, 40
Novak, 70
Nysirdm, 50
Opiehski, 70
Paderewski, 80
Piaictii, 60
Eeuccer (H.), 40
tRcvuclias, 40, 5 Oci.
Reaaiiek, 80
SaUaar, 50
Schlbler, ao
SchiTUCC, 70
Schuman. 30
Scou <F. 0 .), 60
SkcrjaAC> 40
Sohys (A.), 50
Sutenneb(er» 30
tTovey, 64, 10 July
Uribe Holguin, 60
Veretii, 40
Walker, 70
Weill, 40
Wynne, 40
tB«nMO. Edww4 F««e««kk. n.
No. I.i.
t 8 «rir«A 4 . Lowb. 74. No. LL
tBixhon. jeh» (Lm^ Tw t e d*
imitf), 4 ). No.
fCompbell. Stella Pairkk, 74.
Ac.
tDorw*. William Henry, 6^ Fo.
tCoHoAd, Hamlin. So. Li.
tCiH. Erk. sS. Sc Cr.
tHeidmum, Carl Ctnuf VeAor
v«A. Ii, Li. Noi ■
tKle*. Payl.St. Pa.
tLafcrUtf. Selma. Se. No. Po.
rMarkham. CLarln Edwbt. M,
Po.
tManmao. Hendrik, at.
No.
tWolle. Humbert. 55 - fti. LL.
1941
Apoatel, 40
Arnold (M.), ao
Barldfc. 60
Beck (C). 4Q
Blech, 70
BlUa, 50
BraviUe, 60
fBridge, 6j, jo Jan.
Cadman, 60
Ghevreuiiie, 40
fDavies, 71, i( Mar.
Degen, 30
Dresden, 60
Egk, 40
Enesco, 60
Finke, 50
Finze, 40
Fuleihan, 40
GUse, 60
Gram, 60
Henneberg, 40
Hopkins, 30
Hovhaness, 30
JirAk, 50
KaJUieniui, 6o
tKienzl, 64, 19 Oct.
Knab, 6o
Komautb, 50
Krejei (M.), 50
fLavranga, 76, 18 July
Le Flem, 60
Lcmacher, 50
Lunssens, 70
Major (^), 40
Menolti, 30
Miaskoviky, 60
Migoi, 50
fPadcrewski, 80, 39 June
Pepping, 40
Pool, 40
Prokonev, 50
Raiiio, 50
Reisenatein, 30
Rogowski, ^
Roland*Manuel, 30
Rota, 30
Rubbra, 40
Sauguei, 40
fSinding. 85, 5 Dec.
Tate, 30
tVoJbach, 79, 6 Dec-
Wagenaar (J.), 78, 17 June
Whyte, 40
*Zid]ner, 86, 4 May
fProKe. (Sir) Goorf e Jamei. S7.
Li.
f Joyce, Jame*. 49. No. Po.
tLavery. <Sjr) John, 84. Pa.
tbIereihLovsky, Dmitry Scfcye.
vkb, 74. No. Po. Li.
tKevioton, Henry Woodd. Sj.
Li.
tOmnham, Joha (William Arthur
DvtiLetclay), r. 8i. No. Po. Li.
fPrCvoti, Marcel, 79. No.
fPryde.Jamei, 7 J. Pa.
tTaeore, (Sir) Rabir^raoaih. So.
Po. LL
tWalpeir, (Sir) Hush. $ 7 > No.
tWee^, Virfioia, 79. No.
AbrSnyi (£.), 60
Alfv6), 70
Braunfels, 60
Broman, 40
APPENDIX I
563
tDisUer, 34> 1 Nov.
DurufU, 40
Farw&U, 70
Foss (L.), 20
Fran^aix, 30
fFrarMhctti, 81, 4 Auf.
Gentbcrger, 50
Ghe<lini» 50
tGilsou, 76, 3 Apr.
Oraener, 70
Hamilton, 20
H&rmikamcn, 50
Honegger, 50
Howells, 50
Janiach, 50
Jones (D. J.), 30
Kilpinen, 90
Kodily, 60
Kondracki, 40
KH^ka, 60
KvapU, 50
L^tha, 50
Latcuada. 60
fLeigh, 3$, 12 June
l^thar, 40
Louh^t 90
Maler, 40
Malipiero, 60
Markevkhi 30
Marcinei, 30
Marx, 60
Milhaud, 90
Moncsalvacge, $0
fMorera, 76, 1 1 Mar.
Moruri, 40
tOpicAski, 72, 2J Jan.
Ferosl, 70
tPeierson*Bcrgef, 75, 3 Dee.
PciridU, 50
Pick'MangiagalM, Oo
Ponce, 60
Poniridy, 90
Rodrigo, 40
Rosenberg, 90
Saminsky, 60
Sehouvvman. 40
fSchulhofl (E.), 48, 18 Aug.
Shebalin, 40
tSiklos, 63, 3 Apr.
Siralcgirr, 30
Stravinsky, 60
SzabO, 40
Sz^kely, 30
Tailleferre, 50
Tranchell, 20
Turina, 60
Vassilc^o, 70
Vaughan Williams, 70
Veak, 20
Vyepdick, 60
Walton, 40
tWeingartner, 78, 7 May
Weis (K.), 80
Williams (Alberto), 80
Wood <R.), 40
Wood <T.), 50
fZemlinsky, 69, s6 Mar.
tBsrcvmore, John, So. Ae.
fBlanchr. Jacques CmSItf, Si. Ps.
tBIomfield, <$irj Repnsld, 86.
Ar.
fUauJet, tAon. 74. i.i.
tEsUuoie, Cdousj^. 80. No.
1 Fokin. Mikbatl. 6a. U«.
f Machar. Jowf 2>v«Mp|gk. 78.
Po.
tNforKS, SiiHinood, 6$. No.
IRoberu. Morky. Os. No.
t!»kker(. tVsIur Kkhard, 8a. Pa.
tMccr. PftiUp WiUon, 8a. Pa.
tTempesi, (Dame) Nlark, 76.
Ac.
fVanbruel*, 73 . Ac.
tZwcif, Siefait. 61. L*. No.
>943
.Absil, 90
Bax, Go
benjacnin, 90
Berkeley, 40
Berners, 60
Blacher, 40
Britten, 30
CMclIa, 60
tDale. 98, 30 July
Dcllojoio, 30
Dyson, Oo
Fabini, Go
Farina. 40
Filelbcrg (J.), 40
Fleury, 40
Furulijelm. 60
Cnnsin, 60
Goldschmidt (B.), 40
Goesseru, 50
Haba, 50
Hallnas, 40
Hauer, 60
Jongen, 70
Kadosa, 40
Kalomins, 60
Karyocakis, 40
Khachaturian, 40
Khrennikov, 30
Klenau, 60
tKolRcr, 46
Krein (A.), 60
fLaparra, 66, 4 Apr.
Lei bo wi (2, 30
Lloyd (D.), 60
Uo^ (C.), 30
Lopatnikov, 40
Lucas <L.), 40
Masca^i, do
Mason (D. G.), 70
Mennio, 90
5^4
APPENDIX I
Mcrikanio (A.), 50
Milford, 40
Mompou, 50
Moonie, 60
Moore, 50
Nobokov, 40
Noetd, 40
Orr (C. W.), 50
Rabaud, 70
Rainier, 40
fRakhmaninov, 69, 28 Mar.
Raphael, 40
Roger‘Ducasse, 70
Rogen, 50
tSchilUngs, 75, 93 July
Steinberg, 60
Tcherepnin (N,), 70
Thorpe Davie, 30
Wagner- R 4 geny, 40
Webern, 60
Zandonai, 60
Zclinka, 50
fBinven, LftwreiKc, 74. Po.
VS’illjem W^mstk, Bo.
No.
tKeyei, BMnev. ri>
tPonioppKijn. Hennk, 0B. No.
Po.
tftobcri*. (Sir) Cbork>, 9y Pe.
No. U.
tViieUiuJ. Cioid. 74. Sc.
Burian, 40
tChaminade, 86, t8 Apr.
Oallapiecola, 40
Fagan, 40
Frid, 40
fCibr, 63, 8 Sept.
tCraener, 79, 13 Nov.
Grechaninov, 80
tCrovIcr, 65, 90 Oct.
Cruenberg, 60
Guy*Roparu, 80
HatefT, 30
IvCT (C.), 70
Kabateviky, 40
Kapr, 30
KaaKm, 40
Krd<l (I.)» 40
tLadmirauit, 66, 30 Oct.
Louel, 30
tLunsseru. 79, 1 Feb.
Mcllcra, 30
Mills, 30
Milojevic, 60
Moeran, 30
Nigg, 90
Panufrtik, 30
Peiraasi, 40
Pijper, 50
PUton, so
Rangsirdm, 60
Rbiicki, 60
Schoenberg, 70
fSinigaglia, 75, j6 May
Skalkoias, 40
Sirauas (R.), 80
Srel^nyi, 40
Valb, 40
Vogel (J.), 50
tVreuU, 68, 96 July
W'agenaar (B.), 50
tWei. CK.), $2, 4 Apr.
WhiUiome, 60
tZandonaii 6 j, j 2 June
iCUioeo. (Sir) Croffe. 99 . Pa.
f Giraudoux, Jou. Sr. No. Dr.
tCvedalla. Philip. 35. Li.
tLey*U. AJun. 09. Po.
tLutyena. (Sir) Edwirt. 75. Ar.
tMailtol. AriMide. 6$. Sc.
tMariotni. Emilia Filippo Tom*
ma*o. 69. Li.
thfoore. Thomaa Sturte, 74. Po.
U.
INkholt. Robert. 91. Po. U.
tNiven. Frederick John, 66. Po.
No. U.
^Phaarro, l.ueieo, 9 j. Pa.
fOuiUrr-Cooeh, (Sir) Anhur, 9 j.
Li.
tQuiacero, Joaquji* Alvarta, 7(.
nr.
tKolknd, Romain. 76. Li. No.
Or.
tSaioi.Eavp4rv, Ancoinc ife, 44.
No.
t Whistler. Rev. 99. Pa.
>945
Alwyn. 40
fBaridk. 64, 26 Sept.
BUtastein, 40
Can^TO, 50
Carrillo, 70
Castelnuovo-Tedekco, yi
Dandetot, 50
OBvid (J. N.), 50
Diamond, 30
Farkaa, F., 40
Fdvrier, 70
Gli 4 re, 70
Hahn, 70
HaJmer (£.), 40
Hindemith, 50
Hofler, 50
Jacob, 50
Jolivet, 40
Josien, 60
Kamienski (L.), 60
tKard, 64, 6 Mar.
Labcy, 70
Lambert (C.), 40
liatosbinsky, 50
Martdli, 50
APPENDIX I
565
tMascagni, 81 > a Aug.
Menasce, 40
Milner, 20
Montemeasi, 70
Mulft, 60
Orff, 50
fRailio, 44, 10 Sept.
Raihaus, 50
Rawslhornc, 40
Red, 60
tRwiieck, 85, 5 Aug.
Rieggcr, 60
tRol6n, 57» 3
kudhyar, 50
Seark, 30
Seiber, 40
Sibelius, 80
Sikonki, 50
Sowerby, 50
Still, 50
Taylor (Dc^ms). Co
fTcherepnin (N.j, 7a, aC
June
Tippett, 40
Varbe, 60
Varvoglis, Co
Voormolen, 50
t Webern, 61, 15 Sepi.
Weiner, 60
Welles^, Cu
Wir^rt, 40
Zftdor, in
tg«r»na, Maurice, ft. U,
tLUUnd. M«r«»r«Ha SVjilr. M.
No.
tDviiMV, Msucice Charier, ib.
Ng. Dr.
tDvualas. Loect AirreJ. 9). P«k
tUreuer, Theedvre. 74. No.
tOlM|ow, Mien. 71. No.
t Hippm, Zinaida NtiMivevTta. 7 d.
Fa. No. Li. Dr.
tKairer, Ceort, 4 ?. Dr.
tKrMbiMk. £d«srd. 71. Dr.
lN«fri, Ada, 7 J.
tKMhcrwMin, (Sir) William. 7).
Pa.
rSvmoex, Arihur. 80. Pe. ti.
t 7 'elrMv. Alexey Nikelaye«kh.
49 . No. Dr.
yVaWry, Paul, 74. fo-
tWerfrI. Praoe, 55, No. Po. Dr.
i 94 «
AJfano, 70
Aplvor, 30
fBantock, 76, 16 Ocl.
Baudrier, 40
fioulea, 20
fCadman, 65, 30 Dec.
Capdevielle, 40
Clarpectier, 70
Cilea, 80
Cooke (A.), 40
Creston, 40
tDunhill, 69, 13 Mar.
Duiilleux, 30
EspU, 60
tFalla, 69, 1 4 Nov.
Finney, 40
FrankcJ, 40
OagTtebin, 60
Gerhard, 50
Guridi, Co
Hanson, 50
Henze, so
Ingenhoven, 70
t Kaminski, Co, 14 June
Keneasy, 40
tKlenau, 63, 31 Aug.
Labroea, 30
Leoz, 40
l^evklis, Co
tier (van), 40
Lopes Gra^a, 40
Lutyens. 40
fMIlojevic, Cl
Monnikendam, 50
Moraw'ski, 70
Oldham, so
Rivier, 50
Ruyneman, 60
Saikkola, 40
Sanders, 40
Schiake, 30
Hchoeek, Co
Sessions, 50
Shaw (M.). 70
Shosiakoviclt, 40
tSniyth, 8G, 9 May
fSteinberg, 0 $, 6 Dec.
SicNens (B.), 30
fStojowski, 77. C Nov,
SaHigowski, 50
Thomson, 50
Vogel (V.). 50
Weinberger, 30
Wicniawski (A.), 70
Williams (G.), 40
Woir-Fcrrarj, 70
2utawaki, 30
tCranville.RaTkcr, Harky, 89.
A<. Dr.
tHawpwnann. <lrrhari. 84. Dr.
No. Po.
tNaah. Paul. 7). Pa.
tNc«iaao«. ChriMoahrr, 77. Pa.
tOpcwnhrim, P'dward Phillip*,
80. No.
7 Richardson, Meiuy Maode), c.
71. No.
tRuoyea, Alfred Damon, 69,
No,
tSiocUir, May, 76. No.
tSmith. Logan Pcanal). 8t. Li.
tSiAS. Qertrud«, 79. Li.
IWellr, Herbert Ceorse, 80. No.
LL
566
APPENDIX I
1947
Ang«rer, 20
Arneli, 30
Alterbe^, 60
Aubert, 70
Aubin, 40
Badings, 40
Bentzon (J.), 50
tCasella. 63, 5 Mar.
CowcU, 50
Dohninyi^ 70
Penucrtm» 50
Fortner* 40
Gardiner, 70
Gardner, 30
Gerstcr, 50
Gjordarto, 80
tHahn, 71, 28 Jan.
HoMer, 40
t Kaprii. 58, 6 Apr.
Korchlln, do
Korngold* 50
K6ta, ^
LangJais, 40
Lindberf* 60
Lorenzo FemAndez, 50
Lualdii 60
Maconchy, 40
f Madetoja, 60, 6 Oct.
Moeachinger, 50
Moreno Carts, 50
NezeriiU, 50
fNoetel, 43, 9 Apr.
Palcsier, 40
tPijper, 5a, 19 Mar,
QyjJter, 70
fRangsirbin, 6a, n May
Rtisager* 50
Saeverud, 50
Saygyn, 40
Szalowski, 40
Taoaman, 30
Tiesaen, 60
Toch, 60
Trapp, 60
Valen, 60
Vereas, 40
Villa-Lobos, 60
Vocht, 60
Voma£ka, 60
tBelloc Lownd«5. Mwi« AMudc,
t. 72, N©-
♦ BetaferJ. Joho 74. Na.
tB«msr 4 , Triiisn, Ot. Li. No-
Dr.
tOonoore. PkrTc. Be. Fo.
tC*ih«r, WUIa Sibert, 71. No.
t Churchill, WiQstoi) (U.S.A.), 76.
No.
tForba, Sushope Ale*OAd«r. 90.
Pa.
fHuch. Ricardo, Oj. No. Po.
tlx GallictuM, Riehajd, Bi. No.
Pe. Li.
tMochado, Msoud, 79. Po. Li.
tMochea, Arthur, 85. No.
tOrcay, Eounuaka. Baroacn, 84.
No.
fOsboumc, Uoyd, 79. No.
tScon, Duncan C4in|>betl, 8$.
Fo. No. Li.
tSicrra, Groforio Manlnea, 68.
Dr. No.
>946
tBenuon{J.), 51, 9 July
Boughion, 70
Damase, ao
Delanooy, 50
Delvineouri, 60
Durey, 60
Einem, 30
EUlcr, 50
Ferguson, 40
Praazi, 60
Frumerie, 40
tGiordano, Oi, la Nov.
Harris, 50
Harsinyi, 50
Hessenberg, 40
Holbrooke, 70
Knipper, 50
tLehir, 76, 24 Oct.
Lesur, 40
Linstead, 40
t Lloyd (D.), 6$, ao Aug.
tLoreuo FernAndez, 50, 27
Aug.
fMcEwen, 60, 14 June
Messiaen, 40
fMorawski, 71, Oct.
Muradely, 40
Nielien IR.), 40
Palmgren, 70
fPonce, 65, 24 Apr.
Rieti, 50
Sigtenhorst Meyer, 60
SkJavos, 60
Suchoft, 40
Tarp, 40
fViana da Moca, 80, 1 June
Weis (F.), 50
tWolf-Ferrari, 72. 21 Jan.
Wordsworth, 40
Zagwijn, 70
tBoiiofnlc)', Gordoe, 74. Fo,
tBcaithwoiic, Lilian. 7 $. Ac.
tEfnanuel, Frank, 83. Pa,
tJockson. Holbrook, 74. Li.
tLud>«i8. Cmi), 67. Li,
f MaaoA. Alfred Edwaid >N'oodle7
8$. No.
>949
Aodreae, 70
Auric, 50
APPENDIX 1
5^7
B<nWon <N. V.)> $0
tBr^n«, 8d. d4 S«pt.
Campo, 70
Casal Chapl, 40
Chive*, 50
D*eRhimky> 40
Fitelbcrg (G.)» 70
Poer*ier» 90
G*>*ueni, 40
Genzmer, 40
Gibb* <A.). 60
Haas, 70
Hadley (P.), 50
Heading. 50
tHoffer, 53, 31 Aug.
Holmboe, 40
Ireland, 70
Jamefeh, 80
Jemnitz. JP
Maklakicwkz. 50
Murrill, 40
tNovik. 78, 18 July
Orr (R.), 40
OrrefO'Salai. 30
tPAizner, 80, a* May
tPiek-Mangiagalli, 66, 8
JuJy
Poulenc, 30
tRabaud. 73, n Sepi.
Santa Cruz, 30
Scott (C.), 70
Shaporin. 60
fSkalkoca*, 43, ao Sept.
Skuld, 30
Souris. 30
tStrauss (R>)i ^ 8cp(.
Swartson, 40
Tcherepnin (A.). 30
Thompson, 30
Trunk, 70
tTurlna, 66, 14 Jan.
t Walker, 78, 2 i Feb.
Woytowte*. 30
tDod4. FrAAcis. 9$. F*.
tHydc. DouflM. Li. F». Dr.
tjonn, 'I'hofliu CwynM, f?. Pe.
Li.
tLynd, Rcbtii, 70 . Li.
tM*et*rlifKk. afiurk*. *7. Or.
?P. I.i.
tMiich«M, Msrffttfi. 44. Ko.
f Munlh*. AmI. 4*. Li.
tMehoLon. 'Sir) William. 77.
Ta.
tSofncrvitl«, E 4 iih <£AOAe. 41.
No. Fa.
f UoiiMt. StfHii, *7. N».
tVanbfMRh. (Dama) Irene, 77.
Ac.
tWaihwMCh. Edward. 60. Pa.
« 9 S«
Antheil, 30
Barber, 40
JBemera, 66 , 19 Apr.
Bloch, 70
Bowlo, 40
Burkhard, 30
Bush, 30
Charpentier, 90
fCUea, 64, ao Nov,
Copland, 30
Dunayevsky, 30
tFabini, 66 . 17 May
Freitas Branco (L.), 60
Pricket, 30
G&l. 60
Galindo, 40
fOardiner, 7a, aSJune
Guerrini, 60
Curlitt (M.), 60
Kalffter (R.), 50
Ibert, 60
jArdinyi, 30
Kazasoglou, 40
Klami, 30
Koch (£. V.), 40
Kfenek, 30
Listov, 30
Lonque, 30
Luening. 30
Macieje^^'Skl. 40
Manziarly, 30
Marlin, 60
Martinon, 40
MardnO, 60
Meduier, 70
tMia^ovsky, 69, Aug.
fMocran, 35, 1 Dec.
MolnAr. 60
Mossolov, 50
NystrOm, ^
Pizsetti, 70
Rcuiter (H.), 30
Salazar, 60
Schibler, 30
Schmitt,
Schuman, 40
Scott <F. G.), ?o
Skerjanc, 50
Soltys (A.). 60
Sutermebter, 40
fTommasini, 7a, 24 Dec.
Uribe Holguin, 70
Veretti, 50
tWeill, 50, 4 Apr.
fWood (T.). 37 . »9 Nov.
Wynne, 50
tHKben*. Kobert. M. No.
tPemberMn, (Sir) Max, 67, No.
ISabattni. Rarael. 75. No. Dr.
tSbaw. GeoTRe Bernard, 44, Or.
Li.
S931
Apostel, 50
Arnold (M.), 30
568
APPENDIX 1
Beck {C), 50
Blech, 80
Bliss, 60
t Carpenter, 75. 26 Apr.
Chevreuillc, 50
Degen, 40
Dresden, 70
Egk, 56
Eneaco, 70
Finke, 60
Final, 50
tFiwlberf (J.), 48, July
fFoerster. 91, 29 May
Fuleihan, 50
Gram, 70
Henneberg,
Hopkins, 30
Hovhaness, 40
Jlrik.6o
Kallstenius, 70
Knab, 70
tKccchlin, 8$, j Jan.
Komauih. 60
Krejei (M.), 60
t Lambert (C.), 45, »i Aug.
Le Flem, 70
Lemacher, 60
tLevidia, 65. 30 May
Mujor (E.), 50
fMediner, 71, j 3 Nov,
Mcnoiti, 40
Migot. 60
tMui^, 66, 10 Sept.
tPalmgren, 73» *3 Dec.
Pepping, 50
Foot, 50
Prokofiev, 60
Reisenstein. 40
Rogowski, 70
RoIand'ManucI, 60
Rota, 40
Rubbra, 50
Sauguet, 50
fSchoenberg, 76, 13 July
Tate, 40
Whyte, 50
tBtAckwood. Alfemon. 0*. Li.
tSfidie. JstHs {Oibomc K«ary
MsverK 0). Dr.
tCidc, Andre, Br. LL N<k
tNoveSlA. Ivor, $0. Ac. Dr.
*95»
Abrinyi (E.), 70
Alf\>4n. 80
Braunfels, 70
Broman, 50
Dunifl^, 50
Faris'cU, 80
Foss (L.), 30
Fran^aix, 40
Gerstberger, 60
Ghedini, 60
Hamilton, 30
Hacuiikainen, 60
Hone^er, €0
Howells, 60
Jamach, 60
Jones (D. J.), 40
Kilpinen, 60
Kodkly, 70
Kondracki, 50
Kfi£ka, 70
Kvapil, 60
Lajtha, 60
Latluada, 70
Lothar, 50
Louri6, 60
MaJer, 50
Malipiero, 70
Markevich, 40
Maninci, 40
Mane, 70
Milhaud, 60
fMontemezzi, 76, 13 May
Montsalvatge, 40
Moriari, 30
tMurrUI, 43, 25 July
Perosi, 80
Peiridis, 60
Poniridy, 60
Rodrigo, 30
Rosenberg, 60
Saminsky, 70
Sehouwman, 50
Shebalin, 50
Strategier, 40
Stravinsky, 70
Saabd, 30
Ss^kely, 40
TailleRrrc, 60
Tranche! I, 30
fValcn, 65, 14 Dee.
Vassilenko, 80
Vaughan Williams, 60
Veale, 50
VyepAJek. 70
Walton, so
fWilliams (AJberip), 89, 17
June
Wood (R-), 50
tBirminehAfi), GeerfC (Jame*
Ow«n Hannay), 07.
tDouglas. Norman, 04. Li. N't
fHamvn. KOMl. No.
>953
Absil, 60
fBax, 69, 3 Oct.
Benjamin, 60
Berkeley, 50
Blacher, 50
APPENDIX I
5^9
Brittca, 40
Dello Joio, 40
Dysoo, 70
Fanna, 50
tFitclbcrg (C.)» 73
Fleury, 50
Furuhje|m» 70
GneMin, 70
GoldschmUlt (B.)* y>
GoosMiUi 60
H 4 ba, 60
Hallnas, 50
Hauer, 70
tjongen, 79, 13 July
Kadosfti 50
Ra]omih$» 70
KaryoiakU. 50
Khachaturian, 50
Khrcnnilcov, 40
Krcin (A.), 70
LvibowUzi 40
tl^cois, 47, 23 Kcb.
Lloyd (G.), 40
lx>t|>atnikriv, y>
Lucas (L.), 30
Mason (D. GJ. 80
Merikanto (A.), 60
Milford, 30
Mompou, 60
Moonir, 70
Moore, Co
NeIioko>', '•,!)
Orr (t:. VV.), Co
tProkofKv, Cl. 4 Mar.
ttiuillrr, 75» Skpl.
Rainier, y*
Hapliarl, y*
Roger* Due asw I 80
Rngers. Cu
t RC^teki. G8, 1 Jan.
tSigtrr)hr»ni Meyer, 65, 17
July
Thorpe Davie, 40
Wagner-R^eny, 30
Zeltnka, Co
tBclloc. Hilaire. 6 }. Li. Pd.
1Brrmt««n. Heory. 77. l>r.
tBone, ONt) Muufaead. 77. I‘a.
1 <I»otBra«rU, &nile, 7$. Li. Pd.
tCKilac. Edmund, 71. Pa.
lO'Neill. Eue««r>
tTbooias, Utlan, sg. Pe.
>954
Burian. 50
Dallapiccola, 50
Pagan, 30
Frid, 50
Grechaninov, 90
Gruenberg, 70
Guy*Ropar(z, 90
Haicif, 40
Ives (C.), 80
Kabaleviicy, 30
Kapr, 40
Kassem, 50
Krejil (I.),
Louel. 40
Mel I era. 40
Mills, 40
Panufnik, 40
Reirassi, 30
Piston, 60
Sael^nyii 30
Vails, so
Vogel (J.). 60
\Vagcnaar (B.), Co
W'hithome, 70
IColettf. Sidoni« Uabrklk
ClMdine.di. Nq. La.
tYDUfif, FrsACuBrtii. 70, Kd.
APPENDIX II
ADDENDA & CORRIGENDA
VOL. I
cw.
3 o 6 ii ARMOKICA
Aid i« Stic.:
392 i BALLET
AH f Beau:
473 ii BART6K
I, 90 <JkfareMXj, «di'.
609 ii BELLINI
AH r* Bi9L. ;
638 ii BERO, AJbu
AH M Dial. :
646 i BERKELEY, CATALOGUE
OPEXA
AH 9 ed IiM to (hii Mction :
973 ii BRUCKNER
Bi*b. I. 1$, 19)4)'
991 i BUCCHI
Par. 2, i. 7. afuf the following
inifrf i
1013 i BULL, OU
1036 i BUXTEHUDE
AH <• Bok. (Sr*HL, W,.
Buit«bw4« ’) :
GinutB. Hu«iT WMiftAK. * tNr CilMlkariiiviiica *
MuAKll.
Gmvk>v. Akatoi 4 , * Th« Now York Cay Balki ’ <S’«w
York. I 95 SJ.
Caf. tram, by G. S. Vittel k I>ik 4 e \faty)y JJ^idnn,
ScHLTTarn, Fuamco (r«l. >. * Tommato Traetta, t.rvn«Mo
k'lAri. \'«iK<nio AHIini : iwtitia « doeutnenti '
x&ena,
Jouvs. P. J. k Kano, bl., 'WoiKcb, ou !.« .\cu>e 1
(>p«ra* < Faria, i 95 >J.
OPERAS
44 . * A Pinner Eneatement * (lib. by Paul Deliok, pro. 1 .
Akkburfh Ketuval, if |ua« 1999.
iQMi aew ad., Vienna, i 9 s«),
(omic opera * II <vi>irabauo ' (on a itory by
Tchekhov^ pmUtKed Flnrencc, MaEfio Muii*
cale, 1934;
Leioc, <)i,A, 'OIrBuU: li^abaieria, mannen, kuint*
naren ' sOUo, 1999 ).
•ewed. (Caoel & baael, 199a}.
VOL. II
29
i GAMERATA
AH ar iH:
263
i CHOPIN
AH It IhtL.:
339
i CLARINET
AH U ki 9 L. (sod work by fUNOASb) :
397
i ddd;
Bia4.~FtknerT*, Ni>«o, ' Temperamenu and Trnden*
CIO in tl>e Florentine Camerau’ iM..Q, Vel. XL.,
< 9 S 4 , 9. 169).
HoMMAK, Jak. * Ibe l.e(aey of (:iK>pin * (New York,
I 9 S«L
* Rw Glaeinec * ((.oodon. 19$*}.
CONCRETE MUSIC (Kr. Muaique con-
erit*). The invention of Pierre .Seiiaetfcr of
Paris. He began work on it in 194& under the
auspices of the Club d’Essai of the Radio-
diHusion Franchise. At first it was merely the
use of musical or natural sounds from available
gramophone records, rearranged In a new
order to suit die purpose intended, fn this
process the individual suunds could be played
backwards or the speed of die record could be
considerably increased or decreased I0 produce
571
APPENDIX II
CONDUCTING
U iNOHtLMKCMT :
COPLAND
Add Mew CATALOGUE OF
WORKS :
co^ D’OR
1. 2. CocKEUL sfmtild read :
corresponding diflerences in pitch as well aj
in qu^ity. After 1950 Schafer's work was
aid^ and simplified by the construction of
new kinds of apparatus using magnetophone
(ape instead of discs ; this made it easier both
to record new sounds and to alter or distort
sounds already recorded. At the sane «>"»»
Schaeffer’s experimental group, consisting of
himself, Pierre Henry and the engineer
Jacques PouUin, was put on a permanent
basis within the framework of the French
Radio.
Schaefler calb this type of music "con-
crete " because it starts from already existing
sounds, unlike normal music, which begins
from an abstract idea in the composer's mind
and has first to be written doum and then
performed before it becomes sound. In
concrete music the "composing" process is
the choice of the sounds to be their
alteration or distortion, if required, and (heir
rearrangement lo form a whole. An example
of the result of this process is Schaeffer's
* Symphonie pour un homme seal ’ *— a
representation of a number of sounds heard
by a solitary man. The work lasts about
twenty minutes and is in ten movements with
titles such as * Partita ‘ Scherzo ‘ Siretio
' Erotica ' and * Eroica Each movement
creates a mood-picture based on a loose
association of ideas, and the sounds are
arranged in rhythmical pailems which cor-
respond to normal musical shapes; it is in
fact in the fields of rhythm and sound*rolour
ihat concrete music has made in most striking
contributions so far. It has also been used in
films, such as Schacffer’i own * Mascarade '
and * Leonardo da Vinci ' (the latter in
collaboration with Pierre Henry), and he has
composed an ^ra^Mlel eaiKriu on the
lukidect of Orpheus, produced at the Donau*
eschingen Festival of 1953. Other French
composers, including Messiaen and Boules,
have also shown interest in concrete music and
created some pieces in this medium, which,
ihotq!h still at an experimental stage, dues
represent a new means of expression that may
be of technical assistance to artistic creation,
particularly in music for radio, film and
theatre (especially ballet). h. s. {u)>
ScHACffts. hrniu, ‘A U trrherehe d'un«
oMiuioe ’ (P«rs. issa).
St* fit* £Smrephonk Ktutic.
Enf. trsm.. * Tlw CoAductoi't W«rld ' (Loftdon.
OPERA
• IVTcfKlerLsad ' (hbreito by HerAce Ev«r*(i) (ism).
W&ATHeacocK
CORELU
Add It B«»&. :
Rmalw, M., * Aoansrlo Corrib ’
APPENDIX II
573
P^e Cel.
3 ^ ii Addi
qoO ii A 4 d:
DARMSTADT HOLIDAY COURSES.
A sCTics of mu&ica] even ts (alung place annually
ID July at Darnuiadt-Kranichstein and
officially entitled Iniemaiionale Ferienkune
Air neue Musik. They arc organised* under
the patronage of the He&sian Minister of
Culture and with the support of the Hessian
Ministry of (he Interior, by the Kranichsteln
Musical Institute, with the collaboration of
the Darmstadt State Theatre. The artistic
director la Dr. Wolfgang Sieinccke. The
courses began in 1946. They have attracted
an Increasing number of international
musicians and encouraged new composers
of any nationality who have something new
to say. The tendencies are progressive to the
point of including electrophonic music and
■a*/yw reiurek, but the choice is by no means
narrowly cxrlusis*e, as is shown 1^ a list of
193 composers from some twcnty*five dllTercni
countries whose works w'cre performed lietween
194C and that yvar. Living or recently dead
composers receive nearly all the attention,
since this is the qKcial aim of the courses,
ImiI rare and interesting works of the past also
liml a place In (he programmes : in 1933, for
instance, Orartu Vccchi's * Amliparnaso * was
pcrfi>rm^ Ibr the first time in Germany.
Special courses in performance and interpreta-
tion are held for young students under the
guidance of eminent musieiaAS. B. a.
Sf» 4lH C«nrme Mutk. Cteeirephonle Musk.
ELECTROPHONIC MUSIC. A develop-
ment dating from the late 19401 and cultivated
mainly in Germany at present. It has been
particularly encouraged by the Cologne
branch of (he .N’erih-West German Radio,
which provided racilitles for experimental
work, and its leading exponents are Dr.
Herbert lUmcrl and Dr. Werner hleyer-
K|*pler. In this music the sounds are actually
produced b>' electrophonic instruments : there
are no perfurmers and no microphonic record*
ings of external sounds, nor is there any
generally accepted system of musical notation.
Ihc sounds produced electrophonically are
recorded on m^nelophone tapes and may
then be rearranged, altered or distorted as In
concrete music. Unlike earlier electrophonic
instruments, (hose used here do not attempt
to imitate the sound of normal musical instru-
ments; their aim is to create entirely new
sovnd-strueium that can range from the
simple to the extremely complieated. These
methods clearly widen the potential range of
musical expression, but at present eleeiro'
phonic music U still at an experimental stage
and cannot be said to have produced any
results of genuine artistic value. However, it
has attracted the attention of some of the
young German composers, including Karl-
heina Stockhausen, and its future dcvelopinvni
APPENDIX H
will be watched with interest. PuUic demon*
strations of electrophonic xmnc were 6nt
given at Che Dannst^t laiemational Summer
School of (931-53 and at the Cologne New
Music Fest3«^ of J953.
In New York Edgar Var^e has expen*
mented along similar Hims for some yean,
but the results of his researches have sol
yet been heard in Europe.
K. 8. (ii).
Set CoBcreM Mime.
VOL. in
FALLA
AOd N BiSL. ( Pahiaa) :
FAURf, CATALOGUE
A*i u inANOFOftT£ DUET:
PERGt;$ON, CATALOGUE
AM u ORCKESTAAL WORK^:
AM */Uf 1A14:
PIANOFORTE AND ORCHESTRA
tk^U ftM :
80NC5
S, ^ Medkvft) Carolt
Cof. (TMS. by Jeu W*fiulT (Leadea, igss).
Quadrille m The awi Cram WsAcr'i * Rise * twiib
MeM«ferl {«. 18M).
iS. ‘ Owftun fee «B Oeeaam’ (r9sS)>
BRASS BAND
1$. t Peolsras hi 4 (rwapto B a (raaabt. (cpss).
PlANOrORTE AND STRING ORCHESTRA
5. } Medkwel Carab.
FILM MUSIC
AM 19 B<it. : McCeaniT, Currena, * PUm Compeeen in America :
a CAitk Uw of ib« Work * (Glendale, Cal., ipssi.
FLACKTON
Par. I, U 3 . 5 Jan. 1793 ). tMd
rtad; SJba. 1798 ).
Par 3, J. I. Possibly John
Flack (on, William's brother,
shcul^fM^: John Flacklon, no doubt WiUiani'i brother,
FLUTE
AM ti BiSfc. i
FOLK MUSIC (Bttlgariaa)
After Ex. 13, II. 6*7 j/wu/d nod:
FOLK MUSIC <Fr«ach)
Ex. 6 ; Htading «W tst Um gf ttxt
thAuld rr«d :
FOLK MUSIC (N«tfa«rUAdlali)
Hfoding 0/ lit awo. rx. ihoald rratf :
FOLK MUSIC (TurlOab)
Signalutt shoitld rtad :
FOLK MUSIC (U.S.A.)
AMl 9 ^ 9 L.-.
FRESCOBALDl
AM t« Bcai, ;
Add:
Cestaao, A.. ‘Hbeoira e« rkbeaae de It Bfirc' fParii.
*88$).
one-eighth. They have not the same rapidity
as the bemiolic measures (^^•(90*953 as
agairat J^*340-
Entm (an Etr£)
Entre (an Etre)
Boesu (am Bossn)
A. A. $. <ii). (aM A. A. S.)
CamewAY. John. ‘ Asnericaa F«U: Sanp of Peotst *
(PbiladcTphla & Oxford. I98S).
Maoiabxv. AfUiAira. ’ Girdamo FmrabaMi FenaetasB *
(Pam, I3S9).
GABARAIN, MaHaa de (h. Saa Sebas*
tiaa. >).
Spanish contralto singer. She began to
study music at home as a child and had her
first systematic vocal training under Ricci lo
APPENDIX 11
S75
Pagt Col.
581 M GAVAZZENI
i GIBBONS O.
U BifrL. ;
C41 i CtLCHRJST
Par. 1, 1. 9. 1863). thottUttad:
669 i GUNKA
AM M :
$90 i GOLDEN COCKEREL
4hetild ri4d :
•738 i <3«ul
I. ir: AM
754 i GRAMOPHONE
I. ad thtvU uM-
805 i GRIEG
AM u :
83J i GRUNEBAUM
Par. l, L 9. 1679). ikoMdrtUi
849 i GUITAR
luiy. lAier sbe studied with Pierre Bcrnac
in Paris, at the R.C.M. and with Llena
Gerfaardt in London, (hen with Lotic l^nard
in Paris and finally with Ricci again. She
sang Carmen with the Carl Rosa eompany
10 gain operatic experience and also studied
acting with Irene Worth. In 1959 she made
a brilliant success at Glyndebournc in Rossini’s
* Cenerentoia ' and two years later appeared
there as Baba iheTurk in Stravinsky's ' Rake's
Progress*. She has also sung at orch<'SlraI
concerts in Britain, Swiuerland and elsewhere.
E. B.
CavAuaM, Ct>o<**'0>.aa, * Quademo del fnwiithta
(194^19)0}* (BeriaMo, 19s*)*
Pauaa. WiLtuM. * Gibbeca's V«rte .\Aih«in* * (M. &
L . VeLXXXV. I 9 S 4 .P. i« 7 t’
1863; d. nr. Lancaster, 94 July 1954).
Oirru, Paul GeAiiAAor, * KliMsmOe Cl^kehr : Michail
Cliaka unJ BrtUn ' iBrrMn, I9ss>.
GOLDEN WEATHERCOCK
Uwaii <* Au|«llta twi ^ puppet •peraj.
Record Vear % V«b. I 9 It itooden. I9SS'S9)> Ouidri
to llw
$c>giL»c«vp*Laai, Oac, 'A Study of Grics'r liar*
meay ' <Ovlo. I9$9l.
1679 ; d. Chipsiead, Surrey, 3 Apr. 1954).
Boms. Phiuo J., * Tbe Ouiiar and Mandolin : Bio*
a iH of Ceiobrated Ptayen and Compotori *
Ion. I9M).
VOL. IV
3 i HAAS, Joaeph
dddMBioi.o/vrl. I {end work by I.*in 0 ^
33 HAMMERSCHLAG
Par j, 1. 13. add:
3$ HANDEL, CATALOGUE
CAPCTATAS FOR VARIOUS VOICES
L >6. eawaU.) okauVnad:
rW.add/MMr:
56 HANDEL, CATALOGUE
AM U /wteoO »:
’JoMphKaas; eia« lUefraphic * tOuMidorf, i9S4l>
Two books of old keyboard music edited by
him were published posthumously in 19341
emtaining pieces by 8ach, BakTark, Couperin,
Famaby, MufTat, Purcell and otlicn.
puota^*
* Tbe Auioftapli of OA air frocn this, ** Pis«n«e ntli
•OM in a« altered wruon, war a«ld at Sodicby'l io
Loodoa. Apr. I9S4. Srr p, $6. footnote a. for (liree
«lk>er aonc* <*i >be ume *et,
A l•an«ttccip( reUeelieit ofhatpticitoni pitcer by Handel
and otfccn, toW by asclioA at Sothety'a in London,
Apr. < 9 M< •cluds kwt 10091 >0 the <omp<Aer*i hand,
■•dated : the Spaneih aoOt ■wntlooed on p, S 5 , footnote
; No. l of (he ) Preoeh maoi. wnh a different bsM i a
rcoeb ebaaean, * Otaod on run I'amoueeiue lole
oM Mherwiee koown; and an "Air en Langue Alle*
wa od e ’ Der Muad cpnchi awar geswungen Nein '
iiaidtt I did obewbrre.
57 ^
APPENDIX II
Pfigi Col.
72 I Add'. HAIIMONIC ANALYSlS^The purpose
of this artide is to lilt and describe as short!/
as poirible the chords used in traditional ”
harmony. Particulars of their provenance and
use must be sought In some text-book on the
suk^ect.
The ubtes given below wiJI» it is hoped, give
some idea of the normal harmonic vocabulary
from r. tTOO to 1900. They cover the triads,
sevenths, augmeated sixihs and augmented
fifUu, diatonic and chromatic, in the major
and minor keys. Ninths have not been in-
cluded in these lists, since their appearance as
complete chords, with the ninth as an essential
(as opposed to a decorative) note, is rare.
Sevenths and thirteenths have alio been
omitted ; in essential and complete form they
arc even rarer than ninths. The whole
matter of fundamental basses generating
ninths, devenihs and thirteenths is contrary
to the present writer's view of harmonic
ilieory tJmugh the addition of a minor ninth
to the dominant, tonic chromatic and super-
tonic chromatic sevenths is used, poaibly
illogically, asa convenient ntethod of classifying
the diminished-seventh chords.
llie two forms of minor KaJc (harmonic and
melodic) have been regarded as a single entity
for the purpose of chord formation, and the
chords brought about by the use of these two
forms arc considered to be diatonic. This
procedure is open to objection, but has been
adopted for the sake of simplicity.
* Sh anicle on Haimoky.
DIATONIC CHORDS IN THE MAJOR KEY
C MAJOR :
APPENDIX II
577
n
S«iperiMUc Scvrelh
(M>nMr 7 ih)
* ^i«n (Albxl ** Sim*) I'n Suli<k>iMii»jMi”
N(c«{i&nl Triad
rNtinof (SoniiiuHi (Jmnl^
(NtiMu« Tlkj
4 ** !•««<«•«« 3 M
* I ♦
lit
Irwtl
(•MKiHrft Chwrtif
StilolonkMiaiit Srv^itlli
<Ma|wr 7 «lir
llomiMant I rwd
(Major ( iiirnnHak (Jboadk
i»»r «•( i«^r*H« f*«>***uw« 0/4
T1-I* f--— M lawrMk
IXm>inaMt Srrehili
(MiHnr 71 III
9 • «
• «
i
Ir 4 lakk'kxa
N t SubmrijbifH J ruii
(Miiior (rfonmuh
fwwi— l 4 » 4 M
a I
Sk»biiK«lun( Scvciilh
(Minor 9lla)
>— 4 »i>H«it «M Uxtina irJ I. ••{•)••
^ : t :
VOL. IK
•2 O
570
APPENDIX 11
btgrH
»f
SttUi
VI*
9rii
CUtttUf
Leading Note Triad
(Difninith«d Triad)
Leading Kot« S«v«Mh
(Minor 7ih)
Rm! ** ftiiim md /Mvrrieair
^ t I
B n . — r-g
Bm* fnltlM ta Vat (aMnM
I :
CHKOHAtK CMomm n Tits XUioa Kev
Ml
11
Tonic CHinainaiir ScrentK
(Minor 7i>tt
Major Triad on FUt Super*
(onie
(known in ji> flr>i inwrrioa
M " Ncap^itan Snth ”}
Augmemed Siaihi
on
Fill Superlenic
" tialian*’
Augmented Siaih
00
Flat Svperlonk
German "
Augmared Siaih
OA
Plat Sopertonk
" French ”
SuMrloek Chromatic
Triad
{Major Common Chord)
SupenoArc Chronutic
SmMh
(Mioee 71b)
OaM pMtUM
•a* laRrMaa CM la>M«|a« ari JaiaNiM
A ‘
*a*f AuM l«t U«<r>t»a !«• iMWMaa
■a Kr.^Maam •
If IS
M
RaM NMUaa U ta<*tMM M l^tnMa
« % K
|a««»uaa ate
’I -5
APPENDIX 11
579
II
tiU
Supotonie DiBunubrd
Tnjtf
^upcxIdAtc DlMMlitltnl
Tf»*>S »>iih
xnibOf 7ih
•wa *** (•wrwM
^ J
*4^ lr4
t M
^SMUlf^nMikaoi >l»n<»r
<«ia!d
(NfiiiM <k^inMiofa (Jantall
M.tj^r Tx^i cm
h 1*1 Subm^iant
(Majcr CemitMMt (^exd)
«-u^w*i.*
Awi(iii«ai<>«I .Si^ih
un
Mat SutimediaM
•••irMHIa* tMuiVuZr
A*>9ifi«nkd
on
Fl*i S«UnKd»a«rf
Cfonnan '
AyKnifnrxtl S»a(h
on
F Flai SubmothafM
** Fr^Ach
^f*^oc Triad on
SubmrdiaM
(Msjox Cofttftion <^hontl
Min)>x S«v«ntk
a(id«d lo Majoe Txlad
OA SubfMdiaM
»••« l.l •M.taia* a«« Ut«
0 t n
r>«M t/4
580
APPENDIX 11
DIATONIC CHORDS IN THE MINOR KEY
C MINOR:
tieint
•/
SttU
II
I lit
Ch*t4
and
OmMit
Tnnk Trift<l
(Ikliiier Ck>nintwn Cliord)
Tnni< Srvniik
(Minor 7llii
<Otca«ieniil1v A nujor }ih mAV br mMtiI c« ihr lActk manor iriod.)
Kufwnenk UiminithnI
Tr«».J
Sufierinnk ScveiMli
iMknor 7ih]
p u ^
■mi atti««»r>kr
: I j
< I M imvniM) ol w known j« *«Wed 00 % m SobHnmi aam, )
SunrrKwic Miner Trud
( Minor Cemw»wt Chonl,
(|«ri«««J from
MeMk klMtor S«ok>
^prrlonk Miner TtU<l
M ilh 4«kM kltnor Scvrnth
(MrledrC HrokJ
Mr^ionc Triod
(Auffmeiitrd 1 'rioil)
M«tliont SoTwUt
{Mojnr 7lh add^ Co ike
Aufmcnml Triad)
I
1*4 >14
5 *1
APPENDIX II
Owr/
Kmi *’ *jW htfTMHt
583
APPENDIX II
Omttrt
' tt9»* *' /M^mu
Submttfiant Triad
{Major Common Chord)
Sutmedianf Sov-ench
(Major 7ch)
Major Submodiant
U<mioi*hfd Triad
{hfriodk $«akl
Maj>»r Swbnacdiaiii
OimiAhlwd Triad
nUh Minor $«venlh
{Meiodie ^a)«)
Major Triad on
Flat LradiMfioM
(MrMk fcakr
May>r Triad on Flat
t44dm(*no*« »>«h
Minor S«v«nih added
(hlelodk S<ak)
Lcadint*no<e Triad
(Dicninbhed Triad)
I.ea<lit^d••lO(e niminklwd
Sovonih
{&# Diminuhed Tih)
•«M OmkIm
a«e r^f«Ma
A
Chromaik Ohoiim n ma blixoa Kcy
'I'onie CliTomaik 5 rv«nrh
(T(»nic Major Triad wiih
minor 7U1 added)
APPENDIX II
583
C 3 Wt/A'««w
Mtjor Tmd os
FiM Sspmosk
^iw ui«TrunA koo'k'n ft$
" N«a^»Un *')
A«»f ** FasfcM W hfniifit
Ml
M
9*4
>x
AuKnKnicd SiKth
on FUi SupetMnic
A( 4 m«nt«<l HriK
nil FIaI Supcriook
CcRTlAII
Nuoiiirnlnl ^«ili
Ml H4I ^uprdotiK'
• IVikH •'
.Sun^rh>fli« (:Krr»m»iK Tri««l
(^nnmuA
504
APPENDIX II
DIMINISHED-SEVENTH CHORDS
"r* iTiz
Jup.'rtfinK ehromtik ninth «imiUtly ifraicd. B\' hivrniw lEi hSS?*^ chromaiK niftth and ($) ihe
n clMMini^cd K>enih U asailaWe (ei.lKrr in “nS pt^i.S!^' wh«« ne^oafy
icmpcramrnt. dnc# every interval of the ehiMl m-CTwon wHKh peodures theume eneet mequji
•J I ^e*e th rec serk' of d irein nhcd wvemh are. by the aS^B?«hjnnSie22uiSiJ ** if v*^*'*t^
cx«nr(« Hih ,how the provenanee of the ThefnlloH.n«
C major «r ntn»r
Anoclitr example will ahow how any
ditninishod sr%’cn(h may brJonf^ ro any key
(major or minor) by enharmonic change :
I, C tv M oyrten k ehromatk) G (dotrilnant)
1) {lomc chroma I k)
t. D> (dominjiti) £a{iuperionic chroma riej
K {MMiie ehromatk}
^ R IdcMMnanO A (agpertonie ehremaiic)
9 (lonk elirofnaitel
4. fSfckmrinwi) F|(»uperionk eliromaiie)
at r«onk (h#o(natk>
AUGMENTED. FIFTH CHORDS
The Mibriiturion of an aufmcnled ftHh for
(he perTecc fifth in (he (onic, subdominanl*
domtnani and supertonic chromatic chords of
the major key (or, in the case of the minor
key, tonic major, subdominani major, domi*
nani and eupertonic chromatic), givva, by use
of invenaons, all (he augmented fifth chords
on (he pianette. Dike diminished seyenihs
these arc available on any degree of (he
chromatic scale, and each is common to cveiy*
key, major or minor ;
C m*ftr •* aU»r
APPENDIX II
5^5
For the sake of completeness mention may
be made of some rarer chromatic chords not
included in Uie lists £i\‘en above (inversions
are not shown, but are available).
Da Mr fiatitatti jereatf dfgne of the seele a
chromatic minor triad is possible, in both
major and minor modes. This very rare anti
remote chord may be found occasionHlIy in
the worits of i^th^ecniury composers, for ex'
ample at the end of the slow movement of
Schubert's i' major Quimrl :
C BieM*
*l'wu clirnrnaiie chords, tm the mediwt and
JUlUivJ mediofit of the major key may be
nolkevl ;
e
The hrsi. a major triad with or wiilioui n
adthtl, ocnirs sporadically in I he
rlaisjcal anti romantic priicxis; (ht* second, n
tnaj«*r triad on the lUiteiu'd mediant, is a very
i< lling later usagv,
'rite jiossibilily of augtH«nM/‘ii»lh fhoiHi fit
tki fiMdMtMnr must not Ik' ovcrl«><>kcd. I’hcy
have liecn used hy toinptxtcrs t»f the lao* i!)th
and rarly aoth renturirs such as (iri<*g,
Ihahins and IJ];ar :
C ar si*«r
*i»h**' *a*i**a*
On the vfarrprW fmtth {or finttrntd Jifltt)
dr<w i*f the s<alr a ma>»r roniinun tiumi is,
wry exceptionally, foimd, Thi> l>est 'known
examide occurs in the first bar of the slow
iiun rinc’nl of Dvof^k's ” New World " .Syin«
|>hony ;
C «!•« piMr)
On the fAw/aart/ three chrontatit ehorcls
make occasional app«*aranccs as real (hr«iina tic
harmony; they arc (i) ;i minor triad (with
the possible addition of a seventh) and (a) a
dinunished triad (and seventh) in the major
key ; in the minor key this diminished triad
(3) IS aho found:
l'h(Hi|;h these chords arc not j>arl of llu*
liannonic vtKabulary of the riavsical (leriod,
they arc used very eflrctively by Grire,
Ds*o^ik and Dvbu&sy.
586
APPENDIX II
Past CW-
314
ii
HOFFMANN
AiWmBisl. :
SO'
»
HOWES
Ai end of Pat. 4 (liM M VeksJ wV :
604
ii
JAZZ
AddnBiu.:
605
4
1
633
i
JEWISH MUSIC
iw BciL. (Ceneeal) :
637 n JEWS IN MUSIC
A 4 i u ;
ThJkinimuAaUiD both moda cap sustain
a minor mad. Thh very striking chromatic
harmony twtongs to the vocabulary of Uw
aoth century rather than to the daa&jcaJ age :
On At fiat stoetiA dtgnt of both modes the
possible chromatic chords are as follows :
(t) The major triad on the fat seventh of
the major key is a chord of modal origin and
lendency. In modem tima it has been used
with a seventh, major or minor, added.
(») The minor triad with or without a
minor seventh appean in works by composers
such as Rlmsky-Konakov.
(3) In the minor key the minor triad on
<k) VII possesses, like (r), a strongly modal
character.
Two chords on the (raised) ]cading*noie
bring (ho brief survey to an end. These are
a major triad and pooible seventh in the
major key, and a minor triad in the minor key.
The first of these is a most cfleciive remote
chromatic chord. Its use may be wclJ seen in
(he slow movement of Dvofik's cello Concerto.
The second, equally striking. Is well illuitrated
in the last movement of the same composer’s
D minor Symphony. h. x. a.
PuwA. Two. ' E. T. A. Hoffmiflft : etn L«bcn»Ultl *
* The Musk M JUlph VMrhiB WiUisiw * dose).
BchSitoT. ieACtcH Eamt, * Dw fan 8u<h ; Eniuick*
ima uoO M eutuaa 4ti Jacsmusik * (rrankroci
wM.. lassJ-
Tistohi. C. C.. * Enciclope^ dri jau* (Milan,
Beat, Henam, * Das Ju<ketuA in dcr Musik ‘ (Siuii*
Pae^MAS, * ^ Maak lifach* (Td Avit. 1991).
Oauoi. f . w.. ' TV Mask af th« Sun«riuu «sd ihcir
SatcCHon ’ (Caotbndce. ifs?)-
RAMMOvncM. liaAet, *Of Mioie* (Moniiral.
lestk.
Jtemrtuaa, AAaea hUaao. * TV Muse of (h« (m:
am HirWncal AaO^wiaiiM) ’ & New Ym.
if^l.
Sa;««Mr. Amee. 'PtMkert^V ^ Jewish Music’
tNfw Vue*. tesO-
ResmOuaa. AAaen MAaao, * TV Musk oTtV •
ao Hbtorkal Apprccuikn * (LAitdoo & New Yofk.
APPENDIX II
587
Pa§e Col.
750 ii KIENZL
Bfsc. : Scmcu, Ham (ed.), ' Wi(hd«n Kientlt " Lcbmwtndc*
niBg *’ IB Ausxug * (Zurich. I9^)>
836 i KRADSSf CleiBeafi
A 4 it» Bpk*: GufOOfu )ou*h, *Clemcot KrAuu: eioe otwsikAliKJie
Sc^uof* (VwAAA & Zdruh, 193$).
VOL. V
42 ii LANDOWSKA
Par. 1, ]. 3. 1S97 should tto^:
133 ii LEO
AU f Pi*u :
333 ii UBRARIES
AAdu Drab..
i3f» ii LIBRETTO
AM fh*!..
344 i AM:
390 i LONDON SYMPHONY OR.
CHESTRA
AMl 0 iUmt..
ii AM:
1877
SruLriU*, Fmajcco led.). ' 'I’onunAMTrAeUa. (.cenarri'*
VifKit N'iiMcnte Bellini: iMlisle < documeiill*
(Sieiu. I9>*).
AiBueiiT, Orso S.. ‘A Cemui of AutofrAph Muiicol
MAMcriM of Lu roaewi Oompown Ia Afrerje*n
Libewm' {?lMl*delfM*. 193}}.
DcitA Cmi^> Anooba. ‘ (1 libretio c il melodrantnii *
ll'wrin. 1931 ).
LlUZZlt Femaado (^. Senigallia, 19 Dec.
1664; / norcnce, 6 Oci. I 940 }>
liaJian muiieologiti and rompoecr. He
iiudied undrr Pano at Tint and later al
Munich under Re^er and Moul. On iiis
reiuni (o Italy he waa appointed prufeiuor of
harmony at the Conservatory of I’amta and
later at that of Florence, also professor of
musical history at the UnitrersUy of Rome.
He dislin^ishcd himself by doing excelJcnl
work on ^haJf of old Italian niusir, both by
prrfbemances of such ilungi as Oraaio Vecchi's
* Amfipamaso ’ and the ' Oedipus Rex ’ of
Sophocles with Andrea Gabrieli's music, and
by an edition of louii, about whicit he also
wrote a book. HU other writings include
studies of Italian musicians written in Frem h
in order to make them more widely known
and a volume of critical essays cntitletl
* bstetica della muslca
Liuzsi’s compositions include a puppet
opera, ' L’ augellin bel verde * (after ( 5 os»i) ;
incidental music for Pirandello's ' Seaman*
dro the oratorios ' La Passione ' Laiidl
francescane * and ‘ Le N-ergini savic e le
xTrgini foUe* ; Neapolitan impressions Ciaola
e Marccchiaro * for orchestra ; a Sonata and
two pieces for violin and pianoforte ; organ
music; 3 sets of songs including Italian,
Greek and Serbian folksongs, gee.
e. 8.
Fob. HiacAr & Oooowih. Noei, * LonOoii Sym-
phMy : I'ucifaii of an (>r«h«*lxA ’ <934).
.. i i * ***^ Jnn.Bspiiit«. St* Luiciht
(* Paublw t^pcra).
APPENDIX II
588
Pa^e Coi.
420 i Add:
427 i LUIGINI
I. I . After add :
445 li LULLY
AM M &IH,:
4n6 i Add:
fji 6 ii MAKLAKIEWICZ
Par. 1. 1. 9 . 1699). ifmddrmft
546 ii MANDOLINE
AM u Bi»L. :
567 ii MARGHAL
Par. 3, 1. t^,«dd:
^91 ii Add:
$07 i MARTINO, C/\TALC>CUR
AM After I. s 6 :
610 i MASON, Low«lJ
Par. 1, ]. 9. 94 Jan. should nod:
LUDWIG, Leopold (h. WiiJtowitt, Mora*
via, 12 Jan. 1908).
Austrian conductor. After studying the
pianoforte under Emil Paur at the Vienna
Conservatory he began his career as conductor
at several opera‘houses in southern Germany
a^ at Bmo. In 1936 he became cnusieaJ
director of the Oldenbuig: State Opera and
at the same time fulftlled regular guest
engagements at the Berlin State Opera. In
1939 he vfeni to Vienna as first conductor of
the Slate Ojtera and in (943 to BerPn in the
same capacity at the Deutsches Opemhaus.
After the second Horld war he conducted
regularly at both the Municipal and the
State Operas (here, fn 1930 he was ap>
pointed muskal director the Hamburg
Slate Opera, with which he appeared at the
Edinburgh Feslival in 1952. He is also active
as conductor of symphony conceru and has
visited many European musical centres, such
as Vienna, Paris, Amsterdam, Naples and
Milan (Tcairo alia ScaJa). x. w. a.
(after Louvet dc Ccuvrei)
Vaum.T., *Ut4» XJV «t Lyllr ' Wn.
MAlttRNA, Brsiao (L Venice, 1920).
Italian c^ductor and composer. He
studied under Hermann Scherchen and has
made his way as a highly gifted conductor in
Italy, France, Germany, Spain and Switcer*
land. As a composer he has been particularly
sueceasftil at (he Darmstadt Holiday Courses,
where in 1949 his Fantasy and Fugue on
B.A.C.H. for two pianofortes was pr^uced,
in 1950 his ' Composizione ’ for chamber
orchestra and in 1959 his * hlusica per due
dimensioni '. a. a.
1699; d. Warsaw, 6 Feb. 1954).
BoNr. pHivur J., * Thr Guii«i artel .VUmloTiM :
B<atr»p>l>iw dt CdebralfU n4>*en anti (.oinpoKn'
iLaadan. I2S4>.
On 94 Mar. 1954 he look pari, with Ralph
Downes, in (he opening of the Ro^al Festival
Hall organ in London.
MARTIN. The French name for a baritone
voice of exceptional range. It was first made
familiar on the Parisian operatic stage by a
silver of (his type, Jean Blaise Martin (17^
1637). A modem instance of its use is the
part of Ramiro in Ravel’s * L'Hcure espa*
gnole E. B.
Trie, D mi., S»r n)., cvBe & pt
8Jan.
APPENDIX n
Pagt Coi.
62s ii MASSON
Par. J, 1 . 2. 1662). should rtaJ:
634 ii MATTHEWS^ Thomas
Par. 3, 1 . (4, odd aJUr Covcot
Garden :
76O ii MIUTAKY BAND
Par. 2, 1 . 10. parallel mos’emonis
should nod:
^^tJ i MILITARY CALLS
Ihai -•l*drn*r<, * Ktiilniniim'
i 9 V>i 'fod:
79U ii Add:
O31 ii MONK
II. 3*4. one of chr musiral rdiivn
<>r s/ioutd rtad :
043 i MONTEVERDI
,HJ •» Ul»L. !
It5<> MONTEVERDI C.VI .SLOCUE
2nd eniry in col. first /ssuo:
Ulif> ii MOORE, Garald
Add at /'lit :
io2g ii Addt
1882; d. ParU, 27jan. 1954).
He left ihU in 1952 to become leader of ihe
London Symphony Orchestra until 1934,
when he be^mc leader of (he Scottish
Orchestra.
parallrl moCirm
1990).
MIRLITON (Pr.). A (oy insirument
consUiir^ of a shojde cylindrical pipe with a
hole fur a mouthpiece pierced at the side, one
end stopped and the other co\«ercd widi light
parchment or onion skin. It is not played,
strictly speaking, but sung into, and a reedy
tune not unlike that of the oboe is produced.
The instrument resembles the eunuch llule,
but is even more primitive. It was kntnvn as
Kaazo in England. I’hc ' Danse des mirli*
loits ’ tn Ichaikovsky's * .Nutcracker * Lallei
makes no attempt to imitate the sound of this
instrument. c. s.
musical editor of
SARtvai.t^VMP. * M<dtte\eNli * (ftmeia, 195$).
'I'ransfer to eul. Modern Ediiioiu
Moure puLIUlmd a second book, ' Singer
and Acrompanhi ; the Perfurmance of Filey
Sungs in 1933 and was created Ci.S.L. In 1934.
MUSIQUE CONCRETE. See CoNcaeTa
Music.
VOL. VI
20
38
<>3
ii NATIONAL ANTHEMS:
GvA1 r.llAUA.
I. 4. KafacI .^Ivarex ihoutd tend ;
ii NEW YORK
Jl> 9* 1 2. Col Smaller audi>
i'>riums . , , increasing fre*
quency, ond mistilote :
i II. 3>4. Milrupuulus was . . .
1930-31 shouldreud:
Par- 5, II. J1.J5. Cur The
present schedule . . . years of
age., and Mihstitutt :
Rafael Alvarez Oraitr.
The Carnegie Recital Hall and Car] Fisciicr
Hall (a6o seats) arc among the most fre*
qucnily used sm^ler auditoriums.
Miiropvulus has since been the sole regular
eonductor.
Hb swcceason were Doris Bukrtolf, a young
American, In 1950 and Wilfred IV| letter In
APPENDIX II
5D«
Pagt Co\.
63 i Par. 7, 1 . I, The $ca&oQs arc
eight weeks ikovid read :
C4 i Par 4, II. r$^9. Cw( The
current autumn . . . spring and
summer aW n/^slUkk :
H ii Par. 9. II. 3.5. Cut the highest
rate . . . artUlu: W sutUiMe :
Par. Cnlu'Meptu.aaduhsli/aU:
6C ii Par. 3J. 9. (1959) sMdW:
G? ii Par. 3, II. 4.7. 1936. Its . . .
are devoted to
11 . 13*13. Friends have . . . de*
voted lu compre* stmddmd:
Par. 3. Cut tvM* par. aad switti-
laU:
69 ii Par. 3, II. I 2 *i 7 . muniiy funds.
Julius .... 09 i 9 - 47 )> >hmdd
read:
Par. 4.1. ti. Gregory Mason, now
profesor emeritus, 191^ shatJd
Tfitd:
< 953 - Tlw present schedule indudes a
regular senes of five Saturday mominp and
a series of three concerts for chiWrco under
nine yean of age.
The seasons are sui weeks
After Toscanini’s retirement in Apr. 1954
the orchestra was divided into smaller groups
for oi^r broadcasts. During its last few
years its autumn and winter seasoiu have
consisted of from tvrcniy-two to twenty-four
weekly broadcasts under Toscanini and others.
the highest rate for a seat is $3.60 — is pm-
vided by the New York City Opera Company.
Liaalo HaJau was iu first artistic
Joseph Rosenstock, who succreded Ha?a»
in Dec. tgji, has continued a progressive
policy. OfMra has aho been provided in
recent years by Fortune CaJfo's louring San
Carlo Opera in short spring seasons and.
at Brooklyn, by Alfredo Salmaggi's I’opular
Price Opera Company. On television sevemJ
performstnees are given annually by the N.fiC.
Televiijon Opera Theatre.
(< 954 )
1936. Its regular seasons consisted of sixteen
ccnceru each season at the Town Hall on
Sunday afternoons at 5.90. The programmes,
usually limited to ninety ntinuta, were
devoid to
Friends had no permanent performing group,
but engaged their artists according to the
demaisds of each season’s programmes. In
these much aileniion was dieted <0 eompre-
The New Friends’ series came to an end in
1933, but were succeeded In the 1953*34
season by the Concert Society of New Yo^»
which has a similar schedule and similar
comprehensive policy of programmc*making.
More diveraC}’, however, has rqilaccd the
New Friends' c<mceniration upon a given
composer or composers each season.
munity funds. Robert Ward is the director
of the Music Schod Settlement, which has
1000 pupils a )*ear. His predecessors include
Thomas Tapper {1907^}, David Marines
(19C0-15). Arthur Farwdl (1915*19). Mehar
ChaHee ( t9t 9-47) andjulius Rudel (1947-53).
Gregory Mason, 1919-
APPENDIX II
591
Pag* Col.
69 11 i. 14. music Iq May . . .
chntral should rtod :
1. I B. produces sioidd nod :
70 i Par. 7, II. a*3. 1683-1939’
ford, 1939)1 ihoaidt*^:
7« i Par. 2. Cut uMt par. aad sahsti-
tuu:
73 i
101 i . 4 dd:
1G9 ii OBOE
AM U Oixi !
cBs i OKEGHEM
AM u Bl»L. :
341 ii / 4 dtf:
mudc lA May 1945: this, up to
eluded an orchesir^
produced
i683-r930' (New York, 1933)1
Johnson retired after the <949*30 season.
Hit successor, Rudolf Bing, had been active
in Great Britain as general manager of the
GlyAdeboume Opera and director of the
Edinburgh Festival. Among the features of
his first four seasons were a smaller repertory,
a change in the long'Standlng subscription
s)‘slrni which permits more repetitions of each
opera and completely new productions of
fourteen more or less familiar works, Sira*
vimky’s ' The Rake*i Progress which had its
American premiere on 14 Feb. 1933, was the
only new opera offered during the period.
A campaign for $1,300,000 was launched
curly in 1933.
Kw'ww. Jbv«^u. ' llw Stwry ft (lie Meuepflitan
<l|i«fA, iMs*i4s«: sCsAdHl Hituuv ’ {Nc^ Vork,
NONO, Luigi (k Wniee, 1936).
Italian composer. He studied conducting
with Hermann Scherchen and composition
with Druno Ktaderna. He U devoted to
twelv‘c*notc composition and made his hut
ap|>ranince, at the Darmstadt Holiday
Omrses of 1930, with orchestral Variations
on a »ote*teries by Schoenberg. I'he following
year, at the same place, Schcrchcn produced
hit *PoliroAiea*monodia*riimic 4 * for orchestra,
and in 1933 Madema ctmductcd the cantata
* l.spaha en el egraxun I'his work wav
aftnwards heard at Hamburg, Cologne and
BademBaden. AJiogetitcr Nono's success has
so far (1934) been confined mainly to Ccr*
many. 1 v a commission to write a work fur
performance at Donaucsehingen in 1933 he
responded with * Due espresstniii * for or-
chestra. e. a.
Ko* irwtLt, tvrLVK, * Oboe Trthnique ’ (OsjOrd, 1 953 ) .
Kai»ai, Fuw»r. * jubunnet Okrebtiu' (New York.
OPERETTA (Ital., liiOe opera, small
<^ra). Tlkc term, aliiiough Italian, hsis
become universal in a number gf variants
(op/rersc uv French, Ofirrel/e in German, etc.),
but is used in the Italian form in English. It
denotes opera, or more strictly speaking, comic
opera, not necessarily on a small scale as to
siae, but light in character both in its subject
and its music, llic clemeni of comedy In*
592
APPENDIX II
Pa^r Col.
Cj 3 n A<i^’.
G?} ic PEROSI
Ait 4 19 OiBL.
variably pr^dominalcs, but it ha room for
sCTiiimciit {f.g. JohaAD Sirauss, juji.), for
par^y if>g. Offonbach) and Cjt snifc {t.g.
Sullivan). These three coaiposera reprcsenc
lu best period {r, iSscHipoo) in chc three
eountiies in which^ thanks to them, the type
Nourished most artistically: Austria, France
asKl England, in each case mainly in the
capitals, Vienna, Paris and London, which
remained iu chief centres. As
(which indeed was Offenbach's name for it
already) it continued most abundantly and
attractively in Paris (Audran, Lecocq, Herv«,
Messager); in London it had some graceful
representatives (Sidney Jones, Lionel Monck*
ton, Howard Talbot) and in Vienna some most
successful ones towards the end of its best
period (Lehir, Leo Pall, Oscar Straus). New
York caught up with it just in time to produce
some engaging examples (Gershwin, Jerome
Kem), but by their time — the early 90 ih
century — it had b^n to degenemte into
*' musical comedy ” (Amer. '* musicals
in which plots had broome wereoiyped and
often scniimenul, both humour and music
were sadly enfeebled, and artistic pretensions
were upheld only by increasingly lavish and
not often correspondingly tasiefuJ productions
which failed to sustain the vitality of operetta
as muika] species of art. 8. a.
Bau— Kntra. O.. * Dk Op«r*lt« in ihnr |«Khic>)i*
liclwn EfiiwkUunt * (Leiatie, 1SS5>.
aiACwtAT, at. SnauKO, *Lifht Oocra* (LencJvn,
0»«ra. Lmv. * Lea Op^reiin du relief lotrc <oiiirint
MMeiuiu Ue lOJ epTreitei Ue 4S <«n*
pM(««ra ' (Paric. las)}.
PERNEL, Orrea (k. Si. Mary's Platt,
Kent, 9 July 1906).
English \iolinist. She was educated pri*
vairfy by her father, the architect, sculptor
and jeweller Henry U ilson, and wu given a
basic training in jewelry ; but she studied the
violin from the age of six, beginning at
Venice, continuing under Adila Pachiri in
London and Edouard Nadaud at the Paris
Conservatoire, taking a first prise there in
J934. She toured widely in Europe, appear-
if^ai the I.S.CM. Festival of 1933 in Prague,
visiiii^ Finland the same year and again in
1953, and making a first American tour In
I 937 > when she played with the Boston
Symphony Orchestra under Kussevitsky.
She eventually settled in the U-S.A., first as
a member of the Music Faculty of Smith
C^lege, Northampton, Mass. (1943-44} and
afteewa^ of Bennington College, w’licre she
formed a string quartet. In 1950 and 1953
slie appeared at the Pradru Festival organised
by duals, and in the latter year she re-
appeared in LmuImi. 8>
Ucehat. Mat«^ • L^reoio ’ (lilikn, lassJ.
APPENDIX II
593
Col.
723 ii PHYSHARM 0 N 1 CA
Add ai tndi
83 1 ii Add :
Two youchs from Germany played on ihc
Phys'hannonica, an inairument unknown as
yet in ihis country", at the dmncr of the
Royal Society of Musicians on d r Apr.
1835.'
* Sn ' iBas* 903.
PLAINSONC NOTATION. The subject
is created in detail dsewhrrc^ but this article
introduce* a tabulated list of plainsong
syenbob, with their names and their inierprela*
lion in modem staff notation.
All the special froup'symbols used in plain-
song notation are built up from a very small
vocabulary of basic elements; and while In
theory a limitless number of different com-
binations of these basic elements is possible,
in practice the early teachers and composers
of pJainsung found that tJiey needed to use
only a few of lliem. At a very early stage in
tiH’ir hbtury these commonly recurring group*
s)mbols were each assigntd a special name in
order to niakc them easier to teach, to remem-
ber and to understand, and these names were
evidently selected on the grounds of their
aptness as descriptloni of the symbols In
question. Dy lung tradition, deriving uhi*
maicly from the testimony of Ills disciple John
the Dt'aeon, this was part of the self-imposed
task of the pious, ingenious and wise Sc.
(•regory*; It would certainly seem that most
of these names were developed and first used
in the Roman *ong*scKool founded an<l
directed by him, though a few may have been
added at tome later stage in the resplendent
history of plainsong — the only form of music
practisetl by mankind that can claim some
two thousand years of continuous and inspiring
life.
I’Jiv codified system of plainsong neumet
and nanses used m Rome was disseminai<*<{
throughout the Christian world by such
missionarirs as St. Augustine and his forty
eoiniMmions, who went to Canterbury in
yjj bearing a copy of the Roman Aniiplioner ;
Si. Oirodegang, bishop of Meta during the
reign of king Pepin, who went to Rome in
733 and establish^ a song'School on Roman
line* upon his return to Metz ; Simeon of
Rome, who founded a song*school at Rouen
a few >‘ears later; and the quasi •legend ary
singer* ’flicodorc and Benedict, despatched
frum Rome in 767 to Metz and Soissons at
the request of the Emperor Charleinagnu.
I'he ehauvinisiic and unreliable 1 |{li*ccntury
historian of the monastery' of St. Gall, Ekke-
hard, who seems to have been jealous of the
renown of the Song-school at Metz, sought to
establish the superiority of the tradition at
* S*< NorATMK, pp.
2 K
VOL. tX
594
APPENDIX II
hu own monAsiery by fabricating an accouw
of how these two monks were called " Peter “
“ (he Roman ”, and how Peter reached
Met! safely while ” the Roman ” fell U 1 and
yw nursed back to health at St. Gall, impart.
to the cOTUttunity in gratitude the secrets
of the Roman school and bequeathing them
hU copy of the Gradual with its neumes — a
story that is still repeated in most histories
of musk.
Some traces of (he special techniques used
for teachii^ plauuong at Meu (and presum-
ably, therefore, in Rome) arc to be found in
the theoretical writings of Thcoger, Bishop of
Meu, whom Du Cange lists as (he earlirsc
authority for many of the special names for
neumes (mr his * Glossarlum art. *Hepia.
phthonga Relics of others, perhaps, are
comprised in the system of Romanic letters
in use at St. Gall, too confidently ascribed by
the eager Eldcehard to “the Roman ”, It
^vouJd seem (hat the teachirtg-methodi of
the Roman song-school may have fallen into
two halves, the one concerned with notation
pure and simple, the other with interpretation ;
&nd that each of the missionary monks was
specially expert in one technique. But the
(rue history of so remote a period Is almost
Impossible to recover — many essential doeu*
ments must have been destroyed in the tragic
lire at the learned Gerbert's monastery of
St. Blaise in 1768 — and the suggestions put
foi^vard here can be no more than Jiyp^
iheiicaJ.
Most plilmong theorists of the last two
centuria have be^ coneemed with the history
of (he neumes rather than of their names,
and the only adequate explanation of the
whole subycet in English appears to be in
Hdmore's lucid little book on plainsong. first
published in the 1870s. This may be supple-
mented by the outlines given in ' Plainsong
for Schools ' and * A Grammar of Plainsong
prepared by the Beoedictine nuns of Stan-
brook. In the accompanying table an attempt
has been made to show not only the essential
structure of the system but also how the
various namn and symbols could be modi-
fied ; the plainsong reforms and simplifica-
tions initiated by the Benedictines of Solesmcs
ha\‘e resulted in (he elimination of certain
terms included in the table. a. r. o.
BtBUOGRAPHY
CArAM. OoH AoevrRM, * La Muwque crerorimM '
(rant, lao!
CcKBcitT fed.) eaaiy fStnyHca Mcra. . . .
'ScripMm . . . immeAtwra * (i 7 d 4 )>
Heumu . Rzv. J. T., ‘ Plain-sone ' (Laodon,
iSrsu
RoaetTWM. A., 'tv laterpKiAtion of PlAKKlurit
(I tiaiin. i«S7l. ^ ^ „
SatwMCA. AwsLH, ' Dk Singenctwle S. Callm<
(ti nu fd e lft. ia>0>.
ScAoc, Dm Cuoovt. ‘IiHrodweM a ts
m m iP A l fveforuM * {Mantcmi, iS 3 S)*
APPENDIX II
595
Vlrt»
binrgt
trivirifi
Punciure
bipuaetum
Uipuactum :
gradifiu
Iriton
lubpsiAcfum
ApoKrcpbs
biiunphsi tiTAphifu*
tfi«ir9|>ha, iirnpliKia
Clivit
(Tcia »treph(ra
n««4 fnupina
Pft
Aesut
l>n n«aui retuiMaui
pn tl'atu*
linuMwt
|>r» Heaiu (Ifaphiiut
5<a«wlS(Mi
Salicitf
C!tkfnariij
INirr^cM*
( -Acia raupiAA)
a rad. «wi( .
4 dM. poBBi
an apwim^M
a ifeiccal
arlratbr*
a va«ilie«
a ak*jt dawti
Mrvirl^
' neiarbrat**)
tMdai«M riMWd
/if^m
S^ty Qtfffnt
w. ,
ft t
m »
PoRt CW.
8^4 ii PLATO
Aiduiktt-x
TranffTi^/aa
J*
Sl.s Jj’p’
Is ^
pJ sv
TorautM
tsviitrd brata^
.
1 ^
A
m
QuiUkfna
4 Iraiwafa .
.
•
t
rrrmii
( *hUltnplia, fisofa or
Im)
t*nwd
.
n
T
'n
w
npiplionui 1
•n ** wvcr-VNinJ**.
tUalHM, rnoma.
plwa aaceadr** .
J
p
^phaiiaiB
headad
aravoia, mnca.
r
n
p\
pl «4 doeradooi
j*
< 2 ui(uralis
r
diroat)' . ^
^ »
r*
Aitcui
bent am
♦ *
p
Oroeus
corapancen iioio , |
* * • 4
y
Kbns bai h.ion'
IBcrac A S(u(ifart, 1954).
596
APPENDIX II
^<*1# Coi.
803 l> POSTAGE STAMPS
Add aJ end :
NEW JSSUE5.SINCE 1950*
AltTuA;
*M». isodi Aanivemry.
»95>. Kieoal, to*h Aiiiuv«mrYofD«»lh. PoBr*it.
19$4« SchntfnoKl, C«ni«Qjrv. Fortriit.
^ *955- Wolf, soUk Aiin{¥erury of Dejiih. IWirait.
I9S9. H, Oswald. C«Blez»ry, Pertrut.
CfecMDuoTAjcu ;
*950. Fibkh, Centeniry, pMlnii,
(951. P/afut Mudeal Fotival tel. Portralu of
Dvofik aad Smuas.
*9S»- Praw MuiKol Paiival kL Ponnit (tome*
*!>•( fascilial) of imko^B.
1959. S«t«ik, CoAkoarv. Portrait.
>955 - iM(h Aamvtrury of Dooib. ronrair,
*955- JonMet. asth AJHiivenary oTDroita, Poriraii.
>953. TOih AAoitarury of Notional Theatre. JVrroh
of OeMM.
FnAieee:
r9Si, d'ladv. Centoaory. Poriraii.
1959. Soint-Safm. Portrait.
*95^ Hameau. Portrait.
funcH ENnae (Laos) i
t955- Good pknwe of a nollwe orrhrwra in aedon.
GeaiMV (W. :
195^ noaap* cckbratiof berlia Philharmonie
OerWwra (on* *ho«n a « ottem harp, tli«
other a o^ia« of " Uofiitf Anfeb
19) *• LortiMf. Cenienarv. Ikruail.
r95«. 9e«i2Mv*n, 1 25 th AfinKemry of Death. Deotii
hUA.
19)9- 2*lcer. Pwirati (one of a aet of famoui
C«*i«o«}.
CtOMAHr (Aiaamr Zona):
19)0. Bach. ii<eni<«orv- Set <f 4 . inrlwIlAf a
port rail ood *orhM eaocuuou.
I9)a. Beethoven. itjUt AAOiverury of Death, 9
NrVoiia.
19)9. Handel Feetival at HaHe. jPoriraiii: Handefi
Loeciin< and Weher (a palpable aea rrewVar),
1939. Schubert. J a )ihAfliti««mryM Death. Portrait.
*9)3- View of Berlin Stale Opera-Houie, with
^ayie af ke arehiteet, (i. W. van KnobeU'
CvartaMM :
1939. Centcitarjr of KaticMl Anthem. Portratit nf
ittcotnpoaer (A. Alvarea Oralk) and author
(J. f. nima).
lloiLAi*;
r9M. Pijprr. Ponait.
H t 'WOA a r;
193). See of Bonroiif of eornpoaen: BariOk. fiiliari.
RrM. DoWmaak. KaOilr, Litei and Moioitvi.
IrAav :
1930. Cnido d* Areiae, 9oolh Anrk!>«nary. rorlrail.
r93r. Verdi, (olh Artruvervarv of Death. 3 Porlraiii
mi— quart— uakal backirouoda, itieluding
a ^vrr mk uack of orqan mpe*.
1939. BelliAi. 130th Annivenarv. ronrah.
r93h CercUi, sooUt Anniversary. J*ortrait.
Iftnitiioamo '
193a. J. A, Zinaert. ^Hroit'l 9 ect of* charity uampe
i9S(. L. Meita9«r. J'ortratt f io each caw.
Poa—o;
1931. Polith Mink Fniivil. Portraits of CSiepin and
hlan—a^.
1939. md Wieiuaweki tntomaiional \'ioUn Cota.
peutMA. Portrait of Wiemawslti.
RwU'tA:
1939 C. Porvinbewu, Centenary. Poslrail.
RttanA!
1931. Alabtev. Pociraii.
193 r. Kalinnibov. Portrait.
Sasjmai CouMtKs : lawi, Soakism Gvikc*. SpAtiBii
SAMAItA
t935. 9 aeii vitb native musicians plar<s9 divers rude
W. D.
' Some of these are meaiioned ia the article, but a
tabulated list uid be found useful.
APPENDIX It
597
VOL. VII
Pa^t Col.
27 i RAK£*S PROGRESS
30 i RALF* Toima
Par. I, J. 2. 1901), r^x
60 si RAVEL
u BiM.:
301 ii ROCER-DDCASSE
Par. I, 1 . 9 . 1873). should rnJ:
205 ii ROGOWSKl
l^r. I, I. 2. (8dl).
23c i A4J:
235
i
ROSENBERG (J.VTALOGUi:
AM 4lUUmt :
ii
AM f* Biai,. ;
278
it
ROYAL MILITARY SCHOOL
AMoieMi
284
ii
ROYAL PHIL. SOC
Aft^ 1. lisM;
333
I
Add-.
isi in U.S.A., New Vvrk, Mrlropolitan Opera,
14 Feb. 1953-
Jan. 1901 ; J. Stockholm, 27 Apr. 1934)>
Sntofr. Vicroa I.. * Maurice Ravel ' (New York, losj).
*873 J 20 July »954),
1681 ; tf. Dul>ro\'nik, (4 Mar. r9&.|).
ROSBAUD, Hast {k Graz, 22 July 2893).
German conductor of Auitrian birth.
Havins finished hi» studies at the Coruervatory
of Frankfort o/M. he took ot'er the directorship
of the Mainz School of Music in 1929; but
he left in 1930 on being appointed conductor*
ln>rhief and head of the music drparimcnl
of Radio Frankfort. After a short stay at
Kfunatcr as musical director to that city he
spent the years of the second world war at
Strasbourg in the same capacity. In 1943
lie went to Municli to direct the Philharmonic
Orchestra. In 194S lie was appointed princi*
iml conductor of the Sudwest*Funk symphony
orchestra at Baden*Badcn, which under his
direction hecame, after complete reorganiza*
lion, one of Germany's finest- U'hilc continu*
ing his aelicittes there he has been conducting
the concerts of the Zurich Tonhalle orchestra
since 1952. For a number of years ho has
taken a prominent part in the music fittivaU
of Aia-cn-Provenec. He has many first
perfonnancCT of imponani present-day works
to his credit. In Mar. 1934 he performed
the astonishing feat of deputizing for Hans
Schmidt-Issentedt at short notice in the
Hamburg broadcast performance of ScJjoen*
bcig's ' Moses und Aaron ‘. k. w. b.
Sr .pbwnr Na. 6
Dam. * Ilii4in« RewnUrg ’ ('Limner'.
to Nov, IMS).
IMS. Hah>r David McBain, A.R.Qhf.
IMS- litor 'StraviAckr.
RD&SELL John (*. Stanhope, Durham,
aOci. i9t4).
Rn^nh conductor. He studied with
Howells, AJeock and Kaihiccn Long at (he
R.C.M, in London and in *949 became Music
AdvKcr to (he Reading Education Committee,
dcwimg his spare time to the conducting of
the Reading and Newbury amateur orchesuas
and choral societies, with whom he gave
APPENDIX II
590
ncepiionaJIy good perfomunces. To an out*
sUfiding taJont he Uius added mueb valuable
experience. Hb London dibul fdlowed eariy
in 1954, with the Boyd Ned Orcbesira at a
Victoria and Albert Museum concert, and on
6 July of that year be made an important
venture of hb own by conducting a concert of
worts by Final at ^e Royal Festival Hall,
preferring thus to conhrm a quickly growing
reputation in the eyes of serious musicians to
courting p^ularity with a pr^ramme of
safe succttse*. a. b-
361 ii SAINT-FOIX
Par. i» i. $. 1874). iAea/^rMd; 1674 ; d. AiX'Cn'Provence, s6 May jqm)*
400 ii SANDERSON
Par. t. 1 . d. Workington, Umld
rtod:
434 ii SAXOPHONE
AH I* Biai. :
464 i A 4 d\
57 1 ii SCHUBERT
Ust I ttmti VstiBX. Um THtu
O4U i SCKUTZ
Par. ij. U 0 ( 1 . sMdrotd:
AH {Minote:
G51 i SCHtTZ
AHh Bini. .
653 > SCHWEITZER. Albert
,|tW t 9 UiBL. :
G61 ii SCORE
Add a/ut par. 3 :
^VashingtMt, Durham,
PcaaiM, MAxert, 'L« Saieohen*: ten hui«iK, u
MMi^ye H MO uciliMiwii dwu I'erclKiice *
irwa. tMi-
tfrr AtM rMMPMi.)
SCHAEFFER. Pierro. S<t CONCun
Mwc.
Vattf a, WAbtMt, ' Dcr Klu»i1(«r Sctiuberi t Vgh.
(Uipuf. tMh
4 Oct.*
* OOMMf WcMlv (itt SibU areuM thi( kUutr who
HM miamlr b«ot<s*d on 9 Oct. wm bom on
4 Od. M* t Oct., the date hiihcfte uiuaUv accepMd.
VVcMiST, Zur Fr»ee Dsch drm Ceburuuit
mior«h SrlMJ ' r AAMifW dor ohit. hln.
KiM der Oeuomidwoohro AbodOM der WiMrii*
kMWo IMS. No. is4 oiTprini).
FoDuiom. JACOtm. ‘Albert S«hmit»r; do*
lesM indditt ' (Pario, iMS).
One of the puaals of musical iiisiory which
greatly perplexes siudcnti, and an explanation
of which b very rarely offered by scholars, b
the procedure used by old composers of
polyphonic music, up to about the end of the
16th century, in writing dow*n their compU*
cated textures of parts. It is obvious that
compoMtimt of that kind b utterly impossible
widmt socDc kind of a score showing all the
parts simultaneously; yet no such scores
survive, and an^xme who thinks about the
problem at all is bound to ask why. Here is
an explanation, quoted from Thurston Dart's
book ‘ The Interpretation of Music ‘ (London,
1954) as the briefest and most lurid 10 be
found anyvriiere :
bloM compwn oMde um aT Hhat »er«
blank thecu of panhmcni or paprr. incuM
viih 1 doara or rnore wB of rlovvliaes. A potyphwK
rMpoHtMA wuM be drafted on ihete in peiM«l or ink;
a «( «if Dans ««uM Ihen be prepared from ihli i
^4 tealfv ar^wal texl crn^ld be erased a npgK
iwerp of a «r( eaf or sffonee. kavioe the .i^ceis clean
aed i«adv to* Tuiuee use. li is bardlr surpraiog (bai no
BKciMf of a rar(r/fa or composing-shevt u kiunen lO
APPENDIX II
5DD
Col.
734 ^ 8b«ltc«p«ar* ('Teapnt’} '
AUi
793 a SILBERMANN
Aii u Di»u (2bd by tLAOcj :
U 14 u SINGING
M fiaL. :
S jj AM :
8?7 ii SOLESMES
AJJ !• Iil»l . I
1012 u SOUTH AFRICA
Aiidtt Uiai . Kii^l wMk by KMvi :
J014 i SOUTH PLACE CONCERTS
Pbr. 3 nisi o( [>ruc w(.>riu)
VOL.
J ii SPALDING
Par. j, I. 2. 1SB6). j/mkUrrMi
u ii SPEAIGHT
Par. I, I. 2. i 806 j.
12 i SPISAK
Par. 4 . II. York, He a/miid
read;
ORCHESTRAL. WORKS
I, I itmMuaJi
iMt liM,
caift to^V. foe iltrr wouU liavv bceo uwW over and
owtr a^aiA gnul they Cell (0 pkcea and >vrre thrown
away. B«*i ib* avadaoce for their existence survive!,
even iboufh only in ihe fOnn of scallered and ambjguoiis
referanoea here aod there.
L, B.
AennW (M., incid. «t.).
* Uonfrted Sclberoiami : rin Beiiratf lur Grsihivlite det
<tr«ueben Oefel* uM Klavierhaua im /ejialter
ttaehi ’ <Lci^it. i2Sal.
MaaaouANO Moki, RACeiaLa, ' I staestri del bel <ar»to ’
(koow, I2»)j.
SMITH BRINDLE, Ragioald (k. nr.
Prrsion.Jan. 191 7)<
Enfliih composer. He studied under D. E.
Parry* Williams ac the Bangor College of the
University of \Vales and was awarded the
Gvrynnedon Scholarship and aficnvards a
Univrniiy Fellowship which enabled liim 10
continue his studies under Piuetti at {lie
Accademia dt Santa Cecilia in Rome, where
he received a diploma for advanced compost*
tkm and the Luigi Siuro Prise. He tlicn
studied 12 •note technique with Dallapiccola
at Florence for two yean. He has since lived
continuously irt llaly, writing music for
documentary films, conducting British music
and acting as music critic. Among his works
are a Concerto for string orchestra, a clarinet
Concerto and a Quintet for clarinet, violin,
viola, cello and pianoforte. The last obtained
the Clements l*riac of the South Place Con*
certs in London in 1933*
lk«xc, KIaimics, * f/'hitwicnrincnt ntuiicAl de Sok»iiiei
<1 U ftnlve rhrdtMnne * (I'arii, !$»).
' Tht MuwcaI Inurumcuu of U>« Naiive Ksrei «(
.So«ib A<ik« * (j*hAiU)e»tA<rf, ig$s).
1944. N9 (trisr.
C 9 S 3 . R«cih*hl Smith BriixJle iQuiAkl fur ctirinct,
vudiik. viplt. erUo a pi*"«mrie).
VIM
1688 ; d- New York, 26 May 1953).
1668 ; d. London, 20 Nov. 1953).
York. In Dee. 1953 his second Serenade for
orchestra olitaincd the fiist prize in the
^^een Elisabeth of the Belgians Coinpeucion
at Brussels. He
Sr(«nA<k No. 1 (i 9 >a).
S«tvna^ No. 2 0933 ).
APPENDIX n
Ftigt Col,
62 ii STERNICKA*NIEKRASZOWA
1. 1 ihoutd nod :
85 u ,UU:
!H » Add:
115 ii STRAUBE
/IMm Bjil. !
uG i STRAUS
Par. 1, 1. I. 6 Mar. i67o).]Ae«U
rted:
iiA i STRAUSS <Fa«nay)
i» Aiet. ;
i
(*. ?, 20 Sept. 189$;^. WtfMw, 9? Jwt
J932).
STEVENSON, Robert (i. Melrose, New
Mexico, 3 July J916).
American muacologvi. He obtained the
dr^nrt of B-Liit., Oxon, S.T.B. el of
Harvard, M.Mu*. of YaJe and Ph.D. of the
Univmiiy of Rochester, N.Y, His honours
include the Juidiard Fellowship (1934*38),
Charles Diis<m Travelling Fellowship (Vale
Univeniiy, 1939-40), Beams Priie and Baier
Pelkiwship (Columbia University, 1942 &
1946) and Ford Foundation Faculty Fellow-
(* 955 " 54 )* He served in the U.S. Army
in 1 943-46, was instructor at ^N'estminsior
Choir CoJIty, Princeton, N.J. in 1946-49,
and in 1930 was appointed Assistant Professor
of Musk at ihc University of California at
Los Angeles. In J953-54 he did research
tvurk in Europe, with headquarters at
Qfteen't Coll^, Oxford, specialising in old
Spanish music and visiting Spain for that
purpose.
Stevenson has contributed to learned
.\merkan periodicals, including * Notes ’,
M.Q., * Musica Disciplina Joum. Amer.
Musicol, Soc., * Hispanic American Historical
Review eie., and, apart from several
com positions, has published the following
buolj:
*>l«nk Sb a Hnturkal Survey* (\cw York.
* n*<«rnw •TPruMHani (Aurrh Stuur * (IXrlum, lOJj).
* SluMc WffiT ihe C l an * tra * iLomleu, I 9 M)>
S. D.
STOCKHAUSEN, Karlbelns (I. Alton*
l>crf nr. Cjolugne, 1928).
German composer. He studied ai Cologne
under Frank Martin and later in Paris with
Messiaen and Pierre Schaeffer. He was nor,
howcN’er, strongly inAuenced by any of them,
but devoted himself (o composition In twelve*
note technique. Among hrs works arc
* Kreuzspiel produced at the Darmstadt
Holiday Counea in {948, * Spiel fur Or-
Chester* (Donaucschingen), ' Schlag-Quar*
trt t * for piasioforte and kcitlc-d rums ( h I unlch)
and ' Kunira*Punklc No. t ’ (Cologne).
e. a.
StitMW. KaM, ' BrkCe eiiicf Thomavkanton *, r^t. by
W. i;uriH( & Itu4«maim (Siuusari, >9)^).
6 Apr. 1870 : d. Ischl, 1 1 Jan. iqm)*
Jacea, Hpmucii Edv'akO, ‘Jghann Sirauts \'atrr unri
iMm ' <IU«ifcurc. i9s3>«
‘4(4iaao \'aie( und tMin * {Hamburg. i9S9>>
190
AM M Ihm.. (in*! work by Jareb) ;
APPENDIX U
6oi
P^e
C()/.
130
ii
STRAUSS, Ri«h*rd
Ad4l»
EkHAavT, Orro, ‘ Rkbani Suaw : Lrb«n, Wirlccn,
SclulTca* (Ollo) 4 Freiburv i/B., 19$}).
i
1. 13.
ViePBA, 194S}.
(Weaoj.
131
«35
jj
1 . 12 .
Op, 46 No. t. ObcdMh ubaW
Cn«. IcaM., * RecelWciiecn atiiJ Rcfkviiont % by L. J.
Ijwicik* iLonden. I9$S).
Obdacb
U
STRAVINSKY
1 . 11 frwm bvilwm. •dJ:
Cng. (ram., ‘Tl>« hfmaiir of Siraviruky'. by'
Hobnl Craft & An«lr4 MaritHt (Londuii,
150
”
GialU
1 . 3. Add:
Sacral* I* Finia paiia lib.).
*54
i
STUCKEN
Par. 1 . 1. 3 . 18 Aug. udd :
iC .Aug.
1B2
SUtUV AN
Add t» Biai,;
WiiuauMv, AueBLr, * Cilbrri ami Sullivan Opera:
a .SrM AurwmrAt ' (I.4)n4«n, 1993).
2UI
i
SWARTHOUT
Par. r, 1. 2 . Mu., ifmdd n4d\
Miuouri,
a <>0
j
SZENKAR
Pur. 2, \. 23. AJut .^t(Kruw. mW:
hi 1939-49 111* w«$ in Rio dc Janeiro as con-
<lucft>r uf ilir Brazilian Syjni^Jioiiy Orchesira,
whkh lie fuunclrd, and cd’ ihc Municipal
llirairr. On hia return 10 Germany In 1930
he cunducted at Mannlx'lm and Colognci and
in 1952 lie waa appointed director of the
Duasrldorf Opera and conduclorortlic Ddueh
dorr Symphony Orchestra.
V*)
•
TATE
Add.
Bta*. Klrmo. * Hie Music ef I'livllii Tale *
tM. 4 L.. XXXV, 1954. p. • 9$).
JO'
i
TCHEKHOV
1 'i, IHttfl !
n*utlu <* CkoMrabaaw «i|>era).
3D‘J
TCHEREPNIN
Par. 1, 1. irulnt pt’nnMrnCly
in Pari», ih^tddndd:
setilnl in Paris, but later he lived in Japan an<l
in 1949 hr was ajj{x>inte<l profexsor ol theory
at (he lx* Paul UnKersily, (Jiicago.
43"
i
THOMPSON, R.
Addi» UKC.III.MHAf. WOKKS:
.SynipbMifr Ku. $ tl949).
4V'
i
THURSTON
Par. 1. 1. 2. Mjro).
Hjvi ; d. Ifundun, 12 l>cr. 1933).
4lh<
t
TIME
. 4 ^ I* BiKi,. ;
Kmfla, * Hluihfl) ami 'JVniiMi * (I.e<uten. 10:^9).
.l«jB
i
TOMMAStNl
I*ar. 1, ]. -2, 1870 ; iAmiW trad ;
23 Dec . sfMtdd rrW :
1878;
24 Dec.
rj «3
1
TORCHl
Par. 1. 1 . 1. Munclanu, tfmJd
ttdd:
Murdano,
ii
TRAETTA
Add »» BiM.. ,
SuKirzBR, FkAAW <ed.). * I'unimoM Trarils, Leonanln
>4X1, V'iMciiau Bellini: iiMitic c J^unieiiti '
(btCM. ( 9 $*).
537
1
TRAUBEL
Par, 1, I. a. iC June 1903).
should stud :
20 June 1899).
C02
APPENDIX II
6oi
623
(>32
?«>
703
708
797 i
$21 i
01.
il TURCZYI^SKI
Par. I, I. 2. 1889}. shmddn^:
ii TWELVE-NOTE MUSIC
I. ?•
it 4dd limff) :
*884; / Lauianne, «7 Dec. 1953).
tat*)
tw ZwOinooMhnik’ CPUn’, Oci.
AM tt Biai,. :
'U T-elw-Tooe T«hniciu« on ihf
tMimf (M.Q., XXXrX, Cht. I93SJ.
ii
Add:
ii VAUGHAN WILLIAMS
Afin l9il Aw aM ()rd w»rh by H«<m) ;
CATALOCUC> Solo iNmv*
kiSMn ANQ OncKenftA
AMHnA:
UHDS, Hert&ftao ( 6 . Breroen, 1914).
Gemian bass* baritone singer. He ii the
»on of a GffTnan father and an American
njolher. At the age of eighteen he began to
itudy singing at Bremen and in 1936 be made
his operatic d 4 but there in smalj parts* but
during his two years there quickly advanced
to more imporunt bass parts. In 1 938-40 he
w«at Freiburg i/B. and in 1940-42 at Munich,
stiJI as a baa. He then d^ided to undergo
further training as a baritone and went to
the Opera ai The Hague, where he appeared
in such parts as Don Juan, Escamillo and
Scania. AAcf serving in the German army
during the second world war and being taken
prisoner by the Americans in Prance, he
returned home in 1947, sang at the Hanover
Opera in 1946 and at Hamburg and the
Vienna Sute Open before 1951, when he
rejoined the Munich Opera. Apart from this
sunding engagement he frequenOy makes
guest appearances, as for instance at Salzburg
in OrfPi 'Anti^e* (r 949 } and Britten's
* Rape of Lucretia ’ (1950), at the Bayreuth
Festivals of 1951-33, MUan, Rome, Naples
and Trieste, and u) 1953 in London, at Covent
Carden as Mandryka in Strauss's * Arabella ’
with the Munich company and as TeJramund
in ' Lobeogrin ' in English with the resident
company. t. e.
*T1w M(Bk at A*lpb V«ugk«ii Williimi * (Ovrerd,
•9i4h
CoAcene tm Us lub*. 19 ^ 4 , London, t) June igse.
CATALOGUE, ^ Mg' '
altif 9 Kousmui Sonfft w/MfwJ ; 6 HsiMOua SMip Sbr voire & vn.
A, C. Houmm. Publ. issi.
t. I (M bdwe).
4. Cg«dAre.
V In the anfniiw
4. Tbe fiA Ou( nenves (be 2r«sK».
7. Pnacfi knHL
a Witb rae ay heart « Isdeo.
i VlLLAaOBOS
AdJ It BiS4. : btAius, V.. * Heitor VilU.L«bc* ’ {Rio de Janeire.
VIOUN PLAYING
AM It BiRt . : KjiAv. KntMitT. * THc FouadaiioQ* of VMin PUviof
aod blunctatttUp* (Loodoa, I9se|.
APPENDIX II
VOL. IX
Pogt Cat.
VIRGINAL MUSIC
6 fur par. 3 :
John Bull's Book.— T he Fiizwilliam
Museum, Cambridge, acquired in 1 995
(MS $2. D. 95) a beautifully bound volume
on the front cover of wJuch is stamped :
lOHN . OVLL . OOCTEft . OP . WVSiqvB
AKD . CEKTLEWAH . OP . HER . MAIESTIBS
. MO$T£ HOXORABLE . CHAPPELL.
The keyboard music, preceded by (v.o
sungi for voice and keyboard, is as follows :
M«Ukv.
wUmW
UuwUmW oyi fit my raun Slscyn
|rur«iitLt,|
|iur*nid ,1
Mr, N«»»
Mr, N««tHiar>s p«van«,
PAVSttF.
GAllisril rsn jLf : And nwv «rrv* u> J,Af(inftae.
(;ur«iriier r or yr nM hunu upR.
huvrlandi t^rinute.
il'lulie.
«kl l‘AttF 0 Uo,
Suiann un iM»r • .s* vm.
pAiAnF.
l' 4 unM 4 M: I'avm.
ISvAlkF
'I he CaliArd h» ihr fAvstte belure.
JSiuVt Wharf,
Mv «ki>r«.
I'a^Ane.
Mf. Julin Hdirttre Pav«i» [or] Rvlnn Snueu Lklighl.
tart inroMipkie pavab).
CmSmt*
IRdward iahnron. t«l by] Mr. Rsiiiidll.
I Ml bv h
Indak.
*1 kdak.
fNrvinAn. iH b>'] Mr ftanilAll.
hk. aiarrhuni.
llWlMid. Ml Lv M
hlf, Birde.
MM bv M«. RarvfAll,
I Iauuk, mi by M
1 r. B.rdt.
Mr. B.rdt.
hk. M.irky.
Me. Mdeky. vir Iry Mr, HryltAiirne,
ht«, aiurlry (mi by HryUMinie f].
4
>
air. Kdbrri Jdluiwn.
Ptgf CW.
VIRGINAL MUSIC
l*ar. 3, 1 - a, ^/»tt .No. 1 1, :
A/Ur par. 3 i«rr/ :
Par. 4, I. 3. f'*/ named piircs
arc as follows ; luki/iMf ;
7 itfr
RdfiMnUev kavn.
11 m BamII of Paw.
AW dlmArM on iho udM,
(loiwrl PAvan.
^Ikard of y« Uiif ^««n.
Ndcmib* (tin |««r|,
PaanMMtie liwvMt),
C^IUtd 1(0 pdMvMKAMirei].
(he ouMkani pamh.
Cdilbrt llo^uodro].
(idillA/c |«n a t'Awnd|.
LtnCAMe,
PdBiTKAMur (pAvan.)
No. 8 is by Jolin Bull :
Anoilier MS belonging to Lord Dalhoutle
is J.aHy Jean Campbeiri Book (Panmure
MS 8), consisting mainly uf lute musk by
members of the i^ih'Cenlury Anglo»French
school (Gauliier and otliers), but also includ-
ing eight pieces of virginal music :
A*. THtf
1 . Tkc fecAA Dsunce.
ilcl.-.
4 . AknuyiM.
J AlmeyiM.
AlmAyne,
i . Aim Air. OrUfKln XGiblidciiM.
. RMAband. OUniJo (Uibboix’J.
contents are as follows :
[ JohoAon.
IHvrwAAj P(umFtil.
Ml be MillMnw kifUMlM.
^Kitiiwh »|
IKinlMh ?|
Ml be wdlKoi Kkniuch.
*« ?1
Kckfb.
(KMiMh.l
Im wjlUAtiM Kinidrii.
IKiolocb »>
kiAlwb.
Makie* fikd.
6 o 4
APPENDIX II
r8
Cai.
i
AV. rnk
19. (iU falCwd.]
50. IV Qocae of IncloA^s Lmmm.
51. llTto Quc«B*i Co^-oif he]
n. (csraaM.1
05. (foUiBnl.l
Cmiptur
ny Prac t'By’d]*
?
?
>
VIRGINAL MUSIC
Afu/ par. $, Dallis Boole, Dublin,
Sfid:
The conienu are as follows :
JO i VtRGlNAL MUSIC
AiH t» biBi .:
3G ii VOCELWEIDE
A4d It Dl»L. :
lai ii WAGNER
AM It Rivi . :
34 r ii WOLF, Hugo
AM h BciL. :
416 ii AM:
Tiriei, dt.
— Ume ftribUo, and (he old claw-fliarld R.
U. lOJL
- Blank.
piBWf wwi Mvaa.l
lO^liafd.]
pavajO 4d MMyrr uykr#.
IB laKurd.)
pavan.)
•U callCud.]
pavan.l
IB aalUard.)
hti&new pavan.]
The Qum’i GeM’iuahi.]
repriie lo a paean * d'anven M
knak litnfikTl
Was not |M Kiof Solamen.)
braafe caoeanl?}
ihnan ‘ ksriert *.]
iu resHie.l
ealUa«d?t
beanie «lr beuraesMM
abaan * mc^lipi *./
rianw * Lhomme armf *.)
Mvan.J
•w taBurd.!
(UlbafTTl
Lite ■* ite Urk.}
The le d d m «f le»«.)
paeaa.l
lU laii^s^d.]
bntee cawaanc?!
hriale dvwWefJ
13 and
I,
t.
S-
«•
2:
S.
lO.
M.
la.
la.
i|.
:2;
;2:
19*
re.
til
St.
u.
U:
It
H.
- iaif*~-
Daar. THvaiten. ' New 5 eur<ei of Viriinal bluiic *
(M. 4 L. Vd. XXXV, ipM. P* »)•
Ktao>. K. K., ' Zor Snrvchdkhiunir und KrimalfraBe
Waliteis veB ikt \’««d«eide * (laiubrycli, rsst).
Kaaua. IMnoex, * Dw fJp$t Walibrn van ikr
V^leeter ’ (VMM, ipscj.
LeoL An>i. .^alHua. 'Rkhard Wiener; VeHeiKluiia
HndTri«<kderde«iiKten Ramaniib * (Uemr,
CoAesenLii HAmnOMaa, htAOSA a on. ‘Huge Wolf*
(Vieona. IMSJ.
ZZMMERMANN, Bcmd Alois (L m'lrs.
heim nr. Cologne, 1918}.
German muskok^ and composer. He
Studied at the Cologne High School for
Music, with some inierrupiions by military
service, and on leasiog it in 1 947 passed on 10
the University (o study musicology. He is
now a lecturer there, but devotes a good deal
oThis lime (o composition. His works include
a Concerto for orchesira (t 949 )i * 3 onaia for
viotio and pUooTofte (i 950)1 a ^nau for
unaccompanied violin 093 Or * violin Con-
certo 11953)1 a Symphony in one movrmeni
1 1952), chamber music and songs. £. a.
THE £KO
PEINTED EY a. 4 X. CLAXK, LTD., CDJNaUXCH
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