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A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

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Elliston's management, Sept. 2, 1828. It has
been again revived, with a revised libretto by
Herr Pasque, and with 'musical amplifica-
tions,' at Hamburg and Liibeck in the sprinsr of
1S85. [G.]

WALDSTEIISr, Count. One of Beethoven's
earliest friends, immortalised by the dedication of
the PF. Sonata in C, op. 53, now usually known
as the ' Waldstein Sonata.' Ferdinand Ernst Ga-
briel was the youngest of the four sons of Emma-
nuel Philipp, Graf Waldstein und Warteniberg
von Dux. He was born Mar. 24, 1762, just
eight years before Beethoven, and his father died
in 1775, leaving the property to the eldest son
Joseph Carl Emmanuel. Ferdinand when of
age (24 according to the German law) entered
the 'German order* (Deutscher Orden) as a
cai-eer ; in 18 1 2 however he obtained a dispensa-
tion from his vows and married, but, like all his
brothers, died childless— Aug. 29, 1823 — and
thus with this generation the house of Waldstein
von Dux became extinct. Count Ferdinand
spent the year of his novitiate (1787-8)' at the
Court of the Elector at Bonn, and it was then
that he became acquainted with Beethoven. The
nature of their connexion has been already stated.
[See Beethoven, vol. i. 1646, 1656.] In 1791
or 92 Beethoven composed 12 variations for 4
hands on the PF. on an air of the Count's, and in.
1S04 or 5 he wrote the Sonata which has made
the name of Waldstein so familiar. In this
splendid work (published May 1805) the well-
known 'Andante Favori' in F was originally
the slow movement ; but Beethoven took it out,
as too long, and substituted the present Adagio
for it. The Adagio is in a different coloured ink
from the rest of the autograph. [See an anecdote
about it, vol. i. p. 1675.] [G.]

1 Thayer i. 178.



WALDTEUFEL, i. e. wood-demon. A toy,
mentioned by Felix Mendelssohn in his childish
letters to Goethe's boys(i82i). It is asmall card-
board drum, open at one end, with a catgut from
the head to a neck in the end of a short stick.
When the stick is whirled round, the catgut
/ grates round the neck, and being reverberated
^ by the drum, makes a loud humming noise. 'The
sound of this in a room,' says Felix, 'is excru-
ciating ; out of doorj;, where they are going in
hundreds at once, the noise is more bearable.'
('Goethe and Mendelssohn,' ed. 2, p. 28.) [G.]

WALDTEUFEL, Emil, a composer of dance
music, who since the year 1S7S has composed
the prodigious number of more than 200 waltzes,
polkas, and other dance tunes. His most favourite
l^ieces are : — Waltzes, La Source, La Manola, Au
revoir ; Polka, Les Folies ; P. Mazurkas, Dans
les Bois ; Marches, Marche du Trone ; Galop,
Prestissimo. Messrs. Boosey publish a ' Wald-
teufel Album,' containing his best pieces. [G.]

WALEY, Simon Waley, composer and pian-
ist, was bom in London in 1S27. He began
music with his sister, herself a pupil of Herz
and Thalberg, and became a pupil successively
of Moscheles, Bennett, and G. A. Osborne for the
piano, and of W. Hoisley and Molique for theory
and composition. Pie began composing very
early, and wrote several elaborate PF. pieces
before he was 12. His first published work,
' L' Arpeggio,' a PF. study, appeared in 1848.
It was speedily followed by a number of son^s
and pianoforte pieces, including a concerto with
orchestral accompanient, and two pianoforte trios,
op. 15 inBb, and op. 20 in G minor (published
by Schott & Co.), both deserving to be better
known. Simon Waley was an accomplished
pianist, and frequently performed at the concerts
of the Amateur Musical Society, conducted by
Mr. H. Leslie. His compositions abound in the
plaintive melody cliaracteristic of Mendelssohn ;
tliey exhibit great finish, and a richness of
detail and harmony not unworthy of the best
disciples of tiie Leipzig school.

Besides being an artist, he was a practical
and exceptionally shrewd man of business. At
the age of 17 he wrote an able series of letters
to the ' Times ' advocating Boulogne as the postal
route between England and the Continent, and
a little later he contributed some sprightly let-
ters on a tour in the Auvergne to the 'Daily
News.' He was a prominent member of the
London Stock Exchange, and for many years
took an active part on the committee. He died in
1875 at the early age of 48. Mr. Waley 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 setting of the 117th
and 118th Psalms for the Synagogue service.
Tliere was a singular charm about his jjerson
and manner. To know him was to love him ;
and those who had the pleasure of his acquaint-
ance will never forget the mingled modesty and
sweetness of his disposition.


His published works, besides those alread;
mentioned, contain a large number of pieces fo'
piano, solo and duet ; 2 duets for violin anfl
piano ; songs and duets, etc., etc. The choruses
for the Synagogue mentioned above are published
in vol. i. of the Musical Services of the WesB
London Synagogue. Besides the printed workJ
some orchestral pieces remain in MS. [G.f

WALKELEY, Antony, born 1672, was a
chorister and afterwards a vicar choral of Well
Catliedral. In 1700 he was appointed organii
of Salisbury Cathedral as successor to Danie]
Roseingrave. His Morning Service in Eb is
preserved in the Tudway Collection (Harl. MS.
7342), and antliems by him are in MS. at EIj
Cathedral and in the library of the Royal Colle:^
of Music. HediedJan. 16, 1717-18. [W.H.HJ
WALKER, Ebehhaedt Friedrich, an organ'
builder at Cannstadt, Stuttgart, in the middle 0:
the 18th century, and his son, of the same names
is one of the best builders in Germany. In 182Q
he removed to Ludwigsburg. His European
reputation is due to the fine organ which h<
built in 1833 for the church of St. Paul al
Frankfort-on-the-Main. In 1856 he completed
a large organ for Ulm Cathedral of 100 stops oni
4 manuals and two pedals, and a new movement
for drawing out all the stops in succession tfl
produce a crescendo. This can be reversed for a
diminuendo. In 1S63 he carried his fame to the
New World by erecting a large organ in the
Music Hall, Boston, U.S. [V. de P.]

WALKER, Joseph, & Sons, organ-buildei-a
in Francis Street, Tottenham Court Road,
London. This business was established by!
Joseph Walker about the year 18 19. He died!


in 1870, and the factory is still carried on by hi*
sons. Amongst some hundreds of instruments wet
may name those in Exeter Hall (London), the*'
Concert Room of the Crystal Palace (not that
in the Handel Orchestra), in Romsey Abbey, St.
Martin's, Leicester, and the Town Hall, Hobarfc
Town, Armagh Cathedral, Bow Churcli. Cheap-
side, Sandringham Church, etc. [V. de P].
_ WALKURE, DIE, the Walkyrie ; the second
piece in the Tetralogie of Wagner's ' Ring des
Nibelungen.' The entire poem was completed
in 1852 ; the music of the Walkiire in 1S56, and
the first performance took place at Munich June
25, 1S70. Of SiEGFKiED, which follows the Wal-
kiire in the Tetralogie, the composition was com-
pleted early in 1869, and the first performance
took place at Bayreuth Aug. 16, 1876. [G,]

WALLACE (Grace) Lady, daughter of John
Stein, Esq., of Edinburgh, married in 1836 Sir
James Maxwell Wallace, who died 1S67, and
herself died 1878.

She translated the following musical works : —
Two vols, of Mendelssohn's Letters : From Italy,
and Switzerland (1862); From 1833 to 1847
(1863) ; Letters of Mozart, 2 vols. (1S65) ; Re-
miniscences of Mendelssohn, by Elise Polko
(1S65); Letters of Beethoven, 2 vols. (1866);
' Letters of distinguished Musicians,' from a
collection by Ludwig Nohl (1867) ; Nohl'a 'Life


Mozart' (1877). All published by Longman
yo., London. [G.]

WALLACE, William Vincent, of Scottish
cent, but born at Waterford, in Ireland, about
2 or 1 8 14. His father, a bandmaster and skilful
soon player, migrated to Dublin, and was
;aged in the band of the Theatre Eoyal there,
si"e his son Wellington played second flute,
icent had displayed considerable talent as
anist before quitting Waterford, and his skill
I steadiness as a violinist were so appreciated
;he Dublin theatre, that we find him leading
band dressed in a boy's jacket, whenever the
ular chef vfSLB belated. Although the name of
mg Wallace's violin teacher has not transpired,
re was a school for the instrument in Dublin,
the head of which was Alday, a scholar of
)tti. In June 1 8 29 Wallace sustained the violin
t in Herz and Lafont's duo on Russian airs at
ublic concert in Dublin, and continued to ap-
r at concerts there, and at the festival held in
,1, when Paganini was engaged. The extra-
inary and novel effects produced by the gifted
lian inspired young Wallace, who sat up night
jr night trying to approach the then unap-
achable virtuoso. He played a violin concerto
lis own at a Dublin concert in May 1834 : but
blin offered little field for an aspiring artist,
[ so, wearying of such mechanical labours as
ling symphonies and accompaniments to songs
the Dublin publishers, he married the daughter
Vlr. Kelly, of Frescati, Blackrock, near Dublin,
I accompanied by his wife and her sister, quitted
land in August 1835. During the vojage,
Fever, he was more attentive to his sister-in-
' than Mrs. Wallacs approved, and when it
led the newly wedded pair parted, to meet
more. Wallace now wended his way to
stralia and took up his abode far in the bush
.he west of Sydney. During one of his visits
jydney, some friends accidentally hearing him
y, were amazed to discover in a simple emi-
nt a violinist of the first rank, and Wallace,
the solicitation of Sir John Burke, the Gover-
,, was induced to give a concert, which had
'rmous success. The Governor's payment was
haracteristic one, it consisted of 100 sheep.
;.llace then wandered to Tasmania and New
'dand, narrowly escajjed being killed by the
'ages, and was once saved in the most romantic
y by a chiefs daughter. He went a whaling
age, when the native crew mutinied, and only
lUace and three more escaped. He then went
.he East Indies, and played before the Queen
Oude, who made him magnificent presents ;
i ted Nepaul and Cashmere, sailed next to Val-
aiso, and after some curious adventures there
ssed the Andes on a mule, and arrived at
enos Ayres. He returned to Santiago and
1 additional experience of Colonial currency,
admission to his concerts the natives offering
ir favourite gamecocks at the doors, while
idlace netted i6oo by these proceedings. A
:.cert in Lima is said to have produced him
IJ30O. He visited Havana, Tampico, Vera
jjz, and Mexico, where his mass was written



and performed with succe.«s. At New Ox'leans the
very musicians laid dovvn their instruments to
applaud him. In 1845 we find him in London,
in a costume somewhat singular for the pri-
vate box of a theatre. ' It consisted,' says
Mr. Hey ward St. Leger, ' of a white hat
with a very broad brim, a complete suit of
planter's nankeen, and a thick stick in his
hand.' Wallace recognised St. Leger imme-
diately. They at once renewed their intimacy,
dating from the days when Wallace had led
the Dublin orchestra. Enquiring of his friend
whether he thought him capable of composing
an opera, 'Certainly,' replied the other, 'twenty.'
'Then what about a libretto V ' Come over now
to Fitzball with me, and I will introduce you.'
Accordingly they called on the poet at his house
in the Portland Road : he opened the door in
person, and St. Leger vouches for the fact that
the i)en in his hand was still moist from finishing
the libretto of ' Maritana.' ' Here Fitz,' said St.
Leger, ' is another Irishman, a compatriot of
Ealfe's : he wants a libretto I ' The old poefc
invited them in, Wallace played to him, and
Fitzbrdl at once gave him the book of 'Maritana '
(DruryLane,Nov. 15, 1845), which provedagreat
success, and still keeps the stage. In 1847 ^®
produced ' Matilda of Hungary,' of which the
libretto was, even for Alfred Bunn, outrageously
bad ; the verse turgid, and even ungrammatical.
Wallace now went to Germany, where he re-
mained 14 years. To this period belongs most
of his pianoforte music, partaking of the dreamy
style of Chopin, the ornate cantahile of Thalberg,
and his own charming manner. Part of the
opera Lurline too was now written, in the
romantic district it describes. An unpub-
lished opera, ' The Maid of Zurich,' dates also
from this period. The Irish composer now re-
ceived a high compliment — a commission from
the Grand Opera of Paris, He began to write,
but his eyesight failing he abandoned his pen,
and once more went abroad, visiting both North
and South America, and giving concerts with
great success. He was nearly blown up in a
steamboat in 1850, and lost all his savings by the
failure of a pianoforte factory in New York. His
concerts there, however, proved very lucrative.
He returned to London in 1853, bis pianoforte
music being in high repute and eagerly sought
for by the publishers. In 1S60 he brought forward
his ' Lurline ' (Covent Garden, Feb. 23) ; it met
with even greater success than 'Maritana,'equally
overflowing with melody, and being in addition
a really fine piece of art-work. In 1861 appeared
'The Amber Witch' (Her Majesty's, Feb. 2 8); ia
1S62' Love's Triumph' (Covent Garden, Nov. 16);
in 1 863 ' The Desert Flower ' (Covent Garden, Oct.
12). This was his last completed work, but of an
unfinished opera, called 'Estrella,' some fragments
remain. His health had been breaking for some
time, and he was ordered to the Pyrenees, where
he died at the Cliateau de Bagen, Oct. 12, 1865.
He left a widow, who, as Mile. Helfene Stoepel,
had some repute as a pianist; also two boys,
students of the Conservatoire at Paris. His



remains were brought to England and interred
in Kensal Green Cemetery, wliile Benedict, Een-
iiett, Smart, Sullivan, Macfarren and others,
slflod around the grave, which adjoins those of
8t. Leger and Balfe. As the service closed,
a rohiu-redbreast from a neighbouring branch
jjoured forth a strain of music : it was Wallace's
Eequiem ! [R.P.S.j

WALLERSTEIN, Axtox, bom of poor pa-
rents at Dresden, Sept. 28, 1813, began life
early as a violinist, and in 1827 was much
noticed during a visit to Berlin. In 1829 he
entered the Court Band at Dresden, and in 1832
that at Hanover, but various wanderings to
Hamburg, Copenhagen, and other places led to
the resignation of his post in 1S41. His playing
was extremely popular for its expression and
animation. But it is as a composer that he has
liad most popularity. He began to write in
1830, and from that time till 1S77 poured forth
a constant flood of dance music, chiefly published
by Schott & Co., of Mainz. His 275th opus is
entitled ' Souvenir du Pensionnat. Cinq petites
pieces faciles en forme de Danse pour piano.
Leipzig, Ivahut.' With this piece his name
disappears from the publishing list. His dances
had a prodigious vogue during their day in Ger-
many, France, and England, inall classes of society .
Among the best-known are ' La Coquette,' ' Re-
dova Parisienne,' ' Studentengalopp,' ' Ei'ste und
lezte Liebe,' etc. His songs also were popular,
especially ' Das Trauerhaud ' and ' Selmsucht in
die Eerne.' [G.]

WALMISLEY, Thomas Forbes, son of
William Walmisley, Esq., Clerk of the Papers
to the House of Lords, was born 17S3. At an
early age he was sent to Westminster School.
At 14 he began his musical education, and
studied the organ, piano, and counterpoint under
Attwood. Walmisley achieved success as a
musical teacher and glee-writer. Although the
Part-song, made so popular by Mendelssohn, has
to a great extent superseded the English Glee,
some few good specimens of Walmisley's glees
are still remembered. The ' Spectator ' for Aug.
1830 thus characterises a volume of glees pub-
lished by Walmisley at that time : ' These
compositions, though displaying the attainments
of a skilful musician, are not the dull eff'usious
of a pedant. Though formed upon the best models,
they are no servile copies, but the effusions of
good taste matured and nurtured by study.' In
iSio Walmisley became organist at St. Martin-
in-the-Fields, an appointment he held for a great
number of years. His name appears on tlie list
of musicians assembled at Weber's funeral in
1S26. He died July 23, 1866.

The following printed works appear in the
Catalogue of the British Museum, with dates of
publication : —

Sii glees, 1814. Round, Underneath this stone CBen Jonson), 1815.
Sung, Taste life's glad moments, ISIS. Trio, The fairy of the dale, 1815.
Kong, Sweet hope, 1817. Glee, I'rom flower to flower, 1819. Canzonet,
The soldiers, 1«9. Olee, Say, Myra, 1S22. Song, The wild hyacinth,
lS25. A collection of glees, trios, rounds, and canons, 1828. Song, I
turn from pleasure's witching tone, lS'/7. Song, Home, dearest home,
iKis. By those eyes of dark beauty, 1829. Glee, Bright while smiles
the sparkling wiue, ItSO. Six glees, IKSO. Six glees, ItSO. Kouud,


O'er the glad waters, 18a5. Glee, I -wish to tune. IfSo. Glee, T
cheerful hee, 183"). Song, To 7uleika, 1833. Three canons, 1
I)uet, Tell me gentle hour of night, 1840, Sacied songs, poetry
E. B. Impey, 1841. Glee, To-morrow, 1815. Glee, The traveir
return (Southey), 1856.

His eldest son, Thomas Attwood, was born
LondonJan. 21,1814. He showed at an unusua
early age such a rare aptitude for music that I
father secured for him the advantage of studyi
composition under his godfather, Thomas Ai
wood. The lad rapidly attained proficiency ai
player, his early mastery of technical difficult
giving promise of that distinction which in aft
years was ungrudgingly conceded to so capable
exponent of Bach Fugues or Beethoven Sonat
In 1S30 he became organist of Croydon Chun
and attracted the notice of Mr. Thomas Mill
who encouraged his literary tastes, and p
suaded him to combine mathematical wi
musical studies. At this time an attempt ■«
made by Monck Mason to secure him i
English opera, but Walmisley decided to t
his fortune at Cambridge. In 1833 he w
elected organist of Trinity and St. Joh:
Colleges, and composed an exercise, ' Let G
arise,' with fuU orchestra, for the degree of Mi
Bac. He then entered Corpus Christi Collej
where he distinguished himself in the Matheii
tical E.Kaminations. He subsequently migrat
to Jesus College, and though unsuccessful at
competitor for the University Prize Poem, fui
justified the wisdom of Mr. Miller's advice tl
his love of literature should not be entirely sai
heed to professional duties. The then systei
concentrated the duties of several persons in cm
and the young organist submitted to a slaver
which it is now difficult to realise. He too
without any remuneration Mr. Pratt's duties s
organist in King's College Chapel and Si
]Nlary's, and his Sunday work deserves t
be recorded : — St. John's at 7.15 a.m. ; Trinit}
S ; King's, 9.30 ; St. Mary's, 10.30 and 2
King's, 3.1-;; St. John's, 5; Trinity, 6.15. I

1835 he composed the Ode, written by the la1
Bishop of Lincoln, for the Installation of Lor
Camden as Chancellor — a serious interruptio
to his mathematical studies. His election 1
the professorial chair of Music, vacated by tl
death of Dr. Clarke Whitfeld, took place i

1836 ; in 1838, he took his B.A. degree, and)
1 841 his M.A. It twice fell to his lot to cod
pose music for Odes written for the Installatic
of Chancellors of the University. In 1842,1!
words, in honour of the Duke of Northumberlan;
were written by the Rev. T. Whytehead; i
1S47, for the Installation of the late Prim
Consort, they were by Wordsworth, the
Laureate. Poetry and music written f(
such occasions are seldom longlived, but a qua
tet from the Ode of 1842, ' Fair is the warrior
mural crown,' would certainly be an effective coi
cert-piece at any time. In 1848 he took tl
degree of Mus. Doc., and continued workir
at Cambridge until within a short period 1
his death, which took place at Hastings Ja
17, 1S56.

His intimacy with Mendelssohn was a souri


great pride to him, though some advice
fared to Walmisley on his asking Mendelssohn

look at a symphony written for tlie Phil-
irmonic Society weighed unduly on his mind,
efore he would look at the symphony, Men-
ilssohn asked how many he had written al-
ady. On hearing that it was a first attempt,
S^o. I ! ' exclaimed Mendelssohn, ' let us see
hat No. 12^ Avill be first ! ' The apparent dis-
>uragement contained in these words was far
ore humiliating than the feeling of disappoint-
ent at the refusal even to look at the music,
id he abandoned orchestral writing.
Walmisley was one of the first English or-
inists of his day, and in a period of church
usic made memorable by the compositions of
'e^;ley and Goss, his best anthems and services
■e little, if at all, inferior to the compositions of
lese eminent men. As instances of fine writing
e may cite the Service in Bb, the Dublin
rize Anthem, his anthem ' If the Lord him-
ilf,' and the madrigal ' Sweet flowers,' a work
hich Mr. Henry Leslie's choir has done much
I popularise. His position at Cambridge no
)ubt acted prejudicially. A larger professional
:ea, <a closer neighbourhood with possible rivals,
ould have ensured a deeper cultivation of powers
hich bore fruit, but promised a still richer har-
3st. In general cultivation and knowledge of
usical history he was far in advance of most Eng-
sh musicians. He was one of the first to inau-
irate the useful system of musical lectures,

ustrated by practical examples. In a series of
ctures on the ' Else and Progress of the Piano-
irte,' he spoke incidentally of Sebastian Bach's
[ass in B minor as ' the greatest composition in
le world,' and prophesied that the publication of
le Cantatas (then in MS.) would show that his

lertion of Bach's supremacy was no paradox.

mav be said confidently that the number of
oglish musicians, who five-and-thirty years
;o were acquainted with any of E;ich's music
syond the 48 Preludes and Fugues, might be
lunted on the fingers, and Walmisley fearlessly
■eached to Cambridge men the same musical
DCtrine that Mendelssohn and Schumann en-
irced in Germany.

The volume of anthems and services published
y his father after the son's death are a first-class
srtificateof sound musicianship. Amongst his un-
nblished manuscripts are some charming duets
ir pianoforte and oboe, written for Alfred Pol-
ick, a Cambridge undergraduate, whose remark-
ile oboe-playing Walmisley much admired. To
lis day Walinisley's reputation as an artist is a
"adition loyally upheld in Trinity College ; and
one that heard him accompany the services in
lapel can wonder at the belief of Cambridge
■ len that as a cathedral organist he has been
vcelled by none.

understand the force of this we should remember that
^aohn's Symphony in C minor, with which lie made his
but at the Philharmonic in 1829, though known as 'Xo. ],' is
illT his 13th, and is so inscribed on the autograph. HadWalmis-
' .- been aware that Mendelssohn was merely giving his friend the
vice which he had strictly followed himself, the momentary dis-
pointment might have been succeeded by a new turn given to his



His published works in the Catalogue of the
British Museum are as follows : —

Song, When nightly my wild harp I bring, lS3o(?). Ode at the In-
stallation of the Duke of Northumberland as Chancellor, 1842.
Chants and Responses in use at King's, Trinity, and St. John's Col-
leges, Cambridge, 1^5. Three anthems arranged from Ilumrael's
3Iasses, 1S40. Ode at the installation of Trince Albert as Chancellor,
1S49. Attwood's Cathedral Music: 4 services, 8 anthems, etc., ar-
ranged by T. A. Walmisley, 3852. Two trios for trebles— 1. The ap-
proach of May . 2. The mermaid, 18.52. Choral hymn, 4 v. and orgaa,
1S53. Four songs— 1. Gay festive garments ; 2. Sing to me then ;
3. Farewell, sweet flowers : 4. The sweet spring day, 1854. Cambria,
1857. Cathedral Music, edited by T. F. Walmisley, is57. Song, There
is a voice, 18oS. [A.D.C.]

WALOND, William, Mus, Bac, was ad-
mitted to the privileges of the University of
Oxford June 25, 1757, being described as
' organorum pulsator ' (whence we may suppose
him to have been organist or assistant organist
of one of the churches or colleges at Oxford),
and on July 5 following took his degree as of
Christ Church. About 1759 he published his
setting of Pope's Ode on St. Cecilia's Day, be-
lieved to be the only setting of that poem in its

Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 90 of 194)