John Alexander Fuller-Maitland Sir George Grove.

A dictionary of music and musicians (A.D. 1450-1889) online

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bassoon player, migrated to Dublin, and was
engaged in the band of the Theatre Royal there,
where his son Wellington played second flute.
Vincent had displayed considerable talent as
organist before quitting Waterford, and his skill
and steadiness as a violinist were so appreciated
in the Dublin theatre, that we find him leading
the band dressed in a boy's jacket, whenever the
Tegular chef was belated. Although the name of
young Wallace's violin teacher has not transpired,
-there was a school for the instrument in Dublin,
at the head of which was Alday, a scholar of
Viotti. In June 1829 Wallace sustained the violin
part in Here and Lafont's duo on Russian airs at
a public concert in Dublin, and continued to ap-
pear at concerts there, and at the festival held in
1 83 1, when Paganini was engaged. The extra-
ordinary and novel effects produced by the gifted
Italian inspired young Wallace, who sat up night
after night trying to approach the then unap-
proachable virtuoso. He played a violin concerto
of his own at a Dublin concert in May 1834 : Dut
Dublin offered little field for an aspiring artist,
and so, wearying of such mechanical labours as
adding symphonies and accompaniments to songs
for the Dublin publishers, he married the daughter
of Mr. Kelly, of Frescati, Blackrock, near Dublin,
and accompanied by his wife and her sister, quitted
-Ireland in August 1835. During the vojage,
however, he was more attentive to his sister-in-
law than Mrs. Wallace approved, and when it
ended the newly wedded pair parted, to meet
no more. Wallace now wended his way to
Australia and took up his abode far in the bush
to the west of Sydney. During one of his visits
to Sydney, some friends accidentally hearing him
play, were amazed to discover in a simple emi-
grant a violinist of the first rank, and Wallace,
by the solicitation of Sir John Burke, the Gover-
nor, was induced to give a concert, which had
enormous success. The Governor's payment was
a characteristic one, it consisted of 100 sheep.
Wallace then wandered to Tasmania and New
Zealand, narrowly escaped being killed by the
savages, and was once saved in the most romantic
way by a chiefs daughter. He went a whaling
voyage, when the native crew mutinied, and only
Wallace and three more escaped. He then went
to the East Indies, and played before the Queen
of Oude, who made him magnificent presents ;
visited Nepaul and Cashmere, sailed next to Val-
paraiso, and after some curious adventures there
crossed the Andes on a mule, and arrived at
Buenos Ayres. He returned to Santiago and
had additional experience of Colonial currency,
for admission to his concerts the natives offering
their favourite gamecocks at the doors, while
Wallace netted £600 by these proceedings. A
-concert in Lima is said to have produced him
£1000. He visited Havana, Tampico, Vera
Cruz, and Mexico, where his mass was written



and performed with success. At New Orleans the
very musicians laid down 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 pen in his hand was still moist from finishing
the libretto of • Maritana.' • Here Fits,' said St.
Leger, 'is another Irishman, a compatriot of
Balfe's: he wants a libretto)' The old poet
invited them in, Wallace played to him, and
Fitzball at once gave him the book of 'Maritana '
(Drury Lane, Nov. 15, 1845), which proved a great
success, and still keeps the stage. In 1847 Re-
produced 'Matilda of Hungary/ of which the
libretio was, even for Alfred fiunn, 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 cantabile 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, his pianoforte
music being in high repute and eagerly sought
for by the publishers. In i860 he brought forward
his ' Lurline ' (Co vent 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. 28) ; in
1 86 2 '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 Chateau de Bagen, Oct. 12, 1865.
He left a widow, who, as Mile. Helene Stoepel,
had some repute as a pianist; also two boys,
students of the Conservatoire at Paris. His

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remains were brought to England and interred
in Kensal Green Cemetery, while Benedict, Ben-
nett, Smart, Sullivan, Macfarren and others,
stood around the grave, which adjoins those of
St. Leger and Balfe. As the service closed,
a robin-redbreast from a neighbouring branch
poured forth a strain of music : it was Wallace's
Requiem I [R.P.S.]

WALLERSTEIN, Anton, born 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 184 1. His playing
was extremely popular for its expression and
animation. But it is as a composer that he has
.had most popularity. He began to write in
1830, and from that time till 1877 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, Kahnt.* 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/ ' Erste und
lezte Liebe,' etc. His songs also were popular,
especially ' Das Trauerhau* ' and ' Sehnsucht in
die Ferae.' [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 effusions
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
1 810 Walmisley became organist at St. Martin-
in-the-Fields, an appointment he held for a great
number of years. His name appears on the list
of musicians assembled at Weber's funeral in
1826. He died July 23, 1866.

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

Six glees, 1814. Botrad, Underneath this atone (Ben JontonX 1815.
Song, Teite lite ■ glad moment*, 1815. Trio, The Wry or the dale. 1815.
Song, Sweet hope, 1917. Glee, From flower to flower, 1819. Canzonet,
The eoldiert, WW. Ulee, Say. Myra, 1F22. Song, The wild hyacinth,
1885. A collection of glees, trios, rounds, and canons, 1898. Song, I
turn from pleasure's witching tone, 1827. Bong, Home, dearest home,
ltBL By those eyes of dark beauty, 1829. Glee, Bright while smiles
the sparkling wine, 1889. BU glees, 1890. Six glees, 1893. hound.


O'er the glad waters, 1885. Glee, I wish to tune. 1838. Glee, Then
cheerful bee, VS\ Song, To Zuleika, 1833. Three canons, UMfo.
Duet, Tell me gentle hour of night, 1840. Sacred songs, poetry by
E. B. lmpey. Ml. Glee, To-morrow, 1845. Glee, The traveller's
return (Sou they). 1868.

His eldest son, Thomas Attwood, was born in
London Jan. 21,1814. He showed at an unusually
early age such a rare aptitude for music that his
father secured for him the advantage of studying
composition under his godfather, Thomas Att-
wood. The lad rapidly attained proficiency as a
player, his early mastery of technical difficulties
giving promise of that distinction which in after
years was ungrudgingly conceded to so capable an
exponent of Bach Fugues or Beethoven Sonatas.
In 1830 he became organist of Croydou Church,
and attracted the notice of Mr. Thomas Miller,
who encouraged his literary tastes, and per-
suaded him to combine mathematical with
musical studies. At this time an attempt was
made by Monck Mason to secure hi in for
English opera, but Walmisley decided to try
his fortune at Cambridge. In 1833 he was
elected organist of Trinity and St. John's
Colleges, and composed an exercise, 'Let God
arise/ with full orchestra, for the degree of Mus.
Bac. He then entered Corpus Chriati College,
where he distinguished himself in the Mathema-
tical Examinations. He subsequently migrated
to Jesus College, and though unsuccessful as a
competitor for the University Prize Poem, fully

i'ustified the wisdom of Mr. Miller's advice that
lis love of literature should not be entirely sacri-
ficed to professional duties. The then system
concentrated the duties of several persons in one,
and the young organist submitted to a slavery
which it is now difficult to realise. He took
without any remuneration Mr. Pratt's duties as
organist in King's College Chapel and St.
Mary's, and his Sunday work deserves to
be recorded : — St. John's at 7.15 ajn. ; Trinity,
8; King's, 9.30; St. Mary's, 10.30 and 2;
King's, 3.15; St. John's, 5; Trinity, 6.15. In
1835 he composed the Ode, written by the late
Bishop of Lincoln, for the Installation of Lord
Camden as Chancellor — a serious interruption
to his mathematical studies. His election to
the professorial chair of Music, vacated by the
death of Br. Clarke Whitfeld, took place in
1836 ; in 1838, he took his BA. degree, and in
1841 his M.A. It twice fell to his lot to com-
pose music for Odes written for the Installation
of Chancellors of the University. In 1842, the
words, in honour of the Duke of Northumberland,
were written by the Rev. T. Whytehead; in
1847, for the Installation of the late Prince
Consort, they were by Wordsworth, then
Laureate. Poetry and music written for
such occasions are seldom longlived, but a quar-
tet from the Ode of 1842, ' Fair is the warrior's
mural crown/ would certainly be an effective con-
cert-piece at any time. In 1848 he took the
degree of Mus. Doc, and continued working
at Cambridge until within a short period of
his death, which took place at Hastings Jan.
17, 1856.
His intimacy with Mendelssohn was a source

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of great pride to him, though some advice
offered to Walmisley on his asking Mendelssohn
to look at a symphony written for the Phil-
harmonic Society weighed unduly on his mind.
Before he would look at the symphony, Men-
delssohn asked how many he had written al-
ready. On hearing that it was a first attempt,
' No. i ! ' exclaimed Mendelssohn, ' let us see
what No. 1 2 l wiU be first ! ' The apparent dis-
couragement contained in these words was far
more humiliating than the feeling of disappoint-
ment at the refusal even to look at the music,
and he abandoned orchestral writing.

Walmisley was one of the first English or-
ganists of his day, and in a period of church
music made memorable by the compositions of
Wesley and Goss, his best anthems and services
are little, if at all, inferior to the compositions of
these eminent men. As instances of fine writing
we may cite the Service in Bb, the Dublin
Prize Anthem, his anthem ' If the Lord him-
self/ and the madrigal ' Sweet flowers,' a work
which Mr. Henry Leslie's choir has done much
to popularise. His position at Cambridge no
doubt acted prejudicially. A larger professional
area, a closer neighbourhood with possible rivals,
would have ensured a deeper cultivation of powers
which bore fruit, but promised a still richer har-
vest. In general cultivation and knowledge of
musical history he was far in advance of most Eng-
lish musicians. He was one of the first to inau-
gurate the useful system of musical lectures,
illustrated by practical examples. In a series of
lectures on the ' Rise and Progress of the Piano-
forte, 1 he spoke incidentally of Sebastian Bach's
Mass in B minor as ' the greatest composition in
the world,' and prophesied that the publication of
the Cantatas (then in MS.) would show that his
assertion of Bach's supremacy was no paradox.
It may be said confidently that the number of
English musicians, who five-and- thirty years
ago were acquainted with any of Bach's music
beyond the 48 Preludes and Fugues, might be
counted on the fingers, and Walmisley fearlessly
preached to Cambridge men the same musical
doctrine that Mendelssohn and Schumann en-
forced in Germany.

The volume of anthems and services published
by his father after the son's death are a first-class
certificate of sound musicianship. Amongst his un-
published manuscripts are some charming duets
for pianoforte and oboe, written for Alfred Pol-
lock, a Cambridge undergraduate, whose remark-
able oboe-playing Walmisley much admired. To
this day Walmisley's reputation as an artist is a
tradition loyally upheld in Trinity College ; and
none that heard him accompany the services in
chapel can wonder at the belief of Cambridge
men that as a cathedral organist he has been
excelled by none.

1 To understand the force of this we should remember that
Mendelssohn's Symphony In C minor, with which he made his
dlbut at the Philharmonic in 169, though known as 'No. 1/ Is
really his 13th, and is so inscribed on the autograph. Had Walmis-
ley been aware that Mendelssohn was merely giving his friend the
advice which he had strictly followed himself, the momentary dis-
appointment might have been succeeded by a new turn given to bis



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

Song, When nightly my wild harp I bring, 1835(7). 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, 184ft. Three anthems arranged from Hummel's
Masses, 1840. Ode at the Installation of Prince Albert as Chancellor,
1849. Attwood's Cathedral Music : 4 services, 8 anthems, etc., ar-
ranged by T. A. Wahnlsley, 1882. Two trios for trebles— 1. The ap-
proach of May . 8. The mermaid, 1803. Choral hymn, 4 v. and organ,
1863. Four songs- 1. Gay festive garments; 2. 81ng to me thim;
3. Farewell, sweet flowers ; 4. The sweet spring day, 1854. Cambria,
1867. Cathedral Music, edited by T.F. Walmisley, 1»87. Song, There
Is a voice, 1868. [A.D.C.]

WALOND, William, Mus t Baa, 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
original form. [See Greene, Maurice.] Wil-
liam Walond, possibly a son of his, about 1 775
became organist of Chichester Cathedral, which
post he resigned in 180 1. After his resignation
he resided in Chichester in extreme poverty and
seclusion (subsisting upon an annuity raised by
the sale of some houses, and being rarely seen
abroad) until his death, Feb. 9, 1836. Some
fragments of church compositions by him remain
in MS. in the choir-books of Chichester Cathe-
dral. Richard, son of William Walond of
Oxford, born 1754, matriculated from Christ
Church, Oxford, July 14, 1770. He was a
clerk of Magdalen College, Oxford, from March
24. 1775 until 1776. On March 14, 1776, he
took the degree of B. A. as of New College, and
was subsequently a vicar choral of Hereford Ca-
thedral. George, another son of W. Walond of
Oxford, was a chorister of Magdalen Coll., Oxford,
from April 13, 1768 until 1778. [W.H.H.]

WALPUBGISNIGHT, the night (between
April 30 and May 1) of S. Walpurga or Wer-
bunja, a British saint, sister of S. Boniface, on
which a Witches' Sabbath is supposed to be held
in the Harz Mountains. *The First Walpurgis-
night, Ballad for Chorus and Orchestra, the
words by Goethe, music by Felix Mendelssohn-
Bartholdy, op. 60/ is a setting of a poem of
Goethe's, which describes the first occurrence of
the event in an encounter between old heathens
and Christians.

The intention to compose the poem probably
came to Mendelssohn during his visit to Goethe
in 1830, and he announces it as a Choral Sym-
phony. 2 He began to write it in April 1 83 1 , and
by the end of the month speaks of it as prac-
tically complete. On July 14, at Milan, how-
ever, he is still tormented by it, and the MS. of
the vocal portion is dated '1 5th July, 1831 .' The
Overture — • Saxon Overture * as he calls it — fol-
lowed ' 13th Feb. 1832/ and the work was pro-
duced at Berlin, Jan. 1833. Ten years later he
resumed it, re-scored the whole, published it, and

9 Letter to Kllngemann. Not. 1840. The Idea of a choral symphony
was carried oat In the Lobgesang.

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performed it, first in Germany, and then in Eng-
land (Philharmonic, July 8, 1844), to English
words by Mr. Bartholomew, [bee voL ii. pp.
266 b, 269 b, 284 a.] [G.]

WALSEGG, Franz, Graf vox, known for
the mystification he practised in regard to Mo-
zart's Requiem, was a musical amateur living at
Stuppach, a village belonging to the Lichtenstein
family, near Gloggnitz, at the foot of the Semmer-
insr. He plaved the flute and cello, had quartet
parties twice a week at his house, and on Sun-
days acted plays, in which he took part himself
with his family, clerks, and servants. He had
moreover the ambition to figure as a composer,
and to this end commissioned various composers
to write him unsigned works, which he copied,
had performed, and asked the audience to guess
who the composer was. The audience being
complaisant enough to suggest his own name he
would smilingly accept the imputation. On the
death of his wife, Anna, Edle von Flammberg,
on Feb. 14, 1791, he sent his steward Leutgeb to
Mozart to bespeak a Requiem, which he had
fetched by the same hand after Mozart's death.
He copied the score, headed it ' Requiem com-
j)osto dal Conte Walsegir/ and conducted a
solemn performance of it in memory of his wife
on Dec. 14, 1793. On his death the score, com-
pleted by Sussmayer, went to his heiress Countess
Sternberg, and passing through various hands,
finally reached the Court Library of Vienna
( 1 8 38). [For further particulars of the autograph
.score, see vol. ii. p. 402.] [C.F.P.]

WAL8H, John, one of the most eminent
music-publishers of his day, commenced business
probably about 1690 at the sign of • The Golden
Harp and Hautboy in Catherine Street in the
Strand.' In 1698 the epithet 'Golden* was
discontinued. He held the appointment of
' Musical Instrument Maker in Ordinary to His
Majesty.* Walsh published many works in con-
junction with 'J. Hare, Musical Instrument
Maker, at the Golden Viol in St. Paul's Church
Yard, and at his Shop in Freeman's Yard in
-Cornhill, near the Royal Exchange/ or • att y e
Viol & Flute in Cornhill, near the Royall
Exchange.' His earlier publications were en-
graved, but about 1710 he commenced the
practice of stamping upon pewter plates. His
work of both kinds is mostly rough and un-
finished. In 1700, copies of some of Corelli's
•Sonatas having been imported from Rome,
Walsh announced 'Twelve Sonnata's in Two
Parts ; The First Part Solo's for a Violin, a Bass-
Violin, Viol and Harpsichord ; The Second, Pre-
ludes, Almands, Corants, Sarabands, and Jigs,
with the Spanish Folly. Dedicated to the Elec-
toress of Brandenburgh by Archangelo Corelli,
being his Fifth and Last Opera. Engraven in a
•curious Character, being much fairer and more
correct in the Musick than that of Amsterdam.'
His principal publications include Handel's over-
tures and songs in 'Rinaldo,' 'Esther,' 'Debo-
rah,' and * Athaliah,* the Utrecht Te Deum and
Jubilate and four Coronation Anthems, all in


full score; Dr. Croft's thirty Anthems and
Burial Service ; Eccles's Collection of Songs and
'Judgment of Paris,' and Daniel PurcelTs
'Judgment of Paris.' He died March 13, 1736,
having, it is said, amassed a fortune of £20,000.
He had, some time before his death, resigned
his appointment of Musical Instrument Maker
to the King in favour of his son,

John, who succeeded to his father's business
and conducted it with great energy and success
for nearly thirty years. He published the over-
tures and songs in many of Handel's operas and
in most of his oratorios ; his ' Alexander's Feast '
(for the Author) and *Acis and Galatea,' and
his Funeral Anthem ; also the second volume of
his * Suites de Pieces pour le Clavecin,' and his
' Six Concertos for the Harpsichord or Organ '
(Oct. 1738), of the copyright in which latter
Handel made him a present ; Dr. Greene's forty
Select Anthems, his ' Spenser's Amoretti,' Songs,
Sonatas, etc. ; Dr. Bovce's ' Solomon,' ' Chaplet/
'Shepherd's Lottery, and 'Lyra Britannica';
Dr. Arne's ' Vocal Melody,' Pergolesi's ' Stabat
Mater,' etc., etc. He died Jan. 16, 1766, and
was buried, with much funeral pomp, at St.
Mary '8, Strand.

After his death his business passed into the
hands of William Randall, who commenced
the publication of Handel's works, in score, in a
complete form. He used Walsh's plates, when
applicable, for the songs, and had new ones
stamped for the recitatives and choruses, the
contrast of style between the two being often
very striking. One of his publications (' Mes-
siah ') bears the imprint of ' Randall & AbelL'
He was succeeded by Henry Wright, who con-
tinued the publication of Handel's works in a
complete form, and published several of the
oratorios, etc. of the great master. Some of his
imprints have the names of ' Wright & Co.,*
and one (No. 10 of the Chandos anthems) those
of ' Wright & Wilkinson.' After his death or
retirement the business was divided between
Robert Birch all who had been assistant to
Randall, and Longman & Wilkinson. [See
Birchall.] [W.H.H.]

WALSINGHAM, an old English song re-
lating to the famous Priory of Walsingham in
Norfolk, and probably dating before 1 538, when
the Priory was suppressed. The following is
the tune in modern notation from Mr. Chappell's
book : —

As I went to Wal-slnf-ham To the Shrine with speed.

Met I with a J0I-I7 P*«m -or In a pll-grlm's weed.

The air was a favourite among the early

Online LibraryJohn Alexander Fuller-Maitland Sir George GroveA dictionary of music and musicians (A.D. 1450-1889) → online text (page 91 of 194)