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(b. Darmstadt, Feb. 22, J772; d. Nov. 24, 1822), son of a Darms tadt court musician. He was apprenticed in the court chapel a t Darmstadt in 1788, joined the orchestra as oboist, became music-master and accompanist for the vocal music a t the court in 1800, and court Kapellmeister in 1811. In 1820 he was pensioned. He composed operas, Singspiele, melodramas, music to Goethe's ' Gotz von Berlichingen,' overture to A .s' You Like It, and a large number of vocal and instrumental works, including symphonies, concertos, concertantes, overtures, pianoforte pieces, etc. (Q.-L. ; Riemann).

(b. Radowitz, Bohemia, 1759 ; d. Ratisbon, Apr. 1832), a famous tenor singer and composer ; pupil of Starzer, Vienna. He sang a t Prague (1783), Mainz (1789), and in Grossmann's Company a t Hanover (1793). After the death of Grossmann he took over the company which appeared a t Frankforton- M. and a t Ratisbon. Walter wrote about a dozen Singspiele for his troupe, the first ' Faust ' opera based on Goethe's drama, a memorial music for Schiller, a coronation cantata for the Emperor Leopold (1791), masses, chamber music, etc. His wife (2) J u l ia n e , nee R o b e r t s , of Brunswick, was also a noted singer, who held her own even by the side of the famous Mme. Schick a t Mainz. While Walter was managing the theatre a t Bromen his wife became blind, and both went to Ratisbon, where Walter was engaged with his troupe in 1804, and lived there in retirement from 1822 (Schilling; Q.-L.).

a composer and musicpublisher who proclaimed on many of his titlepages 'Late of the Royal Navy.' He was living in Edinburgh in 1788, and about and before this time was composing sonatas for the harpsichord and programme music. Some of this, of various dates o f composition, include * The Siege of Toulon,' ' Battle of Trafalgar,' etc. In Edinburgh he was a t one time an assistant to Com & Co., music-publishers, and was a tuner and music-teacher until he opened a music-shop a t 17 Princes Street. From this address he published many arrangements and selections of Scottish Songs, including his ' Circus Tunes.' He removed to 13 North Bridge, and this imprint appears on a great number of Scots Songs, either arranged or entirely composed by himself. In 1798 he failed in business and retired to Abbey - hill, a sanctuary from arrest near Holyrood. Here he taught music and issued sundry sheet songs. About 1800 he removed to London, where, in partnership with a person named Cobb, lie was again publishing. Cobb and Watlen were a t 19 Tavistock Street, Covent Garden, in 1805: in 1807 Watlen had set up business on his own account a t 5 Leicester Place, Leicester Square. Watlen was the first secretary of the Edinburgh Musical Fund. r . K .

(d. Brunswick, Apr. 2, 1663), appointed court musician a t Brunswick, Mar. 5, 1655, was vice-Kapellmeister in 1655, but in 1661 he calls himself simply musician. He wrote psalms and songs in 4 to 10 parts, with and without instruments ; also 4 Uns ist ein Kind geboren,' in 13 parts, divided into 3 choirs (Wolfenbiittel, 1/1/1663) (Q-L.). WEIMAR. The ' German Athens ' under the patronage of its art-loving Grand Dukes of Saxe-Weimar-Eisenach, had a long musical history, the record of its court orchestra going back to the 16th century. J . S. Bach was a violinist there in 1703 and director of music in 1708. Johann Gottfried Walther was organist a t the great church of Weimar from 1707-48. Hummel was Hofkapellmeister from 1819-37. Perhaps because the greater attention was paid to poetry and the drama in the period of Weimar's greatness (the end of the 18th and beginning of the 19th centuries) its most brilliant era of music came later. This was in the years between 1847 and 1861, when Liszt settled there as chief Kapellmeister and gathered round him the group which included Hans von Biilow, Cornelius, Raff and (for a time) Joachim. Liszt had produced Berlioz's ' Benvenuto Cellini,' which apparently gave an impetus to the new German movement of which Cornelius became the leading spirit under Liszt, and the Neue Zeitschrift f i i r Musik (see B r e n d e l ) its organ of expression. Liszt produced Cornelius's ' Barbier von Bagdad ' on December 15, 1858. Liszt was succeeded by Eduard Lassen, during whose term of office Saint-Saens's ' Samson e t Delila * was first produced. In more recent times the most noteworthy production has been Humperdinck's ' Hansel und Gretel,* first given on Dec. 23, 1893, a t Weimar. The present opera house, formerly Hoftheater, now Deutsches Nationaltheater, was built in 1907 from plans by M. Littmann, and was opened in the following year. The present general music director is Dr. Praetorius, with E. Latzko and Ferdinand Hertz as Kapellmeister. The theatre receives a subvention from the Thuringian state. The principal orchestra, the Weimarer Staatskapclle (Prof. R. Reitz), serves the double purpose of opera and symphony orchestra. I t numbers fifty-three performers. There are two other orchestras in Weimar-the Professional Orchestra (Peters) and the Orchesterverein (b. Branco). The Gesellschaft fiir Musikfreunde (President Dr. Gumprecht) organises regular concerts during the season. Weimar has frequently been the scene of musical festivals, one of the more important of late years being the Tonkiinstlerfest of 1921, when Schon berg's 4 Four pieces for Orchestra * was produced. The Deutsche Festspiele, the purpose of which is to promote the performance of German operas, took place a t Weimar in July 1926. The principal choirs are the Volkschor (Pretorius) and the Kirchenchor St. Jakob (C. Thiem). The Staatliche Musikschule zu Weimar (with its renowned orchestral school) is under the control of the Thuringian Ministry of Education. I t was founded in 1872 and is intended to form an educational background to the Nationaltheater. The present director is Professor Bruno Hinze-Reinhold, who has a staff of about thir ty teachers. The associations of Liszt with Weimar are preserved in the Liszt Museum (Prof. R. Wetz) and those of Max Reger in the Reger Archiv (F. Martin). H. G. D.

(b. Bremen, 1797 ; d. Eastbourne, Mar. 15, 1885), came to England in 1825, and established, with an amateur named Stodart, at No. 1 Soho Square, the firm of music-publishers Wessel & Stodart, for the popularisation of foreign music in this country. In 1838 Stodart retired and W7essel continued the business until 1839, when he took in Stapleton as a partner, and removed to 67 8 Mus. T., 1900, pp. 297, 369 and 452 ; anecdotes, etc., in the same, 1899, pp. 453, 485 ; DJi.B., etc. Information from Herbert Thompson and others. Frith Street, Soho. About this time the firm entered into a contract with Chopin for the exclusive right to publish his works in England, paying him

From the chromatic scale of twelve semitones can be extracted two scales, each consisting of six whole tones. The notation of them is quite arbitrary, and will normally depend on the context in which they are used. 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 interval of a perfect fifth within them, and they have thus no unambiguous associations with the classical maj or-minor systems. They have, however, been used for melodic and harmonic expression within their prescribed limits, and still more frequently in contrast with traditional idioms. Some of the possible harmonic inferences of certain whole-tone chords are given in the article on H a rm o n y . o. D.

(b. Dawlish, S. Devon, July 16, 1855; d. Milford, Lymington, Feb. 27, 1923), was educated a t Sherborne School, and subsequently under the Rev. F. A. Radcliffe, Rector of Milston, near Amesbury, whose influence contributed, in no small degree, to foster his love of music. In 1875 he entered Trinity Hall, Cambridge, where he took tho degrees of B.A. in 1878, M.A. in 1882 and Mus.B. in 1891. He also took the Oxford Mus.B. degree in 1889. While a t Cambridge he took an active pa r t in the management of the Cambridge University Musical Society, and played tho violin and viola a t its concerts. On taking his degree he went for hoalth to New Zealand, where he was organist for some years a t a church in Auckland, playing in the orchestra of the Auckland Choral Society, and founding a Glee 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 musicmaster a t Dover College in 1881. In the following year he entered the Leipzig Conservatorium, and in 1885-91 was organist of St. Mary's, Boltons, S.W., where he did much to improve the standard of the music. He next devoted himself to the study of ancient Greek music, and especially plain-song, making tours for purposes of research in Italy, Belgium and France. Articles and lectures by him on this subject led to his appointment, in 1895, as composer and director of the music of the Greek Theatre a t Bradfield College, of which institution he afterwards became the organist. For the Greek plays he made use of ancient modes and rhythmmical forms, besides reproducing, from ancient models, auloi and lyres, on which he taught the boys to play. In 1901, in consequence of illhealth, he retired, wrote many valuable books and did much to promote the revival of plainsong. He trained the body of priests of Capri in the Solesmes system in 1904, and directed tho music of their Easter Mass ; this led to the establishment of th a t system in the island, a work for which in 1907 he was received in private audience and thanked by the Pope. His published compositions are few in number; they include a Magnificat and Nunc Dimittis in F, a Morning, Evening and Communion Service for alto, tenor and bass, the Choruses of the 'Antigone' of Sophocles in the Groek modes, as performed a t Bradfield. Unpublished works are, a quartet in D minor, a violoncello sonata in F, and four canons for clarinet, violin and pianoforte, all performed a t the Musical Artists ' Society in 1887-88; the choruses of 'Alcestis' and 'Agamemnon' composed for Bradfield. His literary works are as follows : A Historical Account of Musical Degrees at Oxford and Cambridge, 1893 ; The Music of the Greek Drama, essay prefixed to the ' Antigone ' choruses ; Lives of Bach and Handel, in the Master Musicians series ; Notation, the Organ, and Organ Music, in the Music Story series ; The Rhythm of Modern Music (1909); Aristoxenas's Theory of Musical Rhythm (1913); contributions to the second edition of this Dictionary, to the Classical Review and to various musical periodicals, on Greek music, plain-song, etc., and kindred subjects. M.

(b. Brunswick, Mar. 8 , 1849 ; d. Vienna, Jan. 18, 1912), tenor singer. With the intention of becoming a pianoforte-maker he went to Paris for his training, but abandoned business for a vocal career. After lessons in singing from Koch a t Hanover, he made his debut in 1865 a t Sondershausen. He sang successively a t Altenburg, Darmstadt and Hamburg, where on Nov. 1 , 1879, he made a great success as the hero on the production of Rubinstein's ' Nero.' On May 18, 1882, he made his debut a t Drury Lane, under Richter, as Lohengrin (in German), and a ttra cted immediate attention on account of his fine tenor voice, manly presence and admirable acting. He sang also as Tannhauser, and was the original Walther von Stolzing and Tristan in England ; he was admired in all three parts. On June 20 he sang a t a Richter Concert, St. James's Hall, with Frau Sucher in her husband's ' Waldfraulein,' and on June 26 in the Choral Symphony. On July 26 he was the original Parsifal a t Bayreuth. In 1883 he was engaged a t Vienna, the result of successful ' Gastspiele ' there before, in operas of Wagner, Meyerbeer, etc., and on Oct. 4 he and Materna were the first Tristan and Isolde in th a t city. He became a great favourite there. In operas new to Vienna he sang the tenor pa rts in Marschner's ' Vampyr,' Massenet's ' Cid,' Verdi's ' Otello,' Merlin, on production of Goldmark's opera of th a t name, Admetus in the revival of ' Alceste,' Rinaldo in the revival of ' Armida,' etc. On June 1, 1906, he retired on a pension. a . c . (2) H a n s , his son, is also an esteemed ' Heldentenor,' who appeared first a t the Vienna Opera and later a t Prague and elsewhere (Riemann).

On May 1,1617, he calls himself church administrator and organist for over forty years a t Heilbronn on the Neckar. He wrote a book of organ tablature, containing motets, canzons and fugues by German and Italian masters (Basle, 1617 ; Mendel; Q.-L.).

(Wedow, Widows, Wydewe, etc., and latinised into Viduus) (<