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(b. Bilin, Bohemia, Feb. 11, 1834; (/.Vienna, Jan. 30, 1910), learned singing a t the Prague Conservatorium from Franz Vogl, and made his first appearance in opera as Edgar a t a private representation of ' Lucia.' He played a t Briinn for a shorttime, and in July 1856 appeared a t Vienna in Kreutzer's ' Nachtlager.' He remained there throughout his career, and attained great popularity as a lyric tenor both on the stage and in the concert-room. He came to London in 1872, and made his first appearance on May 13, a t the Philharmonic, where he was favourably received in songs of Mozart, Riedel and Rubinstein. He also sang a t the Crystal Palace, etc. He retired in 1887, but continued to sing in concert, and took part in a performance of Bach's ' St. Matthew Passion ' by the Gesellschaft der Musikfreundo under Richter in 1890. His daughter Min n a , a pupil of Madame Marchesi, had a successful career in various cities (Vienna, Frankfort, etc.). A. c.

(b. Bath, Feb. 7, 1800 ; d. Kensington, Apr. 26, 1851), an actress and soprano singer, principally of ballads of the Vauxhall type. She was the daughter of an upholsterer named Cooke. She became the pupil of one of the Loder family, and made her debut on the Bath stage, Mar. 16, 1816, performing in provincial theatres for the next three or four years. At this time she made considerable reputation by her playing and singing in the character of Margery, in the opera ' Love in a Village,' in which she afterwards appeared a t Drurv Lane. She made her first appearance on a London stage a t the Adelphi in October 1820. She had previously (1819) married an actor named Waylett, who proved a very unsuitable husband, and she experienced many misfortunes through her marriage, which ended in separation. In 1826 she married George Alexander Lee, the composer. She appeared a t the Dublin Theatre Royal almost every season from 1826-36. In Oct. 1835 she got

(b. Zara, Dalmatia, June 2, 1863), eminent conductor, composer and writer of important literary works on musical subjects, studied composition a t Graz under W. A. Remy, and entered the university of Leipzig in 1881 as a student of philosophy. He passed over very soon to the Conservatorium, went to Liszt a t Weimar in 1883, and there his first opera, ' Sakuntala,' was brought out in 1884, in which year he undertook the post of Kapellmeister a t Konigsberg ; in 1885-87 he was in the same capacity a t Danzig, in 1887-89 a t Hamburg, and in 1889-91 a t Mannheim. In the latter year he was appointed court Kapellmeister of the Opera a t Berlin, as well as director of symphony concerts of the royal band. Here he remained until 1898, when the opposition of old-fashioned musicians to his operatic conducting induced him to give up the theatrical appointment, though he kept th a t of the orchestral concerts. He went to live a t Munich in th a t year and became conductor of the Kaim concerts there. In 1907 he was appointed to succeed Mahler as conductor of the Hofoper a t Vienna, and was thus compelled to give up the Berlin concerts. He entered on his duties in Jan. 1908, but retired from the Opera in 1910, retaining the conductorship of tho symphony concerts of the Opera orchestra. In 1919-20 he was director of the Vienna Volksoper. Other appointments which he occupied in these years were those of Kapellmeister of the Hamburg Stadt-theatre (1912-14) and general Musikdirector of the Grand Ducal concerts a t Darms tadt (1914). Meantime his international reputation as a conductor was built up by innumerable visits to other countries of Europe and to America. Ho first visited London in May 1898, when his quiet mastery of the orchestra and his sane readings of the classics made a profound impression. Since then he has been a frequent visitor, and his performances with the R o y a l P h i l h a r m o n i c S o c i e t y , the L o n d o n S y m p h o n y O r c h e s t r a and the S c o t t i s h O r c h e s t r a have confirmed 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 (see N e w Y o r k ) in 1906, and in 1912-13 conducted opera a t Boston. Weingartner's literary works, beginning with the famous pamphlet Vber das Dirigiren (1895) (see C o n d u c t i n g ) , are largely concerned with matters of performance and artistic interpretation. His power of applying an intellectual analysis to the processes of artistic intuition has given him his commanding position among the musical interpreters of his generation. Despite the preoccupations of his busy executive life, which has included much musical editing, notably of the collected edition of Berlioz, he has continued to compose and has produced works on a large scale both for the stage and the concert room, such as the dramatic trilogy from iEschylus on the one hand, and five symphonies for orchestra on the other. He has been described as an eclectic 1 among composers, which means th a t a mind steeped in the work of all the great masters commands too many tools for its own individual work. Weingartner's compositions have every virtue comprised in the word ' musicianship,' and sometimes rise to the distinction which lies beyond technical accomplishment. His early songs, such as ' Motten ' (op. 25), 4 Plauderwasche * (op. 27) and the three 4 Handwerkerlieder ' (op. 28) first showed his qualities to English hearers. The following is a summary of Weingartner's principal works. 1

(d. 1643), a gentleman of the Chapel Royal from 1612 until his death (H. C. de Lafontaine, The K ing's Musick). He is presumably the West whose ' Sharp ' Service (including T.D., K., C., M. and N.D.) and two anthems, * Have mercy ' and ' Save me, 0 God,' are included in Barnard's MS. collection (R.C.M. 1045-51). This supposition is supported by the fact th a t these works are included in this collection and not in Barnard's ' Selected Church Music,' published in 1641. 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. j. mk.

-The Taming of the Shrew, opera in 4 acts ; tex t adapted by J . V. Widmann from Shakespeare ; music by Goetz ; produced Mannheim Oct. 11, 1874 ; in English (Rev. J . Troutbeck), Carl Rosa Co., Her Majesty's Theatre, Jan. 20, 1880 ; New York, Metropolitan

(b. London, Dec. 10,1888), composer, originally followed the profession of an architect, but devoted his spare time to music, joining choral societies and playing in orchestras as opportunities arose. When he first took to composition in 1911 he had had no other training than this, and that which he acquired from constantly reading music, but two years later ho received some guidance from R. H. Walthew. In all essentials, however, he is a self-taught musician. Most of his music is in the smaller forms and of an intimate charactor, with something of the a r t of tho miniaturist. Much of his best work is in his numerous songs, which have great lyrical charm. He has also written twostring quartets, of which the second is published, and has orchestrated a set of his own piano pieces, 1 Pot Pourri.' His other piano works comprise ' Miniatures ' (also orchestrated), Preludes, ' Side-shows,' etc. A comic operetta, ' The Story of the Willow Pa tte rn Plate,' is for children. Since then he has written a balladopera, ' Kate, the Cabin Boy ' (Kingsway Theatre, London, 1924), based on traditional tunes, and he has arranged and orchestrated a ballet from a Beethoven sonata for Mme. Lopokova. In 1922 he gave a first rocital of his own works a t the /Eolian Hall, London. E. E.

organist a t Winchester Cathedral, c. 1550. Of his compositions, only a piece for organ or virginal, ' Lucem Tuam,' has boon found, contained in the Redford MS., B.M. Add. MSS. 29,996. E. v. d. s.

(b. Edinburgh, Ju ly 31, 1805 ; d. Annandale, Cove, June 25, 1892), head of a Scottish firm of music-publishers originally located in Edinburgh, but afterwards established in Glasgow, was the son of Andrew Wood, a music-publisher who named him after his partner, John Muir. John Muir Wood was closely associated with the musical life of Scotland, and took a keen interest in Scottish musical antiquities. He edited a new edition of Graham's ' Songs of Scotland,' 1884, in one volume (the original was issued by Wood & Co. of Edinburgh in 3 vols. 1848, etc.), and was the writer of the article ' Scottish Music ' and some others in the first edition of this Dictionary. W o o d & Co., the above-mentioned firm of music-publishers, was started by James Muir a t 16 George Street, Edinburgh, in May 1796. Difficulties having arisen, the business was taken over shortly after by his brother, John Muir, an ironmonger, who, advertising for a partner, associated himself with Andrew W o o d and others. Muir, Wood & Co. were a t 16 George Street in 1799, and were ' Musical instrument makers to His Majesty.' In 1804 they had removed to 7 Leith Stre e t; in 1811 the number was changed to 13, and here they remained until 1818. They were very active publishers, and published quantities of sheet music and collections of airs mostly Scottish. The survivors of the firm were Wood & Co. of 12 Waterloo Place, Edinburgh, and J. Muir Wood & Co. of 42 Buchanan Street, Glasgow, who were intimately connected, and were issuing, in the 'forties and 'fifties, many important Scottish musical works, among which were Graham's ' Songs of Scotland,' Surennes' ' Dance Music of Scotland,' and some others, which in their subject may now claim to be classic. f . k .

(London, 15th-16th cent.), the first English music - printer. See P r i n t i n g o f M u s ic .

(b.Mar.24,1762; d. Aug. 29, 1823), 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 was the youngest of the four sons of Emmanuel Philipp, Graf VValdstoin und Wartemberg von Dux. Ho was born 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 career ; in 1812, however, he obtained a dispensation from his vows and married, but, like all his brothers, died without male issue, and thus with this generation the house of Waldstein von Dux became extinct. Count Ferdinand spent the year of his novitiate (1787-88 *) a t the court of the Elector a t Bonn, and it was then th a t he became acquainted with B e e t h o v e n (q.v.). Vol. I. p. 261. In 1791 or 1792 Beethoven composed twelve variations for four hands on the PF. on an air of the Count's, and in 1804 or 1805 he wrote the Sonata which has made the name of Waldstein so familiar. In this splendid work (published May 1805) tho 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.