Page:A Dictionary of Music and Musicians vol 4.djvu/396

380 performed it, first in Germany, and then in England (Philharmonic, July 8, 1844), to English words by Mr. Bartholomew. [See vol. ii. pp 266b, 269b, 284a.] [ G. ]

WALSEGG,, known for the mystification he practised in regard to Mozart's Requiem, was a musical amateur living at Stuppach, a village belonging to the Lichtenstein family, near Gloggnitz, at the foot of the Semmering. He played the flute and cello, had quartet parties twice a week at his house, and on Sundays 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 composto dal Conte Walsegg,' and conducted a solemn performance of it in memory of his wife on Dec. 14, 1793. On his death the score, completed by Süssmayer, went to his heiress Countess Sternberg, and passing through various hands, finally reached the Court Library of Vienna (1838). [For further particulars of the autograph score, see vol. ii. p. 402.] [ C. F. P. ]

WALSH,, 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 conjunction 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 engraved, but about 1710 he commenced the practice of stamping upon pewter plates. His work of both kinds is mostly rough and unfinished. 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, Preludes, Almands, Corants, Sarabands, and Jigs, with the Spanish Folly. Dedicated to the Electoress 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 overtures and songs in 'Rinaldo,' 'Esther,' 'Deborah,' 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 Purcell's '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,

, who succeeded to his father's business and conducted it with great energy and success for nearly thirty years. He published the overtures 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. Boyce'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's, Strand.

After his death his business passed into the hands of, 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 ('Messiah') bears the imprint of 'Randall & Abell.' He was succeeded by, who continued 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 who had been assistant to Randall, and Longman & Wilkinson. [See .] [ W. H. H. ]

WALSINGHAM, an old English song relating to the famous Priory of Walsingham in Norfolk, and probably dating before 1538, when the Priory was suppressed. The following is the tune in modern notation from Mr. Chappell's book:—

The air was a favourite among the early English composers, and many sets of variations on it will be found in the lists of. [See page 308a, b; 311a, b; 313a.] The title is once given 'Have with you to Walingham'; whether a different song or not is uncertain. [ G. ]