Page:A Dictionary of Music and Musicians vol 4.djvu/447

WECKERLIN. away to Paris, and in 1844 entered the Conservatoire, where he learned harmony under Elwart, and composition under Halévy. Not succeeding in the Institut examinations, he left the school, and took to teaching and composition. Eager to produce, and very industrious, he let slip no opportunity of making himself known, and attempted all branches of composition, though soon finding that success at the theatre was out of the question. Musical bibliography was his main resource, and he brought to light many curious old compositions, such as the 'Ballet comique de la Reyne,' which was given with others of the same class, at the concerts of the Societé de Sainte Cecile, of which he was chorus-master from 1850 to 55. He also made a fine collection of scarce books of poetry, with airs in notation, and song-writers, which he turned to account in his Collections of national airs. In 1863 be was selected to form the library of the newly-founded 'Société des Compositeurs de Musique,' and in 1869 was placed Auber in the Library of the Conservatoire, of which he became head-librarian Sept. 9, 1876—a post which he still (1885) fills with success.

His vocal and operatic works include 6 operas; 2 ode-symphonies; 2 antique dramas; a large number of choruses for female voices and for male do.; 6 Quatuors de Salon; various extensive collections of pieces, and over 300 airs for voice and PF.; a Mass and sundry Motets. His instrumental works comprise a Symphony and Suite, both for full orchestra; arrangements, etc.

His bibliographical works are as follows:—

'Chansons populaires des provinces de la France' (1860), with Champfleury; 'Les Echos du Temps passé,' 3 vols.; 'Les Echos d'Angleterre'; 'Album de la Grandmaman,' 20 old melodies; 'Chansons et Rondes pour les enfants' (1885); 'Chansons de France pour les petits Français' (1885); 'Ballet comique de la Reine'; Cambert's operas 'Pomone,' and 'Les Peines et les Plaisirs de l'Amour'; 'Le Bourgeois Gentilhomme,' divertissements by Molière and Lully. Various articles in the 'Bulletin de la Société des Compositeurs'; 'Musiciana,' extracts from rare books (Paris, 1877); 'Chansons populaires de l'Alsace,' 2 vols. (1883); and 'La Bibliothèque du Conservatoire de musique,' 1 vol. 8vo (1885), a catalogue raisonné of the books in the Réserve.

He has still in MS. 400 airs and 25 operas, and an 'Essai sur l'Histoire de l'Instrumentation,' commended by the Institut (1875). [ G. C. ]

WEDDING OF CAMACHO, THE (Die Hochzeit des Gamacho). A comic opera in 2 acts; words by Klingemann, after Don Quixote; music by Mendelssohn (op. 10); score dated Aug. 10, 1825. Produced in the small theatre, Berlin, April 29, 1827, and not performed a second time. The music was published in PF. score by Lane of Berlin. [See vol. ii. p. 259.] [ G. ]

WEDNESDAY CONCERTS, London. These concerts were established in 1848 at Exeter Hall by Mr. Stammers, in order to give a miscellaneous musical entertainment at a cheap price of admission. The prices charged were about the same as are now paid at the Popular Concerts. The first series, consisting of fifteen concerts, began Nov. 22, were continued once a week until Feb. 28, 1849. The second and third series were continued until June 27, twenty-seven having been given in all. There was a small orchestra under Willy as leader, and the programmes consisted of light overtures, operatic selections, vocal and orchestral, ballads, and light instrumental pieces. Occasionally more important works were tried, such as Mendelssohn's Antigone, Rossini's Stabat Mater, or Mendelssohn's G minor Concerto. A fourth series of fifteen concerts was given, extending from Oct. 24, 1849, to Jan. 30, 1850, and a fifth was attempted, first under Mr. Stammers, and afterwards under Mr. Jarrett, but twelve of the fifteen only were given. The third and fourth series showed some slight improvement in the programmes; the orchestra was increased to forty, Herr Anschütz was conductor, and symphonies of Mozart and Haydn were occasionally given in their entirety. For some reason or other, in spite of the fine artists engaged, these concerts failed then to hit the popular taste. Among the artists who appeared must be named Mesdames Birch, Dolby, Poole, M. and A. Williams, Angri, Jetty Treffz, Rainforth, Mr. and Mrs. Sims Reeves, Braham, Ronconi, Pischek, Formes, etc., vocalists; Miss Kate Loder, Thalberg, Billet, Sainton, Ernst, Vivier, Maycock, Lavigne, Distin and sons, instrumentalists; for the recitation of the Antigone, Mr. and Miss Vandenhoff, George Bennett, etc. [ A. C. ]

WEELKES,, Mus. Bac., one of the most distinguished of English madrigal writers, published in 1597 a set of 'Madrigals to 3, 4, 5 and 6 Voyces,' which he described in the dedication as 'the first fruicts of my barren ground.' This was reprinted in score by the Musical Antiquarian Society under the editorship of Mr. (now Dr.) E. J. Hopkins. In 1598 he published a set of 'Ballets and Madrigals to five voyces, with one to 6 voyces,' in the dedication of which he speaks of his years being unripened. A second impression appeared in 1608. In 1600 he issued two works, viz. 'Madrigals of 5 and 6 parts apt for the Viols and Voyces,' and 'Madrigals of 6 parts, apt for the Viols and Voices,' describing himself upon the title-pages of both as 'of the Coledge at Winchester Organist.' In 1601 he contributed to 'The Triumphes of Oriana' the fine madrigal's 'As Vesta was from Latmos hill descending.' In 1602 he took the degree of Mus. Bac. at Oxford as of New College, his Christian name being erroneously entered in the University Register as 'William.' In 1608 he published 'Ayeres or Phantasticke Spirites for three voices,' upon the title-page of which he described himself as 'Gentleman of his Majesties Chappell, Batchelar of Musicke, and Organist of