Page:A Dictionary of Music and Musicians vol 4.djvu/464

448 little anthem, 'Thou wilt keep him in perfect peace,' wherein knowledge and dignity of true church style is so conspicuous, and which is one of the brightest gems in a collection of choral jewels.

As an organist, Wesley was for a considerable period acknowledged the first in this country. His touch was eminently legato, his style always noble and elevated. At Winchester he was heard to great advantage on Willis's fine organ. His extempore playing after the Psalms, before the Anthem, or after the Service, is a thing to be remembered, and various players after hearing him changed their style for the better, some of them catching a ray of the afflatus divinus which, as organist, may be fairly ascribed to him. His views, formed from early habit, on two important points in the construction of organs were curiously divergent from opinions widely held, for he was an advocate both of unequal temperament and of a 'G,' or 'F' compass—two bêtes noires to most organists and organ-builders. But in supporting such exceptional views, he could give not unpractical reasons for the belief that was in him.

Those well-acquainted with Wesley could not fail, notwithstanding a manner at times reserved, retiring, or even eccentric, to appreciate his kindness and sympathy. To those he liked and trusted he could be an agreeable and interesting companion and friend, and these will not forget their pleasant intercourse with him, even on occasions when music formed little or no part of conversation. That he felt deeply and aimed high is proved in the devotional and masterly works with which, at a period when our ecclesiastical music was at a low ebb, he enriched the choral repertory of the Church of England.

The following is a list of Dr. Wesley's published compositions.

A few MS. sketches are preserved at Leeds Church and elsewhere. [ H. S. O. ]

WESSEL,, born in 1797, at Bremen, 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 Wessel continued the business until 1839, when he took in Stapleton as a partner, and removed to 67 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 £12 for each fresh composition. In 1845 Stapleton left the firm, and Wessel again carried on business by himself, from 1846 at 229 Regent Street, and from 1856 at 19 Hanover Square, until 1860, when he retired in favour of Messrs. Edwin and Henry John, both of them long in his employ. In 1882 Mr. Parry retired, and since then it has been in the hands of Mr. Ashdown alone.

Wessel was a great benefactor to the spread of music in England. Among composers whose works were introduced by him are Schubert, Schumann, Mendelssohn, Abt, Kücken, Gade, Schulhof, Heller, etc. Of the works of Heller, as of those of Chopin, Wessel and his successors have had, and still hold, the exclusive copyright in England, though by a decision of the Court of Chancery in 1853, several important works were lost to them. [See .] Since that period they have turned their attention to the publication of the works of resident composers, such as Brinley Richards, Sydney Smith, Ganz, Elliott, etc. In 1867 they were the first to establish a monthly musical magazine by the publication of 'Hanover Square.' Mr. Wessel died at Eastbourne, March 15, 1885. [ A. C. ]

WESTBROOK,, Mus. Doc., born in London Jan. 1, 1831. His instructor was Mr. R. Temple, a blind organist. In 1848 he became organist of St. Bartholomew's, Bethnal Green, which he exchanged in 1851 for St. Bartholomew's, Sydenham, where he has since remained. He took his degree of Mus. Bac. at