Page:A Dictionary of Music and Musicians vol 4.djvu/830

814 till his death in 1616. He composed some chorales, notably 'Jesu Leiden, Pein und Tod,' 'Christus der ist mein Leben,' and 'Weltlich Ehr und zeitlich Gut,' the melodies of which are bold and charming; but accomplished much more in harmonizing tunes for many voices, in which he shows himself a sound contrapuntist. He is addicted to the old style in the use of the major and minor chords close together, even the dominant having often the minor third, and in the employment of chords without thirds. He uses syncopation so freely that it is often difficult to decide whether triple or quadruple rhythm is intended. His contrapuntal skill is exhibited in love of notes suspended as discords and afterwards resolved. In the free use of the first inversion of the common chord he is rather in advance of his age. His chief works are 'Cantiones Sacrae cum 6, 7, 8 vocibus,' Jena, 1602; 'Cantiones Sacrae 5, 6, et 8 vocum,' 2 pts., Jena, 1603–4; 'Kirchengesänge und geistliche Lieder D. Lutheri und Anderer mit 4 und 5 Stimmen,' Leipzig, 1604, of which the second enlarged edition bears the title 'Ein schön geistlich Gesangbuch,' Jena, 1609, and has the melody in the discant, whereas most of his settings have it in the tenor; 'Canticum B. V. Mariae 4, 5, 6 et pluribus vocibus,' Jena 1605; 'Opusculum novum,' 1610; and a Passion oratorio from the four Gospels, in which the narrator has a tenor voice. [ R. M. ]

WAGNER, H. . P. 346a, l. 19, for at (second time) read of. Line 20, for Walküre and Norn read Schwertleite and First Norn.

WAGNER, W. . P. 346a, last line but one, for 1811 read 1813. P. 365a, l. 20, for is announced to be given again, etc. read was repeated in 1886 and 1888. P. 372b, in the chronological list, under Die Walküre, for June 26 read June 25. To the number of books on the subject of Wagner should be added M. Jullien's admirable 'Richard Wagner: sa vie et ses œuvres' (Librairie de l'Art), Paris and London, 1886. Add that Wagner's early opera, 'Die Feen' (see vol. iv. p. 349), was produced at Munich on June 29, 1888.

WAINWRIGHT. Line 7 of article, for 1797 read 1766. P. 375a, l. 16, for him read Robartt, since Schnetzler's remark was made on him. See vol. iii. p. 542a.

WALDMÄDCHEN, DAS. Line 6 of article, for in October read until December. Concerning its being used up in 'Silvana,' see vol. iv. p. 412b.

WALKELEY, ANTONY. Line 3 of article, for 1700 read 1698.

WALLACE, W. . Line 2–3 of article, for about 1812 or 1814 read July 1, 1814. P. 377b, l. 10 from bottom, for Nov. 16 read Nov. 3.

WALLISER,, born at Strasburg about 1568, died there 1648. His chief work is 'Ecclesiodae, das ist Kirchengesäng, nemblichen die gebräuchlichsten Psalmen Davids so nicht allein viva voce, sondern auch zu musikalischen Instrumenten christlich zu gebrauchen, mit 4, 5, 6, Stimmen componirt,' Strasburg 1614. It consists of 50 German psalms set in the old contrapuntal style on the melodies to which they were wont to be sung in the Protestant services in Strasburg. Two of these psalms are republished in Schöberlein and Riegel's 'Schatz des liturgischen Chorgesangs,' and one ('Ein' feste Burg,' Luther's verson of the 46th psalm) in Kade's Notenbeilagen to Ambros's 'Geschichte der Musik.' In 1625 Walliser published 'Ecclesiodae Novae, darin die Catechismusgesang, andere Schrift und geistliche Lieder samt dem Te Deum, und der Litania … mit 4, 5, 6, 7 Stimmen gesetzt.' Winterfeld also mentions a setting by him of a chorus from the 'Clouds' of Aristophanes, and 3, 4, 5 to 10 part choruses to a drama on the subject of 'Elias,' and to a tragi-comedy 'Chariclea.' [ J. R. M. ]

WALMISLEY, T. A. Add that a tablet has recently (1888) been erected to his memory in Trinity College Chapel, Cambridge.

WALTHER,, violinist and composer, was born in 1650 at Witterda, a village near Erfurt in Thuringia. The name of his teacher is unknown, but as he styles himself on the title of one of his works 'Italian Secretary to the Elector of Mayence,' it appears probable that he had acquired his knowledge of the language in Italy, and therefore had some connection with the school of violin-players of that country. We find him first as a member of the band of the Elector of Saxony at Dresden, and later on attached to the court of the Elector of Mayence. The place and date of his death are unknown. Two sets of violin compositions of his have been preserved:

The musical interest of these compositions is but small. They consist chiefly of short preludes, pieces in dance-forms (gavottes, sarabandes, etc.), and sets of variations. In some respects they remind is of the works of (see that