remains were brought to England and interred in Kensal Green Cemetery, while Benedict, Bennett, Smart, Sullivan, Macfarren and others, stood around the grave, which adjoins those of St. Leger and Balfe. As the service closed, a robin-redbreast from a neighbouring branch poured forth a strain of music: it was Wallace's Requiem!
WALLERSTEIN, Anton, born of poor parents at Dresden, Sept. 28, 1813, began life early as a violinist, and in 1827 was much noticed during a visit to Berlin. In 1829 he entered the Court Band at Dresden, and in 1832 that at Hanover, but various wanderings to Hamburg, Copenhagen, and other places led to the resignation of his post in 1841. His playing was extremely popular for its expression and animation. But it is as a composer that he has had most popularity. He began to write in 1830, and from that time till 1877 poured forth a constant flood of dance music, chiefly published by Schott & Co., of Mainz. His 275th opus is entitled 'Souvenir du Pensionnat. Cinq petites pièces faciles en forme de Danse pour piano. Leipzig, Kahnt.' With this piece his name disappears from the publishing list. His dances had a prodigious vogue during their day in Germany, France, and England, in all classes of society. Among the best-known are 'La Coquette,' 'Redova Parisienne,' 'Studentengalopp,' 'Erste und lezte Liebe,' etc. His songs also were popular, especially 'Das Trauerhaus' and 'Sehnsucht in die Feme.'
WALMISLEY, Thomas Forbes, son of William Walmisley, Esq., Clerk of the Papers to the House of Lords, was born 1783. At an early age he was sent to Westminster School. At 14 he began his musical education, and studied the organ, piano, and counterpoint under Attwood. Walmisley achieved success as a musical teacher and glee-writer. Although the Part-song, made so popular by Mendelssohn, has to a great extent superseded the English Glee, some few good specimens of Walmisley's glees are still remembered. The 'Spectator' for Aug. 1830 thus characterises a volume of glees published by Walmisley at that time: 'These compositions, though displaying the attainments of a skilful musician, are not the dull effusions of a pedant. Though formed upon the best models, they are no servile copies, but the effusions of good taste matured and nurtured by study.' In 1810 Walmisley became organist at St. Martin-in-the-Fields, an appointment he held for a great number of years. His name appears on the list of musicians assembled at Weber's funeral in 1826. He died July 23, 1866.
The following printed works appear in the Catalogue of the British Museum, with dates of publication:—
Six glees, 1814. Round, Underneath this stone (Ben Jonson), 1815. Song, Taste life's glad moments, 1815. Trio, The fairy of the dale. 1815. Song, Sweet hope, 1817. Glee, From flower to flower, 1819. Canzonet, The soldiers, 1819. Glee, Say, Myra, 1822. Song, The wild hyacinth, 1825. A collection of glees, trios, rounds, and canons, 1826. Song I turn from pleasure's witching tone, 1827. Song, Home, dearest home, 1828. By those eyes of dark beauty, 1829. Glee, Bright while smiles the sparkling wine, 1830. Six glees, 1830. Six glees, 1830. Round, O'er the glad waters, 1835. Glee, I wish to tune, 1835. Glee, Thou cheerful bee, 1835. Song, To Zuleika, 1835. Three canons, 1840. Duet, Tell me gentle hour of night, 1840. Sacred songs, poetry by E. B. Impey, 1841. Glee, To-morrow. 1845. Glee, The traveller's return (Southey), 1858.
His eldest son, Thomas Attwood, was born in London Jan. 21, 1814. He showed at an unusually early age such a rare aptitude for music that his father secured for him the advantage of studying composition under his godfather, Thomas Attwood. The lad rapidly attained proficiency as a player, his early mastery of technical difficulties giving promise of that distinction which in after years was ungrudgingly conceded to so capable an exponent of Bach Fugues or Beethoven Sonatas. In 1830 he became organist of Croydon Church, and attracted the notice of Mr. Thomas Miller, who encouraged his literary tastes, and persuaded him to combine mathematical with musical studies. At this time an attempt was made by Monck Mason to secure him for English opera, but Walmisley decided to try his fortune at Cambridge. In 1833 he was elected organist of Trinity and St. John's Colleges, and composed an exercise, 'Let God arise,' with full orchestra, for the degree of Mus. Bac. He then entered Corpus Christi College, where he distinguished himself in the Mathematical Examinations. He subsequently migrated to Jesus College, and though unsuccessful as a competitor for the University Prize Poem, fully justified the wisdom of Mr. Miller's advice that his love of literature should not be entirely sacrificed to professional duties. The then system concentrated the duties of several persons in one, and the young organist submitted to a slavery which it is now difficult to realise. He took without any remuneration Mr. Pratt's duties as organist in King's College Chapel and St. Mary's, and his Sunday work deserves to be recorded:—St. John's at 7.15 a.m.; Trinity, 8; King's, .9.30; St. Mary's, 10.30 and 2; King's, 3.15; St. John's, 5; Trinity, 6.15. In 1835 he composed the Ode, written by the late Bishop of Lincoln, for the Installation of Lord Camden as Chancellor—a serious interruption to his mathematical studies. His election to the professorial chair of Music, vacated by the death of Dr. Clarke Whitfeld, took place in 1836; in 1838, he took his B.A. degree, and in 1841 his M.A. It twice fell to his lot to compose music for Odes written for the Installation of Chancellors of the University. In 1842, the words, in honour of the Duke of Northumberland, were written by the Rev. T. Whytehead; in 1847, for the Installation of the late Prince Consort, they were by Wordsworth, then Laureate. Poetry and music written for such occasions are seldom long-lived, but a quartet from the Ode of 1842, 'Fair is the warrior's mural crown,' would certainly be an effective concert-piece at any time. In 1848 he took the degree of Mus. Doc., and continued working at Cambridge until within a short period of his death, which took place at Hastings Jan. 17, 1856. [App. p.814 "Add that a tablet has recently (1888) been erected to his memory in Trinity College Chapel, Cambridge."]
His intimacy with Mendelssohn was a source
