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came to Vienna, in 1814, 'Fidelio' was given. An inexpressible longing filled him to make the personal acquaintance of its composer. Returning to his lodging, there on the table was a card of invitation from Beethoven, who had called on him. Next day it was hand and kiss with them. After this one often met them at table in the parterre dining-room of the ROmische Kaiser Hotel. But it made one sad to hear them shout so to each other, and there was little enjoyment in meeting them. Singular, that in a smaller room, like that of the Rose Inn in the Wollzeile, Weissenbach heard much better, and spoke more freely and easily. He was a man full of matter; a most kindly, lively, lovable companion; a blooming, elderly person, always neatly and elegantly clad. How learned as a physician he was will not be forgotten.

[ A. W. T. ]

WEIST-HILL, HENRY, was born in London in 1830; was taught violin-playing by Sainton at the Royal Academy of Music, and in 1845 was elected King's Scholar. He first appeared at an Academy Concert in 1847, in Spohr's 9th Concerto, and subsequently went to America, where he introduced Mendelssohn's Violin Concerto. He afterwards undertook a professional tour in Europe, and in 1849 became a member of Costa's band at the Royal Italian Opera and elsewhere. In 1871 he followed his old conductor to Drury Lane, where he filled the post of Director of the Ballet Music, and then to Her Majesty's till 1879.^[1] In 1874–76 he was Conductor at the Alexandra Palace, and displayed great energy in that department, giving performances of Handel's 'Esther' and 'Susanna,' Gade's 'Spring Fantasia,' Berlioz's 'Danse des Sylphes,' compositions of Saint-Saëns, etc. Mr. Hill introduced to the British public the works of Bizet and Massenet, the former by his Symphony 'Roma,' and 'Patrie' Overture, the 'Arlésienne' Suite, and Ballet music, 'Fair Maid of Perth'; the latter by his 'Scènes pittoresques.' British composers were invited by the Alexandra Palace Company to compete for the composition of the two best symphonies, and the prizes were awarded to Mr. F. G. Davenport and Mr. C. V. Stanford by Professors Joachim and G. A. Macfarren, as judges. In 1878–79 he was conductor of Mme. Viard-Louis's orchestral concerts, and gained much reputation for himself and his orchestra during the short term of their existence. Among the novelties produced were Svendsen's 1st Symphony; Salvayre's Stabat Mater, and 'Fandango' Ballet; Cherubini's 'Ali Baba' Ballet; Davenport's 'Twelfth Night' Overture; 'The Rivulet,' by Corder; Danse Macabre by Saint-Saëns; Berlioz-selections and works by Bourgault-Ducoudray and Gevaert. Massenet also conducted his orchestral suite, called 'Shakespeare,' April 30, 1878, on his first appearance in England, and again on Dec. 17, 1878. Goetz was first introduced to the British public by his only Symphony.—In 1880 Mr. Weist-Hill was appointed Principal of the Guildhall School of Music. This post he still retains, and under his energetic direction the number of pupils has risen to upwards of 2500.

[ A. C. ]

WELCH, John Bacon, well-known teacher of singing, born at Pattishall Vicarage, Northampton, Dec. 26, 1839. He began, his musical education in London, and in 1861 went to Milan, and studied for three years under Signer Nava. Ultimately he settled in London, where he has a large number of private pupils, and is Professor of Singing at the Guildhall School of Music. Among his most successful pupils may be mentioned Miss Anna Williams, Miss A. Marriott, Miss Santley (now Hon. Mrs. R. Lyttelton), Mr. H. Blower, Mr. Bridson, Mr. Brereton, Mr. H. Piercy. [App. p.816 "add date of death, July 1, 1887."]

[ G. ]

WELCKER VON GONTERSHAUSEN, Heinrich, Court pianoforte maker to the Grand Duke of Hesse, and a writer on the construction and history of musical instruments, particularly the pianoforte, was born at Gontershausen, a village in the Grand Duchy of Hesse Darmstadt, in the year 1811. He died at Darmstadt, June 15, 1873. His published works include:—

1. Die musikalischen Tonwerkzeuge in technischen Zeichnungen aller Saiten-, Blas-, Schlag-, und Frictions-Instrumente, mit spezieller Beschreibung ihres Baues, Tonumfangs, und fasslicher Angabe ihrer Behandlung und Erhaltung. Mit 160 Abbildungen. Frankfurt am Main.
2. Der Flügel oder die Beschaffenheit des Pianos in allen Formen. Eine umfassende Darstellung der Forte-Piano-Baukunst vom Entstehen bis zu den neuesten Verbesserungen mit specieller Hinweisung auf die rationelle Praxis für Bearbeitung und Zusammensetzung der Mechanismen, nebst gründlicher Anweisung zur Intonirung, Stimmung, und Saitenbemessung. Mit 75 Zeichnungen. Frankfurt am Main (neue vermehrte Ausgabe, 1856).
3. Die Clavierbau in seiner Theorie, Technik und Geschichte, unter Hinweisung seiner Beziehungen zu den Gesetzen der Akustik. Mit 91 Abbildungen. Frankfurt am Main (vierte mit einem Nachtrag vermehrte Ausgabe, 1870).
4. Ueber den Bau der Saiteninstrumente und deren Akustik, nebst Uebersicht der Enstehung und Verbesserung der Orgel. Ein Anhang zum Clavierbau in seiner Theorie, Technik und Geschichte. Frankfurt am Main, 1870.

Or in English:—

1. Technical drawings of musical instruments, whether string, wind, percussion, or friction; with special descriptions of their construction and compass, and an intelligible statement of their treatment and preservation. With 160 illustrations. Frankfort.
2. The Grand Piano, or the manufacture of the piano in all forms. A comprehensive explanation of Pianoforte construction from its origin up to the latest improvements, with special reference to the rational practice of making and setting up the action, together with well-grounded instructions for Toning, Tuning, and Stringing. With 75 drawings. Frankfort (new enlarged edition, 1856).
3. Pianoforte-making in its theory, practice, and history, with reference to its relations with the laws of Acoustics. With 91 illustrations. Frankfort (Fourth edition, with an ethnological and historical supplement dealing with the musical instruments of the Chinese and other Eastern nations, the Egyptians, Hebrews, Greeks, Romans, Gauls, etc.).
4. On the construction of stringed instruments and their acoustical explanation, together with a survey of the origin and improvement of the Organ. An appendix to Pianoforte-making in its theory, practice, and history. Frankfort, 1870.

These very meritorious works bear witness to Welcker's great industry. They are not, however, to be always accepted as authorities, and a comparison of the 'Clavierbau' with the 'Flügel' shows that the earlier works, for which he had presumably his note-books at hand, are more trustworthy than the later ones. Where reference to them is made in this Dictionary it has been with due correction, if necessary.

[ A. J. H. ]

1. In 1878 he conducted at Her Majesty's the winter season of English opera.