WHITMORE, Charles Shapland, born 1805, at Colchester, educated at Rugby and Cambridge; called to the Bar 1830; Q.C. 1855; County Court Judge 1857. He was an enthusiastic amateur, and composed various songs, viz. 'Oh Sorrow' (Barry Cornwall), 'Oh, the merry days,' 'Farewell, I know thy future days'; and, in 1830, 'Isle of Beauty, fare thee well.' This last, with accompaniments by Rawlings, enjoyed very great popularity, and as recently as 1878 was republished with fresh accompaniments, as 'a celebrated English ditty of the olden time.' Mr. Whitmore died in 1877, and on his deathbed composed a Kyrie, which is good enough to be included in the Temple Church Service Collection. His brother, Lt.-Gen. Francis Locker Whitmore, was director of the Military Music School nt Kneller Hall, which he left in 1880. [See Kneller Hall.]
WHYTHORNE, or WHITEHORNE, Thomas, born in 1528, is known only as the composer of a collection of part-songs which issued from the press of John Day in 1571, bearing the quaint title of 'Songes for three, fower and five voyces, composed and made by Thomas Whythorne, Gent., the which songes be of sundrie sortes, that is to say, some long, some short, some hard, some easie to be sung, and some between both; also some solemne and some pleasant or mery, so that according to the skill of the singers (not being musicians) and disposition and delite of the hearers, they may here find songes to their contentation and liking.' A woodcut portrait of the composer is on the back of the title. The compositions do not rise above mediocrity. A portrait of Whythorne, painted in 1569, is in the possession of Mr. Julian Marshall [App. p.817 "Mr. W. H. Cummings"].
WIDERSPÄNSTIGEN ZÄHMUNG, DER—The Taming of the Shrew. An opera in 4 acts, adapted by J. V. Widmann from Shakspeare, and set to music by H. Goetz. It was produced at Mannheim, Oct. 11, 1874. In English (Rev. J. Troutbeck), by Carl Rosa, at Her Majesty's Theatre, Jan. 20, 1880. The English version is published by Augener & Co.
WIDOR, Charles Marie, organist and composer, born Feb. 22, 1845, at Lyons, where his father was organist of St. François. After an early training at home he was sent to Belgium, where he studied the organ with Lemmens, and composition with Fétis. He then returned to Lyons, and in Jan. 1870 became organist at St. Sulpice in Paris, a post he still retains.
M. Widor's intellectual activity and position in good society did not tempt him to be a mere virtuoso; he soon won himself a place among the composers and writers on music. His duties as critic of the 'Estafette,' under the two signatures of 'Tibicen' and 'Auletes,' leave him ample time for composition. His works include a quantity of PF. pieces; songs with PF. accompaniment; duets for soprano and alto, etc.; 2 orchestral symphonies (in F and A); 'Nuit du Sabbat,' caprice symphonique in 3 parts; 3 concertos for PF. and orchestra, cello and orchestra, and violin and orchestra; PF. quintet in D minor; PF. trio; sonata for PF. and violin; suite for flute, and 6 duets for PF. and organ. He has also published a Mass for 2 choirs and 2 organs; Psalm cxii. for chorus, orchestra, and organ; several motets, and two collections of 'Symphonies' for organ. His Ballet in a acts, called 'La Korrigane,' was produced at the Opéra, Dec. 1, 1880, with success, though his 'Maitre Ambros,' an opera in 3 acts and 4 tableaux to a libretto by Coppée and Auguste Dorchain, produced at the Opéra Comique in May, 1886, was not so fortunate. The work will, however, confirm M. Widor in popular estimation and the respect of connoisseurs; for the pains he bestows on all his compositions, coupled with the grace and distinction of his melody, and his horror of vulgarity, seem to point him out as fitted to please both the public and the select few. His Symphony in A was played at the Crystal Palace, March 19, 1887. [App. p.817 "Add that in 1888 he visited England and conducted his 'Music to a Walpurgis Night' at the Philharmonic Concert of April 19."]
WIECK, Friedrich, a remarkable pianoforte teacher, and father of Madame Schumann, was born Aug. 18, 1785, at Pretsch, near Torgau, in Saxony, began life as a student of theology at Wittenburg, preacher and private tutor, and, was for some time engaged in a piano factory and library at Leipzig. His first wife was named Tromlitz, and was the mother of Clara Josephine, his famous daughter, and of two sons, Alwyn and Gustav. This union, however, was broken off, and the lady married Bargiel, father of Woldemar Bargiel. Wieck married again, July 31, 1828, Clementine Fechner, by whom he had a daughter Marie. About 1844 he removed from Leipzig to Dresden, where he resided till his death, Oct. 6, 1873, spending the summer at Löschwitz, and leading a very musical life, his house a rendezvous for artists. Mendelssohn endeavoured to secure him as Professor of the Piano in the Leipzig Conservatorium, but without success, and Moscheles was appointed instead.
Wieck began to teach the piano on Logier's system, but soon abandoned it for a method of his own, if that can be called a method which seems to have consisted of the application of the greatest care, sense, and intelligence possible to the teaching of technique and expression. He has embodied his views on the piano and singing in a pamphlet entitled 'Clavier und Gesang' (2nd ed., Leipzig, 1875), translated bv H. Krüger, of Aberdeen, with three portraits. [See vol. iii. p. 423b.] Among Wieck's pupils may be mentioned Hans von Bülow, who, in a letter quoted in the translation just mentioned, speaks of him with respect and gratitude. But his daughter Clara, is his best pupil, and his greatest glory.
An institution called the 'Wieck-Stiftung' was founded in Dresden on Aug. 18, 1871, his 86th birthday, partly by funds of his own. He continued to see his friends almost up to the end of his life, and an amusing account of a visit to him in 1872 is given by Miss Amy Fay ('Music Study in Germany,' London, 1886, p. 147).
