of Mozart' (1877). All published by Longman & Co., London.
WALLACE, William Vincent, of Scottish descent, but born at Waterford, in Ireland, about 1812 or 1814 [App. p.814 "July 1, 1814"]. His father, a bandmaster and skilful bassoon player, migrated to Dublin, and was engaged in the band of the Theatre Royal there, where his son Wellington played second flute. Vincent had displayed considerable talent as organist before quitting Waterford, and his skill and steadiness as a violinist were so appreciated in the Dublin theatre, that we find him leading the band dressed in a boy's jacket, whenever the regular chef was belated. Although the name of young Wallace's violin teacher has not transpired, there was a school for the instrument in Dublin, at the head of which was Alday, a scholar of Viotti. In June 1829 Wallace sustained the violin part in Herz and Lafont's duo on Russian airs at a public concert in Dublin, and continued to appear at concerts there, and at the festival held in 1831, when Paganini was engaged. The extraordinary and novel effects produced by the gifted Italian inspired young Wallace, who sat up night after night trying to approach the then unapproachable virtuoso. In 1831 Wallace married the daughter of Mr. Kelly, of Frescati, Blackrock, near Dublin, who survived him, and is still living (1895). He turned his knowledge of the violin to account by playing a concerto for that instrument of his own composition at a concert in Dublin in May, 1834; but Dublin offered little field for an aspiring artist, and so, wearying of such mechanical labours as adding symphonies and accompaniments to songs for the Dublin publishers, he quitted Ireland in 1835, with his wife and her sister, and with much courage transferred his household to an abode in the bush far to the west of Sydney, New South Wales. During one of his visits to Sydney, some friends accidentally hearing him play, were amazed to discover in a simple emigrant a violinist of the first rank, and Wallace, by the solicitation of Sir John Burke, the Governor, was induced to give a concert, which had enormous success. The Governor's payment was a characteristic one, it consisted of 100 sheep. Wallace then wandered to Tasmania and New Zealand, narrowly escaped being killed by the savages, and was once saved in the most romantic way by a chiefs daughter. He went a whaling voyage, when the native crew mutinied, and only Wallace and three more escaped. He then went to the East Indies, and played before the Queen of Oude, who made him magnificent presents; visited Nepaul and Cashmere, sailed next to Valparaiso, and after some curious adventures there crossed the Andes on a mule, and arrived at Buenos Ayres. He returned to Santiago and had additional experience of Colonial currency, for admission to his concerts the natives offering their favourite gamecocks at the doors, while Wallace netted £600 by these proceedings. A concert in Lima is said to have produced him £1000. He visited Havana, Tampico, Vera Cruz, and Mexico, where his mass was written and performed with success. At New Orleans the very musicians laid down their instruments to applaud him. In 1845 we find him in London, in a costume somewhat singular for the private box of a theatre. 'It consisted,' says Mr. Heyward St. Leger, 'of a white hat with a very broad brim, a complete suit of planter's nankeen, and a thick stick in his hand.' Wallace recognised St. Leger immediately. They at once renewed their intimacy, dating from the days when Wallace had led the Dublin orchestra. Enquiring of his friend whether he thought him capable of composing an opera, 'Certainly,' replied the other, 'twenty.' 'Then what about a libretto?' Come over now to Fitzball with me, and I will introduce you.' Accordingly they called on the poet at his house in the Portland Road: he opened the door in person, and St. Leger vouches for the fact that the pen in his hand was still moist from finishing the libretto of Maritana. 'Here Fitz,' said St. Leger, 'is another Irishman, a compatriot of Balfe's: he wants a libretto!' The old poet invited them in, Wallace played to him, and Fitzball at once gave him the book of 'Maritana' (Drury Lane, Nov. 15, 1845), which proved a great success, and still keeps the stage. In 1847 he produced 'Matilda of Hungary,' of which the libretto was, even for Bunn, outrageously bad. In 1849 we find him at the head of a concert party in South America. On his return he went to Germany, where he remained 14 years. To this period belongs most of his pianoforte music, partaking of the dreamy style of Chopin, the ornate cantabile of Thalberg, and his own charming manner. Part of the opera Lurline too was now written, in the romantic district it describes. An unpublished opera, 'The Maid of Zurich,' dates also from this period. The Irish composer now received a high compliment—a commission from the Grand Opéra of Paris. He began to write, but his eyesight failing he abandoned his pen, and once more went abroad, visiting both North and South America, and giving concerts with great success. He was nearly blown up in a steamboat in 1850, and lost all his savings by the failure of a pianoforte factory in New York. His concerts there, however, proved very lucrative. He returned to London in 1853, his pianoforte music being in high repute and eagerly sought for by the publishers. In 1860 he brought forward his 'Lurline' (Covent Garden, Feb. 23); it met with even greater success than 'Maritana,' equally overflowing with melody, and being in addition a really fine piece of art-work. In 1861 appeared 'The Amber Witch' (Her Majesty's, Feb. 28); in 1862 'Love's Triumph' (Covent Garden, Nov. 16 [App. p.814 "Nov. 3"]); in 1863 'The Desert Flower' (Covent Garden, Oct. 12). This was his last completed work, but of an unfinished opera, called 'Estrella,' some fragments remain. His health had been breaking for some time, and he was ordered to the Pyrenees, where he died at the Chateau de Bagen, Oct. 12, 1865. He left a widow, who, as has been already stated, is still living (1895); also two boys, students of the Conservatoire at Paris. His
