away to Paris, and in 1844 entered the Conser- vatoire, where he learned harmony under Elwart, and composition under HaleVy. Not succeeding in the Institut examinations, he left the school, and took to teaching and composition. Eager to produce, and very industrious, he let slip no opportunity of making himself known, and attempted all branches of composition, though soon finding that success at the theatre was out of the question. Musical bibliography was his main resource, and he brought to light many curious old compositions, such as the Ballet comique de la Reyne,' which was given with others of the same class, at the concerts of the Societe" de Sainte Cecile, of which he was chorus-master from 1850 to 55. 1 He also made a fine collection of scarce books of poetry, with airs in notation, and song- writers, which he turned to account in his Collections of national airs. In 1863 be was selected to form the library of the newly-founded ' Socie'te' des Com-
r'teurs de Musique,' and in 1869 was placed Auber in the Library of the Conservatoire, of which he became head-librarian Sept. 9, 1876 a post which he still (1885) $&* with success.
His vocal and operatic works include 6 operas; 2 ode-symphonies ; 2 antique dramas ; a large number of choruses for female voices and for male do. ; 6 Quatuors de Salon ; various exten- sive collections of pieces, and over 300 airs for voice and PF. ; a Mass and sundry Motets. His instrumental works comprise a Symphony and Suite, both for full orchestra; arrange- ments, etc.
His bibliographical works are as follows :
' Chansons populaires des provinces de la France' (1860), with Champfleury; 'Les Echos du Temps passe,' 3 vols. ; ' Les Echos d'Angle- terre'; 'Album de la Grandmaman,' 20 old melodies; 'Chansons et Rondes pour les enfants' (1885); 'Chansons de France pour les petits Fran9ais ' (1885) ; ' Ballet comique de la Reine ' ; Cambert's operas ' Pomone/ and ' Les Peines et les Plaisirs de 1' Amour ' ; ' Le Bourgeois Gen- tilhomme,' divertissements by Moliere and Lully. Various articles in the 'Bulletin de la Socie'te' des Compositeurs* ; ' Musiciana,* extracts from rare books (Paris, 1877) ; ' Chansons populaires de 1* Alsace,' 2 vols. (1883) ; and 'La Biblio- theque du Conservatoire de musique,' I vol. 8vo (1885), a catalogue raisonne of the books in the Reserve.
He has still in MS. 400 airs and 25 operas, and an 'Essai sur 1'Histoire de I'lnstrumentation,' commended by the Institut (1875). [G.C.]
WEDDING OF CAMACHO, THE (Die Hochzeit des Gamacho). A comic opera in 2 acts ; words by Klingemann, after Don Quixote ; music by Mendelssohn (op. 10) ; score dated Aug. 10, 1825. Produced in the small theatre, Berlin, April 29, 1827, and not performed a second time. The music was published in PF. score by Laue of Berlin. [See vol. ii. p. 259.] [G.]
i Seghers (1801-1881) was conductor.
��WEDNESDAY CONCERTS, London. These concerts were established in 1848 at Exeter Hall by Mr. Stammers, in order to give a miscel- laneous musical entertainment at a cheap price of admission. The prices charged were about the same as are now paid at the Popular Con- certs. The first series, consisting of fifteen con- certs, began Nov. 22, were continued once a week until Feb. 28, 1849. The second and third series were continued until June 27, twenty- seven having been given in all. There was a small orchestra under Willy as leader, and the programmes consisted of light overtures, operatic selections, vocal and orchestral, ballads, and light instrumental pieces. Occasionally more important works were tried, such as Mendels- sohn's Antigone, Rossini's Stabat Mater, or Mendelssohn's G minor Concerto. A fourth series of fifteen concerts was given, extending from Oct. 24, 1849, to Jan. 30, 1850, and a fifth was attempted, first under Mr. Stammers, and afterwards under Mr. Jarrett, but twelve of the fifteen only were given. The third and fourth series showed some slight improvement in the programmes ; the orchestra was increased to forty, Herr Anschiitz was conductor, and sym- phonies of Mozart and Haydn were occasion- ally given in their entirety. For some reason or other, in spite of the fine artists engaged, these concerts failed then to hit the popular taste. Among the artists who appeared must be named Mesdames Birch, Dolby, Poole, M. and A. Wil- liams, Angri, Jetty Treffz, Rainforth, Mr. and Mrs. Sims Reeves, Braham, Ronconi, Pischek, Formes, etc., vocalists ; Miss Kate Loder, Thai- berg, Billet, Sainton, Ernst, Vivier, Maycock, Lavigne, Distin and sons, instrumentalists; for the recitation of the Antigone, Mr. and Miss Vandenhoff, George Bennett, etc. [A.C.]
WEELKES, THOMAS, Mus. Bac., one of the most distinguished of English madrigal writers, published in 1597 a set of 'Madrigals to 3, 4, 5 and 6 Voyces,' which he described in the dedi- cation as ' the first fruicts of my barren ground.' This was reprinted in score by the Musical An- tiquarian Society under the editorship of Mr. (now Dr.) E. J. Hopkins. In 1598 he published a set of ' Ballets and Madrigals to five voyces, with one to 6 voyces,' in the dedication of which he speaks of his years being unripened. A second impres- sion appeared in 1608. In 1600 he issued two works, viz. ' Madrigals of 5 and 6 parts apt for the Viols and Voyces,' and 'Madrigals of 6 parts, apt for the Viols and Voices/ describing himself upon the title-pages of both as ' of the Coledge at Winchester Organist.' In 1601 he contributed to ' The Triumphes of Oriana ' the fine madrigal s As Vesta was from Latmos hill descending.' In 1602 he took the degree of Mus. Bac. at Oxford as of New College, his Christian name being erroneously entered in the University Register as 'William.' In 1608 he published ' Ayeres or Phantasticke Spirites for three voices,' upon the title-page of which he described himself as ' Gentleman of his Majesties Chappell, Batchelar of Musicke, and Organist of