necessitating its being tuned with the tuning-hammer in the left hand, which is exceedingly awkward to any one who is not left-handed. This also explains why it is held on the left shoulder, and played upon with the left hand in the treble and the right hand in the bass, so as to leave a full view of the strings; otherwise the comb would inconveniently intercept the view.
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Vincentio Galileo, in his 'Dissertation on Ancient and Modern Music,' published in Florence in 1581, states that a double harp (or harp with two rows of strings) was common in Italy in his day. It consisted of a diatonic scale on the right side from the upper part down to the centre of the instrument, with another row of accidentals on the opposite side, to be played, when required, by putting the finger through; and the diatonic scale continued on the left side from the centre to the lower part of the instrument, with the accidentals on the other row on the opposite side. This shows that it was played on with the right hand in the treble and the left in the bass.
Galileo alleges that Italy derived this instrument from Ireland; but it is difficult to conceive how the Irish could have possessed such a harp, inasmuch as it has left no trace upon their national music, the peculiarity of the scale of which consists in leaving out all the notes and accidentals which indicate the least modulation from key to key, but which notes and accidentals would have been available on the above instrument. The invention of the Welsh Triple Harp, with three rows of strings, naturally followed; for, as music advanced, the inconvenience of being circumscribed within the limited compass of only half the diatonic scale on either side of the instrument would soon be felt; therefore the diatonic scale was extended on each side to the full extent of the instrument, with a centre row of accidentals equally extended and accessible from either side. This invention, so far in advance of any other instrument of its kind hitherto known, must have given a powerful impetus to the progress of music in the Principality, and may go far to account for the beauty, in an artistic point of view, of the national music of Wales.
Nevertheless, the great difficulty of playing accidentals on the inner row of strings in rapid passages, and the impossibility of modulating out of the key in which the instrument was tuned, gave rise to the invention of the Pedal Harp, which is an immense improvement, in a musical sense, upon any former invention, as it admits of the most rapid modulation into every key, and enables the performer to execute passages and combinations that would not have been dreamt of previously. In the double-action harp, as perfected by Erard, each note has its flat, natural, and sharp, which is not the case with any other stringed instrument; and this enables the modern harpist to produce those beautiful enharmonic effects which are peculiar to the instrument. Another remarkable advantage is the reduction in the number of strings to one row, which enables the performer not only to keep the instrument in better tune, but to use a thicker string, and thus attain a quality of tone which, for mellowness and richness, may be advantageously compared with that of any other instrument.
WELSH, Thomas, born at Wells, Somersetshire, about 1780, became, when six years old, a chorister in the cathedral there. He made such rapid progress that in the course of a few years Wells became the resort of lovers of music attracted by the beauty of his voice and excellence of his singing. His fame at length drew the attention of Sheridan and Linley, and he appeared in 1792 at the Bath concerts, in the concerts given at the King's Theatre during the rebuilding of Drury Lane, and also on the stage in Attwood's 'Prisoner.' He subsequently performed at Drury Lane in Attwood's 'Adopted Child,' Storage's 'Lodoiska,' and other pieces. John Kemble thought highly of his abilities as an actor, and taught him to perform the part of Prince Arthur in Shakspere's 'King John.' After the breaking of his boyish voice Welsh pursued his studies under C. F. Horn, John Cramer, and Baumgarten. In 1802, his voice having become a deep and powerful bass, he was admitted a Gentleman of the Chapel Royal. A few years later he essayed dramatic composition, and produced 'Twenty years ago,' a melodramatic entertainment, 1810; 'The Green-eyed Monster,' musical farce, and 'Kamtchatka,' musical drama, 1811. But his greatest reputation was gained as a singing master and instructor of pupils for the stage. Foremost among those whom he taught were John Sinclair, C. E. Horn, Miss Stephens, and Miss Wilson. He joined Hawes in carrying on the Royal Harmonic Institution. [See Argyll Rooms.] He published some glees and pianoforte pieces and a 'Vocal Instructor.' He married Miss Wilson, who had been his pupil, and had issue an only child, who became the wife of Alfredo Piatti, the eminent violoncellist. Welsh died Jan. 24, 1848. [See Wilson, Mary Ann, p. 463].
WERT,[1] Giaches (or Jacques) de, a Flemish composer of the second half of the 16th century, has been the subject of much confusion at the hands of biographers. Fétis, in his first edition, regarded him as the same person with Jacques
- ↑ For the spelling of the name, see the facsimile of his autograph signature in Vander Straeten, 'La Musique aux Pays-Bas,' vi. 343. Other forms are 'Jaquet (Qiacche, etc.) de Weert,' or 'Weerdt': cp. Ibid. i. 119.
