Page:A Dictionary of Music and Musicians vol 4.djvu/834
��Oct. 4, 1 505. He was a man of some wealth, if we may judge from his benefactions to the Car- thusian Priory of Henton, near Bath, which were so considerable that a Requiem was ordered to be sung for his soul in every house of the Order throughout the kingdom. Edward Lee, Arch- bishop of York, who in his younger days had met Wydow, called him 'facile princeps' among the poets of his day. Holinshed speaks of him as an 'excellent poet/ and classes him among the celebrities of Henry VII.'s reign. Wydow's chief poetical work was a rhythmical life of Edward the Black Prince, to which Leland refers in these words :
Contttlit Hectoreis arguta voce triumphis Eduerdum Viduua doctissiraus ille Nigellum Et facti pretium tulit immortals poeta.
This work is said to have been written by Wydow at the instigation of his royal patron. He also wrote a book of epigrams. No musical composition by this author is extant. [A.H.-H.]
WYNNE, SARAH EDITH, born March n, 1842, at Holy well, Flintshire, was taught sing- ing by Mrs. Scarisbrick of Liverpool, and by Pinsuti, at the Royal Academy of Music, where she was Westmorland Scholar, 1863-64. She was subsequently taught by Romani and Van- nuccini at Florence. She first sang in the pro-
vinces, and made her ddbut in London (St. James's Hall), at Mr. John Thomas's Welsh concert, July 4, 1862. She sang with great success in the following year at Henry Leslie's Welsh concert, Feb. 4, at the Crystal Palace, April 25, at Mr. Thomas's concert in his cantata ' Llewellyn,' June 29, and as the heroine on the production of Macfarren's 'Jessy Lea,' at the Gallery of Illustration, Nov. 2. Chorley was one of the first to draw attention to her talent. She became a great favourite at the above con- certs, at the Philharmonic, the Sacred Harmonic, the Popular, Ballad, and other concerts, and later at the Handel and provincial Festivals, etc. She sang in the United States with the Pateys, Cummings, and Santley, in 1871-2, and at the Boston Festival of 1874. She played a few times in English opera at the Crystal Palace in 1869-71 as Arline, Maritana, Lady Edith (in Randegger's ' Rival Beauties *) : but she was chiefly noted for her singing of songs and bal- lads, and was remarkable alike for her passionate expression and the simplicity of her pathos. Since her marriage with Mr. Aviet Agabeg, at the Savoy Chapel, Nov. 16, 1875, she has sung less frequently in public, but has devoted herself prin- cipally to giving instruction to young professional singers in oratorio and ballad singing. [A.C.]
��X, Y, Z.
��XYLOPHONE. See STROHFIEDBL.
��YANKEE DOODLE. P. 494 a, in bar 8 of
musical example, the first note should be C, not E.
YEOMEN OF THE GUARD, THE: or, THE MERRYMAN AND HIS MAID. Opera in two acts ; the words by W. S. Gilbert, music by Sir Arthur Sullivan. Produced at the Savoy Theatre Oct. 3, 1888. [M.]
YONGE, NICHOLAS. Line 10 from end of article, for Bodenham read 'A. B.', since Mr. A. H. Bullen, in his recent re- issue of 'Eng- land's Helicon' (1887), proves conclusively that the ' A. B.' by whom the original work was edited cannot be Bodenham, as was formerly supposed.
ZAUBERFLOTE, DIE. Last line but one of article,/or 1883 read 1833.
��ZULEHNER. See MOZART, in Appendix.
ZUR MUHLEN, RAIMUND VON, was born Nov. 10, 1854, on t ne property of his father in Livonia. He received his education in Germany, and in his twenty-first year began to leara sing- ing at the Hochschule, Berlin, and continued the study under Stockhausen at Frankfort, and Bussine in Paris. His specialty is the German Lied, particularly the songs of Schubert and Schumann, of the latter of which he has made a special study with Madame Schumann. His voice is peculiar and sympathetic; but what gives Zur Muhlen's singing its chief charm is the remarkable clearness of his pronunciation, and the way in which he contrives to iden- tify the feeling of the words with the music, to an extent which the writer has never heard equalled. He sang in London first in 1882, and has been a frequent visitor since. The writer regrets not to have beard him in a work of Beethoven. [G.]