A Dictionary of Music and Musicians/Walsh, John
WALSH, John, one of the most eminent music-publishers of his day, commenced business probably about 1690 at the sign of 'The Golden Harp and Hautboy in Catherine Street in the Strand.' In 1698 the epithet 'Golden' was discontinued. He held the appointment of 'Musical Instrument Maker in Ordinary to His Majesty.' Walsh published many works in conjunction with 'J. Hare, Musical Instrument Maker, at the Golden Viol in St. Paul's Church Yard, and at his Shop in Freeman's Yard in Cornhill, near the Royal Exchange,' or 'att ye Viol & Flute in Cornhill, near the Royall Exchange.' His earlier publications were engraved, but about 1710 he commenced the practice of stamping upon pewter plates. His work of both kinds is mostly rough and unfinished. In 1700, copies of some of Corelli's Sonatas having been imported from Rome, Walsh announced 'Twelve Sonnata's in Two Parts; The First Part Solo's for a Violin, a Bass-Violin, Viol and Harpsichord; The Second, Preludes, Almands, Corants, Sarabands, and Jigs, with the Spanish Folly. Dedicated to the Electoress of Brandenburgh by Archangelo Corelli, being his Fifth and Last Opera. Engraven in a curious Character, being much fairer and more correct in the Musick than that of Amsterdam.' His principal publications include Handel's overtures and songs in 'Rinaldo,' 'Esther,' 'Deborah,' and 'Athaliah,' the Utrecht Te Deum and Jubilate and four Coronation Anthems, all in full score; Dr. Croft's thirty Anthems and Burial Service; Eccles's Collection of Songs and 'Judgment of Paris,' and Daniel Purcell's 'Judgment of Paris.' He died March 13, 1736, having, it is said, amassed a fortune of £20,000. He had, some time before his death, resigned his appointment of Musical Instrument Maker to the King in favour of his son,
John, who succeeded to his father's business and conducted it with great energy and success for nearly thirty years. He published the overtures and songs in many of Handel's operas and in most of his oratorios; his 'Alexander's Feast' (for the Author) and 'Acis and Galatea,' and his Funeral Anthem; also the second volume of his 'Suites de Pieces pour le Clavecin,' and his 'Six Concertos for the Harpsichord or Organ' (Oct. 1738), of the copyright in which latter Handel made him a present; Dr. Greene's forty Select Anthems, his 'Spenser's Amoretti,' Songs, Sonatas, etc.; Dr. Boyce's 'Solomon,' 'Chaplet,' 'Shepherd's Lottery, and 'Lyra Britannica'; Dr. Arne's 'Vocal Melody,' Pergolesi's 'Stabat Mater,' etc., etc. He died Jan. 16, 1766, and was buried, with much funeral pomp, at St. Mary's, Strand.
After his death his business passed into the hands of William Randall, who commenced the publication of Handel's works, in score, in a complete form. He used Walsh's plates, when applicable, for the songs, and had new ones stamped for the recitatives and choruses, the contrast of style between the two being often very striking. One of his publications ('Messiah') bears the imprint of 'Randall & Abell.' He was succeeded by Henry Wright, who continued the publication of Handel's works in a complete form, and published several of the oratorios, etc. of the great master. Some of his imprints have the names of 'Wright & Co.,' and one (No. 10 of the Chandos anthems) those of 'Wright & Wilkinson.' After his death or retirement the business was divided between Robert Birchall who had been assistant to Randall, and Longman & Wilkinson. [See Birchall.]