WATSON, Thomas, put forth in 1590 'The first sett of Italian Madrigalls Englished, not to the sense of the original dittie, but after the affection of the Noate. By Thomas Watson. There are also heere inserted two excellent Madrigalls of Master William Byrd's composed after the Italian vaine at the request of the sayd Thomas Watson.' It is dedicated in a Latin metrical epistle to Robert Devereux, Earl of Essex, and there is also a similar epistle addressed to Luca Marenzio, the celebrated Italian madrigal composer, from whose works 23 of the 28 madrigals included in the publication were taken. Many of these madrigals are still well known. Watson is conjectured to have been identical with Thomas Watson, a native of London, who after studying poetry for some time at Oxford, returned to London to study law, and died about 1592. A collection of sonnets by him entitled 'Hecatompathia, or Passionate Centurie of Love,' was licensed in 1581, and some poems by him were inserted in the collection called England's Helicon,' 1614.
WEBBE, Samuel, born in 1740 in Minorca, was the son of a Government officer, who died suddenly, leaving his family in straitened circumstances. He was therefore, at 11 years of age, apprenticed to a cabinet-maker, but upon the expiration of his time quitted that calling and commenced the study of music under Barbandt, organist of the Bavarian ambassador's chapel. He also studied the Latin, French, and Italian languages. He first appeared as a composer about 1763, devoting himself chiefly to the production of unaccompanied vocal music. In 1766 the Catch Club awarded him a prize medal for his canon, 'O that I had wings,' and in subsequent years 26 other medals for the following compositions:—'The man and the woman,' catch, 1767; 'From everlasting,' canon, and 'A generous friendship,' glee, 1768; 'Alzate O porte,' canon, 1770; 'Iddio i quel che mi cingo,' canon, 1771; 'Discord, dire sister,' glee, 1772; 'To the old, long life,' catch, and 'Who can express,' canon, 1774; 'Now I'm prepared,' glee, 1775; 'You gave me your heart,' and ''Tis beauty calls,' glees, 1776; 'Glory be to the Father,' canon, and 'Rise, my joy,' glee, 1777; 'Great Bacchus,' and 'Hail, music,' glees, 1778; 'Neighbours, come,' catch, and 'O all ye works,' canon, 1781; 'My Lady Rantum,' catch, 1782; 'To Thee all angels,' canon, 1783; 'When youthful Harriet,' catch, and 'The fragrant painting,' glee, 1784; 'O Lord, shew Thy mercy,' canon, and 'Swiftly from the mountain's brow,' glee, 1788; 'Juliet is pretty,' catch, and 'Non fidi al mar,' glee, 1790; and 'Tell me,' catch, 1794. More than half of these compositions are catches and canons that have now nearly passed into oblivion, and but three of the glees can be ranked among Webbe's best. His finest works,—his glees 'When winds breathe soft,' 'The mighty conqueror,' 'Come live with me,' 'Thy voice, O Harmony,' 'To me the wanton girls,' and 'Hence, all ye vain delights,' and his catches, 'Dear father, the girl you desire me in marriage,' and 'Would you know my Celia's charms,'—are not to be found in the list of his prize compositions. On the death of Thomas Warren Horne in 1784 he became secretary to the Catch Club, and held the office until his death. On the establishment of the Glee Club in 1787 he became its librarian, and wrote and composed for it his glee 'Glorious Apollo,' which during the whole existence of the club enjoyed the distinction of being the first glee performed at every meeting. He was also organist of the chapel of the Sardinian embassy. He published in 1792 'A Collection of Motetts or Antiphons,' and 'A Collection of Masses for small choirs,' principally composed by himself. He published at various periods, commencing 1764, nine books of glees, etc., which were subsequently republished with additions in 3 vols. folio. 25 glees, 36 catches, and 9 canons by him are included in Warren's collections. He also composed several excellent songs, of which 'The Mansion of Peace' enjoyed a long-continued popularity. He died at his chambers in Gray's Inn, May 25, 1816, and was buried in Old St. Pancras churchyard. William Linley wrote an ode upon his death for the best setting of which a prize was offered. Seven competitors entered the lists, viz. William Beale, Lord Burghersh, James (?) Elliott, C. S. Evans, William Hawes, William Knyvett, and William Linley; the prize being won by Evans. Webbe stands in the foremost rank of glee-writers, and his works will maintain their position as long as a taste for that style of composition shall endure. As a man he was much beloved and respected for his social virtues.
Samuel Webbe, jun., his eldest son, was born in London about 1770. He studied principally under his father and became a good pianist and organist. Like his father he early devoted himself to the practice of vocal composition, and in 1794 obtained from the Catch Club prizes for a catch, 'Ah Friendship,' and a canon, 'Resonate Jovem,' and in 1795 for a canon, 'Come follow me.' About 1798 he settled in Liverpool and became organist of the Unitarian Chapel, Paradise Street. About 1817 he returned to London and joined Logier in teaching on the latter's system, and became organist of the Spanish ambassador's chapel. Some years afterwards he again settled in Liverpool, where he became successively organist of St. Nicholas Church and of St. Patrick's Roman Catholic Chapel, Toxteth Park. He composed many glees possessing great merit (among which 'Come away, Death,' is conspicuous), songs, motets, etc. He edited the collection of glees, etc., entitled 'Convito Armonico.' He died Nov. 25, 1843.
WEBER, Carl Maria Friedrich Ernest, Freiherr von, was one of those musicians in whose family music was long an hereditary gift. As far as we know, there is but one German musician with a musical pedigree longer and more widely spread than Weber's—Sebastian Bach. Like Bach too, Weber touched the highest point in the special branch cultivated
