the Cathedral Church of Chichester,' but as his name is not to be found in the Cheque-book of the Chapel Royal it is doubtful whether he held any regular appointment there. In 1614 he was a contributor to Leighton's 'Teares or Lamentacions.' His five published works contain 94 compositions distinguished by originality and excellent part-writing, as well as by a certain characteristic stiffness; many of them are still popular and have been often reprinted. Amongst them may be named 'Lo! country sports,' 'To shorten winter's sadness,' 'In pride of May,' 'Sing we at pleasure,' and 'The nightingale.' An anthem by him, 'Lord, grant the king,' is printed in Barnard's collection; and two others, 'All people clap your hands,' and 'When David heard that Absalom was slain,' are in the Collection of Anthems by Madrigal Composers published by the Musical Antiquarian Society. Eleven anthems more are in Barnard's MS. collections in the Library of the Royal College of Music.
WEHLI, or WEHLE, Karl, a brilliant pianist known in London some years back, was the son of a merchant in Prague, and born March 17, 1825; learned the PF. under Moscheles and Kullak, composed very much, and exhibited his talent in Europe, America, Australia, India, etc. Paris was for long his headquarters. The list of his works given by Pougin comprises a Sonata (op. 38), Impromptus (10, 73), Ballades (11, 79), Nocturnes, Waltzes, and Allegro hongroise (81), etc., etc. [App. p.816 "add that he died Jan. 25, 1887."]
WEIGL, Joseph, a native of Bavaria, entered Prince Esterhazy's band at Eisenstadt as first cellist in 1761, left in 1769 for the orchestra of the Imperial Opera at Vienna, was admitted member of the Imperial Chapel 1792, and died Jan. 25, 1820, in his 79th year. He was a great friend of Joseph Haydn, who stood godfather to his eldest son,
Joseph, born at Eisenstadt, March 28, 1766. Joseph's first teacher was Sebastian Witzig, choirmaster of Korneuburg, and later he studied with Albrechtsberger and Salieri. At 16 he wrote his first small opera 'Die betrogene Arglist,' which was produced at Gluck's recommendation, and secured him the favour of the Emperor Joseph, of which he had henceforth repeated proofs, including a present of 100 ducats (about £50) for his first Italian opera 'Il Pazzo per forza' (1788). A letter of congratulation written him by Haydn on the production of his 'Principessa d'Amalfi' is well known. Weigl was also fortunate enough to gain admittance to the performances of classical music under Mozart's direction, at Baron van Swieten's house. Salieri took a special interest in him, and employed him up to 1790 as assistant-conductor of the National Court Theatre. In 1792 he became composer to the Opera with a salary of 1,000 florins, then Capellmeister, and finally conductor. This post he resigned in 1823, and in 1827 was appointed Vice-Court-Capellmeister. Before that date he had composed a series of operas, German and Italian, and ballets, many of which became exceedingly popular. Amongst these, special mention must be made of the 'Schweizer Familie' (1809), which long kept the boards, and by its pleasing melodies won all hearts. Reichardt[1] gives a pointed description of Weigl: 'he is a really charming, affectionate, good-hearted Viennese, and his eye and whole expression are thoroughly in keeping with his tender, graceful, pleasing melodies.' Other favourite operas were 'Das Waisenhaus,' 'Nachtigall und Rabe,' 'Der Bergsturz,' 'L'Amor Marinaro,' and 'L'Uniforme.' Beethoven has preserved the air 'Pria ch'io impegno' in the 'Amor Marinaro' from oblivion, by taking it as the theme for the Finale of his Clarinet Trio, op. 11. [See vol. i. 178b]. L'Uniforme (libretto by Carpani) waa composed at the request of Maria Theresa, produced at Schönbrunn, and repeated in concert-form (1805) with the Empress in the principal part (Pauline). Treitschke translated it into German, and 'Die Uniform' was given at both court theatres, and in many foreign towns. Weigl waa a special favourite of the Empress (to whom Beethoven dedicated his Septet), and had to preside at the piano at all chamber-concerts, besides composing cantatas and small ballets for many court festivities. He had an advantageous offer for Stuttgart, but the Empress, to retain him, made his appointment for life. Soon after her death (1807) he accepted the post of Capellmeister at Dresden, but the negotiations were broken off, and Morlacchi appointed in his stead.[2] Weigl was twice invited to Milan to compose for the Scala—in 1807, when he produced two operas, 'Cleopatra,' and 'Il rivale di sè stesso,' and 1815, when he produced 'L'imboscata,' and a cantata, 'Il ritorno d'Astrea,' all with great success. Of his earlier cantatas, 'Minerva e Flora' was given at Prince Auersperg's in honour of a visit from the King and Queen of Sicily (1791), and 'Venere ed Adone' at Esterhaz in 1792, when the Archduke (afterwards Emperor) Joseph was staying with Prince Esterhazy at his country seat on the Neusiedlersee. Haydn was at the time in London, so Weigl was called upon to supply his place. This cantata figured several times in the programmes of the Tonkünstler-Societät concerts. Of his two oratorios, 'La Passione di Gesù Cristo' (libretto by Carpani), first produced at Court (1804), was performed at Prince Lobkowitz's, at the Burg Theatre (1811), at an extra concert of the Gesellschaft der Musikfreunde (1821), and in Prague and Milan. After 1827 he wrote only for the church, composing his last mass in his 71st year. Weigl received many distinctions, amongst others the large gold Ehrenmedaille (1839) and the freedom of the city of Vienna. He was an honorary member of the Conservatoire of Milan, the St. Cecilia Academy of Rome, the Gesellschaft der Musikfreunde, and other musical societies of Austria. He died Feb. 3, 1846. His works include 13 Italian and 18 German
