Scan 32
Dictionary of music and musicians : American supplement …, 1920
42 lines. Read by computer on 11 September 2026. Printed page 20. See the scan on archive.org.
1ganist at Rochester or traveling. See Vol. iv. 194–5, and Madeira, pp. 131–7.
3*Scharfenberg, William (Hesse, 1819–1895, Quogue, N. Y.), pianist (pupil of Hummel) and violinist under Spohr, came to New York in 1838 and was long prominent as teacher and concertist. He was active in the Philharmonic Society and for many years was reader and editor for Schirmer.
5*Schlesinger, Daniel (Hamburg, 1799–1838, New York), pupil of Ferdinand Ries and Moscheles in England, came to New York in 1836, taught and gave a few concerts, besides being chosen to lead the Concordia, giving promise of fine influence.
7*Schmitz, Adolph, a musician from Düsseldorf, was brought to Philadelphia in 1826 as teacher by the Musical Fund Society. He long continued to be useful artistically.
9*Schomacker [Schumacher], Johann Heinrich (Schleswig-Holstein, 1800–1875, Philadelphia), after training as piano-maker in Vienna and activity in Bavaria, in 1837 came to Philadelphia and, after a short partnership with William Bossert, in 1842 started the Schomacker Piano Co., which soon acquired the excellent reputation still maintained. Its later development was largely in the hands of H. W. Gray (b. Ephrata, Pa., 1830) and the founder’s son Henry C. Schomacker (b. Philadelphia, 1840).
11*Seguin, Arthur Edward Sheldon (England, 1809–1852, New York), and his wife Ann Seguin, née Childe (England, 1814–1888, New York), bass- and soprano-singers of ability, came to New York in 1838 and were active there and elsewhere till after 1850, Mrs. Seguin continuing as a teacher. See Vol. iv. 408.
13*Stewart, James, a Scottish piano-maker, came to Baltimore in 1812, moved to Boston in 1820 and, after a short association with Osborn, became Chickering’s first partner in 1823. In 1826 he returned to London, and from 1827 for more than thirty-five years was connected with the Collards. Through him many American ideas were conveyed into English practice. See Spillane, pp. 30–1, 42–3, 57–8, etc., and also Vol. iii. 731–2.
15*Stodart, Robert, another Scottish piano-maker, probably the grandnephew of the well-known English pioneer of the same name, came to New York in 1819 and in 1820–35? worked with Dubois, building up a fine reputation. In 1836 the firm of Stodart, Worcester & Dunham was formed, in which an Adam Stodart figures (nephew of Robert). From about 1850 for twenty years the firm was highly regarded. On the original Stodart see Vols. iv. 700 and iii. 722–31.
17*Taylor, Samuel Priestley (England, 1779–1875?, Brooklyn), from 1806 was organist and teacher in New York and Brooklyn and, except for a sojourn in Boston in 1819–26, continued active there until after the Civil War.
19*Timm, Henry Christian (Hamburg, 1811–1892, New York), a competent pianist, came to New York in 1835 and there and elsewhere gave concerts, served as organist, joined in chamber-music and taught. He was often drawn into operatic work as conductor or chorus-master. In 1847–64 he was president of the Philharmonic Society. He wrote a grand mass, transcriptions for two pianos, part-songs, etc.
21*Traetta, Filippo (Italy, 1777–1854, Philadelphia), came to Boston in 1799, soon removed to New York, toured with opera-troupes, lived for a time in Virginia, and settled in Philadelphia in 1822. See art.
23*Wainwright, Jonathan Mayhew (England, 1792–1854, New York), coming to America as a boy, graduated at Harvard in 1812 and was tutor there in 1815–17, was Episcopal minister from 1818, chiefly in New York, where from 1837 he was at St. John’s and in 1852–54 Bishop of New York. See Tune-Books.
25Warren, Samuel Russel (d. 1882, Montreal), born in Rhode Island, was an organ-maker with Appleton in Boston about 1830, went to Montreal in 1837, becoming a leader in the industry in Canada. (See S. P. Warren, sec. 5.)
27*Webb, George James (England, 1803–1887, Orange, N. J.), came to Boston in 1830 as organist, singing-teacher and colaborer with Mason. He removed to Orange in 1870 and taught in New York. See art. and Tune-Books.
29Webb, Thomas Smith (d. 1819), long prominent in Rhode Island as a Freemason and interested in developing lodge-music, was one of the founders of the Handel and Haydn Society of Boston in 1815 and for two years its conductor.
31White, John (Abington, Mass., 1785–1865, Barre, Mass.), was a pioneer American violin-maker, beginning in 1802. In 1806 he removed to Barre. His sons, Ira J. White (Barre, 1813–1895) and Asa Warren White (Barre, 1826–1893), continued the family tradition with success. See Violinist’s Guide, 1916, p. 18.
33Willard, Benjamin W., originally a maker of clocks, began making ’cellos and basses at Lancaster, Mass., about 1805 and by 1810 had produced about sixty instruments.
35Winchester, Amasa, was conductor of the Handel and Haydn Society in Boston in 1819–26.
37*Wise, John J., from 1829 till after 1850 a leading piano-maker in Baltimore, instituted several useful features in action, stringing and sound-boards. From about 1860 the business was continued by his sons.
39*Wood, Mary Anne, née Paton (Scotland 1802–1864, England), a brilliant and charming soprano, with her husband Joseph Wood, a good tenor, appeared from 1833 in New York and other cities with striking success. See Vol. iii. 653–4.
41*Zeuner, Charles (Saxony, 1795–1857, Philadelphia, suicide), came to Boston in 1824, where he was organist at Park Street Church and in 1830–37 for the Handel and Haydn Society, besides being a leader in other artistic enterprises. In 1854 he went to Philadelphia as organist. Besides much church-music, he composed an oratorio, ‘The Feast of Tabernacles’ (1832). See Tune-Books.
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