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Scan 633
Grove's Dictionary of Music and Musicians, 1918
26 lines. Read by computer on 12 September 2026. Printed page 567. See the scan on archive.org.
1The actual process of working-out is not confined to the one position of the central division in a Binary movement; it is frequently used also in the Coda, which occasionally is of larger proportions and more full of interest than the actual working-out—as in the first movement of Beethoven's Sonata in Eb, op. 81a. A working-out also occurs in many rondos, occupying the place of one of the episodes, in a central position similar to that which it occupies in a Binary movement.
3In many overtures which are theoretically in Binary form, the working-out is almost entirely suppressed, and a mere short passage of modulation is interposed in its place between the exposition of the subjects and their recapitulation.
5C. H. H. P.
7WORMSER, André Alphonse Toussaint, born in Paris, Nov. 1, 1851, was a scholar of the Paris Conservatoire under Bazin and Marmontel, obtained the Prix de Rome in 1875 with his 'Clytemnestre,' and has won success with many operas and other works ('Adèle de Ponthieu' was given at Aix-la-Chapelle in 1887, 'Rivoli' in Paris in 1896); but none has yet achieved the success of the pantomime or wordless play, 'L'Enfant Prodigue' produced in Paris in 1890 (at the Cercle Funambulesque, June 14, and at the Bouffes Parisiens, June 21). It was produced at the Prince of Wales's Theatre, London, March 31, 1891, and at Dresden in 1903.
9M.
11WORNUM. The name of Wornum is intimately connected with the invention and development of the Upright piano, since it is Robert Wornum's action, patented in 1826, though not completed until the 'tie' was added in 1828, that is the universally adopted Cottage or Pianino action. Its excellence was early recognized, at first in France, where Pape introduced and Pleyel adopted it. From this circumstance it has been called the 'French' action; its use, however, has extended wherever upright pianos are made, and it does not appear likely to be superseded. Robert Wornum, the father of the inventor, was of a Berkshire family, originally Wornham, and was born in 1742. [He succeeded to the business established by J. and G. Vogler, in Glasshouse Street, and published many small books of dances, and airs for flute or violin. He moved to 42 Wigmore Street in 1777, and according to the Musical Directory of 1794, was a maker of violins and violoncellos. He died in 1815. F. K.] His son Robert Wornum, born 1780, was the inventor of diagonally and upright-strung low upright pianos in 1811 and 1813, which he named, respectively, the 'Unique' and the 'Harmonic.' He brought out his well-known 'piccolo' piano, in 1827, and finally perfected his crank action in 1829. He was intended for the Church, but the mechanical bias prevailed, and he went into partnership with George Wilkinson, in a pianoforte business in Oxford Street in 1810. A fire in 1812 caused a dissolution of this partnership. He ultimately established a Warehouse and Concert Room in Store Street, and died in 1852. The subsequent head of the firm of Robert Wornum & Sons, Mr. A. N. Wornum, succeeded to his grandfather's inventive talent. [See PIANOFORTE, vol. iii. p. 727a.]
13A. J. H.
15WOTQUENNE, Alfred, born at Lobbes in Hennegau, Jan. 25, 1867, was a pupil of the Brussels Conservatoire, under Brassin for piano, Mailly for organ, Dupont and Gevaert for theory; he became in 1894 librarian of the institution, and under his care the library has become a model of organisation. It has constantly acquired works of importance, both original and MS. copies of rarities in other libraries; and in no institution of the kind is a warmer welcome or more generous assistance given to research students. He has also published the following bibliographical works, which are indispensable to all students of musical history:—
17Catalogue de la Bibliothèque du Conservatoire de Bruxelles. 3 vols. 1888–1908.
18Etude bibliographique sur les œuvres de Baldassare Galuppi. 1900.
19Catalogue des livrets d'opéras et d'oratorios Italiens du XVII. siècle. 1902.
20Catalogue thématique de l'œuvre de Gluck. 1905.
21Catalogue thématique de l'œuvre de C. P. E. Bach. 1906.
22Table alphabétique des morceaux mesurés contenus dans les œuvres dramatiques de Zeno, Metastasio et Goldoni. 1906.
23Etude bibliographique sur Luigi Rossi. 1909. E. J. D.
25WOTTON, William Bale, bassoon-player, was born at Torquay, Sept. 6, 1832. His father was corporal-major in the 1st Life Guards, and he was thus brought up among the best regimental music. His fondness for the art showed itself very early; he learnt the flute and cornet, and at the age of thirteen entered the band of the regiment. The bassoon he learned with John Hardy, an excellent player, under whom he laid the foundation of that artistic style and charm of tone which distinguished him. He studied orchestral playing at the Royal Academy under Mr. Charles Lucas. His first appearance as a soloist was at the Town Hall, Windsor, where he and the late William Crozier (a most admirable player, who died Dec. 20, 1870, after having been for many years first oboe at the Crystal Palace) played a duet for oboe and bassoon under the direction of Dr. George Elvey. On the death of Baumann he would have accepted engagements with Jullien for the Promenade Concerts, and with Alfred Mellon for the Orchestral Union; if Waddell, his bandmaster, had not peremptorily forbidden it. He was then transferred from the bassoon to the saxophone, of which he was the earliest player in England. About 1870, by special permission of the colonel of his regiment, he joined the orchestra of the Crystal Palace, in which he played first bassoon for nearly thirty years. He was also a member of the orchestras of the Philharmonic, Albert Hall,
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