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Scan 789
Grove's Dictionary of Music and Musicians, 1928
34 lines. Read by computer on 12 September 2026, twice; the two readings disagreed in places. Printed page 721. See the scan on archive.org.
1for ever encouraging amateur violin-makers to devote themselves to the art.
3He composed several pieces for the violin, and was very successful in arranging Wagner's 'Preislied' and other notable themes for the violin. He also wrote a 'Modern Violin School' with James Brown, which was published by Novello & Co., in six parts.
5BIBL.—Violin Times, Feb. 1894; Mus. T., June 1901; To-day, vol. i. No. 5, Sept. 1883; Times, Jan. 25, 1908; LAHEE, Famous Violinists; Cenni storici intorno alla Società del Quartetto in Firenze.
7E. H.-A.
9WILHELM VON HIRSAU (b. Bavaria; d. monastery of St. Aurelius, Hirsau, June 4, 1091), writer of legends to Othlos of Würzburg, c. 1032. He was first a monk of St. Emmeran's, Ratisbon, but from 1068–91 abbot of the Benedictine monastery at Hirsau in the Württemberg part of the Black Forest, which was destroyed by the French. He was a man of great learning, who, apart from many philosophical and astronomical works, wrote the treatise published in Gerbert's Scriptores II. under the title Musica S. Wilhelmi, etc., in which he deals with the antique and mediæval tonal systems, and points out the errors of his predecessors, including Boëtius, whom even as much as to doubt was considered sacrilege during the whole of the Middle Ages. A second work, De musica et tonis, was contained in a 12th-century codex belonging to a Nuremberg antiquarian, von Murr, which has unfortunately been lost, and only a full description by von Murr, published at Nuremberg in 1801 under the title Notitia duorum codicum, dedicated to Haydn, is still in existence. From this it is apparent that the Guidonian hand existed long before GUIDO D' AREZZO (q.v.) (Mendel; Ambros).
11WILHELMUS VAN NASSOUWE is the national anthem of Holland. The origin both of the words and the melody has given rise to much discussion.1 It is still a point of controversy whether Marnix van St. Aldegonde wrote the words of the song, or whether, as Professor Enschedé surmises,2 the words were originally written in French about 1568, and that Marnix translated them into Dutch in 1572. The melody has at length been conclusively proved to be of French origin, for the oldest version of the song, which appeared in the first edition of the Geusenliedienboecxken of 1581, bears the heading 'Naar de wijze van Chartres.' This is the tune of a song of derision, on the siege of Chartres, undertaken by Condé and his Huguenots in 1568, and entitled 'O la folle entreprise du Prince de Condé.'3
131 In vol. v. of the Tijdschrift der Vereeniging the subject is discussed at full length by Loman, van Riemsdijk, Land, Enschedé, and van Duyse. Fifteen versions of the song are placed one under the other to show wherein they differ, and their various sources are stated. 2 Tijdschrift, etc., vol. vii. (1904).
143 In an undated 'Recueil de Chansons spirituelles … avec autres Chansons des Victoires qu'il a pleu à Dieu de donner à notre très-christien roy, Charles IX … par Christophe de Bordeaux, Paris' (c. 1570) we find at No. 48, 'autre chanson de la ville du Chartres assiégée par le prince de Condé, sur un chant nouveau' beginning with the words 'O folle entreprise.' And in the collection of 1619 entitled 'La pleuse alouette avec son tire-lire' there is a hymn in honour of the Virgin fitted to the same 'folle entreprise' melody. Finally, in 'La Clef des chansonniers, ou recueil des vaudevilles depuis cent ans et plus' (Ballard, Paris, 1717), a song occurs called 'Mon Dieu, la belle entrée,' the air of which is the old reading of the Chartres song. All this proves that the song survived for many years also in France.
16And soldiers who were employed by Condé and afterwards by William of Orange evidently brought the melody from the North of France to the Netherlands, where it was adopted as a national song. The Wilhelmslied has undergone many changes, but the following version given by F. van Duyse in his Oude Nederlandsche Lied, ii. p. 1620, claims to be the best and oldest.4
18WILHELMUS VAN NASSOUWE (1581)
19Naar de wijze van Chartres.
21Wilhelmus van Nassouwe ben den Vaderlant ghe trouw we blijf ick van Duytschen bloet een ick tot in den doot:
22Princce van O-raen-gien ben ick vrij on-ver-veert, den Co-ninck van Kis-paen-gien hab ick al-tijtghe-eert. one of two readings
23Princ-e van O-raen-gien ben ick vrij on-ver-veert, den Co-ninck van Kis-paen-gien hab ick al-tijtghe-eert. one of two readings
25The 'Nederlandse Volksliederenboek' gives a version of greater rhythmic complication.5
27A. H. W.
29WILHEM, GUILLAUME LOUIS BOCQUILLON (b. Paris, Dec. 18, 1781; d. Apr. 26, 1842), a musician known chiefly by his efforts to promote the popular teaching of singing. In early youth he was in the army, but an irresistible passion for music made him take to it as the pursuit of his life. After passing through the Paris Conservatoire he became one of the professors in the Lycée Napoléon, and afterwards had a post in the Collège Henri IV. His original compositions were few—chiefly settings of Béranger's lyrics. It was about the year 1815 that he began to interest himself in the class-teaching of music in schools, and through Béranger's influence was put in charge of the musical part of the work of a society for promoting general education, and
314 Duyse thinks that in the beginning the Wilhelmus melody was a signal or trumpet-blast. With this Enschedé does not concur, although he admits it was essentially an army-song; and he quotes as the purest (though not the most beautiful) version the following German soldier song of 1607:
335 Much of the above information was supplied by Professor J. W. Enschedé.
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