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Scan 827
Grove's Dictionary of Music and Musicians, 1928
40 lines. Read by computer on 12 September 2026, twice; the two readings disagreed in places. Printed page 759. See the scan on archive.org.
1books 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.
3His son (2) ROBERT (b. 1780; d. 1852) 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 '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. The subsequent head of the firm of Robert Wornum & Sons, A. N. Wornum, succeeded to his grandfather's inventive talent.
5A. J. H.; addns. F. K.
7WORZISCHEK, JOHANN HUGO (b. Wamberg, Bohemia, May 11, 1791; d. Vienna, Nov. 19, 1825), was first taught by his father, a schoolmaster. At the age of 8 he had attained to such remarkable facility in playing the organ, piano and violin that he was sent to Prague, where he had lessons from Tomaschek.
9To attend lectures on philosophy and law and find the means of living, he had himself to give lessons before he had completed his musical studies. Worzischek went afterwards to Vienna (1813), and became intimate with Hummel, Meyerbeer and Moscheles; and he was recommended by Hummel as a teacher to all his friends, when the great pianist left Vienna. He made a name as a pianist and conductor of the Gesellschaft der Musikfreunde.
11In 1822 he was appointed organist to the imperial chapel—but he died early.
13Among his published works (which received unusual favour, and are still much liked by Viennese musicians) are a symphony, a duet for piano and violoncello, and a divertissement for two pianos; he left many sacred works in manuscript.
15E. J. Hs.
17WOTQUENNE, ALFRED (b. Lobbes, 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 (till 1918) 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:
19Catalogue de la Bibliothèque du Conservatoire de Bruxelles. 3 vols. 1888-1908.
20Étude bibliographique sur les œuvres de Baldassare Galuppi. 1900.
22Catalogue des livrets d'opéras et d'oratorios italiens du XVII. siècle. 1902.
23Catalogue thématique de l'œuvre de Gluck. 1905.
24Catalogue thématique de l'œuvre de C. P. E. Bach. 1906.
25Table alphabétique des morceaux mesurés contenus dans les œuvres dramatiques de Zeno, Metastasio et Goldoni. 1906.
26Étude bibliographique sur Luigi Rossi. 1909.
28E. J. D.
30WOTTON, (1) WILLIAM BALE (b. Torquay, Sept. 6, 1832; d. Deal, May 3, 1912), bassoon-player. 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 13 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 R.A.M. under 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 Bau mann 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, and many others, and was professor of the bassoon at the R.C.M. until his retirement in 1904. one of two readings
31WOTTON, (1) WILLIAM BALE (b. Torquay, Sept. 6, 1832; d. Deal, May 3, 1912), bassoon-player. 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 13 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 R.A.M. under 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, and many others, and was professor of the bassoon at the R.C.M. until his retirement in 1904. one of two readings
33(2) T. E. Wotton (b. 1852), succeeded to the various posts held by his brother (1), with whom he was associated in the Crystal Palace band from 1879. W. B. Wotton's son, (3) L. V. Wotton, was also a bassoon-player.
35G.
37WOTTON, WILLIAM, 'Orkyn maker,' in 1486 built a 'pair of organs' for Magdalen College, Oxford, for £28, and in 1487 agreed to make a similar instrument for Merton College, which was to be completed in 1489. v. de r.
39WRANITZKY, (1) PAUL (b. Neureisch, Moravia, Dec. 30, 1756; d. Vienna, Sept. 26, 1808), conductor of the orchestra at the two court theatres at Vienna, and a popular composer of operas and instrumental music. He was educated at the monastery close by, and at Iglau and Olmütz, where he perfected himself, especially in violin-playing. In 1776 he went to Vienna to study theology at the Imperial Seminary, and at once obtained a post as conductor. He next studied composition with Kraus, a Swedish composer then living in
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