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Scan 828
Grove's Dictionary of Music and Musicians, 1928
26 lines. Read by computer on 9 September 2026. Printed page 760. See the scan on archive.org.
1Vienna, and produced a number of new works which attracted notice. Towards the end of 1780 he became conductor of the court theatres, and remained so till his death. He was also for many years Kapellmeister to Prince Lobkowitz. His operas were great favourites, and became known nearly throughout Germany. The one which was oftenest and longest performed was 'Oberon' (May 23, 1791), a serio-comic fairy opera, libretto adapted by Giesecke from Wieland, which at one time ran the 'Zauberflöte' hard. Special mention should also be made of 'Die gute Mutter,' comic opera (1795); 'Der Schreiner,' Singspiel (1799); 'Mitgefühl,' Liederspiel (1804); all produced at the court theatre, as were also many ballets, including 'Die Weinlese,' 'Das Urtheil des Paris,' 'Der Sabinerraub,' all between 1794 and 1800. Gerber gives a detailed catalogue of Wranitzky's operas, ballets and instrumental music. Among his many works, mostly published by André in Paris and Vienna, may be specified: 12 symphonies; string-quintets, quartets and trios; 3 trios for 2 flutes and violoncello, op. 83; concertos for violoncello, op. 27, flute, op. 24; and sonatas for pianoforte, violin and violoncello. He also left much music in MS. His connexion with the Tonkünstler-Societät must not be passed over. He entered it in 1793, and having become secretary undertook, at Haydn's instigation, to reorganise its affairs, then in a very bad state. In 1797 he completely effaced the difficulties which existed in 1779, when Haydn had thought of entering. Haydn had a great respect for him, both as a man and an artist, and expressly desired that he might lead the strings at the first performances of the 'Creation' and the 'Seasons.'
3His younger brother, (2) Anton (b. Neu-reisch, 1761; d. Vienna, 1819), studied law at Brünn, where he began to compose. He went next to Vienna, where he was esteemed as a teacher. Prince von Lobkowitz made him his Kapellmeister in 1808. (See Dlabacz and Q.-L. for list of works of both brothers.)
5C. F. P.
7WRECKERS, THE (Les Naufrageurs; Strandrecht); opera in 3 acts; libretto by H. B. Leforestier (H. B. Brewster); music by Ethel Smyth. Produced Leipzig, Nov. 11, 1906; in English, His Majesty's Theatre, June 22, 1909.
9WREST PLANK and WREST PINS. The wrest-plank or pin-block of a pianoforte is the carrier of the wrest- or tuning-pins. It is constructed of a number of layers of wood glued together so that the grain of any layer is at right angles to that of contiguous layers.
11The plank so formed is rigidly fixed to the wooden framework of the piano, and the metal frame which carries the strings is placed over the plank.
13The tuning-pins are in reality gripped by the wooden plank, the object of the cross-graining in which is to ensure sufficient friction to prevent the tuning-pins slackening off and so going out of tune.
15Sometimes a space is provided in the metal frame to clear the tuning-pins. This is known as the 'Open Plank.' In general, the piano frame is continuous, and has holes drilled in it for the tuning-pins to pass through, these holes being generally bushed with wood, the object being to take some of the thrust set up by the string tension on the pins.
17This method of gripping the tuning-pins in a wooden plank, although of considerable antiquity, is generally considered to be the most satisfactory of all methods.
19Mechanical or worm-geared pins as used on such instruments as guitars or mandolines have been tried, but are unsatisfactory owing to the large forces to which they are subjected; moreover, on account of the inevitable backlash between the worm and the worm-wheel, the process of tuning with such contrivances is exceedingly difficult to carry out. See under PIANOFORTE, the section on the modern frame.
21L. A. B.
23WRIGHT, DANIEL, father and son with the same Christian name, London music-publishers during the early part of the 18th century. Hawkins sums up the character of the elder Wright as a man 'who never printed anything that he did not steal' (Hist. Music, Novello ed., p. 884). However this may be, the two Wrights published many now very interesting musical works.
25Daniel Wright, the elder, was established by, or before, 1709 at the corner of Brook Street, next the Sun Tavern in Holborn, his sign being 'The Golden Bass Violin.' He died or gave up business about 1734. His son, Daniel Wright, junior, had a business on the north side of St. Paul's Churchyard, under the sign 'The Golden Bass,' and may have succeeded J. Clarke and John Hare, earlier publishers, who, in partnership, had a shop here also on the north side with the sign the 'Golden Viol.' Wright, junior, in due course changed his sign to that of the 'Violin and Flute.' He probably gave up trade about 1740, and there seems some likelihood that John Johnson of Cheapside founded his extensive business upon that of the younger Wright, though not on the same premises. For some years before the elder Wright's death, or retirement, both names appear on some of the imprints; the elder at least claimed to be a musical instrument maker. Wright, senior, published Lully's 'Lessons for the Harpsichord or Spinnet,' ob. folio, c. 1710; the 'Songs in Hurlothrumbo,' c. 1729, folio; John Humphries' 'Six Solos for a Violin,' 1726; some half-sheet songs, and many curious books of dances and airs for the flute or violin. His
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