first, third and fourth strains, thus giving the melody a modal form. This may have been done to assimilate its character to that of other tunes in the collection; but however this may be, the accidental was restored to the penultimate note of the last strain in Raban's Psalter, Aberdeen, 1633:—
IX. Dundie Tune.
and throughout the hymn in the harmonised Scottish Psalter of 1635:—
Dundie Tune.
[ G. A. C. ]
WINGHAM, Thomas, born in London, Jan. 5, 1846. Began his career at the early age of 10, as organist of S. Michael's Mission Church, Southwark. In 1863 entered the 'London Academy of Music' of Dr. Wylde, and in 1867 became a pupil of Sterndale Bennett for composition, and of Harold Thomas for piano, in the Royal Academy. In 1871 he was appointed Professor of the Piano in that institution, a post which he still holds. Mr. Wingham's compositions, mostly still in MS., contain 4 Symphonies—in D (1870), in B♭ (1872), in E minor, with choral Finale (1873), in D (1883); 6 Overtures, one with chorus; an Orchestral Serenade in E♭; a grand Mass in D; a grand Te Deum, two Motets; an Elegy on the Death of Sterndale Bennett, etc., which have been performed at the Philharmonic Concerts, the Crystal Palace, Leeds Festival, Antwerp Cathedral, etc. [App. p.817 "add that he has been Choirmaster at the Oratory, Brompton, since October 1882."]
[ G. ]
WINN, William, bass singer, born May 8, 1828, at Bramham, Yorkshire, taught singing by Sir G. Smart and Schira, made his first appearance in London in 'St. Paul' Oct. 24, 1855, at St. Martin's Hall. He became popular in oratorio and glee music. In 1864 was elected a Gentleman of Her Majesty's Chapels Royal, and in 1867 Vicar Choral of St. Paul's. He is a member of the Noblemen and Gentlemen's Catch Club, and is Honorary Secretary of the Round, Catch and Canon Club. His song 'Nothing more,' and the prize glee, 'Go, Rose,' are well-known favourites. His elder daughter and pupil, Florence, born Nov. 1857, is a favourite contralto concert singer. [App. p.817 "add date of death, June 1, 1888."]
[ A. C. ]
WINTER, Peter, opera composer, much esteemed in his day, born at Mannheim 1754, died at Munich Oct. 17, 1825. At 10 he played the violin in the Elector Karl Theodore's celebrated band. He had some instruction in composition from the Abbé Vogler, but really formed himself as a composer later in life. In 1776 he became Musik-director of the court theatre, and in this post made acquaintance with Mozart, against whom he took a great dislike, and whom he damaged later in Vienna by spreading false reports about his private life.[1] When the Court removed from Mannheim to Munich Winter followed, and became in 1788 Court-Capellmeister. This post he retained to his death, and was treated with the greatest consideration, receiving on more than one occasion leave of absence for two or three years. He visited Vienna twice, first in 1781, when he produced three ballets, and again during the years between 1793 and 1797, when he had nine operas performed at the Burgtheater and Schikaneder's theatre, including 'Das unterbrochene Opferfest' (Burgtheater, June 14, 1796), and a cantata 'Timotheus, or the power of music' (1797), by the Tonkünstler Societät. The intercourse he maintained with Salieri was important as inducing him to pay more attention to the vocal part of his compositions. This is perceptible in all the works written in Vienna. He also visited Italy (Naples and Venice, 1791 and 1793), Prague (1796), Paris (1802 and 1806), London (1803–5), and Italy again (Milan and Genoa, 1817–19). Besides a number of operas, of which the greatest and most lasting favourites were 'Maria von Montalban' (Munich 1798) and the 'Unterbrochene Opferfest,' popular on account of its catching melodies, Winter
- ↑ Jahn's 'Mozart,' 2nd ed., i. 393, 695.
