Waart, Edo de. 56 Wachmann, Eduard 56

BIBLIOGRAPHY

MICHAEL HURD

Woodblock

A term for a small wooden Slit-drum (classified as a percussion tube; see Idiophone), generally used to signify the Western orchestral instrument. Woodblocks are related to the rectangular wooden slit-drums used as time-beaters by the Han Chinese (ban), hence the occasional specification of ‘Chinese woodblocks’. The two-toned cylindrical woodblock, however, is of Western origin. In ragtime and jazz, the woodblock is often referred to as ‘clog box’ or ‘tap box’.

The orchestral woodblock is generally in the form of a rectangular block of teak or similar heavy hardwood with one or sometimes two slotted longitudinal cavities. The instrument varies from about 15 to 30 cm in length, 8–15 cm in width and 7–10 cm in depth. The tone of this small instrument is resonant and penetrating. It is normally suspended on a special fitting or rested on a felt-covered surface, and is struck on the surface or the edge above the slot with wooden drumsticks or beaters such as those used for the orchestral xylophone.

20th-century composers to score for these instruments in orchestral works include Walton in Façade (1921–2); Prokofiev in his Fifth (1944) and Sixth (1945–7) Symphonies (‘legno’) and Copland in Music for a Great City (1964; ‘woodblocks, high and low’). Cage’s Amores (1943) requires seven woodblocks. Britten specified two tuned woodblocks in his church parables The Burning Fiery Furnace (1966) and The Prodigal Son (1968; A and E, and A and D respectively).

BIBLIOGRAPHY

JAMES BLADES/JAMES HOLLAND

Woodbury, Isaac Baker

During the 1840s and 50s Woodbury travelled extensively as a choral conductor and baritone soloist. He was organist at Marlborough Chapel, Boston (1843–4), and from 1846 to 1848 was corresponding editor of the World of Music. He was organist at Rutgers Street Church, New York (1850–51); he also edited the American Monthly Musical Review (1850–53) and the New York Musical Pioneer (1855–8). His health began to fail in the 1850s and he spent his final years struggling against tuberculosis; he visited Europe and the Mediterranean in 1851–2 and 1857–8 and Florida in 1856–7, and died on a second trip to Florida in 1858.

Woodbury produced nearly 700 compositions and publications. His sacred music was published principally in 15 tune books, and includes Anglican chants, hymn tunes and ensemble music for soloists or chorus. The bland devotional style of this music closely resembles that of Lowell Mason. His ‘Montgomery’ was the first American hymn tune to be printed in Hymns Ancient and Modern. Woodbury published 14 secular tune books containing glees, choruses and school music; his four secular cantatas (among the earliest of their kind in the USA), three oratorios and one musical drama also appeared in these tune books. The texts are highly sentimental and the plots of the dramatic works are weak. Woodbury attempted to improve the prevailing standards of taste, while insisting that the making and enjoying of music was appropriate for every person. He wrote seven instrumental tutors and one in harmony and composition in addition to the theoretical introductions to his tune books.

WORKS

printed works published in Boston unless otherwise stated

vocal

Collections and editions: The Boston Musical Education Society's Collection of Church Music (with B.F. Baker) (1842); The Choral (with Baker) (1845); The New England Glee Book (1847); The Timbrel (with Baker) (1848); The Dulcimer (New York, 1850) [D]; Liber musicus (New York, 1851) [L]; Cottage Glees (New York, 1853); Harp of the South (New York, 1853); The Lute of Zion (with H. Mattison) (New York, 1853); The New York Normal School Song Book (with L.A. Benjamin) (New York, n.d. [1853]) [N]; The Whip-Poor-Will (New York, 1853) [W]; The Columbian Glee Book (1854); The Cythara (New York, 1854) [C]; The Anthem Dulcimer (New York, 1856); The Song Crown (New York, 1856) [S]; The Thanksgiving (New York, 1857)

Dramatic: Absalom, orat, pubd in D; The Cantata of Washington, pubd in American Monthly Musical Review, ii (1851); The Orphans, cant., pubd in L; The Gambler's Wife, cant., 1v, pf, pubd in L; America, juvenile orat, pubd in N; The Graces, juvenile orat, pubd in W; Abraham and Ishmael, orat, pubd in C; The Settlement of Jamestown, musical drama, pubd in S

Songs, for 1v, pf, unless otherwise stated: The Old Farm House (1842); He doeth all things well (1844); The Indian's Prayer (1846); Shield us Father, 4vv (1846); The Sailor Boy's Last Dream (c1846); Be kind to the loved ones at home (1847); Home Carol, 4vv (1848); The May Queen (New York, 1848); Speed away! Speed away!, or The Freed Bird, 4vv (n.d. [1848]); Lays of New England, cycle of 6 songs (New York, 1849); Mother dear o pray for me (1850); Uncle Tom's Lament for Eva (1852); Katy's Cry (New York, 1853); We are happy now dear mother, or Heavenly Voices (New York, 1854); Sweet Songs for Sabbath Evenings, 2 songs (1854); 'Tis our child in heaven (New York, 1855); c120 other solo songs; c35 other partsongs

c402 hymn tunes, mostly pubd in collections

other works

Pf: Woodbury's Variations on the Celebrated Air The Watcher (c1847); Jeannette and Jeannot Quick Step (New York, 1849); Elfin Quick Step (New York, 1850); Sweet Memories Waltz (New York, 1850); The Willow Wood Quick Step (New York, 1850)

Pedagogical: The Elements of Musical Composition and Thorough-Base (1844), rev. as The Self-Instructor in Musical Composition and Thorough Bass (New York, 1849); The Aeolian (1847); The Melodeon and Seraphine Instruction Book (New York, 1851); The Cultivation of the Voice without a Master (New York, 1853); Woodbury's Instrumental Self-Instructors: the Flute (New York, 1853); Woodbury's Instrumental Self-Instructors: the Piano-Forte (New York, 1853); Woodbury's Instrumental Self-Instructors: the Violin (New York, 1853); The Singing School (New York, 1856)

MSS in US-Wc

Principal publishers: Reed, Ditson, Martin & Beals, Firth, Pond & Co., Huntington

BIBLIOGRAPHY

ROBERT M. COPELAND