Waart, Edo de. 56 Wachmann, Eduard 56



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Wood, John Muir


(b Edinburgh, 31 July 1805; d Armadale, Cove, 25 June 1892). Scottish music publisher and writer on music. He was the son of Andrew Wood, a music publisher in Edinburgh, who named him after his partner John Muir. He received his initial musical education in Edinburgh, partly with Kalkbrenner, who visited the city in 1814. After periods of study in Paris with J.P. Pixis and in Vienna with Czerny, he returned to Edinburgh in 1828 for a while and taught music. For a number of years he was in London, where his interests were mostly literary. In 1848 he became director of the newly established Glasgow branch of the family publishing firm Wood & Co.; the branch became known as J. Muir Wood & Co., though it retained close links with the parent firm, and survived until 1899. He provided many notes for the later editions of G.F. Graham’s The Songs of Scotland (the Edinburgh house’s most important publication), especially the one-volume edition of 1884. Wood edited later editions of J.T. Surenne’s The Dance Music of Scotland, originally published in about 1830, contributed excellent articles on Scottish music to the first edition of Grove's Dictionary, and edited the short-lived periodical The Scottish Monthly Musical Times (1876–8). He played a prominent part in Scottish musical and literary life, promoting Chopin’s concerts in Scotland in 1848 and the tours of Thackeray and Dickens, as well as initiating the visit of Sir Charles Hallé and the Hallé Orchestra to Glasgow.

BIBLIOGRAPHY


Humphries-SmithMP

Obituary, Musical Herald, no.533 (1892), 249 only



H.G. Farmer: A History of Music in Scotland (London, 1947/R)

J.A. Parkinson: Victorian Music Publishers: an Annotated List (Warren, MI, 1990)

PETER WARD JONES


Wood, Joseph


(b Bretton, nr Wakefield, 7 March 1801; d Harrogate, 6 Sept 1890). English tenor. Wood's early successes were in Rophino Lacy's pastiches; his London debut took place on 30 June 1828 at the English Opera House. In 1831 he married the Scottish soprano Mary Anne Paton, who had pursued a successful career in London from 1822 (see Wood, Mary Anne). As Mr and Mrs Wood the two appeared in New York, Boston and Philadelphia (1833–6; 1840–41). Both tours ended in controversy when the Woods were rebuked for interfering (apparently inadvertently) with other performers' benefit nights; Joseph was blunt and short-tempered, and inflammatory reports of his tactlessness precipitated serious disturbances in the theatres. In 1843 the Woods retired and settled in Yorkshire; after Mary Anne's death Joseph married Sarah Dobson, also a singer. Joseph was generally recognized as an excellent actor, a passable singer and a shrewd businessman.

BIBLIOGRAPHY


J. Wood: Memoir of Mr. and Mrs. Wood (New York, 1840)

F.C. Wemyss: Twenty-Six Years of the Life of an Actor and Manager (New York, 1847)

W.W. Clapp: A Record of the Boston Stage (Boston, 1853)

K.K. Preston: Opera on the Road: Traveling Opera Troupes in the United States, 1825–1860 (Champaign-Urbana, IL, 1993)

WILLIAM BROOKS


Wood [née Paton], Mary Anne


(b Edinburgh, Oct 1802; d Chapelthorpe, nr Wakefield, 21 July 1864). Scottish soprano. As a child she learnt the harp, piano and violin; her singing début was in 1810. She sang in London (1811–13) and Bath (1820), and made her stage début as Susanna in October 1822; in 1824 she sang Agathe in the first English production of Der Freischütz. That year she married Lord William Pitt Lennox. In April 1826 she created the role of Reiza in Oberon, which established her as a leading singer in London. She divorced Lennox in 1831, and later married the English tenor Joseph Wood. In the midst of her triumphant career in London, they left for the USA; their joint début was in New York (9 September 1833) in Michael Rophino Lacy's Cinderella (an adaptation of La Cenerentola). On two separate tours, often travelling in small troupes with other singers, they appeared in New York, Boston, Philadelphia and elsewhere (1833–6 and 1840–41), performing a repertory ranging from 18th-century ballad operas to contemporary English adaptations of Italian works. They contributed greatly to a general American interest (begun by Elizabeth Austin) in Italian bel canto melody, in particular by introducing Americans to Bellini's operas (La sonnambula, 13 November 1835, and Norma, 11 January 1841, both in New York). Mrs Wood, as she was known, was acclaimed as the finest English singer of her day. She had a pure soprano voice that was powerful, sweet-toned, brilliant and of extensive compass (a to d'''/e'''); she was an effective actress who was renowned for her beauty. In 1843 she and her husband retired to Yorkshire.

BIBLIOGRAPHY


DNB (‘Paton, Mary Ann’; L.M. Middleton)

‘Miss Paton’, Quarterly Musical Magazine and Review, v (1823), 191–7



J. Wood: Memoir of Mr. and Mrs. Wood (New York, 1840)

F.C. Wemyss: Twenty-Six Years of the Life of an Actor and Manager (New York, 1847)

W.W. Clapp: A Record of the Boston Stage (Boston, 1853)

E. Creathorne Clayton: Queens of Song (London, 1863/R), ii, 45ff

H. Rosenthal: Two Centuries of Opera at Covent Garden (London, 1958)

J. Warrack: Carl Maria von Weber (London, 1968, 2/1976)

K.K. Preston: Opera on the Road: Traveling Opera Troupes in the United States, 1825–1860 (Urbana, IL, 1993)

KATHERINE K. PRESTON


Wood [Wode], Thomas (i)


(fl 1560–92). Scottish clergyman. He compiled an important set of partbooks, sometimes known as the St Andrews Psalter or ‘Thomas Wode’s Partbooks’, containing Scottish (and other) music of the 16th century. A canon of Lindores Abbey before the Reformation (1560), Wood joined the reformers, settled in St Andrews in 1562, became vicar there in 1575, and is frequently mentioned in Kirk Session Registers until 1592. His duplicate sets of partbooks (EIRE-Dtc, GB-Eu, Lbl, US-Wgu) contain the 106 four-voice psalm settings by David Peebles (1562–6), canticles by Angus, Kemp and Blackhall (1566–9), and motets, anthems, psalms, songs and instrumental pieces – Scottish, English and continental (copied from 1569 to 1592) – together with illuminating and entertaining comments by Wood on many of the items. Between 1606 and about 1625 further additions to the partbooks were made by other hands.

BIBLIOGRAPHY


H. Scott, ed: Fasti Ecclesiae Scoticanae

K. Elliott and H.M. Shire, eds.: Music of Scotland, 1500–1700, MB, xv (1957, 2/1964)

K. Elliott: ‘Scottish Music of the Early Reformed Church’, Transactions of the Scottish Ecclesiological Society, xv/2 (1961), 18–32

K. Elliott: ‘Another one of Thomas Wood's Missing Parts’, Innes Review, xxxix/2 (1988), 151–8

KENNETH ELLIOTT




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