WILHELM See also:

• FRIEDRICH, JOHANN (1836— )

FRIEDRICH See also:

• WILHELM FRIEDRICH WIEPRECHT (1802—1872)

WIEPRECHT (1802—1872)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German musical conductor, composer and inventor, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the loth of See also:

• AUGUST (originally Sextilis)

August 1802, at See also:

• ASCHERSLEBEN

Aschersleben, where his See also:

• FATHER

father was See also:

• TOWN

town musician . According to his autobiography, See also:

• WIEPRECHT, WILHELM FRIEDRICH (1802—1872)

Wieprecht See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early learned from his father to See also:

• PLAY

play on nearly all See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind See also:

• INSTRUMENTS

instruments . It was in See also:

• VIOLIN

violin-playing, however, that his father particularly wished him to excel; and in 1819 he went to See also:

• DRESDEN

Dresden, where he studied See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition and the violin to such See also:

• GOOD, JOHN MASON (1764-1827)

good purpose that a See also:

• YEAR

year later he was given a position in the See also:

• CITY (through Fr. cite, from Lat. civitas)

city See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra of See also:

• LEIPZIG

Leipzig, playing also in those of the See also:

• OPERA (Italian for " work ")

opera and the famous Gewandhaus . At this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, besides playing the violin and See also:

• CLARINET
• CLARINET, or CLARIONET (Fr. clarinette; Ger. Clarinette, Klarinett; Ital. clarinetto, chiarinetto)

clarinet in the orchestra, he also gave See also:

• SOLO, OR SOLO WHIST

solo performances on the See also:

• TROMBONE (Fr. trombone, Ger. Posaune, Ital. trombono)

trombone . In 1824 he went to See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, where he became a member of the royal orchestra, and was in the same year appointed chamber musician to the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king . His See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence at Berlin gave Wieprecht ample opportunity for the exercise of his See also:

• GENIUS (from Lat. genere, gignere)

genius for military See also:

• MUSIC

music, on which his fame mainly rests . Several of his See also:

• MARCHES, THE (It. Le Marche)

marches were early adopted by the regimental bands, and a more ambitious military composition attracted the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of Gasparo See also:

• SPONTINI, GASPARO LUIGI PACIFICO (1774-1851)

Spontini, at. whose See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house he became an intimate See also:

• GUEST (a word common to Teutonic languages; cf. Ger. Gast, and Swed. gust; cognate with Lat. hostis, originally a stranger, hence enemy; cf. " host " )
• GUEST, EDWIN (1800–188o)

guest . It was now that he began to study See also:

• ACOUSTICS (from the Gr. &eobav to hear)

acoustics, in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to correct the deficiencies in military musical instruments . As the result, he improved the valves of the See also:

• BRASS
• BRASS (O. Eng. braes)

brass instruments, and succeeded, by constructing them on sounder acoustic principles, in greatly increasing the See also:

• VOLUME

volume and purity of their See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone . He also inventedthe See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass See also:

• TUBA

tuba or See also:

• BOMBARDON, or BASS TUBA

bombardon in order to give greater richness and See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power to the bass parts . In recognition of these inventions he was, in 1835, honoured by the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of . Berlin .

In 1838 he was appointed by the Prussian See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government director-See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general of all the See also:

• GUARDS, AND HOUSEHOLD TROOPS

guards' bands, and in recognition of the magnificent performance by massed bands on the occasion of the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• NICHOLAS
• NICHOLAS (1841– )
• NICHOLAS (or NICLAES), HENRY (or HENDRIK) (c. 1501-C. 158o)
• NICHOLAS, SIR EDWARD (1593-1669)
• NICHOLAS, ST

Nicholas I.'s visit the same year, was awarded a See also:

• SPECIAL

special See also:

• UNIFORM

uniform . In 1843 he became director-general of the bands of the loth Confederate See also:

• ARMY
• ARMY (from Fr. armee, Lat. armata)

army See also:

• CORPS (pronounced as in French, from which it is taken, being a late spelling of tors, from Lat. corpus, a body; cf. " corpse ")

corps, and from this time exercised a profound See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on the development of military music through-out See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, and beyond . He was the first to arrange the symphonies and overtures of the classical masters for military instruments, and to organize those outdoor performances of See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert pieces by military bands which have done so much to popularize good music in Germany and elsewhere . The performance arranged by him of See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven's " See also:

• BATTLE

Battle of See also:

• VITTORIA

Vittoria," in which the See also:

• BUGLE

bugle calls were given by trumpeters stationed in various parts of the See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

garden and the See also:

• CANNON (a word common to Romance languages, from the Lat. canna, a reed, tube, with the addition of the augmentative termination -on, -one)

cannon shots were those of real guns, created immense sensation . Besides the See also:

• GREAT

great See also:

• WORK

work he accomplished in Germany, Wieprecht, in 1847, reorganized the military music in See also:

• TURKEY

Turkey and, in 1852, in See also:

• GUATEMALA (sometimes incorrectly written GUATIMALA)
• GUATEMALA, or GUATEMALA LA NUEVA (i.e. " New Guatemala," sometimes written Nueva Guatemala, and formerly Santiago de los Caballeros de Guatemala)

Guatemala . He composed military songs as well as numerous marches, and contributed frequently on his favourite subject to the Berlin musical papers . He died on the 4th of August 1872 . Wieprecht was a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of genial, kindly and generous nature, and was associated with many charitable See also:

• FOUNDATIONS

foundations established for the benefit of poor musicians .