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His opera Die Griifin Plater, was well re-
ceived at Wiirzburg, 1832. He composed
also symphonies, overtures, quintets, quar-
tets, marches, dances, and part-son^s. Men-
del ; do., Ergiinz., 144 ; Fetis, Supplement,
i. 117.

HAMMA, BENJAMIN, born at Fried-
ingeii, Wiirtemberg. ()<-t. Id, 1831, still liv-
ing, 1889. Brother of Fridolin and Franz
H-inima, pupil at Stuttgart of Lindpaintner ;
then lived in Paris and Rome. He directed
concert and singing societies in Ki'inigsberg
until after the war of INTO, then devoted
himself to teaching, and later became di-
rector of the new music school inStutt ni.
He composed the opera, Zarrisco, many
songs and part songs, and pianoforte pieces.
Mendel ; Fetis, Supplement, i. 447.

HAMMA, I'RANZ, boru at Friedingen,
Wiirtemberg, Oct. t. is:',."), still living, iss'.l.
Organist and pianist, brother of Fridolin
and Benjamin Hamma. He was organist of
the church of St. Anna and director of the
Cacilienverein in Basel, and later became
organist at Oberstadion, Wiirtemberg. He
lias written songs, a vocal method, and organ
music. Mendel; Fetis, Supplement, i.

HAMMA, FRIDOLIN, born at Friod-
ingeii. Wiirtemberg, Dec. 1(>, 1818, still liv-
ing, 1880. Organist, brother of Benjamin

and Franz Hamma. Became music director
in Schaffhauseu in 1840, organist of Meers-
burg on the Lake of Constance in 1842 ;
took part in revolutions in Italy and Baden ;
lived in Switzerland and Baden ; taught in
Burgdorf, Geneva, and Stuttgart ; was or-
ganist at Ettlingen, and later teacher in Neu-
stadt on the Haardt. He claimed to have
discovered the original melody of the Mar-
seillaise in a mass by Holtzniann. Works :
Operettas ; Ballets ; Songs. Mendel ; do.,
Ergiiuz., 144 ; Fetis, Supplement, i. 447.

HAMMEL, STEPHAN, born at Gissig-
heim, Baden, Dec. 21, 175G, died at Veits-
hochheim, Feb. 1, 1830. Organist, ed-
ucated in the Benedictine monastery of St.
Stephen's at Wiirzburg, he entered the
order, and became pastor at Veitshochheini.
He composed much church and instru-
mental music, of which little has been pub-
lished. Schilling ; do., Supplement, 183 ;
Mendel ; Fetis.

HAMMER, GEOEG, born at Herlheim,
Frauconia, May 1, 1811, still living, 1880.
Organist, pupil in Wiirzburg at Fruhlich's
Institute, where he became assistant in 183d,
and of the seminary church of St. Michael
in 1837. He is the author of church mu-
sic, cantatas, songs, dances, and marches.
Mendel ; Schilling, Supplement, 184 ;

at Briix, Bohe-
mia, 1611, died
at Zittau, Oct.
20, 1075. Or-
ganist, studied
counterpoint at
Schandau, under
the cantor, Ste-
phan Otto ; be-

2*1'' V- S^ 1 came organist

v 4i*k- at Freiberg in

1635, and at Zit-
tau in 1G39. Works : Instrumentalischer
erster Fleiss (1636) ; Geistliche Concerte
von 2, 3, und 4 Stimmeu (1838) ; Geistliche
('. mccrte von 4, 5, uud 6 Stimmeu (Frei-



burg, 1G41) ; Dialog! spiritual!, oder Ge-
spriiche zwischeii Gott uud eiuer gliiubigen
Seele, von 2 und 4 Stiinmen (Dresden, 1645
and 1052) ; XVII. Missas sacra), 5 ad 12
usque vocibus et instruments (Dresden,
1033) ; Paduanen, Gaillardeu, Balleten, etc.
(1st part, Freiberg, 1G48, 2d part, ib.,
1G50) ; Die musikalische Andachteu, geist-
liehe Motetteu uud Concerte, von 5, G, 12

und mehr Stiinmen (Freiberg, 1G48) ; Welt-
liche Oden (Freiberg, 1640) ; Die musika-
lische Audachteu (3d part, Freiberg, 1G52) ;
Chor-Musick (Leipsic, 1662) ; Die musika-
lischen Gespriiche iiber die Evangelien, von

4, 5, 6 uud 7 Stimmen (Dresden, 1G55) ;
Fest-, Buss- uud Dank-Lieder (Zittau, 1659) ;
Kirch- uud Tafel-Musick (Zittau, 1662) ;
Missen von 5, G, 12, uud mehr stimmige
(Dresden, 1664) ; Die Fest und Zeit Au-
dachten, etc. (Dresden, 1671). Gerber ;
Mendel ; Fetis ; Schilling ; Allgem. d.
Biogr., x. 488 ; Winterfeld, Der evang. Kir-
cheugesaug, ii. 249, 381.

Lucine, Silesia, Nov. 11, 1770, died at Op-
peln, June 9, 1823. Organist and pianist,
pupil of his father, then studied in Breslau.
For six years tutor in a private family, he
obtained a government appointment at
Tarnowitz, and in 179G at Glogan, where
he founded a vocal institute ; from it sprang,
in 1807, a standard concert enterprise, for
which he composed several works, and often
appeared successfully as a pianist. In 1809
he went to Liegnitz, and in 1816 as coun-
cillor to Oppelii. He composed the opera
Die Riickkehr (1816), cantatas, and festival
hymns, and instrumental music. Futis ;

HAMPEL, HANS, born in Prague, Oct.

5, 1822, died there, March 30, 1884. Pian-
ist, finished his musical studies under Weu-
zel Tomaschek, and wrote a Requiem, and
pianoforte compositions mostly of a melan-
choly character, but of decided merit. Among

them are : Das Entziicken, op. 8 ; Clavier-
fuge, op. 21 ; Lieb-Auucheu ; Fautasiestiick
in vier Bildern, op. 10. Mendel.

HAMPELN, KARL VON, born in Mauu-
heim, Jan. 30, 17G5, died in Stuttgart, Nov.
23, 1834. Violinist, became Kapellmeister
to Prince von Fiirstenberg in Douaueschiu-
gen, and later at the court in Hechingen ;
was court musical director in Stuttgart
from 1811, being pensioned in 1825. A
symphouie concertante for 4 violins, and
a violin concerto were his only compo-
sitions published besides waltzes. Futis ;
Schilling ; Mendel.

Friedrich Han-
del), born in
Halle, Feb. 23,
1685, died in
London, April
14, 1759. The
name was va-
riously spelt
by different
branches of the
family : Handel,
Hendel, Hendelcr, Haudeler, Hendtler ; it
was first spelt Heudel in England, after-
ward Handel ; in Germany the great com-
poser is universally known as Handel ; in
France, until quite recently, as Ho3iidel or
Hseiidel. Handel's father was a surgeon, a
man of no artistic tastes, aud who, being
sixty-five when his son was born, had such
fixed ideas on the subject that, in spite of
the child's evident talent for music, he did
everything to prevent his studying it, even
superficially. Handel's boyhood was one
determined struggle against parental au-
thority iu this matter, uutil, on the inter-
vention of the Duke of Saxe Weissenfels,
he was reluctantly allowed to follow his
natural bent. In 1G92 he began to study
counterpoint, canon, and fugue under Za-
chau, and to practise on the organ, the
harpsichord, the spinet, and the oboe. In
1G95 he was sent to Berlin, where he met
Bouonciui and Ariosti, exciting the admira-














f -

T: -




= = =



* -i-



1 ,






tioii of the one, and the dislike, find finally
the jealousy, of the other by his already
wonderful improvisations on the organ and
harpsichord. The Elector wished to send
him to Italy, and then attach him to his
court ; but nothing came of it, and the boy
was ordered back to Zachau in Halle. On
his father's death he went to Hamburg, en-
tering the orchestra of the German Opera,
then under Reiser's direction, as violiuo di
ripieno ; but on Reiser's being forced to
hide from his creditors, Handel took the

Birthplace of Handel.

harpsichord, and was soon permanently en-
gaged as claveciuist and conductor. In
Hamburg began his intimacy with Tele-
maun and Mattheson. His first opera, Al-
mira, was given in January, 1705. In 1706
Handel went to Italy, producing both operas
and sacred works with unvarying success in
Florence, Venice, Rome, and Naples. Here
the works of Alessaudro Scarlatti made an
indelible impression upon him ; indeed, of
all the outside influences ever exerted upon
his genius, Scarlatti's was unquestionably
the strongest. In 1709 the post of Kapell-
meister to the Elector of Hanover (after-

ward George I., of England) was offered
him by the advice of Steffaui, who then
held it ; Handel accepted, on the condition
of being allowed to visit England, whither
he went in the latter part of 1710. His
Rinaldo, written in a fortnight, was brought
out at the King's Theatre, Haymarket, Feb.
24, 1711, with such success that his reputa-
tion in England was at once secured. At the
expiration of six mouths he was forced to
return to Hanover ; but London attracted
him so, that in January, 1712, he went back
thither, apparently without leave ; for when
his master, the Elector, came to London as
King of England, it took the intervention
of Baron Kilmauseck and the IFato'-Music
episode to effect a reconciliation between
His Majesty and his quondam truant Ka-
pellmeister. Handel, however, soon ob-
tained his pardon and an annuity of .200.
In 171C he followed the King to Hanover,
where he brought out his Brockes-Passion.
On his return to London, in 1718, he suc-
ceeded Dr. Pepusch as chapel-master to the
Duke of Chaudos, which post he held three
years, during which time he produced the
Chandos Te Deums and Anthems, the Eng-
lish Acis and Galatea, and his first oratorio,
Esther. He gave lessons also to the daugh-
ters of the Prince of Wales, for whom he
wrote the first volume of his Suites de
pieces pour le Clavecin, known in England
as The Lessons. In addition, he assumed
the direction of the Italian opera for the
Royal Academy of Music in 1720, engaging
a company of Italian singers, Seuesino and
Durastauti among them, and bringing out
Radamisto with great success. From this
production of Radamisto dates the famous
rivalry between Handel and Bononcini.
The latter and Ariosti had been drawn to
London by the Royal Academy, each one
of them had his supporters among the no-
bility, and neither was inclined to acknowl-
edge Handel's supremacy. After Muzio
Scevola, in which each of the three com-
posers was engaged to write an act, as a
conciliatory measure, Ariosti was virtually



out of the race. But, although H.amlel's
act was pronounced the finest of the three,
Bouonciui would not succumb, and the
rivalry continued for several years, Bouou-

Handel's Harpsichord.

ciui's popularity steadily increasing, while
Handel, whose rather haughty bearing did
not conciliate the nobility, kept losing
ground in popular favor. Matters came to
a climax in 173:!, when Handel quarrelled
with Senesiuo, who went over to the enemies'
i-amp ; Bononcini would probably have held
the field alone, had not his foolishly try-
ing to pass off a madrigal by Lotti as his
own given rise to a scandal which forced
him to quit England. The Bonoucini party
immediately rallied round Seuesiuo, and
soon a business competition ensued (in lieu
of the old artistic rivalry between Handel
and Bouoncini) between Handel and his
company, at Coveut Garden, and a com-
pany at Lincoln's Inn Fields, with Senesino
as chief attraction, and Porpora as composer
and conductor. Neither enterprise thrived ;
the taste for Italian opera was on the wane ;
Seuesino left England in 1735, and two
years later Handel became bankrupt ; both
houses were closed. Handel's health was
severely impaired, and an attack of paralysis
sent him to Aix-la-Chapelle. When he re-
turned, in November, 1737, his health was
not much improved, and the few operas he

brought out were failures with the public.
After Deidamia (17il) he ceased writing
for the stage, and turned his powers almost
exclusively to the oratorio. Saul and Israel
in Egypt were written and given in 1740,
tin 1 Messiah in 1742, Jephtha, his last, in
1752. While writing it, he was attacked
by the disease which ended in his losing
his sight. He was couched three times for
cataract, but unsuccessfully, and remained
nearly or totally blind until his death.
Still, after a brief period of mental depres-
sion, he kept up his active professional
life, conducting his own oratorios, and even
playing organ concertos in public. During
the last years of his life the violent oppo-
sition to him, on the part of the aristocratic
faction, which had been kept up even after
his retirement from the operatic field by
his persistent refusals to write anything for
Senesiuo, sensibly declined. His last public
appearance was at a performance of the
Messiah, on April G, 1759. He was buried
in the south transept of Westminster Ab-
bey, a monument by Itoubiliac being raised
over his tomb in 1702. Handel's immense
posthumous fame has been due almost en-
tirely to his oratorios ; indeed it was long

Death-Mask of Handel.

the opinion of critics that, in the oratorios
written between 1740 and 1752, his genius
found its finest and culminating expression.
But a careful study of his operas, recently
made easily obtainable through the pub-
lications of the Handelgesellschaft, must



show that the general superiority of th
oratorios is mainly imaginary, and that the
operas do not suffer in the comparison
His most popular, if not indisputably his
greatest, work is the Messiah. What most
stands in the way of bringing the greatei
part of his vocal works face to face with the
musical public of to-day, as is also the case
with those of his equally great contempo-
rary, Sebastian Bach, is the incomplete
condition in which he left his scores, the
full instrumental accompaniment being rare-

Handel Statue at Halle.

ly written out, and, in many cases, only
sparingly indicated by a figured basso con-
tinue. Several of the oratorios, many of
the opera airs, and the chamber-duets have
been supplied with additional accompani-
ments, in a more or less adequate way, by
Mozart, Johann Adam Hiller, Mosel, Men-
delssohn, Robert Franz, Johannes Brahms,
and others ; but much still remains to be
done in this way, both for Handel and
Bach. (On this subject see Franz, Offener
Brief an Eduard Hanslick, Leipsic, 1871 ;
August Saran, Robert Franz und das

deutsche Volks- und Kircheulied, Leipsic,
Leuckart ; Julius Schiiffer, Robert Franz in
seinen Bearbeituugen alterer Vocalwerke,
Leipsic, Naumann ; do., Philipp Spitta und
sein Schlusswort in Sachen des Accompa-
gnements, Allg. deutsche Musikzeitg., 187G,
No. 2 ; do., Friedrich Chrysauder in seinen
Clavierausziigeu zur deutscheu Hiindel-
Ausgabe, Leuckart, 1876 ; do., Seb. Bach's
Cautate, " Sie werden aus Saba Alle kom-
men," etc., 3-24, Leuckart, 1877 ; Atlantic
Monthly, xlii., 321 ; Grove, i. 30 ; Fr. Chry-
sauder, Jahrbticher fur mus. Wissenschaft,
i. 408, ii. 249, passim ; Ph. Spitta, Allg. Mu-
sikztg., 1875, No. 20). The etched portrait
of Handel given in this volume, is from the
frontispiece to the original edition of Alex-
ander's Feast. The death-mask is from an
engraving of the cast of his face, taken after
death by Roubiliac, from which the head of
the statue on his monument in Westminster
Abbey, erected in 1762, was modelled. The
" Commemoration of Handel," with the pro-
file portrait, is a facsimile of the plate at-
tached to the handbook of the commemor-
ation of the centenary of Handel's birthday,
held in Westminster Abbey, in 1784.

W T orks Oratorios. I. German : 1st Pas-
sion, Hamburg, 1704 ; 2d Passion, ib., 171G.
[I. Italian : La rcsurrezione, Rome, 1708 ; H
rionfo del tempo e del disiuganuo, ib., 1708.
HI. English : Esther, Cannons, 1720 ; De-
borah, London, 1733 ; Athalia, Oxford, 1733 ;
Saul, London, 1739 ; Israel in Egypt, ib.,
1739 ; The Messiah, Dublin, 1742 ; Samson,

ondon, 1743 ; Joseph, ib., 1744 ; Hercules,

b., 1745 ; lielshazzar, ib., 1745 ; Occasional,

b., 1746 ; Judas Maccabseus, ib., 1747 ; Al<:r-

ander Balus, ib., 1748; Joshua, ib., 1748;

Sulumon, ib., 1749 ; Susanna, ib., 1749 ; Tlifo-

dora, ib., 1750 ; Jephtha, ib., 1752 ; and The

Triumph of Time and Truth, ib., 1757.

Anthems, Hymns, etc.: Utrecht Te Deum,
London, 1713 ; Utrecht Jubilate, ib., 1713 ;
12 Ghandos Anthems, Cannons, 1718-20 ;
1st Ghandos Te Deum, ib., 1718-20; 2d
Chandos Te Deum, ib., 1718-20 ; Short Te
Deum, ib., 1718-20; 4 Coronation Anthems,



London, 1727 ; 1st Wedding Authein, ib.,
1734 ; 2d Wedding Anthem, ib, 1730 ;
Queen Caroline's Te Deuru, ib., 1737 ;
Funeral Anthem, ib., 1737 ; Deltingen Te
Deum, ib., 1743 ; Dettingen Anthem, ib.,
1743 ; Foundling Anthem, ib., 1749 ; 3 Eug-
glish Hymns ; Laudate pueri in F, Halle ;
Dixit Dominus, Rome ; Nisi Domiuus ; Lau-
date pueri in D, Rome ; Silete veuti, ib. ;
Kyrie ; Gloria ; Magnificat.

Operas. I. German : Almira, Hamburg,

Handbook-Plate. Commemoration, 1784.

1705 ; A T ')-o, ib., 170.") ; Florindo und Daphne,
ib., 1706. H. Italian : Ilmlrrigo, Florence,
1707 ; Ai/rijipina, Venice, 1708 ; Rinnld,,.
London, 1711 ; I'a^ir Fid<, ib., 1712 ; ?!-
seo, ib., 1713 ; Silla, 1714, not performed in
public ; A iiviilii/i. London, 1715 ; Rad(imi*ln,
ib., 1720; .]///:/<> Scevola, ib., 1721; 7'?on-
dante, ib., 1721 ; Ottone, ib., 1723 ; Flavio, ib.,
1723 ; .Giulio Cesare, ib., 1724 ; Tamerlano,
ib., 1724; Rodelindu, ib., 1725; Sci]n'"n>;
ib., 1726 ; A/i:<*,,idro, ib., 1726 ; Admeto,
ib., 1727 ; Riccardo 1, ib., 1727 ; Siroe, ib.,

1728 ; Tolomco, ib., 1728 ; Lotario, ib., 1729,
Partenope. ib., 1730 ; Puro, ib., 1731 ; Eiio,
ib, 1732 ; Sosarnu', ib, 1732 ; Orlando, ib,
1732; Arianna, ib, 1734; An\nlunt<, ib,
1735 ; Aleina, ib, 1735 ; Atalan/a, ib, 1736 ;
(liiidinv, ib, 1737 ; Arminio, ib, 1737 ;
Berenice, ib, 1737 ; Faramundo, ib, 173S,
and Serse, ib, 1738 ; Jupiter in Argos (1739),
not performed ; Imeneo, London, 1740 ; Dei-
damia, ib, 1741. Parts of operas : Tito,
1732; Alfonso Primo, 1732 ; Flavio Olibrio
and Houorius. Pasticcios : Ormisda, Lon-
don, 1730 ; Lucio Papirio, ib, 1732 ; II
(.'atone, ib, 1732 ; Semiramide, ib, 1733 ;
Gajo Fabriccio, ib, 1733 ; Arbace, ib, 1734 ;
Orestes, ib, 1734 ; AlessanJro Severo, ib,
1738 ; Roxana, ib, 1743 ; Lucio Vero, ib,
1747 ; Ernelinda, and fragments of an
opera without name or date. Dramatic
Pieces : The Alchymist, London, 1732 ;
'/'rj^ichorc, ib, 1734; Semele, ib., 1744;
The Choice of Hercules (Alceste), ib, 1751.

Serenatas and Odes : Aci, Galatea e Poli-
femo, Naples, 1708 ; Queen Anne's Birth-
day Ode, London, 1713 ; Acis and Galatea,
Cannons, 1720 ; Parnaxxo in Festa, London,
1734 ; Alexander's Feast, ib, 173G ; Ode for
Saint Cecilia's Day, ib, 1739 ; L* Allegro, il
penseroso, ed il moderate, ib, 1740. Many
Italian cantatas, duets, and trios; 7 French
songs ; 9 German songs ; 16 Italian airs
and canzonets ; and 1 English air, For ever
let his sacred raptures, unpublished.

Instrumental : Water Musick (on the
Thames, 1715) ; Fireworks Musick (Lon-
don, 1749) ; 6 sonatas (trios), (lost), 1694 ;
12 sonatas, solos, op. 1 (Walsh, 1732) ; 6 so-
natas (trios), op. 2 (Walsh, 1733) ; 6 hautboy
concertos, op. 3 (Walsh, 1729) ; 6 organ
concertos, op. 4 (Walsh, 1738) ; 2d set
(Walsh, 1740) ; 3d set, posthumous (Walsh,
1760) ; 7 trios, op. 5 (Walsh, 1739) ; 12 grand
concertos, op. 6 (Walsh, 1740) ; 6 organ
concertos, op. 7 (1761) ; 3 organ concertos
(Arnold, 1797) ; Concertone (or concer-
tante) in nine parts, for 2 solo violins,
violoncello, hautboy, and stringed band
(Walsh, 1741) ; Concerto for trumpets and


horns (Birchall) ; Concerto for horns and
side-drums (unpublished) ; Hornpipe (1740) ;
Sonata for 2 violins (1736) ; Sonata in five
parts (1736) ; and Sonatas for violin, viola,
and hautboy. For harpsichord : Forest
Musick (Dublin, 17-12) ; The Lessons, or
Suites de Pieces, containing the Harmonious
Blacksmith (Cluer 1720 ; Walsh, 1733) ; 2d
set of nine Lessons (Walsh, 1733) ; 3d set
of Lessons (Aruould, 1793) ; C Fugues for

organ or harpsichord, op. 3 (Walsh, 1735) ;
4 Minuets and March (1720) ; and short
pieces. Fr. Chrysauder, G. F. Handel
(Leipsic, 1858-GO) ; Victor Schcelcher, Life
of H. (London, 1857) ; Maimvaring, Me-
moirs of G. F. H. (London, 1760) ; W. S.
Eockstro (London, 1883) ; G. G. Gervinus,
Hiindel und Shakespeare (Leipsic, 1868) ;
Kretschmar, in Samml. mus. Vortriige, V.
199 ; Naumann, Deutsche Toudichter, 25.

HANISCH, JOSEPH, born at Ratisbon
in the 19th century. Organist, son and
pupil of Anton Hanisch, whom he suc-
ceeded in 183C as organist. He was the
assistant of Proske iu his first visit to Italy,
and in 1840 became organist of the cathe-
dral of Ratisbon. Works : Missa auxilium
Clmstianorum ; Quatuor hymni pro festo
corporis Christ! ; Fiinf lateiuische Pre-
digtgesiinge. Mendel.

HANKE, KARL, born at Rosswalde,
Schleswig, in 1754, died iu Hamburg in 1835.
Dramatic composer, directed the chapel
of Count von Haditz iu his native place ;
married the singer Stormkin, and accom-
panied her as conductor to different cities.
In 1786 he was called to the court theatre at
Schleswig ; on his wife's death he married
another singer, Berwald, and with her went,

in 1791, to Flensburg, where he founded
a singing school and concert institute, and
became cantor, and music director. Finally
he was city music director in Hambur\
Works Operas : Robert uud Hanncheu,
Warsaw, 1781 ; Haphire, Fleusburg, about
1793 ; Hiion und Amande, ib., 1794 ; Doc-
tor Faust's Leibgiirtel, ib., 1796 ; Cassandra
abbaudouata, Italian intermezzo. Ballets :
Pygmalion ; Die Jager ; Die WassergOtter ;

Phobus uud
Daphne ; Die
Dorfsch u 1 e ;
several others.
Choruses to
Rolla's Tod;
Prologues, ep-
ilogues, and
music for comedies and dramas ; 7 German
cantatas ; 5 Italian do. ; Symphonies for or-
chestra ; Concertos for violin, oboe, trum-
pet, and horn ; 4 symphonies coucertantes
for 2 horns ; Sextets and serenades for dif-
ferent instruments ; Quartets for do. ; Trios
for 2 violins and bass ; do. for oboes and
bassoon ; do. for 2 horns and trumpet ;
Duets for different instruments, of which
about 300 for 2 horns ; Solos for violin and
for flute ; Church music, and songs. F6-
tis ; Mendel ; Schilling.

HANNIBAL. See Annibak.
born at Roeskilde, Denmark, Nov. 1, 1832,
still living, 1889. Organist, son of Hans
Matthison Hausen. Renounced the study
of law, and taught himself music. Was ap-
pointed organist of the German Friedrichs-
Kirche in Copenhagen in 1859 ; studied in
Leipsic in 1862-63 ; became organ teacher
of the Copenhagen Couservatorium in 1867 ;
secured the position of organist of St.
John's Church in 1871 ; gave concerts in
Denmark in 1874-77 ; and often visited
Germany. Works : Trios for pianoforte
and strings, op. 5 ; Drei Characterstiicke,
for pianoforte, op. 1 ; Drei Mazurkas, for
do., op. 2 ; Vom nordischeu Mytheukonig



Frode Fredegocl, Ballade for do., op. 14 ;
Sonata for do. and violin, op. 11 ; do. for
pianoforte and violoncello, op. 16 ; Fan-
tasie, for organ, op. 15 ; Conzert-Tonstilcke,
for do., op. 19. Mendel, Ergiinz., 146.

Fleusburg, Feb. 6, 1807, still living, 1889.
Organist. After making considerable prog-
ress in the study of art and teaching him-
self music, he became the pupil of C. F. E.
AVryse on the organ, and in 1832 was ap-
pointed organist of the Cathedral at Roes-
kilde. He gave concerts in Norway in
1861, in Sweden in 1862, and in London in
1864. He is considered one of the best or-
ganists living, and highly esteemed as a
church composer. Order of Dauebrog,
1857 ; professor, 1869. Works : Preludes
and postludes, for the organ ; 2 Kyrie elei-
son ; Cycle of church music for Christinas,
Easter, and Pentecost ; 130th psalm ; The
Lord's Prayer ; Introductions and variations
on various themes. In manuscript : Jo-
hannes, oratorio ; 100th, 121st, and 150th
ps'ilm, with orchestra ; 6 symphonies, 6
fantasias, variations, etc., for organ. Men-
del, Ergiinz., 144.

HANsr.K. WILHELM, bom at Unter-
zeil, Swabia, Sept. 12, 1738, died (?). Or-
ganist, entered the order of the Premon-
stratensians and studied the pianoforte, or-
gan, violin, and violoncello at the Abbey of
Scheussenried. In 1775 he went to the
Abbey of Lavaldicu in the Ardennes and
founded there a school of music. Works :
Psalmodia vespertiua quatuor vocibus (Augs-
burg, 1767) ; Dixit, Magnificat, and Xunc
dimittis, quatuor voc. cum organo (Augs-
burg, 1767) ; 4 sonatas for pianoforte with
violin accompaniment (Paris, 1777) ; Grad-
ual and antiphonary (Nancy, 17H9) ; Masses
and fugues for organ. Fetis ; Mendel.

HANS HEHJNG, romantic opera in
three acts, text by Eduard Devrient, music
by Heinrieh Marschner, first represented at
Hanover, May 24, 1833. The libretto of
this opera, which is Marschner's master-
piece, had been offered to Mendelssohn in

1827 (Devrient's " Recollections," 40). The
success of the work was instantaneous and
universal, and it still retains an honourable

Online LibraryJohn Denison ChamplinCyclopedia of music and musicians (Volume 2) → online text (page 35 of 93)