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cnvie do clariuette (1871), and La chan-
teuse par amour (1877), had but little suc-
cess. Fetis : do.. Supplement, i. 4G1.

HKXRY VIII, King of England, born
June 2*. 1 191, at Greenwich, died at White-
hall, Jan. ^8. 1517-48. Originally intended
for the chnrcli, he was instructed ill music,
and seems in have had some skill in com-
position. He sang and played upon the
recorder, flute, and virginals. Works :
I, it in motet for three voices, Quam pul-
chra ; Anthem, O Lord, the Maker of all
things ; Passetyme with good cumpanyc ;
The Kynge's balade ; Two masses for use
in the Royal Chapel. Grove ; Mendel ; Fe-
tis ; North, Memoirs of Musick, 75.

HENRY VIII., grand opera in four acts,
text by Lconce Di'troyat and Arrnand Syl-
vestrc, music by Saint-Saens, lirst repre-
sented at the Opera, Paris, March 5, 1883.
The libretto, which deals somewhat freely
with history, treats principally, like Doni-
zetti's Anna Boleua, with the story of Anne
Boleyu. The first act opens in the palace



! of the king in London, and ends with the
j interruption of the presentation of Anne as
maid of honour by the funeral march of
Buckingham. The scene of the second act
is Richmond Park ; the third act deals
with the trial of the divorce suit in West-
minster Abbey ; and the last with the death
of Catherine and the downfall of Anne Bo-
leyn. The part of the king was sung by
Lasalle ; Don Gomez de Feria, the Spanish
ambassador, by Dereims ; Catherine, by
Mile Krauss ; and Anne, by Mile Richard.
The opera was enthusiastically received.
Remodelled and cut to three acts by the
composer and performed in Paris, October,
1888. The ballet music was performed in
Boston by the Symphony Orchestra in 1885.
Published in Paris by Durand, Schcene-
werk & Cie ; Leipsic, Rieter-Biedermann
(issl). Athemcum (1883), i. 418.

HENRY VIII., incidental music to Shake-
speare's play of, by Arthur S. Sullivan, pub-
lished by Metzler & Co. (London, 1879).

HENRY OF NAVARRE, ballad for male
voices and orchestra, by George E. Whit-
ing, first performed by the Apollo Club,
Boston, April 29, LSS5.

HENSCHEL, (ISIDOR) GEORG, born in
Breslau, Germany,
Feb. 18, 1850, still
living, 1889. Bari-
tone singer and
composer, pupil in
Breslau of Wandelt
and Schaeffer, and
in Leipsic from 1807
of Moseheles and
Wenzel on the pi-
anoforte, of Rei-
composition, and of




and



necke in theory
Gotze in singing. In 1870 he studied com-
position in Berlin under Kiel, and singing
under Adolf Schulze. After singing several
years in concerts in Germany, Austria, Swit-
zerland, Russia, Holland, and Belgium, he
went in 1877 to London, remained until
1880, and then went to America. In 1881-
84 he was conductor of the Boston Sym-



256



HENSEL



phony Orchestra. He then returned to
England, and since 1885 has been settled in
London, where, in 1880, he was appointed
professor of singing in the Royal College
of Music, and conductor of the London
Symphony Concerts. Works : Friedrich der
Schiiiie, opera ; A Sea Change, or Love's
Castaway, comic operetta, text by W. D.
Howells ; An oratorio ; Gipsy serenade for
orchestra ; Psalm iii., for soli and chorus ;
1'sahn cxxx., for soli, chorus, and orchestra,
given in Berlin in 1872, London in 1879 ;
Serenade for string instruments, Berlin,
1872, Pesth, 187(5, London, 1878 ; Canon-
suite for string orchestra ; Canons for pi-
anoforte ; 10 Serbisches Liederspiel and
other songs. Mendel ; Riemaun.

HENSEL, FANNY (CACILIA), born at
Hamburg, Nov. 14, 1805, died May 14,
1847. Eldest sister of Mendelssohn, who
was tenderly attached to her, and who said
she played better than he at one time. She
married W. Heusel, a painter, in 1829.
Works : Garteulieder ; Part-songs ; Songs
for voice and pianoforte ; Trio for pianoforte
and strings. Mendel ; Fetis ; Heusel, The
Mendelssohn Family.

HENSEL, JOHANN DANIEL, born at
Goldberg, Silesia, Dec. 31, 1757, died at
Hirschberg, Dec. 10, 1839. Dramatic com-
poser, studied at Ki'migsberg University
and became tutor at Halle, where he was
a pupil of Tiirk ; in 1792 he founded an
educational institution at Hirschberg, where
music was taught and concerts were occa-
sionally given. Works : Cyrus uud Cas-
sandra, opera (1787) ; Daphne, do. (1799) ;
Die Geisterbeschwi'n-ung, operetta ; Die
Geisterinsel, do. ; Jesus, oratorio ; Can-
tatas ; Method for pianoforte (1799-1800).
Allgem. d. Biogr., xi. 789 ; Meiidel ; F6-
tis ; Schilling.

HENSELT, ADOLF VON, born in
Schwabach, Bavaria, May 12, 1814, still liv-
ing, 1889. Famous pianist and composer
for his instrument ; he was taken to Mu-
nich when three years old, and began to
take violin lessons, but soon gave up that




instrument for the pianoforte, which he
studied, at first under Lasser, and then un-
der Geheimriithin
von Fladt, who also
gave him some in-
struction in har-
mony. In 1831
King L u d w i g I.
made him an allow-
ance to enable him
to go to Weimar, and
study under Hum-
mel. He has always

been recognized as a pupil of Hummel, al-
though he never succeeded in appropriat-
ing to himself Hummel's method of playing,
having developed an original method of his
own before going to Weimar. After eight
mouths he left his teacher, returning to
Munich, whence he soon went to Vienna,
where he studied counterpoint for two
years under Sechter, and practised the pi-
anoforte. In 1836 he was ordered to Carls-
bad, and thence to Berlin, for his health.
In Berlin, as also in Dresden, Weimar, and
Jena, his playing aroused the greatest en-
thusiasm in private circles ; but the only
times he ever appeared before the general
public in Germany were on a short tour
through Dresden, Leipsic, and Berlin to
Breslau, in 1837. After marrying in Breslau
in this year, he went to St. Petersburg in
1S3S. He was soon made chamber pianist
to the Empress, and also to the Prince vou
Oldenburg, and played much in society,
but almost never in public. He adhered
strictly to this plan on the trips he made
to Germany, for recuperation, almost every
summer. He was later appointed inspector
of musical instruction in all the government
educational institutions for girls. Up to
the Crimean war he appeared in public
from time to time in St. Petersburg and
other Eussian cities, but since then he has
devoted all his time to composition and
teaching. His natural nervousness and
shyness in face of a large audience made
it almost impossible for him to play at con-



257



IIENTSCHEL



certs ; he would have a pianoforte iu the
green-room, and while the orchestra oil the
stage was playing the introductory ritor-
uello of a concerto he would play with them
up to the point when he had just time to
run to his place ou the platform and strike
the first chord of his solo part on the in-
strument that was ready for him, in sight
of the audience. On one such occasion, iu
St. Petersburg, he forgot to take the cigar
out of his mouth, and continued smoking
through the whole of the first movement of
a concerto, oblivious of Emperor and court.
Indeed, Henselt has been perhaps the only
great pianist of the first rank from whom
the general musical public has hardly
ever heard a note. Those who have heard
him report his playing to be of the most
poetic, inspired, and at the same time
wholly musical, character. Ho was espe-
cially noted for his playing of Hummel and,
above all, Weber. He excelled in playing
widely extended chords and arpeggios ;
and a large hand is almost indispensable
to anyone who would play his compositions.
Of these the most important is his F minor
concerto, op. Ifi, which had for a long time
the reputation of being the most difficult
pianoforte piece in existence. Although it
IMS since been excelled in this respect by
some more recent works by other com-
posers, it still holds an honourable place
iu the repertory of all great pianists. Next
to the concerto should be rated his two
sets of Studies, op. 2 and op. 5, which are
quite unique iu their way. His melodious
accompaniments, for " first pianoforte,"
to several of Cramer's studies, are also of
great value. His transcriptions of works
by Beethoven and Weber have had their




day, as have also his pianoforte trio, and a
not very large number of fugitive pieces.
Von Leuz, Die grossen Pianoforte-Vir-
tuoseu uuserer Zeit, 85 ; Mendel.



HEXTSCHEL, FRANZ, director and
composer, born in Berlin, Nov. 0, 1814,
still living, 1889. Pupil of Grell, A. W.
Bach, and Marx. He became musical di-
rector of the theatre at Erfurt in 1843, at
Alteuburg in 1845 ; returned to Berlin,
where he directed the private theatre,
Urania, in 1848-51, has taught music.
Works : Die Hexenreise, opera ; Operettas ;
Melodramatic music ; Marches and other
pieces for orchestra, and for military band ;
Concertos for flute, oboe, clarinet, and
horn ; Pianoforte music ; Songs. Mendel.

HENTSCHEL, THEODOR, born at
Schirgiswalde, Upper Lusatia, March 28,
1830, still living, 1889. Dramatic com-
poser, was choir-boy in Dresden, where he
studied under Reissigerand Ciccarelli, then
pupil at the Conservatorium at Prague.
He played the pianoforte in concerts in
Leipsic, was appointed Kapellmeister of
the theatre there, and in 1803 went to
Bremen iu the same capacity. Works
Operas : Matrose und Siiuger, given at
Leipsic, 1857 ; Der Kiinigspage, Bremen,
1874 ; Die Braut von Lusignan, oiler die
schone Melusine, ib., 1875 ; Lancelot, ib.,
1878 ; Overtures, and symphonic marches
for orchestra ; Mass for male voices ; Piano-
forte music, and songs. Fetis ; do., Supple-
ment, i. 4G3 ; Mendel ; Riemann.

HERBAIN, Chevalier D', born in Paris
iu 1734, died there in 17G9. Dramatic
composer, also captain in the army, cheva-
lier of St. Louis, and member of the Acad-
emy of Corsica. He went to Italy at the
age of seventeen, and produced an inter-
mezzo, II geloso, Rome and Florence, 1751.
While in Corsica with his regiment he wrote
several operettas. Works : II trionfo del
ciglio, Lavinia, given at Bastia, 1752, and
in several Italian cities, 1753 ; Celimene,
Paris, Opera, 1756 ; Les deux talents, ib.,
Comedie Italienne, 17(i3 ; Nanette et Lucas,
ib., 17C4 ; 2 cantatas, and motets. F6tis ;
Mendel.

HERBECK, JOHANN FRANZ VON,
born in Vienna, Dec. 25, 1831, died there,



IIERCULANUM




~



Oct. 28, 1877. He studied harmony with
Hotter a few mouths, but was almost en-
tirely self-educated ;
was choir-director to
the Piarists ill the
Josephstadt in 1853,
chorus-master to the
Vienna Miinnerge-
sangverein in 1856 ;
professor in the Cou-
servatorium and
chorus-master of the
Singverein in 1858 ; director of the Gesell-
schaft cler Musikfreunde iu 1859 ; chief
court Kapellmeister iu 1866 ; director of
the imperial Opera iu 1871, but resigned
iu 1875, aud resumed his former office iu
the Gesellschaft der Musikfreunde. Works :
Songs ; Overtures ; Symphony iu D minor ;
String quartets ; Masses, in E aud iu F ;
Te Deum ; Graduals ; Tanzmomente ;
Ktinstlerfahrt ; Symphonische Variationeu.
Wurzbach; Fetis, Supplement, i. 4(>:'> ;
Mendel ; Mus. Wocheublatt, viii. 640, C55.




Adelaide Borghi-Mamo.



HEECULANUM, French opera in four
acts, text by Mc'ry aud Hadot, music by Fe-
licieu David, first represented at the Aca-



demie Imperiale de Musique, Paris, March 4,
1859. This work won the Institutes prize of
'20,000 francs. It was first written as a
drama with vocal pieces, entitled La fin du
monde ; then as an opera for the Theatre
Lyrique, under the title of Le dernier
amour, and finally as above. The action
passes in the reign of Titus, in the evening
of the destruction of Herculaneum and
Pompeii. The libretto, though somewhat
deficient iu historic colour, its authors hav-
ing drawn some of their best material from
the history of Sodom and Gomorrah and
the prophecies concerning the end of the
world, contains many interesting and dra-
matic situations. The music is grand aud
beautiful, and especially rich in the orches-
tration. The role of Helios, sung by Roger,
was one of the great tenor's finest creations.
The characters of Olympia and Lilia were
represented by Mines Borghi-Mamo and
Gueymard-Lauters. Lajarte, ii. 225.

HERCULES, musical drama in three
acts, test by Rev. Thomas Broughtou,
music by Handel, first represented at the
King's Theatre, Haymarket, London, Jan.
5, 174:5. The original score, iu Bucking-
ham Palace, is dated at the beginning, July
19, 1744, and at the end, August 17, 1744.
Characters represented : Hercules, bass ;
Dejanira, soprano ; Hyllus, tenor ; lole, so-
prano ; Lichas, alto ; Priest of Jupiter, bass ;
chorus of Trachiniaus, chorus of Oechalians.
Scene, Trachin, iu Thessaly. Though an-
nounced as a " musical drama," it was pro-
duced and published as an " oratorio."
First published by Walsh ; published by
Arnold, 1785-8G ; by the Hilndelgesell-
schaft (Leipsic, 1859). Hercules was re-
vived at the Lower Rhine Festival, Diissel-
dorf, May 17, 1875, under direction of Joa-
chim, and in London, June 8, 1877, under
that of Henry Leslie. Rockstro, 316.

HEREDIA (Herredia), PEDRO, Spanish
church composer of the first half of the 17th
century, died iu Rome in 1648. He was
maestro di cappella of St. Peter's, Rome,
from 1630 until his death. His masses and



259



IIERING



other church music are iu the Sautini col-
lection. Fetis.

BERING, KARL EDUARD, born at
Oschatz, Saxony, May 13, 1807, died at
Bautzen, Dec. 30, 1879. Son and pupil of
R G. Bering, and at Leipsic pupil of Wein-
lig; in 1819 he became organist at Bautzen,
where he founded and conducted a singing
society. Works Oratorios : Der Eiioser,
given at Leipsic in IS.'U ; Die heilige Nacht,
David, Salomo, Christ! Leid uud Herrlich-
keit. Operas: Conradin, der letzte Hohen-
staufe, Tordeuskjold ; A mass given in
Prague in 1835 ; Other masses ; Cantatas ;
Hymns ; Psalms, and ballads. Mendel ;
Fetis ; Schilling.

BERING, KARL (ERIEDRICH AU-
GUST), born in Berlin, Sept. 2, 181',), .still
living, 1889. Violinist, pupil of H. Ki< s :m.l
Rungenhagen in Berlin, of Lipinski in Dres-
den, and of Tomaschek in Prague. After
iiuiking concert tours, he was I'm- a short
time attached to the royal chapel of Berlin ;
I'- Minded the Sonatenverein there in 1848,
and a music school in 1851. Received the
title of royal music director. Works : Sym-
phonies ; Overtures ; Masses ; Chamber and
pianoforte music ; Songs. He was author
also of educational works. Mendel ; Fetis,
Supplement, i. 4<i:i ; Itiemann.

HERITIER, JEAN L', church composer
of the French school, first half of the liith
century. His motets are found in Motetti
della Corona (1519); in Fior di Motetti
(Rome) ; and in other French and Italian
collections of that time. Fetis.

HERMAN, REFNHOLD LUDWIG, born
at Preuzlau, Brandenburg, Sept. 21, 1849,
still living, 1889. Pianist, pupil at Stern's
Conservatorium, Berlin, of Ehrlich on the
pianoforte, of Stern in vocal culture and
conductorship, and of Kiel in composition.
In 1871 he went to New York, devoted him-
self to vocal instruction, and conducted
several singing societies there, in Brook-
lyn, and New Haven, until 1878, when he
was called to Berlin as director of Stern's
Conservatorium and opera school. In 1881




he returned to New York, resuming his
former activity ; in 1884 was elected con-
ductor of the
German Lieder-
kranz, and in
1887 appointed
professor of
Sacred History
at the Theologi-
cal Sem inarv.
li,' Works: Yineta,
romantic opera
(1872-73), r e -
written, 1888;

Lanzelot, heroic opera (1880), 1st act per-
formed at the Liederkrauz Concert, Stein-
way Hall, April 22, 1888; Music to Schil,
let's Mraut. von Messina (1883-84); The
Bridge of Sighs (Hood), cantata for soli,
chorus, and orchestra, Berlin, Singakade-
mie, 1879 ; The Spirits of the Tbay, do. ;
Saucta Ciicilia (Der Sanger von Ground),
do. (1885) ; The buried Song, do. (male
voices, 1888) ; Friihlingszug, overture for
orchestra, Berlin, Singakademie, 1879 ;
Concert Overture in D ; Dido, Concert aria
for soprano with orchestra ; Concerto for
pianoforte and orchestra ; Sonatas and suites
for various instruments ; Sextets, quintets,
quartets, etc., for male and mixed voices,
with and without accompaniment; Terzets,
duets, and songs.

HERMANN. See Arminius.
HERMANN (CONSTANT HERMANT,
called), born at Douai, Aug. 16, 1823, still
living, 1889. Violinist, pupil at the I'aiis
Conservatoire of Gueriu and Habeneck ;
won the first violin prize in 1841, and stud-
ied later under Leborne. He has composed
for violin and pianoforte. Fetis.

HERMANN, FRIEDRICH, born in
Frankfort-on-the-Main in 1828, still living,
1889. Violinist, pupil of Mohr, and at the
Leipsic Conservatorium of Ferdinand David,
Mendelssohn, and Hauptmann. In 1846
he became first viola player of the Gewand-
haus and theatre orchestras of Leipsic, and
teacher of violin in the Conservatorium there,



2110



HERMANN



devoting himself to the Latter from 1878.
Received the title of royal professor ill 1883.
Works : Symphony ; Violin music. Men-
del ; Meyer, Coiiv. Lex., xxi. 421.

HERMANN (HERMANN COHEN,
called), born in Hamburg, Nov. 10, 1821,
still living, 1889. Pianist, son of a rich
banker, studied music as an amateur, and
was a good performer at the age of twelve.
Reverses of fortune having obliged him to
adopt music as a profession, he gave con-
certs in Germany, but finally settled in
Paris (1834), where he became Liszt's fa-
vourite pupil, and was taken by him to
Geneva as professor at the Conservatoire,
which he founded there. Cohen subse-
quently returned to Paris, then travelled
through England, Germany, and Italy, and
brought out an opera in Verona. When
twenty-five years old he returned to Paris,
abjured the Hebrew faith, became a Catho-
lic priest (1851), and entered the Order of
Barefooted Friars as Father Augustin Ma-
rie. He became celebrated for his preaching,
published a collection of canticles, and com-
posed a mass under his new name. Fc-tis,
Supplement, i. 4G4 ; Mendel, Erganz., 155.

HERMANN, JOHANN DAVID, born in
Germany about 17(50, died in Paris in 184G.
Pianist, settled in Paris in 1785 ; was first
heard at the Concerts Spirituels, became
teacher to Marie Antoinette, but on the ar-
rival of Steibelt was obliged to give up that
position. Both musicians competed for
public favour and royal patronage at a per-
formance where Steibelt's new and spark-
ling style was greatly in contrast to that
of Hermann, who was a follower of Bach.
He remained in Paris through the Revo-
lution, and amassed a fortune by buying
up the royal properties at public sales.
He published concertos, sonatas, potpour-
ris, etc., for pianoforte. Frtis; Mendel;
Weitzmaun, Geschichte des Clavierspiels, 82.

HERMANN UNO DOROTHEA, overture
for orchestra to Goethe's " Hermann uud
Dorothea," in B minor, by Schumann, op.
13G, composed in 1851, and dedicated



" Seiner lieben Clara;" first performed at
the Gewandhaus, Leipsic, Feb. 2G, 1857.
It was Schumann's first intention to write
an opera on this subject. Arranged by the
composer for pianoforte for four, and for
two hands ; published by Breitkopf & Hiir-
tel (Leipsic, 1857).

HERMANNSCHLACHT, DIE, overture
for orchestra in C minor, by Georg Vierling,
op. 31. Theme, Kleist's drama, "Die Her-
mannschlacht," Dedicated to Julius Rietz,
published by Breitkopf & Hiirtel (Leipsic,
between 1860 and 18G7).

HERMIONE, German opera in four acts,
text by Emil Hopffer, music by Max Bruch,
op. 40 ; first represented in Berlin, March
21, 1872. The libretto is an adaptation
of Shakespeare's " Winter's Tale." Mus.
Wocheublatt (1872), 222.

HERNANDEZ, PABLO, born in Sara-
gossa, Spain, Jan. 25, 1834, still living, 1880.
Organist, pupil of Valentin Meton ; became
organist of the parish church at the age of
fourteen ; entered the Madrid Conserva-
torio in 1856, as pupil of Hilarion Eslava,
and won, in 18G1, 1st prize for organ and
composition ; became organist of the royal
church of Nuestra Dania de Atocha, and pro-
fessor at the Couservatorio. He has pub-
lished a method for the organ, church mu-
sic, and composed several zarzuelas, besides
orchestral music. Fetis, Supplement, i.
4G5 ; Mendel, Erganz., 156 ; Riemauu.

HERNANDO, RAFAEL JOSE MARIA,
born in Madrid, May 31, 1822, still living,
1889. Dramatic composer, pupil of Ramon
Carnicer at the Madrid Conservatorio ; went
to Paris about 1843 ; became composer and
director for a Madrid theatre ; secretary, in
1852, and later professor of harmony at the
Madrid Conservatorio. Works Zarzuelas :
Las sacerdotisas del sol ; Palo de ciego,
Colegiales y soldados, El duende, 1849 ;
Bertoldo y Comparsa ; El novio pasado por
agua ; Cosas de Juan ; Una noche en el
serallo ; El tambor ; Aurora ; Escenas de
Chamberi ; Por seguir a una mujer ; El
nacimiento ; Premios a, la virtud ; and a



2111



HERO



Proyecto, roemoria para la creacion de una
Academia espailola de musica y de fomeuto
del arte ; Mass, performed 1867 ; Stabat
Mater ; Cantatas, hymns, etc. Futis, Sup-
plement, i. 4GG ; Mendel, Ergiiuz., 156 ;
Biemann.

HERO AND LEANDER, cantata, by
Charles Harford Lloyd, first performed at
the Three Choirs' Festival, Worcester (Eng-
land), Sept. 9, 1884. Published by Novello,
E\ver & Co. (London, 1885). Athenseum
(1884), ii. 345.

HERO UND LEAXDER, overture in A
major, for orchestra, by Julius Rietz, op. 11,
composed in Diisseldorf between 1836 and
1848. Arranged for pianoforte for four
hands. Published by Breitkopf & Hiirtel
(Leipsic). Schumann, Gesamm. Schr., ii.
324.

HEROES, WHEN WITH GLORY BURN-
ING, contralto .aria of Othniel, in F major,
"A Tempo diGavotta," with accompaniment
of 2 oboes, strings complete, and coutiuuo,
iu Handel's ,/.>.-/< /m, Act H., scene 4.

HEROIDE FUXEBRE (Helden-Klage),
symphonic poem, for orchestra, by Liszt,
<>p. 4. Nn. s. Composed in 1830 as the
first part of the Symphonic Revolutionnaire.
worked over iu 1849. First performed iu
Breslau, afterward in Berlin and Frankfort-
on-the-Oder. Published by Breitkopf &,
H:irtel (Leipsic, 1857).

HKROLD, FRANVOIS JOSEPH, bom
at Soltz, Alsace, March 10, 1755, died in
Paris, Sept. 1, 1802. Pianist, studied mu-
sic in Hamburg, where he afterward be-
came a pupil of Curl Philipp Emauuel
Bach. He settled in Paris in 1781, as
teacher ; published sonatas for harp, and
for pianoforte with violin. Fetis.

HEROLD, LOUIS (JOSEPH FERDI-
XAXD), born in Paris, Jan. 28, 1791, died
there, Jan. 19, 1833. Son of Franjois Jos-
eph Herold, pupil at the pensionn.it llix,
where he attracted the notice of Fetis, who
gave solfege lessons there, by his quickness
of musical perception. So rapid was his
progress that, when his father died in 180G,




he determined to make music his profes-
sion, and entered Louis Adam's pianoforte
class at the Conser-
vatoire. In 1810 he
took the first prize ;
studied harmony
under Catel, iu 1811
began lessons in
composition under
Mehul, and in 1S12
took the Prix de
Rome with a can-
tata, Mademoiselle
de la Valliere. After

working hard in Rome for nearly three
years, he went in 1814 to Naples, where he
became pianist to Queen Caroline. During
the last year of his stay at Rome he had
written an opera buffa, La gioventu di En-
rico Quiuto, the libretto of which he com-
piled himself, with Landriani's assistance,
from Duval's comedy "La jeunesse de Henri
V." This work was given at the Teatro del
Foudo, Naples, 1815, with flattering suc-
cess. On his return to Paris in 1815, Boiel-
dieu asked him to finish his uncompleted
score of Charles de France. His work on
this snore brought him into favorable no-
tice ; his own opera, Les rosieres, was
given at the Feydeau with success in 1817,
and followed nine months later by La clo-
chette. Although he evinced in this opera
unmistakable dramatic force, it was some
time before he could get another libretto.
Meanwhile, he wrote many pianoforte fan-
tasias and other smaller works, which
never had quite the success they deserved.
From 1818 to 1825 he produced opera after
opera, not wanting in high musical merit,
but with texts so poor as to prevent them
from obtaining any real success. During
three years (1820-1823) of this time, how-
ever, Herold filled the post of accompany-
ing pianist at the Theatre Italien, and
wrote nothing for the stage. The five
operas written during the two years follow-
ing showed the evil effects of the state of
discouragement into which he had fallen.



26S



IIEROLD



The success of Rossini's operas, the re-
hearsals of which ho had accompanied at



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