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HEYMANN, KARL, born at Amsterdam,
Oct. 4, 1851, still
living, 1889. Pi-
anist, pupil of Hil-
ler, Gernsheim,
and Breunung at
the Couservatorium
of Cologne, and of
Kiel in Berlin;
early attracted the
attention of the mu-
sical world as a pi-
anist, and having
been obliged by
nervous prostration to retire from public
life for several years, reappeared again in
concerts with Wilhelmj in 1872, and became
musical director at Bingen. lu 1879-80
he was instructor at Hoch's Conservatorium,
but finding teaching uncongenial, devoted
himself entirely to a virtuoso's career.
Works : Concerto for pianoforte ; Elfen-
spiel ; Mummenschauz, Phautasiestiicke,
etc., for do. Riemann.

HIAWATHA, concert overture in B-flat
minor, bv J. C. D. Parker, first given in the
Music Hall, Boston, Feb. 14, 1878.

born at Nantes, May 22, 1822, still living,
1889. Dramatic compose!-, pupil at the
Conservatoire, Paris, of Halevy ; won 2d
prize for composition, 1850. Prix de Tiv-
mont from the Academic des Beaux-Arts, in
1871. Works : Le visiouuaire, given at
Nantes, 1851 ; Le Coliu-maillard, Paris, The-
atre Lyrique, 1853 ; Les compagnons de la
Marjolaine, ib., 1855 ; M. de Chimpanze, ib.,
1858 ; Leuouveau Pourceauguac, L'auberge
des Ardennes, ib., 1860 ; Les musiciens de
1'orchestre (with Delibes and Erlanger),
Bouffes Parisiens, 1861 ; Hamlet, lyric trag-
edy, Nantes, Grand Theatre, 1888 ; Les mules
de Fleurette, La rnille et deuxieme unit,
comic operas (MS.) ; Le joueur d'orgue, A la
porte, parlor operettas ; Rimes et melodies,
2 collections of songs ; several choruses with



orchestra ; G choruses for female voices,
with pianoforte (4 hands) ; 12 choruses for
male voices a cappella ; Duos, etc. ; Valses
concertantes for pianoforte (4 hands) ; Valses
romantiques, for do. ; etc. Fetis, Supple-
ment, i. 472 ; Mendel, Ergiinz., 158.

HILES, HENRY, born in Shrewsbury,
England, Dec. 31,
1826, still living, at
Manchester, 1889.
Organist at Bury.
184G; Bishop-Wear-
m<mth,lS47; St. Mich-
ael's, Wood Street,
London, 1859 ; Blind
Asylum, Manchester,
1860 ; Bowdon, 1861 ;
St. Paul's, Hulme,
Manchester, 1864-67 ; lecturer at Owen's
College, ib., and conductor of several musi-
cal societies. Mus. Bac., Oxford, 1862 ;
Mus. Doe., ib., 1867. Works: The Patri-
archs, oratorio ; Fayro Pastorel, cantata ;
The Crusaders, sacred cantata, 1S74 ; Watch-
fulness, cantata for female voices; Sing to
the Lord, festival anthem ; I was glad, do. ;
The Lord will comfort Ziou, full ant In m ;
The Lord is my Light, do. ; God is our Re-
fuge, do. ; Blessed are the Merciful, do. ; I
will lay me down in peace, tenor solo and
chorus ; Wherewithal shall a young rnan,
do. ; I am well pleased, do. ; Cathedral fes-
tival service in G ; Morning service in F ;
I ',\i 11 ing do. in F; Fantasia, for organ;
Prelude and fugue in A, do. ; Sonata in G
minor, do. ; Wreck of the Hesperus, and
other part-songs ; Stars of the Summer
Night, and other songs. Pianoforte music.
He is author also of a Grammar of Music
(2 vols. 8vo, n.d.) ; The Harmony of Sounds
(London, 1871-72-78); Modern Counter-
point (ib., 1884) ; First Lessons in Singing
(ib, 1888). His brother, John Hiles (1810-
1882), was an organist also, and author of
several didactic works, and of pianoforte
music and songs.

HLLF, HERR! Chorus in D minor, in
Mendelssohn's E/ias, No. 1.

HILL, WILHELM, born at Fulda,
March 28, 1838, still living, 1889. Pianist,
pupil of Heinrich Henkel and of Hauff;
in 1854 he settled at Frankfort, where his
opera Aloua was awarded the second prize
at the competition in 1882 for the opening
of the new Opera house. Among his other
compositions deserve especial mention 2
sonatas for violin, op. 20 and 28, the trios, op.
12 and 43, a quartet with pianoforte, op. 44,
and some songs. Riemann.

HELM, born in Paris, Nov. 25, 1852, still
living, 1889. Pianist, pupil of Bazin at the
Conservatoire, where he won a second prize
for harmony in 1870, a first accessit for
fugue in 1872, and the grand prix de Rome
in 1876, for his cantata Judith. A morceau
symphonique, for orchestra, was played at
the Concerts modernes, in 1876. Fetis,
Supplement, i. 473.

HILLEll, FERDINAND, born in Frank-
fort-on -the - M a i n,
Oct. 24, 1811, died
in Cologne, May 12,
1885. Of Hebrew
parentage ; pupil of
a violinist name d
Hofmann, on the pi-
anoforte of Alois
Sehmitt, and in har-
mony and counter-
point of Vollweiler. He played a Mozart con-
certo in public at the age of ten, and began to
compose at twelve. In 1825 he was sent to
Weimar to study composition under Hum-
mel, whom he accompanied in 1827 on a
professional tour to Vienna, where he saw
Beethoven on his death-bed (" Aus dem
Tonlebon," 2d series), and published his
opus 1, a string quartet written at Weimar.
He returned to Frankfort, but went in 1828
to Paris, where, with the exception of a visit
home on his father's death, he lived seven
years. For a short time he gave lessons at
Chorou's Institution de Musique, but dur-
ing the greater part of his stay lived on his
own private means, and worked assiduously


at the pianoforte and composition. At the
same time he went a good deal into society,
gave many successful concerts, and did, in
pianoforte and chamber music, very much
the same good work that Habeiieck was
doing, in the orchestral field at the SocK'tu
des Concerts, to introduce Bach and Beetho-
ven to the French public. It was he who
first played Beethoven's E-flat concerto in
Paris. In his concerts he associated him-
self especially with Fetis and Baillot. In
1835 he returned to Frankfort, where he
conducted the Ciicilien - Vereiu during
Schelble's illness in 1836-1837. He next
went to Milan, where he wrote his opera of
Eomilda, brought out at La Seala in 1839,
through Rossini's efforts, but made no suc-
cess. In Milan he also began his oratorio
Die Zersturuug Jerusalem^, which, when
finished, interested Mendelssohn so deeply
that he induced Hiller to spend the winter
of 1839-40 in Leipsic to superintend its
production. In 1841 he made a second
trip to Italy, studying the old Italian church
music at Rome under the guidance of Baiui.
Returning to Frankfort for a time, he went
thence to Leipsic, where he conducted the
Gewandhaus concerts for the season of
1843-44, and then to Dresden, where he
brought out two operas, Traum der Christ-
uacht and Couradin. In 1847 he was ap-
pointed municipal Kapellmeister at Diissel-
clorf, and in 1850 at Cologne, which last
post he continued to fill nearly up to his
death, with but few interruptions. He con-
ducted the opera at the Theatre Italien in
Paris for the season of 1852-53, conducted
a series of concerts at St. Petersburg in
1870. and went to England in 1871 to su-
perintend the production of his cantata,
Nala und Dainayauti, at the Birmingham
Festival, and in 1872 to give concerts in
London, at which he appeared both as pian-
ist and conductor of some of his own works.
He organized the Cologne Conservatorium
soon after settling in that city, and was
for a long time the chief musical figure in
the Rhenish Provinces, exerting an unmis-

takable influence upon the musical thought
of the day as composer, pianist, teacher,
conductor, and litterateur. From 1850 he
conducted all the Lower Rhine Festivals
that were given at Cologne. Hiller was
long noted as one of the chief representa-
tives of the ultra-classical element in mod-
ern German music. He owed his eminence
as a composer rather to a fine and highly
cultivated musical talent than to original
genius ; a man of naturally refined percep-
tions, of fine intellectual endowments, and
broad general culture, he stood prominent
among the German composers of his day
as a follower of Mendelssohn rather than of
Schumann. His intimacy with almost all
the leading composers of his time, his
agreeable manners and conversation, his ex-
cellent style as a writer, made him an espe-
cial favourite, except with the followers of
Wagner, of whose art principles he was al-
ways a determined opponent. His compo-
sitions almost invariably command respect,
and not uufrequently admiration, by the ex-
cellence of their style, albeit that his native
genius did not always second him well in
the romantic direction which his instincts
impelled him to pursue. Of his many
friends Mendelssohn was the closest, and
had the strongest influence over him.

Works I. Oratorios and Cantatas : Die
Zerstdrung Jerusalema, op. 24 (Leipsic, Kist-
uer) ; Saul, op. 80 (ib.) ; Additional accom-
paniments to Handel's Deborah ; 2 psalms,
voice and pianoforte, op. 27 ; Gesang der
Geister iiber den Wassern, text by Goethe,
for chorus and orchestra, op. 30 (Berlin,
Guttentag) ; Eine Kiiferhochzeit, 2 voices
and pianoforte, op. 45 ; Die lustigeu Musi-
kanten, 4 voices and pianoforte, op. 48 ;
weint urn sie, text by Byron, soprano solo,
chorus, and orchestra, op. 49 (Bonn, Sim-
rock) ; Psalm XXV., tenor solo, chorus, and
orchestra, op. 60 (Mainz, Schott) ; Pater
noster, chorus and organ ad lib., op. 61 ;
Gesang Helo'iseus und der Nonneu am
Grabe Abillards, alto solo, chorus, and
small orchestra, op. 62 (Breslau, Leuckart) ;



Psalm, 8 voices, op. Go ; Das Stiindchen,
male voices and strings, op. 68 (Mainz,
Schott) ; Die Lorelei, soli, chorus, and or-
chestra, op. 70 (Leipsic, Kistner) ; Ver sa-
crum oder die Griinduug Roms, do., op. 75
(ib., Breitkopf & Hiirtel) ; Christnacht, soli,
chorus, and pianoforte, scored for orchestra
by E. Petzold, op. 79 (ib., Kistner) ; Die
Wallfahrt nach Kevlaar, voice and piano-
forte, op. 83 ; Spruch, Gott mit mir, 2
voices and pianoforte, op. 89 ; Au das Va-
terlaud, male chorus and orchestra, op. HI
(Nuremberg, Schmid) ; 6 Marienlieder, cho-
rus and pianoforte, or organ ad lib., op. 93 ;
Die Nacht, soli, chorus, and orchestra, op.
99 (Breslau, Leuckart) ; l'u/nii'ii.:iint>i'jnt>:r-
gen, do., op. 102 (Leipsic, Rieter-Biedcr-
luaun) ; Aus der Edda, 2 poems for male
chorus and orchestra, op. 107 (Breslau,
Leuckart) ; Psalm xciii., do., op. 112 (Leip-
sic, Kieter-Biedermaun) ; /'/(</./<, chorus
and orchestra, op. 119 (ib., Kistner) ; Os-
termorgen, soprano solo, male chorus, and
orchestra, op. 134 (Bremen, Cranz) ; Es
muss doch Friihling werden, male chorus
and orchestra, op. 130 (Mainz, Schott) ;
Frflhlingsnacht, 4 soli and orchestra, op.
139 (ib.) ; Nala uud Damayanti, soli, chorus,
and orchestra, op. 150 (London, Novello) ;
/.-TidV.s Siegesgesang, soprano solo, chorus,
and orchestra, op. 151 (ib.) ; Bundeslied,
male chorus and orchestra, op. 174 ; l'r<>-
iii'-lio'iiK, soli, chorus, and orchestra, op.
175 ; Bebekka, do., op. 182 ; 2 Balladen, solo,
chorus, and pianoforte, op. 187 ; Sauctus
Domiuus, male chorus, op. 192 ; Es furchte
die Gutter das Menschengeschlecht, from
Goethe's Iphigenie, chorus and orchestra,
op. 193 ; Richard Loewenherz, Ballade,
tenor solo, chorus, and orchestra, op.

IL Dramatic : Romilda, opera, Milan, La
Scala, 1839 ; Ein Traum in der Christnacht,
do. (Dresden, 1845) ; Conradiu, do.; Die
Katacomben, do., Wiesbaden, February,
1862 ; Der Deserteur, do., op. 120 (Mainz,
Schott), Cologne, Feb. 17, 1865 ; Operette
ohne Text, pianoforte 4 hands, op. 106 ; In-

strumental pieces and choruses to Gorner's
Prinz Papagei, op. 183.

III. Miscellaneous vocal : 26 mixed chor-
uses, with or without accompaniment, op.
71, 116, 148, 165, 194 ; 7 male choruses, do.
op. 28, 114 ; 6 five-part songs, op. 25 ; 29
four-part songs, op. 31, 56, 143, 199 ; 24
three-part songs for female voices and pi-
anoforte, op. 94, 123, 176 ; over 30 two-
part songs with pianoforte, op. 39, 43, 63,
90, 92, 121, 132, 164, 177, 205; Weine
uicht, recitative and romance for soprano,
with pianoforte, op. 72 ; Reiner von Biirgen,
Liedercyclus for a voice and pianoforte, op.
179 ; Dallo profundo chiarno a te, Signore,
text by Dante, for a voice and pianoforte,
op. 189 ; over 100 songs with pianoforte, op.
16, 18, 23, 26, 34, 41, 46, 85, 111, 129, 149,
153, 159, 185, 195, 204.

IV. Orchestral : Symphony No. 1, Paris,
Jan. 1830 ; do., No. 2, ib., 1831 ; do., No.
3, Es muss doch Fruhliug werdeu, in E
minor, op. 67 (Mainz, Schott) ; Srencn aus
dem Soldatenleben, suite, op. 146 ; Drama-
tische Fautasie (Sinfonischer Prolog), op.
166 ; Overture No. 1, in D minor, op. 32 ;
do., No. 2, in A, op. 101 ; do. to Schiller's
Demetrius, op. 145 ; Pianoforte concerto
No. 1, in A-flat, op. 5 ; do. No. 2, in F-sharp
minor, op. 69 ; do. No. 3, in C, op. 113 ;
Violin concerto in A, op. 152 ; Fantasiestiick
for violin and orchestra, in A, op. 152, B.

V. Chamber music : String quintet in G,
op. 156 ; String quartet in G, op. 12 ; do.
in B minor, op. 13 ; Quartet for pianoforte
and strings, op. 1 ; do. in F minor, op. 3 ;
do. in A minor, op. 133 ; Trio for pianoforte
and strings, in B-flat, op. 6 ; do. in F-sharp
minor, op. 7 ; do. in E, op. 8 ; do. (Sere-
nade), op. 64 ; do. (Serenade No. 2), op.
186 ; Suite in canon form, for pianoforte
and violin, op. 86 ; Serenade for do., op.
109 ; Sonata for do., in A minor, op. 172 ;
other pieces for do., op. 2, 22, 38, 58, 118,
142, 190 ; Conzertstiick in A minor, for pi-
anoforte and violoncello, op. 104 ; Serenade
in D minor, for do., op. 140.

VI. For pianoforte : Sonata No. 1, in C, op.



47 ; do. No. 3, in G minor, op. 78 ; Modern
Suite, op. 144 ; Suite serieuse, op. 168 ; other
pieces of various sorts, op. 4, 9, 10, 11, 14,
15, 17, 20, 21, 30, 33, 40, 52, 55, 117, 122,
163, 173, 175, 178, 184, 188, 191, 19G, 197,
198, 201, 202, 203 ; For 4 bands, Leichte
Serenade, op. 128 ; Grosser Festmarsch, op.
147 ; Nameulose Tauze, op. 169 ; For 2
pianofortes, 4 Lands, Duet iiber Liitzows
wilde Jagd von C. M. von Weber, op. 108 ;
Grand Duet, op. 135.

VII. Literary works : " Aus dem Tonlebcn
unsererZeit,"(Leipsie, MeudelssoLn) ; "Die
Musik und das Publicum," (Cologne, Du
Mont - Scbemberg) ; "Ludwig van Bee-
thoven, gelegentliche Aufsatze," (Leipsic,
Leuckart) ; " Felix Meudelssohu-Barthol-
dy, Briefe und Eriuneruugen," (Cologne,
Du Mont-Schemberg) translated by M. E.
von Glelm, London, Maemillau & Co.,
1874); " Musikalisches und PersOuliclies,"
(Leipsic, Breitkopf & Hartel, 187G) ; "Briefe

an eineUngenannte," (Cologne, 1877; Kunst-
lerlebeu, ib., 1880). Fi'tis ; Mendel ; Mus.
Wochenblatt, ii. ; Athenaeum (1885), i. 641.
Leipsic in 1768, died in Kunigsberg, Nov.
23, 1812. Violinist and tenor singer, son
and pupil of Johann Adam Hiller. He
made his debut as a tenor singer at Rostock
in 1789. In 1790 he became musical di-
rector of the theatre at Schwerin, where he
was known also as a fine violinist, and in
1796 at Altona ; and in 1803 became Ka-
pellmeister of the theatre at Konigsberg. He
formed a class for instruction, and his new
style of teaching attracted many scholars.
Works : Adelstan und Roschen, comic op-
eretta, given at Schweriu, 1796 ; Das Nixen-
reich, intermezzo, ib., 1796 ; Das Donau-
weibchen, 1802 ; Das Schmuckkastchen, op-
eretta, Kouigsberg, 1804 ; Die drei Sultaue,

comic opera, ib., 1809 ; Friedrich von Schil-
lers Maueu, Festspiel, ib., 1812 ; Music to
Caruier's drama " Hercus Monte," 1810 ;
Gross ist der Herr, hymn for soli, chorus, and
orchestra (1810) ; Hyrnne an die Tonkunst,
for 4 voices and orchestra ; 6 quartets for
strings ; Variations for violin, with second
violin, viola, and violoncello ; Grand sonata for
pianoforte (4 hands), etc. Fetis ; Schilling.
born at Wendisch-
Ossig, near Gorlitz,
Silesia, Dec. 25, 1728,
died at Leipsic, June
16, 1804. Dramatic
composer, pupil of
Homilius at the
Kreuzschule in Dres-
den ; went to the Uni-
versity of Leipsic in
1751; tutor in family
of Count Briihl, Saxon minister, in 1754 ;
went to Leipsic in 1758,
where he devoted himself to
the public concerts; director
^ concer t s i" 1763; founded
a school of singing in 1771 ;
Cantor and director of music
at the Thomasschule in Leipsic in 1786,
and resigned in 1801. His importance as
a composer rests on his Siugspiele, which
formed the beginning of the German comic
opera, developing individually by the side
of the Italian opera buffa, and the French
opera-comique. The songs from his oper-
ettas became extremely popular. Works
Operettas, all given at Leipsic : Der Teu-
fel ist los (I. part : Der Lustige Schuster,
1768 ; II. part : Die verwandelten Weiber,
1766 ; Lottchen am Hofe, 1760 ; Die Liebe
auf dem Laude ; Lisuart und Daviolette,
1767) ; Die Jagd, Der Dorfbarbier, Die
Museu, 1772 ; Der Erutekranz, Der Krieg,
1773 ; Die Jubelhochzeit, Das Grab des
Mufti, 1779 ; Poltis, oder das gerettete
Troja, 1782 ; Church cantatas ; Passion can-
tata ; Choralmelodien zu Gellert's geistliehen
Odeu uud Liederu (1761) ; Weisse's Lieder



filr Kinder (1769) ; 50 geistliclie Lieder fiir
Kinder (1774) ; Vierstimniige Chor-Arien

(1794) ; 100th Psalm ; Choralbuch (1793,
with appendices, 1794 and 1797). Allgem.
d. Biog., -SM.. 420 ; Fetis ; Gerber ; Mendel ;
Schilling ; Rochlitz, Fiir Freuude der Ton-
kunst, i. 3 ; Winterfeld, iii. 472-540.

HILTON, JOHN, English composer of
first half of the 17th
century, was buried
at Westminster,
March 21, 1657. He
was graduated as
Mus. Bac. at Cam-
bridge in 1G2G, and
became organist aud
clerk at St. Marga-
ret's, Westminster, in

1628 ; lost his position when the organ was
taken down according to the ordinance of
Parliament, 1664. Works : Faire Oriana,
beautie's queeue, 5-part madrigal, in The Tri-
umphes of Oriana (London, 1601) ; Ayres,
or Fa-las for 3 voyces (ib., 1627) ; Catch
that Catch can, or, A Choice Collection of
Catches, Hounds, and Canons for 3 or 4
voyces (ib., 1652) ; 2 Services in G minor ;
Anthems ; Elegy on William Lawes (ib.,
HI IS}. Grove; Mendel; Fetis; Hawkins,
Hist, of Music, iv. 46-47.

born at Treuenbrietzeu, Brandenburg, Nov.
20, 1765, died at Berlin, June 8, 1814.
Pianist, intended for the church, and studied
theology at Halle ; but Friedrieh Wilhelm
II., hearing him play the pianoforte at
Potsdam, he sent him to Dresden, where he
studied harmony and counterpoint three
years under Naumann. Compositions of
his, performed at the end of this time, in-
duced the king to make him chamber-com-
poser and to send him to Italy for two years.
Became Court-Kapellmeister in 1795 ; had
intercourse with Beethoven at Berlin in
1796 ; went to Stockholm and St. Peters-

burg in 1798, lived at Riga in 1799, returned
via Sweden and Denmark to Berlin in 1800,
and visited Paris, London, aud Vienna in
1801-2. Many of his songs have become
very popular. Works Operas: II primo
navigatore, pastor-
al, given at Venice,
1794; Semiramide,
Naples, 1795; Al-
essandro, St. Pe-
tersburg, 1798;
Vasco de Gama,
sinn uud Schwiir-
merei, operetta,
das Leiermadchen,

do.,ib., 1804 ; Die Sylphen, fairy opera, ib..
1806 ; Der Kobold, operetta, Vienna, 1811.
Isaacco figura del redentore, oratorio, Ber-
lin, 1792 ; La Danza, cantata, 1792 ; other
cantatas; a mass; Te Deum ; Psalms, ves-
pers, and other church music ; Concerto,
sonatas, and fantasias for pianoforte ; Quar-
tet for pianoforte, flute, violin, and violon-
cello ; Sextet, for pianoforte, 2 violas, 2
horns, and violoncello ; many songs, among
them the well-known " An Alexis send' ich
dich," " Es kaun ja nicht immer so bleibeu,"
and "Vater, ich rufe dich." Allgem. d.
Biog., xii. 435 ; Fetis ; Ledebur, Tonkiinstl.
Lex. Berlins ; Mendel ; Riemanu ; Schilling.

KINGSTON, JOHN, English composer
of the 17th century, buried at St. Margar-
et's, Westminster, Dec. 17, 1683. He was
one of the musicians to Charles I., and
afterward entered the service of Oliver
Cromwell, whose daughters he instructed
in music. About 1654 he was appointed or-
ganist to the Protector, and he held concerts
at his house at which Cromwell was often
present. He is said to have been Dr.
Blow's master, but this is doubtful. He
composed some Fancies for the viol. Grove ;
Fetis, Supplement, i. 475.

HTNTZE, JACOB, born at Bernau, near
Berlin, Sept, 4, 1622, died in Berlin, May
5, 1702. Contrapuntist, was city cornet



player in Berlin, and in 1666 edited the
twelfth edition of Criiger's Praxis pietatis
melica, to which he added " 65 geistreiche
epistolische Lieder" of his own composition.
Other works : Martin Opitzens epistolische
Lieder mit 1, 2, 3 und 4 Vocalstimmen oder
mehr Instrumenten, etc. (Dresden and
Leipsic, 1695) ; Pauli Gerhardi geistliche
Andachteu in 10 Hefteu (1666-67). He ed-
ited the Praxis pietatis inclusive of the 28th
edition. Mendel ; do., Ergilnz., 158.

HIPPODAMIE, lyric tragedy in five acts,
text by Roy, music by Campra, represented
at the Opera, Paris, March 6, 1708. This
work, though well sung, was not so success-
ful as Ht'sioue, by the same author. The
roles of the king of Elis and of Pelops were
filled by Hardouin and Thuvenard, two
basses ; that of Hippodamie was sung by
Mile Journet. Published by Chr. Ballard
(Paris, 1768).

and Aricia), tragic opera in five acts, with
a prologue, text by the Abbe Pellegriu,
music by Rameau, represented at the Acade-
mie Royale de Musique, Paris, Oct. 1, 1733.
Subject founded on the " Phudre " of Ra-
cine. Though Rameau was then fifty years
old, he had won so little reputation that
Pellegriu made him sign a bill for 500
livres to secure him for the libretto in case
of the failure of the opera ; but he was so
delighted when he heard the music of the
first act that he tore it up. The music,
while not so noteworthy as that of Cast di-
et Pollux, and with no more antique colour
than the text, contains beautiful numbers,
and the choruses are original and pleasing.
A parody by Riccoboni, was given at the
Theatre Italien in 1733 ; and another, by
Favart, in 1742. Ippolito ed Aricia, Italian
opera, by P. Torri, Munich, 1731 ; by Tra-
etta, Parma, 1759 ; and by J. Holzbauer,
Mannheim, 1768. Lajarte, i. 171.

HIRSCH, LEOPOLD, violinist, who be-
longed to Prince Eszterlnizy's orchestra at
Eisenstadt, under Josef Haydn, until 1790,
when that orchestra was abolished. He be-

came a member of the Hoftheater orches-
tra in Vienna, and was living there in 1811.
He composed a serenade for 2 violins, oboe,
and violoncello, string quartets, duos for
violins, do. for violin and violoncello, do.
for flutes, variations for violin, etc. Men-
del ; Fetis ; Schilling.

Berlin, Feb. 29, 1812, died at Leipsic, May
17, 1888. Instrumental composer, pupil of
Birnbach ; settled in 1842 at Leipsic, where
he founded and edited the " Musikalisch-
kritisches Repertorium " (1843-45), but
made many enemies by his biting criti-
cisms and, embittered, renounced music
for a mercantile career. Works : 3 sym-
phonies : Lebenskiimpfe, op. 4, Erinnerun-
gen an die Alpen, op. 46, Fausts Spazier-
gaug, op. 47 ; Fantasia for orchestra, op. 27 ^
5 Overtures : Fest-Ouverture, op. 3, op.
28, Gotz von Berlichiugen, op. 36, Ham-
let, op. 40, Julius Casar ; Lebensbilder, 12
quartets for strings, op. 1, 20, 30-35, 38, 42,
43, 49 ; 4 quintets for do., op. 2, 39, 44, 50 ;
2 do. with clarinet and horn, op. 40 and 48 ;
1 septet, op. 5 ; 1 octet, op. 26. Fetis ;
Mendel ; Riemann.

Spohr, op. 116, No. 6, written in Cassel in
1839-40, in the style of four periods : I.
Period of Bach-Handel, 1720 ; H. Adagio,
Haydn-Mozart, 1780 ; TTT. Scherzo, Bee-
thoven, 1810 ; IV. Finale, Modern period,
1840. It was dedicated to the London
Philharmonic Society, to which Spohr sold
the right of production for a year, after the
symphony was first performed in Cassel.
This work was well received in Leipsic and
Vienna, though Schumann was severe in his
criticism. Published by Mechetti (Vienna).
Allgemeine rnusikalische Zeitung (1841),
63 ; Schumann, Gesammelte Schriften, ii.
246 ; Spohr, Autobiography, ii. 215.

HITZ, FRANZ, born at Aarau, Switzer-
land, July 17, 1828, still living, 1889. Pi-
anist, pupil at the Paris Conservatoire of
Zimmerman and Laurent on the pianoforte,
and of Reber in harmony. Works : Le



rouet de Madeline, comic opera, given at
Havre, 1870 ; Les deesses du battoir, oper-
etta, Paris, Fautaisies-Oller, 1877 ; Mass ;
Fantaisies, variations, bagatelles, transcrip-
tions, etc., for pianoforte. Fetis, Supple-

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