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Marcel, who has been wounded. Valentine
joins him, and they are united by Marcel.
After singing the trio, " Savez-vous qu'en
joignaut vos mains dans les touebres," they
chant the Lutheran hymn, " Em' feste
Burg," which has already been heard in the
opera, and perish in the massacre. The
fourth act is Meyerbeer's most dramat-
ic composition. At first it closed with the
Benediction des poiguards, " A cette cause
sainte,"but at the suggestion of Nourrit,
Meyerbeer added the duet between Raoul
and Valentine, "Oujevais? .... se-
courir mes freres" ; " Tu 1'as dit, oui tu
m'aimes," which forms a striking contrast.
At this climax the opera is sometimes
brought to a close. Among the best num-
bers are : The romance, " Plus blanche que
la blanche hermine," accompanied by the
viola d' amore ; the page's cavatiua, " Nobles
seigneurs, salut!" ; the aria, "O beau pays
de la Touraine " ; the duet, "Beaute divine,
enchauteresse " ; and the duet of Marcel and
Valentine, " Dans la nuit ou seul je veille."



205



HULDIGUNGS-MARSCH



This is the most popular of Meyerbeer's
three greatest works. Up to Dec. 31, 1876,
this opera had received 620 representations
in Paris. The Bourbons prohibited its per-
formance on account of the plot. Original
cast :

Valentine Mile Falcon.

Marguerite Mme Dorus-Gras.

Urbaiu Mile Flocheux.

Raoul M. Ad. Nourrit.

Marcel M. Levasseur.

Le comte de Nevers M. Uerivis.

Le comte de Saiut-Bris M. Serda.

Performed in Leipsic, April 9, 1837 ; in
Dresden, March 23, 1838 ; and in Berlin,
M;iy 20, 1842, Mme SehrGder-Devrient ap-
pearing in each place as Valentine. For the
latter representation Meyerbeer condensed
the opera into four acts. After hearing this
performance, King Friedrich Wilhelm IV.
appointed Meyerbeer General Music Di-
rector of Berlin. First represented in Lon-
don by a German opera company in 1842 ;
in Italian, as Gli Ugonotti, at Coveut Gar-
den, July 20, 1848, for which Meyerbeer
adapted the score, transposed the part of
tin- page for Mile Alboni, and wrote an ad-
ditional cavatina for her. The cast was :

Valentine Mine Viardot.

Marguerite Mme Castellan.

I'rbain Mile Alboni.

Raoul Sig. Mario.

Marcel Sig. Mariui.

Le conite de Nevers Sig. Tagliafico.

Le comte de Saint-Bris .... Sig. Tamburini.

First given in New York, June 24, 1850, with
Sti ll'anone as Valentine, Bosio as Margue-
rite, and Salvi as Eaoul. Performed in Ger-
man at the Metropolitan Opera House, New
York, Nov. 28, 1888, with Frau Morau-
Olden as Valentine. The score was pub-
lished by Brandus (Paris), and Breitkopf
& Hiirtel (Leipsic) ; with pianoforte ar-
rangement by Ch. Schwencke (Schlesiuger,
Paris). Many pot-pourris and arrangements
of airs from this work have been made,



among which are : A Scherzo for the piano-
forte, by Czerny, op. 407 (Breitkopf &
Hiirtel, Leipsic, 1836) ; and a Transcription,
Fantaisie dramatique, for the pianoforte, by
Liszt, op. 83 (Hofmeister, Leipsic, 1880).
Schumann disliked the Huguenots intensely,
and published a criticism in the Neue Zeit-
schrift (1837), No. 19. Liszt, Gesarnrn.
Sehr., ii. 64 ; Lajarte, ii. 152 ; Clement et
Larousse, 347 ; Hanslick, Moderue Oper,
143 ; Athenteum (1848), 731 ; Allgem. mus.
Zeituug, xxxviii. 195, 249 ; xxxix., 259 ; xl.,
JOS ; Upton, Standard Operas, 138.

HULDIGUNGS-MARSCH (March of
Homage), by Wagner, written in 1864,
for the coronation of Ludwig II. of Bavaria,
published in 1869. The original score for
military band remains in MS. The pub-
lished version for orchestra was begun by
Wagner and the scoring finished by Raff.
Liszt also wrote a march under this title in
1853, for the accession of Duke Carl of Saxe-
Weimar.

HULLAH, JOHN (PYKE), born at Wor-
cester, England, June 27, 1812, died in
London, Feb. 21, 1884. Vocal composer,
pupil in 1829 of William Horsley, and at
the Royal Academy of Music in 1832 of
Crivelli in singing. In 1841 he opened a
school at Exeter Hall for the instruction of
teachers of day and Sunday schools in vocal
music, by a system based on that of Wil-
hem in Paris, and so great was its success
that, from 1840 to I860, about 25,000 per-
sons passed through his classes. A series
of concerts in which his more advanced
pupils appeared was given by him in St.
Martin's Hall, from 1850 to 1860. He was
appointed professor of vocal music in
King's College, London, in 1844 ; resigned
in 1874, but held similar appointments in
Queen's College and Bedford College, Lou-
j don, in 1879 ; conductor of concerts at
Royal Academy of Music in 1870-73 ; or-
ganist of the Charter House in 1858 ; con-
ducted concerts of the children of the met-
ropolitan schools at the Crystal Palace for
many years ; appointed inspector of train-



HULLMANDEL



ing schools for the United Kingdom in
1872. Received degree of LL.D. from Uni-
versity of Edinburgh in 1876 ; was made
member of the Society of St. Cecilia in
Rome, and of the Musical Academy in Flor-
ence in 1877. Works Operettas : The
Village Coquettes (words by Charles Dick-
ens), given in London, 1830 ; The Barbers
of Bassora, ib., 1837 ; The Outpost, ib.,
1838 ; Motets, anthems, concerted vocal mu-
sic, and many songs, among which are Three
Fishers, The Storm, and O that we two
were Maying. Grove ; Mendel, Ergiiuz.,
163 ; Fi'tis, Supplement, ii. 8 ; Riemann.

HULLMANDEL, NICOLAUS JOSEPH,
born in Strasburg in 1751, died in London
in 1823. Studied first in the cathedral of
his native town, and then in Hamburg
under Philipp Emanuel Bach. He travelled
through Italy in 1775, and went in 1776 to
Paris, where he became celebrated as a
teacher ; was in London in 1787, and soon
after married ; returned to Paris, and gave
up professional life ; but in 1790 he was a
refugee in London and again gave lessons.
He returned to France, but lived in retire-
ment. His published works consist of So-
natas for pianoforte, and for pianoforte and
violin and violoncello ; variations, etc.
Mendel ; Fetis ; Schilling, Weitzmaun,
Geschichte des Clavierspiels, 53.

HULLWECK, FERDINAND, born at
Dessau, Oct. 8, 1824, still living, in Dres-
den, 1889. Violinist, pupil of Friedrich
Schneider ; became second Couzertmeister
of the royal orchestra in Dresden in 1844,
where he is also professor at the Couserva-
torium. Has published mainly instructive
compositions for his instrument.

HUME, ALEXANDER, born in Edin-
burgh, Feb. 17, 1811, died in Glasgow,
Feb. 4, 1859. Self-taught, a teacher in
Edinburgh and Glasgow, and composer of
many popular songs. Among his best are
Afton Water, The Scottish Emigrant's Fare-
well, and My ain dear Nell, to the last of
which he wrote also the words. In 1854
his madrigal, Round a circle, was awarded



a prize. His duet, Come again, his trio,
Tell me where my Love reposes, and his
glees, The Sun Dial, and Hasten Soft Breeze,
were popular. He wrote also anthems, and
psalm and hymn tunes, and published The
English Hymn Tune Book, arranged for
four voices (Edinburgh, u. d.). Brown.

HUME, WILLIAM, born in Edinburgh,
Sept. 25, 1830, still living, 1889. Son and
pupil of Alexander Hume ; teacher of mu-
sic, editor of several musical publications,
and musical critic of " The Baillie," Glas-
gow. Works : The Call to Battle, cantata,
text by Mrs. Hemans ; Bartimeus, do. for
baritone solo and chorus ; Psalm 67, for
treble voices. Once more a Welcome to
the Woods, Caller Herrin, The Woodpecker,
Good morrow to the hills again, and other
part-songs, songs, and glees. Brown.

HUMFREY (Humphrey, Humphrys),
PELHAM, born in London in 1647, died at
Windsor, July 14, 1674. He became a
chorister of the re-established Chapel Royal
in 1660 ; was sent abroad to study by
Charles H. in 1664, and was in Paris un-
der Lulli ; was appointed Gentleman of the
Chapel Royal in 16(56 ; made Master of the
Children in the Chapel Royal in 1672, and
later in the same year was appointed com-
poser in ordinary for the violins to His Ma-
jesty in conjunction with Thomas Purcell.
W T orks : Anthems ; Evening Service in E
minor ; Songs ; 2 odes for the King's Birth-
day. Grove ; Fetis ; Barrett, English Church
Composers, 92 ; Harmonicon (1832), 263.

HUMMEL, EDUARD, born in Vienna in
1814, still living, 1889. Pianist, son and
pupil of Johanu Nepomuk Hummel, and
would have become better known if his
father's fame had not overshadowed him.
He visited England in 1840 ; was Kapell-
meister of the theatre at Augsburg, 1840, at
Troppau, Silesia, 1872, later at Briinn, Mo-
ravia, and 1874 at the comic opera in Vi-
enna. He is now living in Brflnn. He
brought out a romantic opera, Alor, oder
lie Hunneu vor Magdeburg, Weimar, 1843.
Mendel ; Fetis.



2'J7



HUMMEL



HUMMEL, FERDINAND, born in Ber-
lin, Sept. 6, 1855, still living, 1889. Virtu-
oso on the harp, first instructed by his
father, who made him proficient on that in-
strument at the age of seven, and travelled
with him through Europe in 1864-67 ; then
pupil in composition at Kullak's academy,
1868-71, and until 1875 at the royal school
for music, of Kiel and Bargiel. Works :
Symphony for orchestra ; Overture for do.,
op. 17 ; Couzert-Phantasie for harp and
orchestra ; Quartet for pianoforte and
strings ; Murchenbilder, op. 10, and Wald-
leben, op. 11 and 31, Phantasiestiicke for
violoncello and pianoforte ; Notturno for
violoncello, harp, and harmonium ; 3 so-
natas for violoncello, op. 2, 9, 12 ; Sonata
for horn ; Conzertstiick for pianoforte, op.
1 ; Suite for do. ; 2 concert polonaises, and
many other works for do. ; Rumpelstilzchen,
Fran Hollo, Hansel uud Gretel, for female
chorus and solo. Riemann.

HUMMEL, JOHANN BERXHARD,born
in Berlin in 1760, died (?). Pianist, music
teacher in Warsaw in 1797 ; returned to
Berlin on the death of his father, Johaun
Julius Hummel, and succeeded him in his
music publishing business. Works: Sona-
tas for pianoforte ; do. for pianoforte and
violin; Variations; Songs, etc. Frtis ;
Gerber ; Schilling.

HUMMEL, JOHANN NEPOMUK, born
in Presburg, Nov.
14, 1778, died in
Weimar, Oct. 17,
1837. Pianist, son
and pupil of Joseph
Hummel, music
master at the Mili-
tary School at
Wartberg (whither
the family moved
about 1780), in sing-
ing, on the piano-
forte, and on the violin. In 1785 the fam-
ily moved to Vienna (where the father was
engaged by Schikaueder as Kapellmeister
at his theatre), and Johanu became for two




years the pupil of Mozart, who took him into
his house. In 1788 he accompanied his
father on a seven years' professional tour as
pianist through Germany, Denmark, Eng-
land, and Holland, returning to Vienna in
1795, when he began studying strict coun-
terpoint under Albrechtsberger, and profited
by the advice of Haydn and Salieri in free
composition. From April 1, 1804, to May,
1811, he filled Haydn's old post as Kapell-
meister to Prince Eszterhazy, from which
period date most of his dramatic and church
works. He taught and composed in Vienna
from 1811 to 1816, when he became Kapell-
meister at Stuttgart ; in 1820 he went to fill
the same post at Weimar, and held it until
his death. But he obtained frequent and
extended leaves of absence, and made many
professional tours : to St. Petersburg in 1822
with the grand Duchess Maria Paulovna,
in 1825 to Paris where he was made Che-
valier of the Legion of Honour, in 1826 to
Belgium and Holland, in 1827 to Vienna,
in 1828 to Warsaw, and in 1829 again to
France, appearing everywhere with trium-
phant success. In 1830 and 1833 he made
trips to England, conducting a season of
opera in London. During the last four
years of his life his health was much im-
paired, and he could devote but little time
to professional duties. He died of dropsy
of the pericardium. Hummel represents,
in the history of pianoforte writing and play-
ing, the transition from the classic school of
Mozart and Haydn to the modern romantic
school. His works are distinguished for
formal beauty, excellence of construction,
and brilliancy of ornament, if also for a cer-
tain academic dryness. He was consider-
ably overrated during his lifetime, being at
one time looked upon in Vienna as the equal
of Beethoven. His one work which still re-
tains an unweakened hold upon the interest
of both musicians and the public is the sep-
tet in D minor, op. 74, a masterpiece of its
kind.

Works 1. Dramatic : Le vicende d' a-
more, opera buffa, 2 acts, Vienna, 1804 ;



HUMOIIESKE



Mathilda von Guise, opera, 3 acts, ib., 1810
(pianoforte score, Paris and Leipsic) ; Das
Haus ist zu verkaufeu, operetta, 1 act, the
text translated from Alex. Duval's " Maison
a vendre," ib., 1812 ; Die Riickfahrt des
Kaisers, do., 1 act, ib., 1814 ; Die Eselshaut,
fairy operetta ; Der Zauberring, ballet-pau-
toiuime ; Der Zauberkampf, do. ; Paris et
Helene, ballet ; Das belobte Gemiilde, do. ;
Sappho von Mitylene, do. ; Das Lob der
Freuudschaft, cantata for solo and chorus ;
Diana ed Endimione, do., with orchestra.

II. Church music : Mass for 4 voices, or-
chestra, and organ, in IB-flat, op. 77 (Vi-
enna, Haslinger ; Paris, Richault) ; 2d
do., in E-flat, op. 80 (ib.) ; 3d solemn ^
mass for do., in D, op. Ill (ib.) ; Grad-
ual for do., Quodquod in orbe, op. 88
(ib.) ; Offertory for soprano solo, chorus,
orchestra, and organ, op. 89 (ib.).

III. Instrumental : Overture for grand
orchestra, in B-flat, op. 101 (Leipsic and
Paris) ; Symphonic coucertaute for piano-
forte, violin, and orchestra, op. 17 (Vienna,
Diabelli) ; Concerto No. 1, for pianoforte and
orchestra, in C, op. 34 (Vienna, Haslinger) ;
Do., No. 2 (facile), in G, op. 73 (ib., and
Paris, Lauver) ; Do. No. 3, in A minor, op.
85 (ib.) ; Do., No. 4, in B minor, op. 89 (Vi-
enna, Leipsic, Paris) ; Do., No. 5, Lesadieux,
in E, op. 110 (ib.) ; Do., No. 6, in A-flat, op.
113 (ib.) ; rondeaux brillants for pianoforte
and orchestra, op. 56, 98, 117 (ib.) ; Themes
varies for do., op. 97, 115 (ib.) ; Das Zauber-
horn Oberou's, grand fantasia for do., inE,
op. 116 ; 3 string quartets, op. 30 (ib.) ;
Grand septet for pianoforte, flute, oboe,
horn, viola, 'cello, and double-bass, in D
minor, op. 74 ; Grand do. (military) for pi-
anoforte, flute, clarinet, trumpet, violin, vi- '
ola, and double-bass, in C, op. 114 (Vienna
and Paris) ; Grand serenade No. 1, for piano-
forte, violin, guitar, clarinet, and bassoon,
op. 63 (Vienna, Artaria ; Paris, Richault) ;
Grand do., No. 2, op. 66 (ib.); Grand quintet
for pianoforte, violin, viola, 'cello, and double-
bass, in E-flat, op. 87 (Vienna and Paris) ;
7 trios for pianoforte, violin, and 'cello, op.



12, 22, 35, 65, 83, 93, 96 (Vienna, Leipsic,
Offenbach, Paris, etc.) ; 8 sonatas for piano-
forte and violin, op. 5, 19, 25, 28, 37, 50,
64, 104 (ib.) ; 3 sonatas for pianoforte, 4
hands, op. 43, 92, 99 (ib.) ; Sonatas for pi-
anoforte solo, op. 13, 20, 36, 81, 106 (ib.) ;
3 fugues for do., op. 7 ; Rondos for do., op.
11, 19, 107, 109 ; Fantasias for do., op. 18,
123, 124 ; Caprices and studies for do., op.
49, 67, 105, 125 ; Variations for do, op. 1,
2, 8, 9, 40, 57, 118, 119 ; Ausfiihrliche theo-
retisch-praktische Auweisung zum Piano-
fortespiel, etc. (Vienna, Hasliuger, 1828 ;




London, Boosey & Co. ; Paris, Ferreur).
Wurzbach ; Brockhaus ; Fetis ; Mendel ;
Riemann.

HUMORESKE, a title given by Schu-
mann to a series of pianoforte sketches in
cyclic form, in C, op. 20, written in 1839,
dedicated to Frau Julie von Webenau ; pub-
lished by P. Mechetti & Co, and by C. A.
Spina (Vienna, 1839), and Breitkopf &
Hiirtel (Leipsic). No. 2 of his Phautasie-
stiicke for pianoforte, violin, and violoncello,
op. 88, is also called Humoreske. Heller
(op. 64), and Grieg (op. 6, op. 19), have
used this term also for pianoforte pieces.
See also Gaudeamus Igitur.

HUNGARIA, symphonic poem for or-
chestra by Liszt, op. 4, No. 9. Sketched in
1846 as an Ungarischer Marsch for pianoforte
solo. Published in 1853. Instrumentated
and performed in 1853. Rewritten in June,
1856. First performed under Liszt's direc-
tion in Pesth, August, 1856. Published in
score, and for two pianofortes, four hands,
by Breitkopf & Hartel (Leipsic, 1857).

HUNGARIAN CONCERTO. See Con-
zert in ungarischer Weise.

HUNNEN-SCHLACHT (Battle of the
Huns), symphonic poem for orchestra, by



299



HUNT



Liszt, op. 4, No. 11, suggested by Kaulbach 'a
painting. Conceived in Munich in Novem-
ber, 1856, written in 1857, first rehearsal,
Weimar, October, 1857, first performance,
Weimar, April, 1858. Published in score,
and for two pianofortes, four hands, by
Breitkopf & Hiirtel (Leipsic, 1858). Pohl,
Liszt, 400 ; Upton, Standard Symphonies,
289.

HUNT, KARL, born in Dresden, July 27,
17GG, died (?). Violinist, chamber musician
to the Elector of Saxony ; pupil of his father
and of Seydelmann, 1770-76. He became
first violinist of the Hofkapelle, Dresden, in
1783. Works: 10 concertos for violin and
orchestra ; 2 symphonies for 2 violins and
do. ; 8 quartets for 2 violins, viola, and vio-
loncello ; 6 symphonies ; An operetta ;
Lieder ; Church music ; Variations for pi-
anoforte, etc. Mendel ; Fetis ; Gerber ;
Schilling.

HUNT, THOMAS, English composer of
the 16th century. He contributed the 6-
jiart madrigal : Hark ! did you ever hear so
sweet a singing, to the Triumphes of Ori-
ana ( 11)01). An anthem by him. Put me not
to rebuke, is contained in Barnard's MS
collection of the English Sacred Harmonic
Society. Grove ; Fetis.

HUNTEN, F1IAN/, born at Coblentz,
Dec. 26, 1793, died there, Feb. 22, 1878.
Pianist, first instructed by his father, an
organist, then pupil at the Conservatoire,
Paris (181',)), of Pradher on pianoforte, of
Reicha in harmony, of Cherubini in counter-
point ; taught in Paris until 1837, when he
retired to Coblentz. He began to compose
at the age of ten ; his works for pianoforte,
which ai'e of a pleasing style, became very
popular, and were remunerated with enor-
mous prices. Works : Methode nouvelle
pour le piano, op. 60 ; Trio for pianoforte,
violin, and violoncello, op. 14 ; duos for pi-
anoforte and violin, op. 22, 23 ; Serenades,
divertissements, and many themes with varia-
tions, for pianoforte. His brothers Wilhelm
and Peter Ernst are pianists also, the for-
mer at Coblentz, the latter at Duisburg, and



have composed for their instrument ; Peter
Ernst also duos and trios for guitar, flute,



Biog., xiii. 421



and viola. Allgem. d.

Mendel ; Fetis ; Schilling ; do., Supplement,

220.

HUNTSMEN'S CHORUS. See Frei-
schtttz.

HURLEBUSCH, KONRAD FRIED-
RICH, born at Brunswick in 1696, died at
Amsterdam in 1765 (or about 1770 ?). Dra-
matic and church composer, son and pupil
of the organ virtuoso Heinrich Loreuz
Hurlebusch (born at Hanover, 1666), then
studied in Hamburg (1714) and Vienna
(1716), and visited Italy in 1718-21. On
his return he gave concerts at Munich, and
having visited other cities of Germany, ac-
cepted a call to Stockholm as court Kapell-
miistare and organist, in 1722, but returned
to Brunswick in 1725. Called as Kapell-
meister to Baireuth, then to Dresden in the
year following, he was not satisfied with
either position, and in 1727 settled at Ham-
burg, whence he went to Amsterdam in
1738 as organist of the reformed church.
Works : L' innocenza difesa, opera, given at
Stockholm, 1722 ; Armeuio, do., ib., 1725 ;
Fhtvio Cuniberto, do., Hamburg, about
1730 ; The 150 psalms of David in mo-
tets, with harpsichord and organ (Amster-
dam, 1766) ; 80 to 100 Italian airs, with in-
struments ; 12 Italian cantatas, with violin
and other instruments ; Italian cantatas,
with bass ; 12 concertos, 12 sonatas, 8 over-
tures ; 6 concertos for harpsichord, with in-
struments; 24 fugues for harpsichord and
organ ; 18 sonatas or suites for harpsichord.
Gerber, Hist. Lex. ; Mendel ; Schilling ;
Van der Straeten, iv. 412 ; Viotta.

HURON, LE, opera-eomique in two acts,
text by Marmontel from Voltaire's " L'in-
genu," music by Gretry, performed with
success at the Theatre Italien, Paris, Aug.
20, 1768. This was the first opera by
(In try given in Paris. Clement et La-
rousse, 348.

HURTADO (Y DE AVALOS), PIERRE,
church composer of the 17th century, born



300



HITS AEENLIE DER



in Spain, or in the Netherlands of Spanish
parentage. He was educated in the choir
of the royal chapel, Brussels, where he re-
mained ten years ; later he became maitre de
chant at the cathedral of Ghent. Works :
Motet de chceur, for 4 voices and 3 instru-
ments ; do. for 3 voices and do. ; Motet for
3 voices ; do. for 6 voices and 3 instru-
ments ; Te Deum for do. Van der Strae-
ten, i. 39 ; Fetis, Supplement, ii. 9 ; Viotta.

HUSARENLIEDER (Hussar Songs),
four songs for a baritone voice and piano-
forte, poems by Nicholas Lenau, music by
Schumann, op. 117, composed in 1851, and
dedicated to Heinrich Belir. I. Der Husar,
trara ! was ist die Gefahr ? in B ; II. Der
leidige Frieden hat lange gewiihrt, in G
minor ; III. Den griiueu Zeigeu, den roth-
en Wangen, in E ; IV. Da liegt der Fein-
de gestreckte Schaar, in C minor. Pub-
lished by Bartholf Senff (Leipsic, 1852) ;
also by Breitkopf & Hiirtel.

HUS-DESFORGES, PIERRE LOUIS,
born in Toulon, March 14, 1773, died at
Pont-le-Voy, near Blois, Jan. 20, 1838.
Virtuoso on the violoncello, grandson of
the violinist Jaruowick, received his musi-
cal education as a choirboy at the Ca-
thedral of La Rochelle, entered a regiment
of mounted riflemen as trumpeter in 1792,
and took part in the first campaigns of the
revolution. In 1796, having lost a finger
of his right hand, he entered the orchestra
of the Grand Theatre at Lyons, but re-
mained there only six mouths, having de-
cided to study at the newly erected Con-
servatoire in Paris, under Janson, the elder.
Towards the end of 1800 he went with a
dramatic company as chef d'orchestre to
St. Petersburg, returned in 1810, and trav-
elled in the provinces of France until 1817,
when he again settled in Paris, and became
first violoncellist in the orchestra of the
Theatre de la Porte-Saint-Martin. In
1820 he established a school of music at
Metz, but soon resumed his travels and
lived in Paris until 1828, when he was
made chef d'orchestre of the Theatre du



Gymnase dramatique ; resigned in 1829,
and in 1831-32 held a similar position at
the Theatre du Palais-Royal. He finally
became professor at the school of Pout-le-
Voy, near Blois. Works : Symphouie con-
certaute for violin and violoncello ; 3 Con-
certos for violoncello and orchestra ; 9
quintets for strings ; Trios for do., op. 15-
17 ; Duos for 2 violoncellos, op. 7, 30, 31,
47 ; Sonatas for violoncello, op. 3 ; Soirees
musicales, themes varies, for do., with vio-
lin and bass ; Method for violoncello. Fe-
tis ; Mendel ; Schilling.

HUSITSKA, dramatic overture for or-
chestra, by Antouin Dvorak, op. G7, written
for and first performed at the opening of
the new Bohemian theatre in Prague, in
1883. Given by the London Philharmonic
Society, March 20, 1884, Dvorak conduct-
ing. First time in America at Van der
Stucken's Novelty concerts, New York, Oct.
25, 1884. Subject, the wars of the Hussites.
Published by N. Simrock (Berlin, 1884).
Athenaeum (1884), i. 418.

HUSS, GEORGE JOHN, born in Roth,
Bavaria, Sept. 25, 1828, still living, 1889.
Organist, studied the pianoforte, the organ,
and theory under his father, who was head-
master of the royal parochial school, Roth.
When nine years old he became organist of
the Lutheran church in his native town ;
in 1848 he went to America and began
teaching the pianoforte. He has been or-
ganist in the First Presbyterian Church,
Elizabeth, N. J. ; Third Presbyterian, and
South Park Churches, Newark, N. J. ; and
for nine years in the University Place Pres-
byterian Church, New York. His works in-
clude a number of pieces for the pianoforte,
and several church services.

HUSS, HENRY HOLDEN, born in New-
ark, New Jersey, June 21, 18G2, still living,
1889. Pianist, son and pupil of George John
Huss, and in 1879-82 studied counterpoint
and composition under O. B. Boise. In 1882
he went to Europe, and studied, in the Mu-
nich Conservatorium, counterpoint, compo-
sition, instrumentation, and the organ un-



3U1



HUSS



der Josef Rheinberger, pianoforte under
Josef Giehrl, aud conducting under Ludwig
Abel. In 1885 he returned to America and
settled in New York. Works : Forest Idyl,
for orchestra, performed at Munich Conser-
vatorium, 1884 ; Symphonic Rhapsody, for
pianoforte and orchestra, Boston, Nov. 1,
1886, New York, Nov. 15, 1887 ; Ave Maria,
for soli, female chorus, harp, organ, and
string orchestra, New York, April 12, 1888.



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