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represented at Eszterhaz, Dec. 6, 1779, in
honour of Prince Nicolaus Eszterhazy's
name-day. Represented at the Court The-
atre, Vienna, March 19, 17S5. It is one of
Haydn's best operas, was composed in 1779,
and gained him admission to the Accade-
mia Filarnionica of Modena. Haydn sent
the score to the King of Spain. The text-
book published by Seiss (Oldenburg, 177'.))
contains the cast : Constanza, wife of Ger-
naudo, Siguora Barbara Ripamoute ; Silvia,
her younger sister, Signora Luigia Polzelli ;
Gernando, husband of Constanza, Signer
Andrea Totti ; Enrico, companion of Ger-
uando, Signer Benedetto Biauchi. Ger-
nando embarks with his wife and her sister
for the West Indies, is wrecked on a desert
island, and captured by pirates ; but after
three years escapes and joins his wife on
the island. Their reunion is the climax of
the opera. Other Italian operas on the
same text : Music by Bono, Vienna, 1752 ;
Holzbauer, Mannheim, 1754 ; Perez, Lisbon,
1767 ; Traetta, St. Petersburg, 17G9 ; Nau-
manu, Venice, 1773 ; Schuster (in German),
Dresden, 1778, (in Italian) Naples, 1781 ;
Mengozzi, Paris, Aug. 22, 1789 ; Spontiui,
Florence, 1798 ; Mandanici, Naples, about
1824; Garcia, Naples, 1830. Same title,
text by Goldoni, music by Scarlatti, Vienna,
1757 ; and by Jommelli, Stuttgart, 1765.
Clement et Larousse, 368 ; Pohl, Haydn, ii.
99, 353.

ISOLA, GAETANO, born at Genoa in
1761 ; dramatic composer whose family set-
tled in Palermo while he was young. He
wrote for the Italian theatres, and in 1812
retired to his native city, where he became
maestro concertaute of the theatre. He
wrote a great deal of church and chamber
music ; among his operas is one written for
Turin : La conquista del velo d' oro (1791).
Fetis ; Mendel.



ISOUAKD (Isoard), NICOLO (called in
France Nicolo), bom in Malta, Dec. 6, 1775,

died in Paris,
March 23, 1818.
The sou of a
merch ant, he
was taken when
a boy to Paris,
a n d educated
for the navy at
the Institution
Berthaud, stud-
ying the piano-
forte mean-
while under Pin. In 1790 he was placed
in a merchant's office in Malta, studied
harmony there under Telia and Azopardi,
later at Palermo under Amendola, and
lastly at Naples under Sala and Gugliel-
mi, still keeping up his connection with
commerce. At length, against his father's
will, he gave up commerce, and brought
out his first opera, " L' avviso ai maritati,"
in Florence, 1795. He dropped his sur-
name, so as not to disgrace his family, and
was henceforth known as Nicolo. From
Florence he went to Leghorn, thence back
i" Malta, where he succeeded Vincenzo
Anfossi as organist at the Church of St.
John of Jerusalem, and afterwards at S.
Mart iin > as maestro di cappella of the order.
After the occupation of the island by 1 In-
French in 17'.IS, he went to Paris, where he
wrote two operas with Rodolphe Kreutzer.
Delrieu also rewrote the libretti of two of
his Italian operas, which were given with
some success. Nicolo made also a marked
society success as a pianist, and formed the
acquaintance of Hoffmann, and Ktieune, by
whose advice he benefited, and to whose
libretti he owed much of the success of his
subsequent operas. He had a remarkable
gift of melody and great skill in writing
for the voice, especially iu concerted pieces.
His style was extremely simple, his comedy
excellent, never degenerating into vulgar-
ity. He had the true French dramatic
sense. He based his style upon Ore-try, and.

until Boieldieu and Auber came upon the
stage, he had practically no rival at the Ope-
ra Comique. But he could not compete
with his new rivals, and when Boieldieu
was elected to succeed Mehul at the Insti-
tut, in 1817, he entered upon a course of
dissipation which brought on consump-
tion. Works Operas : L' avviso ai mari-
tati, Florence, 1794 ; Artaserse, Leghorn,
17 '.(."> ; II barbiere di Siviglia, Malta, 179G ;
Riualdo d' Asti, ib., 179(J ; Le tonnelier,
Malta, 1797 ; Paris, May 17, 1801 ; L' im-
provvisata in campagna, Malta, 1797 (as
Ij'imjtr<i>ii]>tu de campagne, Paris, June 30,
1800) ; Giuevra di Scozia, Malta, 1798 ;
Le petit page (with Kreutzer), Paris, Feb.
14, 1800 ; Flamiuius a Coriuthe (with
Kreutzer), ib., Opera, Feb. 28, 1801 ; La
statue, ou la femme avare, April 29, 1801 ;
Michel Auge, Theatre Feydeau, Dec. 11,
1802 ; Les confidences, ib., March 30, 1803 ;
Le baiser et la quittance (with Mehul,
Kreutzer, and Boieldieu), ib., June 17,
isu:! ; Le medecin turc, Opera Comique,
'Nov. 19, 1803 ; L7/n'</<' aux fenetres, ib.,
Feb. 24, 1805 ; Le dejeuner de gareons, il>.,
April 24, 1805 ; La ruse inutile, ib.. May
30, 1805 ; Leonce, ou le fils adoptif, ib.,
Nov. 18, 1805 ; La prise de Passau, Fey-
deau, Feb. 8, 180G ; Idala, ou la sultane,
ib., July 30, 1806 ; Les rendez-vous bour-
geois, Opera Comique, May 9, 1807 ; Les
eivauciers, ou le remede a la goutte, ib.,
| Dec. 10, 1807 ; Un jour a Paris, ib., May
24, 1808 ; Cimarosa, Feydeau, June 28,

1808 ; L'intrigue au si-rail, ib., April 25,

1809 ; CmdnHon, ib., Feb. 22, 1810 ; La
vietime des arts (with Solie and Berton),
Opera Comique, Feb. 27, 1S11 ; La fete du
village, ib., March 31, 1811 ; Le billet do
loterie, ib., Sept. 14, 1811 ; Le magicien
sans magie, ib., Nov. 4, 1811 ; Lulli et
Quinault, ou le dejeuner impossible, Fey-
deau, Feb. 27, 1812 ; Le prince de Cataue,
ib., March 4, 1813 ; Le Fraii(;ais a Venise,
Opera Comique, June 14, 1813 ; Le siege
de Mezii-res, ou Bayard a Mezieres (with
Cherubim, Catel, and Boieldieu), ib., Feb.



12, 1814 ; JocomJe, ou les coureurs d'aven-
tures, Feydeau, Feb. 28, 1814 ; Jeannot et
Colin, ib., Oct. 17, 1814 ; Les deux maris,
Opera Comique, March 18, 1810 ; L'uoe
pour 1'autre, Feydeau, May 11, 181G ;
Aladin, ou la latupe merveilleuse (posthu-
mous, finished by Beniucori), Feb. G, 1822 ;
A scene or two iu Uue nuit de Gustave

Wasa (the rest by Gasse), Opera Comique,
Sept. 29, 1827 ; 9 cantatas, masses, psalms,
motets, vocal concert pieces, all written in
Malta. Ftitis ; do., Supplement, ii. 14.

ISEAJEL IN EGYPT, oratorio in two
acts, text from the Bible, music by Handel,
first performed at the King's Theatre, Lon-
don, April 4, 1739, "with new concertos on
the organ." This work, the most colossal
of oratorios, was composed in twenty-seven
days. The autograph MS. is iu Bucking-
ham Palace. The present second part was
written first, and bears the dates "Moses
Song, Exodus, Chap. 15 | angefaugen Oc-
tob r 1738 | Introitus, and Fine Oetob' 11,
1738 | den 1 Novemb' vollig geendet." The
recitative, with which the oratorio begins,
is headed, "Act ye 2 15 Octob r , 1738." The
oratorio was so coldly received that on April
11, 1739, it was shortened and intermixed
with songs, sung by La Francesina. It
was originally preceded by the Funeral An-
them, sung as Lamentations of the Israelites
for the death of Joseph, which accounts for
the absence of an overture. The work con-
sists of twenty-eight choruses, the most of
which are double choruses, five arias, and
three duets. Many of these numbers are
taken from Handel's organ fugues and from
a MS. Magnificat, of disputed authorship,
preserved in Buckingham Palace. Macfar-
ren, who edited the score for the Sacred
Harmonic Society (London, 1857), thinks
that the chorus, Egypt was glad, was an

adaptation of an organ fugue, or canzoua,
by Johaim Caspar Kerl. Israel in Egypt
was performed but nine times during Han-
del's life. It was given entire at Covent
Garden in 17G5, with songs from Handel's
Italian operas, and under Sir George Smart's
direction, March 1C, 1S1G. It was first sung
in Germany by the Siugakademie of Ber-
lin, Dec. 8, 1831, and at the Diisseldorf Fes-
tival of 1833, under Mendelssohn. It was
revived intact by the Sacred Harmonic Soci-
ety of London, Feb. 23, 1849, and has been
performed at all the Handel Festivals in
England. For that of 1857 the orchestral
score was added to by Sir Michael Costa.
This oratorio was first sung in Boston
by the Handel and Haydn Society, Feb.
13, 1859 ; but its most noticeable perform-
ance in America was during the May Fes-
tival in New York, in 1882. The score,
which remained unedited during Handel's
life, was first published by Kandall (Lon-
don) ; full score, edited by Mendelssohn
with organ part for the Handel Society
of London (1845), by Chrysander for the
Handelgesellschaft (Breitkopf & Hiirtel,
Leipsic, 18G3). Grove, ii. 25 ; Eeissmaun,
Handel, 121 ; Chrysander, Handel, ii. 59 ;
Rockstro, 218, 233 ; Schcelcher, 208, 423 ;
Glehn, Goethe and Mendelssohn (1G9) ; Up-
ton, Standard Oratorios, 117 ; Hensel, Men-
delssohn, i. 279 ; Allgem. mus. Zeit. (34), 73 ;
Athemeum (1849), 234 ; (1857), 827, 860.

(The Israelites in the Desert), oratorio by
Philipp Emauuel Bach, text by Schiebler,
written iu Hamburg, 1769. It contains a
short instrumental prelude, and twenty
numbers. Characters represented : Moses,
bass ; Aaron, tenor ; and two Israelites, so-
prani. Bitter, Euianuel and Friedmaun
Bach, ii. 2 ; Allgem. mus. Zeitung (20), 73.

oratorio, by Eduard August Grell, first per-
formed by the Singakademie of Berlin in
January, 1839. Allgem. mus. Zeit. (41), 14G.

ISEAEL EESTOEED, oratorio, by Will-
iam Richard Bexfield, first performed at the



Norwich (England) Festival, Sept. 22, 1852 ,
again iu 1879. Sung at Royal Albert Hall,
London, April 15, 1880. Athenaeum (1852),

Song of Victory), cantata for soprano solo,
chorus, and orchestra, text from the Bible,
music by Ferdinand Hiller, op. 151, first
performed at the Cologne Festival, May 2.S,
LS71. It consists of eight numbers, and
was written to celebrate the victorious end-
ing of the Franco-Prussian war of 1S70.
Published by F. C. E. Leuckart (Leipsic,
ls71). Mus. Wochenblatt (Is71 1. ::su, .1x2 ;
Upton, Standard Cantatas, '21)::.

ISSIPILE (Hypsipyle). Italian opera, text
by Metastasio, music by Porpora, first rep-
resented in Koine in 1723. Scene iu
Lemnos. Characters represented : Toaute.
King of Lemnos ; Issipile, daughter of To-
ante. bethrothed to (iiasone ; Princess Ku-
rinome, mother of Learco ; Giasone, Prince
of Thessaly, conductor of the Argonauts to
Colchis, and lover of Issipile ; Hodope, con-
fidante to Issipile ; and Learco, son of Ku-
rinome, and rejected lover of Issipile. The
inhabitants of Lemnos, waging war against
Thrace, have been conquered by the women
of that country, and remain there until To-
ante bids them return with him to Lem-
nos, to witness the marriage of his daughter
with Giasoue. The jealousy of the warriors'
wives has turned to fury and, led by Euri-
nome, they form a plot to massacre their
husbands at the feast of llacchus. To save
her father, Issipile dissembles. After vari-
ous incidents the tumult is quieted, recon-
ciliation established, and Issipile is married
to ( Iiasone. Same text, Italian operas, music
by Conti, Vienna, 17)52 ; Samloni. London,
1735; Terradeglias, Florence, 1742 ; Beller-
mann, Florence, 1744 ; John Christopher
Smith, London, 1746 ; Holzbauer, Mann-
heim, 1753 ; Cocchi, London, 1758 ; Scar-
latti, Vienna, 1700 ; Gassmatm, Vienna,
17GO ; Schwanberg, Brunswick, 1766 ; Ga-
luppi, 1775 ; Aufossi, London, 1784 ; Flor-
ence, 1791 ; Ellertou, London, 1825 ; von

Poissl, Darmstadt, 1818. Clement et La-
rousse, 370.

aria of Elias, in A minor, in Mendelssohn's
Elias, No. 17.

( V/.-yx'no e la Comare.

ITALIANA IN ALGERI, L', Italian opera
burt'a in two acts, text by Anelli, music by
Rossini, first represented at the Teatro San
Benedetto, Venice, in 1813. It was written
iu less than eighteen days. Performed in
Milan, April 12, 1814 ; Paris, Feb. 1, 1817,
and at the King's Theatre, London, June
27, LSI!) ; given in New York, Nov. 17,
1833. An opera of the same title, by Luigi
Mosca, had been previously represented in
Milan, Aug. 16, 1808. Allgem. mus. Zei-
tung (1C), .1.10.

ITALIANA IN LONDRA, L', intermezzo
a cinque voci, Italian opera buffa in two
acts, by Cimarosa, first represented iu
Rome in 1774. Performed in Paris at the
Italiens, Oct. 17, 1801. C16meut et La-
rousse, 371.

le style Italicn.

ITALIAN SYMPHONY, name given to
the Fourth Symphony in A, by Mendelssohn,
op. '.ill, written for the Philharmonic So-
ciety of London, and first performed there
under the direction of the composer, May
13, 1833. Composed in Rome and Naples,
and completed in Berlin, March 13, 1833.
I. Allegro vivace ; II. Andante con rnoto ;
HI. Con moto moderate ; TV. Saltarello,
presto. Published by Breitkopf & Hartel,
Mendelssohn Werke, Serie i.. No. 4. Up-
ton. Standard Symphonies, 182.

ITALIEN, symphonic fantasia for orches-
tra by Richard Strauss, first performed by
the Brooklyn Philharmonic Society, March
17, 1SSS ; in Boston, Dec. 22, 1888.

IT IS ENOUGH. See Es ist genug.

IVES, SBION, English composer of the
17th century, died in 1062. Vicar-choral of
St. Paul's cathedral ; with Henry and AVill-
iam Lawes he composed in 1633 the music



for Shirley's masque, The Triumph of Peace,
performed at Court, 1633-34. On the
suppression of choral service he became a
singing master. Oil the death of William
Lawes he wrote Lamentation and Mourn-
ing, an elegy. Many of his catches and
rounds are printed in Hilton's collection
(1052), Playford's Musical Companion
(1G72), and other collections. Grove ; Haw-
kins, v. 23 ; Buruey, iii. 370.

quis DE RICHARD D', born at Beaune
(Cute-d'Or), Feb. 4, 1829, still living, 1889.
Amateur composer, settled in Paris in 1854,
and studied composition with Aristide Hig-
uard, and counterpoint with Leborne, hav-
ing previously composed two comic operas.
Works Operas : Fatma ; Queutiu Metzys
(1854) ; La niaisou du docteur, given at
Dijon, 1855 ; Omphale et Pcm-lope ; Lea
amauts de Vorone, given at Duprez's school,
18G7, under the pseudonym Richard Irvid,
and, rewritten and enlarged to five acts, at
the Theatre Veutadour, Oct. 12, 1878 ; Con-
cert overture (1847) ; Vocal melodies. Fu-
tis, Supplement, ii. 15.

Terrible), musical portrait for orchestra, by
Anton Rubinstein, op. 79, dedicated to
Count Wladimir Solohub. First performed
in Vienna in 1870. Published by Bote &
Bock (Berlin, 1840). Neue Zeitschrift fur
Musik (1870), 412 ; Mus. Wocheublatt
(1872), 149.

See Moses and the Children of Israel.

JACKET ( Jaquet) . See Berchem ; Bu us.
born in England, 1852, died in London,
Sept. 27, 1881. Pianist, pupil at the Royal
Academy of Music, where he won the bronze,
the silver, and the Lucas medals, and be-
came professor of harmony and composition.
Works: Jason and the Golden Fleece, can-
tata ; The Bride of Abydos, overture ; Inter-
mezzo for orchestra ; Concerto for pianoforte

and orchestra ; do. for violin ; Magnificat
for chorus and orchestra ; 2 masses for male
voices ; Pianoforte music ; Part-songs, and
songs. Athenaeum (1881), ii. 473.

JACKSON, WILLIAM, born at Exeter,
May 28, 1730, died there, July 12, 1803.
Violinist and dramatic composer, pupil of
Silvester, organist of Exeter Cathedral, and
in 1748 of John Travers, London ; taught
music in Exeter ; became master of the
choristers, lay vicar, and organist at Exeter
Cathedral in 1777. Works : The Lord of
the Manor, opera, given in London, 1780 ;
The Metamorphoses, do., ib., 1783 ; Ode to
Fancy ; Lycidas ; The dying Christian to
his Soul ; 14 Sonatas for the harpsichord ;
Madrigals ; Canzonets ; Hymns ; Anthems
and church services ; Songs. He published
Observations on the present State of Music
in London (1791) ; Four Ages, together
with Essays on various subjects (1798).
Grove ; Fi'-tis ; Barrett, English Church
Composers, 136.

JACKSON, WILLIAM, born at Masham,
Yorkshire, England, Jan. 9, 181G, died at
Bradford, April 15, 1866. Organist, self-
taught in counterpoint and harmony, and
on several instruments ; became organist at
Masham in 1832, at St. John's Church,
Bradford, in 1852, of Hortou Lane Chapel
in 185G ; conducted the Bradford Choral
Union ; was chorus-master at the Bradford
festivals in 1853, 1856, and 1859 ; was made
conductor of the Festival Choral Society in
1856. Works : The Deliverance of Israel
from Babylon, oratorio, 1845 ; Isaiah, do. ;
The Praise of Music, cantata ; The Year,
do., 1859 ; The 103d Psalm, for soli, cho-
rus, and orchestra ; Mass ; Church services ;
Anthems, glees, and songs ; Manual of Sing-
ing. Grove.

JACOB, sacred cantata, text by MacCaul,
music by Henry Smart, written for and
given at the Glasgow Festival, Nov. 7, 1873,
and repeated Nov. 7, 1874. Athenaeum
(1873), ii. 604.

JACOB, BENJAMIN, born in London in
1778, died there, Aug. 24, 1829. Organ-



ist, pupil of Willoughby, Shrubsole, and
Arnold. Became chorister at Portland
Chapel at the age of seven, and organist of
Salem Chapel, Soho, when only ten ; after-
wards organist at Carlisle Chapel, Bentinck
Chapel, and Surrey Chapel ; conducted a
series of oratorios in 1800 ; gave organ re-
citals in 1808, 1809, 1811, 1812, and 18U ;
became organist at St. John's, Waterloo
Road, in 1823. Works : National Psalmody,
a collection of tunes for every Sunday (Lon-
don, 1819) ; Dr. Watt's Divine and Moral
Songs, as solos, duets, and trios ; Glees and
Songs. Grove.

RECHT, born at Kroitzsch, near Liegnitz,
Silesia, June 25, 1803. Vocal composer, pu-
pil of the cantor Speer, and of Heutschel ;
in 1824 he became cantor and organist at
Konradsdorf, where he was still in 1850.
Works : Choruses for male voices ; Various
collections of songs for 1-4 voices, chiefly
for use in schools ; Method of vocal instruc-
tion in popular schools. Fetis ; Mendel.

JACOB, GUNTHER, Bohemian com-
poser of the first part of the 18th century.
He was a Benedictine monk in Prague,
where his masses, psalms, Te Dennis, and
other church music were published (1714-
26). Fetis ; Gerber ; Walther.

JACOBETTI, PEETRO, born at Annico,
near Cremona, Italy, second half of the
16th century. He was a priest at Riputran-
soiie, in the Papal Slates. His Lamenta-
tiones, and other church compositions, were
published in Venice (1589). Fi'tis.

JACOBI, KOXRAD, born at Mainz in
1756, died at Dessau, July 11, 1811. Vio-
linist, pupil of his father, who was Conzert-
meister in Mainz. He became director of
music at the National theatres of Mainz and
Frankfort, and in 1802 of the court orches-
tra at Dessau. He composed concertos,
and other music for violin, still in MS.
Gerber ; Mendel ; Schilling.

JACOBI, MICHAEL, born in the Mark
of Brandenburg, early part of the 17th cen-
tury, died at Luueburg in 1670. Violinist,

flutist, and vocal composer. During his
youth he travelled through Germany, France,
and Italy ; served for a while in the army of
the Republic of Venice, afterwards visited
Paris, Copenhagen, and Stockholm, and
lived at Kiel in 1651, when he was called
to Ltineburg to become cantor at the St.
Johauuisschule. Several collections of his
sacred songs were published in 1651-63.
He composed, 1653, the Singspiel, Das
Friedejauchzeude Teutschlaud. Futis ;

JACOBT (Jacobi), GEORGES, born in
Berlin, Feb. 13, 1840, still living, 1889. Vio-
linist and dramatic composer. His parents
settled in France while he was young ; pu-
pil of Massart at the Conservatoire ; 2d
prize for violin in 1859, 1st prize in 1861.
About that time he entered the orchestra of
the Opera, and in 1868 became chef d'or-
chestre at the Bouffes Parisiens. He went
to London in 1870, and in 1872 became con-
ductor at the Alhambra. Works Operettas :
Le feu aux poudres, Paris, 1869 ; La nuit
du 15 octobre, ib., Bouffes Parisiens, 1869 ;
The Black Crook (with Frederick Clay), Lou-
don, 1872 ; Marii'e depuis midi, monologue,
ib., 18715 ; La forct enchautee, ballet-panto-
mime, ib,, 1873 ; The Demon's Bride, fairy
spectacle, ib., 1874 ; Cupid in Arcadia, bal-
let, ib., 1875 ; The Fairies' Home, do., ib.,
1876 ; Yolande, do., ib., 1877 ; Rothomago,
ib., 1879 ; L'arbre de Noul (with Lecocq),
Paris, 1880 ; Le clairoii, Paris, 1883 ; Fre-
tillon. ib., 1884. Fotis, Supplement, ii. 17.

poser of the 14th century, history unknown.
He was contemporary with Francesco Lan-
dino, surnamed il Cieco. Italian chansons
by him are preserved in the MS. depart-
ment of the National Library, Paris. Fotis.

born in Flanders between 1440 and 1450,
died at Antwerp, March 24, 1529. Contra-
puntist, was received as vicar choral in the
collegiale of Antwerp in 1479, soon after
became chaplain, and later on took orders.
He was one of the renowned musicians of



his time, contemporary of Josquin Despres.
Of his compositions, motets are to be found
in Petrucci's Motetti clella Corona (1519),
in Attaignant's collections (1530-35), in
Ott's Novuiu opus musicuni (1537), in Salb-
linger's Conceutus (1545) ; chansons in
Eliau's Bicinia gallica (1545), iuLe Hoy and
Ballard's Chansons uouvelleuient composees
(155C), and iu Eecueil des recueils (1563-
64) ; Masses for 6 voices (1510), in MS., are
in the Santiui collection, Koine. Fetis.

JACQMIN, FBANCOIS, born at Eouen,
July 28, 1793, died (?). Horn player and
composer ; pupil at the Conservatoire, Paris,
of Dauprat ; first prize, 1818. He was in
the orchestra of the Opera Comique over 25
years, and from 1829 also chef-de-musique
of the Municipal Guard of Paris. Com-
posed duos coucertants, airs vark's, and
fantaisies, and also published a method for
the horn (Paris, 1832). Fc'tis ; Mendel ;

Paris, Nov. 3, 182G, died in Paris, March
27, 188G. Violoncellist, pupil at Pout-le-
Voy, near Blois, of Hus-Desforges, and Au-
guste Levacq, then at the Conservatoire,
Paris, of Norblin ; obtained second prize in
1842, first prize iu 1844 ; about 1855 he
founded, with the violinist Armingaud, and
with Mas and Sabatier, a club for chamber
music, which soon numbered among the
best iu Paris ; in December, 1877, he be-
came professor of violoncello at the Con-
servatoire. He composed a number of mor-
ceaux de genre for his instrument. Fetis,
Supplement, ii. 17.

text iu Flemish, music by Gevaert, written
in 18G3 for the inauguration of a statue to
Jacques van Artevelde. Performed also in
Mous, Belgium, at the Gth grand national
festival, July G, 1879.

lau, Sept. 15, 1831, still living, 1889. Pian-
ist, pupil of Hesse, on the violin of Liist-
uer, and iu harmony of Brosig ; then at the
Leipsic Conservatorium (1848), and of Liszt

at Weimar (1849) ; and finally studied com-
position under Hauptmauu at Leipsic, where
he settled in 1852
to teach music. He
became conductor of
the Psalterion in
18G6, Kapellmeister
of the Euterpe in
18G7-69, and pro-
fessor of pianoforte,
composition, coun-
ter-point, and har-
mony at the Cou-
servatorium in 1871.
Next to Eeinecke, he is at present the
foremost instructive power of that insti-
tution. Among his compositions, distin-
guished for bright, and often humorous,
ideas, and faultless style, those in canon form
are the most remarkable, and have earned
him the nickname of the musical Rrupp.
Works : 3 symphonies, op. 24, 28, 50 ; 2
overtures, op. 27, 37 ; 4 serenades for or-
chestra, op. 42, 46, 47, 73; Serenade for
string orchestra and flute, op. 80 ; 2 Quin-
tets for pianoforte and strings, op. 70, 7G ;
Quartet for do., op. 77 ; 4 trios for do.,
op. 16, 20, 59, 85 ; Quartet for strings,
op. 10 ; Cavatiua for violin with orchestra,
op. 69 ; Concerto for pianoforte, op. 89 ;
Vergebung, Couzertstiick for chorus, so-
prano solo, and orchestra, op. 54 ; Verheis-
suug, do., op. 55 ; Trostlied uach den Wor-
teu der heiligen Schrift, for do., op. 65 ; An
den Sturm wind, for male chorus and orches-
tra, op. Gl ; The 100th psalm, for double
chorus, contralto solo, and orchestra, op. 60 ;
Gott is gross, Hymns for male chorus, with
2 horns, and 3 trombones, op. 45 ; Motet for
male voices, op. 38a ; do. for mixed chorus,
op. 44 ; do. for female chorus, op. 84 ; Many
pianoforte pieces, and songs. Futis ; do.,
Supplement, ii. 18 ; Mendel ; Eiemann.

JADIN, HYACINTHE, born at Versailles
in 1769, died in Paris in October, 1800. Pi-

Online LibraryJohn Denison ChamplinCyclopedia of music and musicians (Volume 2) → online text (page 49 of 93)