George Grove.

A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

. (page 158 of 194)
Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 158 of 194)
Font size
QR-code for this ebook

HARP-LUTE. See Dital Haep, vol. i.

HARPSICHORD. P. 688 a, 1. 6 from bottom,
for spinetto read spinetta. P. 688 6, 1. 10, The
Correr upright spinet or clavicytherium that was
in the MusicLoan Collection at Kensington, 1 885,
now the property of Mr. G.Donaldson of London,
is perhaps the oldest instrument of the harpsi-
chord and spinet kind in existence. This instru-
ment preserves traces of brass plectra, not leather.
See Spinet vol. iii. p. 651a, footnote. P. 688 6,
1. 3 from bottom, add that hammered music wire
existed but could not have been extensively used.
P.689«, 1. 27, Respectingupright harpsichords, see
Upright Grand Piano, vol. iv. p. 2086, 1. 1-19.
Line 26 from bottom, for 1555 read 1521.


Line 23 from bottom, For the oldest known ha
sichord see Spinet vol. iii. p. 652 a, footnote. 1
second harpsichord mentioned in the footnote, n
(18SS) belonging to Mr. Hvvfa Williams, is 1
nearly so old as the South Kensington instrume
the date of it being 1626 (not 1526). A resto
has unfortunately altered the interesting U
measure keyboard which it lately retained,
the modern chromatic arrangement of the low
octave. P. 690 6, 1. 18 from bottom, core
statement as to the Venetian swell being
adaptation from the organ, by Shddi, vol.
p. 4S9 b, 1. 37-45. P- 691 a, 1. 4, The numl
of existing Ruckers harpsichords and spin
catalogued by the present writer is (iSSf"
Line 14, Both the Shudi harpsichords at Potsd
are dated 1766. See Shudi, vol. iii. p. 48c
1. 9-27. Line 35, for the number of Shudi a
Broadwood harpsichords existing, see Shddi, \
iii. p. 4896, 1. 46-7 ; and p. 490, list of Shudi a
Shudi & Broadwood harpsichords. The lat
instrument by these makers now (1888) known
exist is numbered ii37and dated 1790. [A.J.I

HARRIS, Renatus. For reference at end
first paragraph read [Smith, Father], .

HARTMANN. A family of German ori{j
who have lived in Copenhagen for some f(j
generations. Johann Ernst (i 726-1 793) v"
a violinist and composer, who after holdi
several musical posts at Breslau and Rudolst;
became capellmeister to the Duke of Ploen, a
went with him to Copenhagen. Here he wp
much music, now completely forgotten, with t
exception of the song ' Kong Christian,' whi
first appeared in an opera ' Der Fischer,' a
has since been adopted as the Danish Natioi
Hymn. He died in 1791. His son,

August Wilhelm, born 1775, held the p'
of organist to the Garrison Church in Copt
hagen from iSoo to 1S50, and was the father 1

Johann Peter Emil, born May 14, iSc
vyhohas for many years held a high place anio
Danish composers. His opera 'Ravnen' (T
Raven), to words by H. C. Andersen, was p
duced Oct. 29, 1832. It was followed by '1
Corsaren' on April 23, 1835, and ' Liden K
sten' ('Little Christie'), on May 12, iS.
Besides these he has written much for the thea
in the way of incidental music, etc., as well
choral works, songs, a symphony in G miu
dedicated to Spohr, and many piano piec
mentioned in vol. ii. p. 729 b. His son,

Emil, born Feb. 21, 1836, studied with '.
father and with N. W. Gade, his brother-in-la
held between 1861 and 1S73 various appoi
ments as organist, but on account of weak hea
has since that time devoted himself entirely
composition. Among his works, which hf
obtained great success both in Denmark a
Germany, may be mentioned the operas :— ' I
Erlenmadchen,' 'Die Nixe,' and 'Die Kor
kaner'; a ballet ' Fjeldstuen ' ; 'Nordist
Volkstanze ' (op. 18), a symphony in Eb (op. 2
an overture ' Ein noi-dische Heerfahrt ' (o\\ 2
a choral cantata ' Winter and Spring ' (op. i
concertos for violin and violoncello, a serena


r piano, clarinet and violoncello (op. 24), and
any songs. His most recent compositions are

symphony in D, and an orchestral suite,
5candinavische Volksmusik.' [M.]

HARTMANN, Ludwig (no relation to the
)ove), born at Neuss in 1 836, studied the piano-
rte at the Leipzig Conservatorium under Mo-
heles and Hauptmann, and subsequently with
iszt at Weimar. He appeared at a concert given
T Schroder-Devrient at Dresden in 1 859, and has
sided in that city ever since. Latterly he has
:en almost exclusively employed in musical
umalism: he is an ardent supporter of the
Ivanced school of German music. He has
iblished songs, etc. which have obtained con-
ierable success. (Mendel's and Riemann's
jxicons.) [M.]

HARTVIGSOlSr, Feits, born May 31, 1841,

Grenaae, Jylland, Denmark, received in-
ruction in music and on the piano from his
other, and at Copenhagen from Gade, Gebauer,
id Anton Rt^e. At the age of fourteen he
ayed in concerts in Copenhagen, and made
tour through Norway in 1858, at Christiania
iing personally complimented by Kjerulf. By
sistance from the Danish Government he
udied at Berlin from 1859-61 under von Billow,
ith whom he played there at a concert Liszt's
major Concerto and Hungarian Fantasia, ar-
nged for two pianos. He next played Rubin-
ein's 3rd Concerto at the Gewandhaus Concerts

'61, and Schumann's Concerto at Copenhagen
ider Gade in '63. On the death of his father in
le Prusso-Danish war, he came to England and
ayed with great success Mendelssohn's ' Serenade
id Allegro giojoso ' at the Philharmonic, June
], '64. From that time until the present Mr.
artvigson has lived in England, with the excep-
Dn of two years between 1873 and '75, when he
sided at St. Petersburg. He has played at the
iusical Union, and introduced there Schumann's
rio in F, April 24, '66. He introduced Liszt's
usic at the Philharmonic, where he played that
mposer's 1st Concerto on June 10, '72. At the
rystal Palace he introduced Schubert's Fan-
sia, op. 15 (arranged by Liszt for piano and
chestra), on Oct. 6, '66 : also Rubinstein's 4th
mcerto, Nov. 16, '72 ; and Bronsart's Concerto,
ipt. 30, '76. He was officially appointed Pianist
' the Princess of Wales in '73, Professor of
[usic at the Normal College for the Blind at
orwood in '75, and Professor at the Crystal
alace in '87, From '79 until last year, Mr.
artvigson was prevented from appearing in
iblic, owing to an injury to his left arm. He
18, happily, recently recovered its use, and
18 appeared at Mr. Bache's concert, Feb. 21,
7, playing Liszt's 'Mazeppa' and ' Hungaria,'
Tanged by the composer for two pianos. He
so played at the London Symphony Concerts
1 Jan. lo, '88 (and subsequently at a Richter
mcert) Liszt's 'Todtentanz,' which he had
itroduced to the English public in '78 under
iilow's direction. Mr. Hartvigson has played
Jroad, at Copenhagen in '72, at Munich (under
ulow), in aid of the Bayreuth building fund,



Aug. 24, '72, and in concerts at St. Petersburg,
Moscow and in Finland.

His brother, Anton, born Oct. 16, 1845, ^*
Aarhus, Jylland, received instruction in music
from his mother, Tausig, and Edmund Neupert.
He first played in concerts at Copenhagen,
and came to England in '73, where he finally
settled in '82, when he was appointed a Professor
at the Normal College. He played Beethoven's C
minor Concerto at the Aquarium under Sullivan,
Feb. 24, '76. With the exception of his yearly
recitals he rarely plays in public, but confines his
attention to teaching. [A.C.]


For continuations see Boston Musical Societies
in Appendix, vol. iv. p. 555.

HARWOOD, Edward, of Liverpool, was
born at Hoddleson, near Blackburn, 1707. He
was author of many songs, among which may
be named ' Absence,' ' The chain of love,'
' Hapless Collin,' ' To ease my heart,' — all
published at Liverpool. He also issued two sets
of original hymn-tunes. The first volume con-
tains the metrical anthem, 'Vital spark of
heavenly flame,' formerly so popular in country
churches. The traditional account of its origin is
as follows : — Harwood had been staying in
London, in company with Alexander Reed, of
Liverpool ; but when the time for their return
arrived, they found themselves without the means
of discharging the reckoning at the inn. In this
emergency it was resolved to compose some piece
of music, and raise money upon it. What Reed
attempted in that direction is not told, but
Harwood, taking up a collection of poetry which
lay in the coffee-room, came across Pope's Ode,
which he immediately set to music, and taking
it to a publisher, sold the copyright for forty
pounds. This relieved the friends from their
embarrassment, and brought them back to Liver-
pool. Some difficulties occur in connection with
the story which need not be specified. Harwood
died in 1787. [H.P.]

HASLINGER. P. 694 a, 1. 13, add date of
birth of Karl Haslinger, June 11, 1816.

HASSE, Faustina. P. 696 b, end of second
paragraph, for 90 read 83, and /or at nearly
the same age read in the same year. [J.M.]

HASSE, J. A. P. 6950, 1. 31, /or 64 read
74. Line 34, _/or 1774 read 1771. Line 43,
for at the age of 85 read in his 85th year.
P. 6956, 1. 11, for Rotavi rea(^ Rotari. Line 17
from bottom of the same column, for inured
read unused. The last sentence of the article
should run as follows : — Such men please all,
while they offend none ; but when the spirit and
the time, of which they are at once the em-
bodiment and the reflection, pass away, they
and their work must also pass away and be for-
gotten. [F.A.M.]

HATTON. Correct names to John Lipteot,
and add date of death, Sept. 20, 1886.

HAUSER, MiSKA, a famous Hungarian
violinist, born 1S22 in Pressburg, received his



musical education in Vienna, under Bbhm and
Mayseder. When only twelve years of age lie
made a tour through the world. In 1840 he
travelled through Germany, Sweden, Norway,
and Russia; he visited London in 1850, and
California, South America, and Australia in
1853-S. In i860 he was feted by King Victor
Emanuel of Italy and the Sultan of Turkey.
Of his compositions, his little ' Lieder ohne
Worte ' for the violin will no doubt survive him
for many years. Hauser retired into private
life some ten or twelve years ago, and died,
practically forgotten, in Vienna on Dec. 9,
1887. [E. Pi.]

HAUSMANN, Robeet, a distinguished
violoncellist, was born Aug. 13, 1852, at
Rottleberode in the Harz, and at the age of 8
went to school at Brunswick, where fur some
years he studied his instrument under Theodor
Miiller, the cellist of the weU-known quartet of
the brothers Miiller. When the High School
for music was opened at Berlin in 1869, he
entered as a pupil, and worked under Herr
Joachim's guidance with Wilhelm Miiller. Being
anxious to profit by the instruction of Signer
Piatti, he was introduced by Joachim to that
celebrated artist, who treated him with great
kindness, and gave him lessons for some time
both in London and Italy. He then entered
upon his professional career, commencing as
cellist in the quartet of Graf Hochberg. This
post he retained for four years, and was then ap-
pointed second professor of his instrument at the
High School in Berlin. He succeeded to the
principal place upon the retirement of ^Miiller,
and he also is violoncellist of Herr Joachim's
quartet. He is well known in London, where he
has introduced important new works by Brahms
and other composers. He has all the qualities
which combine to make an accomplished artist.
With great command over the technical diffi-
culties of the instrument, he possesses an unusually
powerful tone. He is a kinsman of the late
George Hausmann, the violoncellist, upon whose
fine Stradivarius he plays. [T.P.H.]

HAVERGAL, Rev. William Henry, was
bom in 1793 in Buckinghamshire. He was edu-
cated at Merchant Taylors' School and St. Edmund
Hall, Oxford, where he graduated B.A. in 18 15,
and M.A. in 18 19. He was ordained by Bishop
Ryder, and in 1829 was presented to the Rectory
of Ashley, near Bewdley. Having met with a
severe accident he was obliged to relinquish his
clerical duties for several years, during which
time he devoted himself to the study of music.
His first published composition was a setting of
Heber's hymn, ' From Greenland's icy moun-
tains,' as an anthem, the profits of which, as of
many other of his compositions, he devoted to
charitable objects. In 1836 he published an
Evening Service in E, and 100 antiphonal chants
(op- 35)- in the same year obtaining the Gres-
ham Prize Medal for his Evening Service in A
("P- 37); 3. distinction which he also gained in the
following year for his anthem, ' Give thanks '
(op. 40). Other anthems and Bervices followed,


and in 1844 he commenced his labours towari
the improvement of Psalmody by the publicatic
of a reprint of Ravenscroft's Psalter. In 18.:
he was presented to the Rectory of St. Niehola
Worcester, and to an Honorary Canonry in tl
Cathedral. In 1847 he published 'The
Church Psalmody' (op. 43), and in 1854 s
excellent ' History of the Old Hundredth Turn
In 1859 ^^ brought out 'A Hundred Psalm ar
Hymn Tunes' (op. 48), of his own compositio
Besides the works enumerated above, Mr. H.
vergal wrote a number of songs and rounds ft
the young, besides many hymns, sacred song
and carols for the periodical entitled ' Our Ov,
Fireside.' These were afterwards collected ar
published as 'Fireside Music' As the pionc'
of a movement to improve the musical portioi
of the Anglican Services, Mr. Havergal's labou
deserve more general recognition than they hai
hitherto met with. At the time when churc
music was at its lowest ebb, the publication
his ' Old Church Psalmody ' drew attention '
the classical school of English ecclesiastic;
music, and paved the way for the numeroi
excellent collections of hymns and chants whic
the Anglican Church now possesses. M
Havergal died on April 19, 1870. After h
death his works were edited by his voutige;
daughter, Miss F. R. Havergal. [W.B.S

HAWES, William. P, 690 o, 1. 10, fc
July 24 read July 23.

HAWKINS, James (j\m.). P. 6906, I.
from end of article, /or 1759 read 1750.

HA YD£E. Last line but one of article,/(
Pyne and Harrison read Bunn.

HAYDN, Joseph. P. 705 b, 1. 5, omit tl
reference to Werner. P. 7136, in the list (
works composed in London, after ' The Spirit
Song,' omit the words (Shakespeare's words
P. 717 ^> ^''U'" lines from the bottom, yor Mae. <
oms. Sis. read Ma et om Stis. P. 716 a, ad
that the composer's skull has lately come into tt
possession of the Austrian Museum at Vienna.

HAYDN IN LONDON. P. 7226, 1. 2,/c
one volume read two volumes. The third volua
of Herr C. F. Pohl's biography of Haydn, left ui
finished at the author's death, is in process (
completion by Herr Maudyczewski.

HAYES, William. Line i of article, fc
Gloucester read Hexham, and correct day (
death to July 27.

HEAP, C. SwiNNERTON. See Swinnebto
Heap, vol. iv. p. 9.

HEBENSTREIT. See Dulcimeb, Pant/
LEON, Pianoforte, vol. ii. p. 712, etc.

HECHT, Eduabd, bom at Diirkheim ii
Haardt, Nov. 28, 1832. He was trained 8
Frankfort by his father, a respected musiciai
then by Jacob Rosenhain, Christian HauflT, an
Messer. In 1854 he came to England an
settled in Manchester, where he remained unt
his death. From a very early date in the his
tory of Mr. Charles Halle's Concerts, Hecht wa
associated with him as his chorus-master an




sub-conductor. But in addition to this he was
conductor of the Manchester Liedertafel from
1859 to 1878; from i860 conductor of the St.
Cecilia Choral Society ; and from 1879 conductor
of the Stretford Choral Society. In 1875 he was
appointed Lecturer on Harmony and Composi-
tion at Owens College; and was also Examiner
in Music to the High Schools for Girls at Man-
chester and Leeds. In addition to these many
and varied posts Mr. Hecht had a large private
practice as teacher of the piano. These constant
labours, however, did not exhaust his eager
spirit, or deaden his power of original composition.
Besides a Symphony played at Mr. Hallo's Con-
certs; a chorus, 'The Charge of the LightBrigade,'
well known to amateurs ; ' Eric the Dane,' a
jantata ; another chorus with orchestra, ' 0, may
[join the choir invisible ' — all great favourites
with singing societies — Mr. Hecht's works ex-
;end through a long list of pianoforte pieces,
iongs, part-songs, trios, two string quartets,
narches for military band, etc., closing with op. 28.
Mr. Hecht died very suddenly at his home on
March 7, 1887. He was beloved by all who
snew him for his enthusiasm and energy, his
jleasant disposition, and his sincere and single
nind. To his musical duties he brought a quick
irtistic instinct, a scrupulous conscientiousness,
md a pure unselfish love of his art ; and it will
)e difficult to fill his place in the neighbourhood
lyhich he had for so long made his own. [G.]

HEINEFETTER, Sabina, born at Mainz,
\.ug. 19, 1809 (Mendel gives her date as 1805,
)ut the above is probably correct), in early Ufe
lupported her younger sisters by singing and
)laying the harp. In 1825 she appeared as a
jublic singer at Frankfort, and afterwards at
tassel, where Spohr interested himself in her
irtistic advancement. She subsequently studied
mder Tadolini in Paris, where she appeared at
he Italiens with great success. From this time
mtil her retirement from the stage in 1842, she
ippeared in all the most celebrated continental
)pera-houses. In 1 853 she married M. Marquet
)f Marseilles, anddiedNov. 18, 1872, Her sister,

Clara, born Feb. 17, 1816, was for several
rears engaged at Vienna, under the name of
Madame Stdckl-Heinefetter. She made success-
■ul appearances in Germany, and died Feb. 24,
1857. St® ^Jid her elder sister died insane. A
ihird sister,

Kathinka, born 1820, appeared with great
mccess in Paris and Brussels from 1840 onwards.
3he died Dec. 20, 1858. (Mendel andEiemann's
Lexicons.) [M.]

HEINZE, GuSTAV Adolph, bom at Leipzig,
Oct. 1, 1820, the son of a clarinettist in the
Gewandhaus orchestra, into which he was himself
admitted, in the same capacity, in bis 16th year.
[n 1840 Mendelssohn gave him a year's leave
of absence in order that he might perfect himself
in the pianoforte and study composition. The
tour which he took to Cassel, Hanover, Ham-
burg, etc., induced him to give up his earlier
instrument altogether, and to devote himself to

composition. In 1844 ^® '^^^ appointed second
capellmeister at the theatre at Breslau, where in
1846 his opera 'Loreley' was produced with
great success. This was followed by ' Die Ruine
vonTharand'in 1S48, which also obtained much
success. The books of both were by his wife. In
1850 he received the appointment of conductor of
the German opera in Amsterdam, and although
that institution was not of long duration, he has
since remained in that city. Many choral socie-
ties, some of a philanthropic nature, have been
directed by him, and thus opportunities were
given for the production of the two oratorios
' Die Auferstehung,' and 'Sancta Cecilia,' in 1863
and 1870 respectively. The list of his works
includes, besides the above, three masses, can-
tatas, three concert overtures, and many choral
compositions of shorter extent, as well as songs,
etc. (Mendel's Lexicon.) [M.]

HELLER, Stephen. Add that he came to
England in February, 1850, and appeared at a
concert at the Beethoven Rooms, on May 15 of
that year. He stayed until August. Add also
date of death, Jan, 14, 1888.

HELLMESBERGER, Joseph. The gene-
rally accepted date of birth, 1829, is possibly
right. Add that Joseph Hellmesberger, junior,
has recently brought out two operas in Vienna,
' Rikiki ' and ' Die verwandelte Katze.'

HENSCHEL, Georg. Additions wiU be
found under Symphony Orchestra, vol. iv. 43,
and Boston Musical Societies, Appendix, vol.
iv. p. 555. In the winter of 18S5-6 Mr. Henschel
started a series of sixteen concerts, called the
London Symphony Concerts, at which he ap-
peared as conductor for the first time in England.
An interesting feature of the series was that each
programme contained a composition by a living
English composer, many of whom were introduced
to the public for the first time in this way.
From Easter 1886 to Easter 1888 he was Professor
of Singing (vice Mme.Goldschmidt), at the Royal
College of Music, London. [M.]

HENSELT, Adolph. Last line of article,
for in 1867 read in 1852 and 1867.



H:&R0LD. p. 732 a, 1. 5 from bottom, /or the
Maison des Ternes read a house in Les Ternes.

HERVJfc, whose real name is Florimond
Ronger, was born June 30, 1825, at Houdain,
near Arras. He received his musical education at
the School of Saint Roch, and became an organist
at various Parisian churches. In '48 he produced
at the Op^ra National, ' Don Quixote and Sancho
Pan9a,' appearing in it himself with Joseph Kelm
the chansonette singer. In '51 he became con-
ductor at the Palais Royal ; in '54 or '55 he was
manager of the Foiies-Concertantes, Boulevard
du Temple, a small theatre converted by him
from a music hall, in which he was composer,
librettist, conductor, singer, machinist, and scene
painter, as occasion required. Of his then compo-
sitions we must name ' Vade au Cabaret,' and ' Le



Compositeur toqu^ ' (played by him at the
Lyceum and Globe Theatres in 1S70 and '71).
In '56 he retired from the management, but
continued to write for his theatre, afterwards
the ' Folies Nouvelles.' He played successively
at the Debareau, '58, at the D^lassements
Comiques at Marseilles with Kelni ' in his own
repertory,' at Montpellier in small tenor parts
such as CantarelU (' Pr^ aux Clercs'), Arthur
('Lucia') etc., and at Cairo. He reappeared at
the Dtllassements, and in '62 produced two new
operettas ' Le Hussard Persecute ' and ' Le Fan-
fare de Saint Cloud * ; was for two or three years
composer and conductor at the Eldorado Music
Hall, and afterwards conductor at the Porte
Saint Martin; he wrote new music in 1865 for
the celebrated revival of the ' Biche aux Bois,'
and composed an opera in 3 acts, ' Les Cheva-
liers de la Table Ronde," BoufFes, Nov. 17, '66.
During the next three years he composed some
of his most popular three-act operas, produced
at the Folies JJramatiques, viz. ' L'CEil crevtJ,'
Oct. 12, '67 (Globe Theatre, by the Dramatiques
Company, June 15, '72; in English as 'Hit or
Miss,' in one act and five scenes, freely adapted
by Burnand, Olympic, April 13, '68 ; and another
version, three acts, Op6ra Comique, Oct. 21, '72);
'Chilp(5ric, 'libretto by him^elf, and at first afailure,
Oct. 24, '68, of which he himself wrote a parody
' Chilmeric ' for the Eldorado (in French at the
Globe by the above company, June 3, '72 ; in
English at the Lyceum for tlie debut of Herv^,
Jan. 22, '70; frequently revived at other theatres,
and last performed on the opening of the Empire
Theatre) ; ' Le Petit Faust,' his most successful
work, April 23, '69 (in English at Lyceum,
April iS, '70, and revived at Holborn, Alhambra,
etc.) ; ' Les Turcs,' a parody of 'Bajazet.'Dec. 23,
'69. None of his subsequent operas attained the
same success ; many of them, on the contrary, were
disastrous failures, viz. ' LeTr6ne d'ficosse,' ' La
Veuve de Malabar,' ' Alice de Nevers,' ' La
Belle Poule,' Folies Dramatiques Dec. 30, '76
(inEnglishattheGaiety, March 29/79), 'LaMar-
quise des Rues ' Bouftes, Feb.22, '79,' Panurge,'
Sept. 10, '79, etc. But he has been recently
very successful in his new songs, etc. written
for Mme Judic, Dupuis, and others, such as the
• Pi . . . Ouit,' the ' Chanson du Colonel,' the Pro-
vien9al song, ' Qufes aco ? ' ' Babet et Cadet,'
the ' sneezing duet,' the ' Legende de Marfa,'
and other music, introduced into the musical
comedies performed at the Varii^t^s, viz. the
'Femmek Papa,' Dec. 3, '79, ' La Roussotte,' with
Lecocq and Boulard, Jan. 28, '81, ' Lili,' Jan. 10,
'82, Gaiety, with Judic, June '83, ' Maam'zelle
Nitouche,' Jan. 26, '83 (Gaiety June '84),
'La Cosaque,' Feb. i, '84 (Gaiety June '84),
in English at Royalty, April 12 of the same
year. M. Hervd has in addition composed for
the English stage ' Aladdin the Second,' played
with great success at the Gaiety, Dec. 24, '70,
but without success, as ' Le Nouvel Aladin,' at
the Dejazet, Dec. '71. He wrote some of the
music of 'Eabil and Bijou,' Aug. 29, '72, and in
'74 was conductor at the Promenade Concerts,


when he introduced a so-called Heroic Symphony
or Cantata, ' The Ashantee War,' for solo voices
and orchestra. On June 29, '86, his 'Frivoli' was
brought out at Drury Lane, and on Dec. 22, '87,
the ballets ' Dilara' and ' Sport,' were produced
at the Empire Tlieatre, of which he is conductor.

According to M. Pougin. M. Herv^ claims to
be the founder of that particular class of music
which Offenbach first rendered famous. [A.C.]

Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 158 of 194)