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

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.;- — — 5—^-

Ha, ha - ha - ha - ha - ha - ha - ha - ha - ha - ba - ha - hal

as if to say 'He will never wield the hammer
again ! ' In the ' Meistersinger ' we find many
admirable specimens of musical drollery, such as
the illustrative accompaniment of David's absurd
catalogue of 'Tones,' the way in which the
orchestra pokes fun at Beckniesser both in his
serenade and in his version of Walcher's song.
but most especially in that remarkable scene vt
the 3rd Act (unfortunately reduced to a few bars
in performance) where Beckmesser enters alone
in silent perturbation and the orchestra inter-
prets the current of his thoughts. This is a piece
of musical humour absolutely without parallel.

Lest we should be deemed to have ibrgutten
them, we will mention in conclusion Haydn's
' Farewell Symphony,' the ' Musical Joke ' or
'Peasants ' Symphony ' of Mozart, and the ' Wuth
iiber einen verlornenGroschen' of Beethoven, but
whatever humour there may be in either of these
compositions certainly does not reside in the
music. [^-C-]

HURDY GURDY. P. 759 a, 1. 20, When in
the key of C, the lowest drone is tenor C. The
lowest drones are called Bourdons, the next
higher open string is the Mouche. The Trompette
which is again higher, a copper string next tiie
two melody-strings, may be tuned as indicated
and used at pleasure.


^^ P

i^i — ^

One or other of tiie bourdons is omitted, ac-
cording as the key is C or G. [A.J.H.]



HUTCHINSON, Feancis. Correct name
throughout to Hutcheson, and for last two sen-
tences of article read as follows : — He was the
only son of Professor Hutcheson of Glasgow, who
was well known in connection with the study of
ethical philosophy ; he had taken a Scottish
degree in medicine before 1762, when he took
the degree of M.D. at Trinity College, Dublin.
As early as 1750 he had published a medical
work at Glasgow. In the roll of Graduates the
following entry occurs : — ' Francis Hutcheson (or
Hutchisson), B.A. 1745, M.A. 1748, M.D. 1762.'
He adopted the pseudonym of Francis Ireland,
fearing to injure his professional prospects by
being known as a composer.

25, 1796, at Rotterdam, at first studied the violin
and horn, but subsequently devoted himself to
comoosition and to the direction of various choral


and other musical societies, the Eruditio Musi
the Musis Sacrum, and the Euterpe. He v
also music-director at Schiedam, and was :
many years a member of the Academy of .
Cecilia in Rome. He wrote more than 150 co
positions of various kinds, of which the m.
important were : — an opera, ' The King of Eul
mia,' produced at Rotterdam, four symphoni
two concert overtures, an overture for wind i
struments, several masses, cantatas, songs, e
A fine sonata for piano and violoncello, vp.
may also be mentioned. He died at Rotteid:
Nov. 18, 1878. (Riemann's Lexicon.) [X

HYMN. P. 760 b, end of paragraph
omit Pkosa from reference. At end of second j
ragraph./oj" Plain Chaunt read Plain ,Sii.\
P. 762 b, 1. 22, for 1594 read 1592. P. 764
1. 9 of second column of list in small print, J
John Cooper read George Cooper.

ILE ENCHANTEE, L'. Correct date of
production to May 16.

IMPERFECT. Line 30 of article, for Large
read Long.

INDY, Paul Maeie Theodore Vincent d',
born in Paris, March 27, 1851,^ studied for
three years under Diemer, attended Marmon-
tel's class, and learnt harmony and the elements
of composition with Lavignac. He then, with-
out having learnt counterpoint or fugue, under-
took to write a grand opera, *Les Burgraves,'
which was not finished, and a quartet for piano
and strings, which was submitted to Cesar Franck
in the hope of overcoming the objections to the
musical profession which were expressed by his
famil}'. Franck, recognising much promise in
the work, recommended the presumptuous youth
to study composition seriously. In 1S73 d'Indy,
who was now a first-rate pianist, entered Franck's
organ class at the Conservatoire, where he ob-
tained a second accessit in 1874, ^^*^ ^ ^^^ ^"^
the following year. In 1875 he became chorus-
master under Colonne, and in order to obtain
experience of orchestral detail, took the position
of second drummer, which he retained for three
yenrs, at the end of which time he began to
<levote himself entirely to composition. He lias
since been extremely helpful in organizing La-
moureux's concerts and in directing the rehear-
sals, which have led to such fine results as the
performance of ' Lohengrin.' Like many another
lousician, d'Indy owes the first performance of
his works to Pasdeloup, and his overture ' Pic-
colomini' (Concert Populaire, Jan. 25, 1874)
revealed a musician of lofty ideals, whose music
was full of melancholy sentiment and rich orches-
tral colouring. This overture, altered and joined
to the ' Camp de Wallenstein ' (Societe Nationale,

1 Date verified by register of birth.

1S80), and the ' Mort de Wallenstein' (Conce
Populaire, March 14, iSSo), forms the trilogy
'Wallenstein,' a work inspired directly by SchiUt
and one of the composer's most remarkable pr
ductions. The entire trilogy was performf
for the first time at the Concerts-Lamoureu
Feb. 26, 1S88. After this he produced a syi
phony, 'Jean Hunyade,' an overture to 'Antra
and Cleopatra,' ' La Foret enchant^e,' symphoa
ballad after Uhland ; a quartet for piano ai
strings in A ; 'La Chevauchee du Cid.' scei
for baritone and chorus; ' Saugefleurie,' legei
for orchestra ; a suite in D for trumpet, t»
flutes, and string quartet ; a ' Symphony ' on a
Alpine air for piano and orchestia, all of whic
have been performed at various Parisian concert
D'Indy has only once written for the stage;
small work, entitled ' Attendez-moi sous I'oniu
was produced at the Opera Comique on Feb. 1
1882, with but little success, but he has sine
made up for its failure by the dramatic legen
' Le Chant de la Cloche,' which gained tfi
prize at the competition of the city of Paris f
1S84, and was performed three times in 18I
under Lamoureux's direction. Besides thai
d'Indy has written several minor works, a ' lid
for violoncello and orchestra, piano pieces as
songs, sacred and secular. He is a serious an
thoughtful composer, who does not in the leas
care to please the public ear. The melodic ide
may be sometimes poor and not very strikiffl
but the composer has such a command of tq
resources of his art as to be able to make tl
most ordinary phrases interesting. In order i
obtain this extraordinary knowledge of technioj
combinations and of vivid musical colourini
d'Indy, who was at first a follower of Schumaiil
has borrowed largely from Berlioz's methods ; b|
in conception and general style his ' Chant de j
Cloche ' approaches more nearly to Wagner. [A.J;




INFLEXION. See Accest, vol. i. p. 16 a.
INSTRUMENT. Vol. ii. p. da, note \,fov
ee p. 794 a) read (see vol. i. p. 749 iC). P. 6 h,
II from bottom, for 4 of the 29 strings read
:of the 30. After 1. 5 from bottom add while
.' the instruments of the Mandoline family a
ectrum of tortoiseshell is used.
INTERMEZZO. P. 9a, 1. 22, for \*ii\ read
31. Two lines from end of article omit the
■yrd latest.

j INTRODUCTION. P. 13 h, 1. 14 from
ittom, add opus number of the Nocturne re-
j-red to, op. 62, No. i. P. 14?), 1. 29 from
\\Xoxa.,for D read D minor.
■INVENTION. Only the first set of pieces
intioned, viz. the 15 in 2 ])arts, are called by
Is name ; the 3-part compositions are called

dence, vol. ii. p. 244.

INVITATORIUM. A species of Antiphon,
appointed, in the Roman Breviary, to be sung,
at Matins, in connection with the Psalm ' Venite
exultemus Domino.' Anglican Ritualists some-
times apply the terra, Invitatorium, or Invita-
tory, to the * Venite ' itself; but this use of it
is incorrect. It consists of short sentences, sung
before, and between, the Verses of the Psalm ;
and sometimes gives rise to very elaborate com-
plications in the text and music. [W.S.R.]

Wagner's ending to the opera see vol. iv. p. 3546.

IRISH MUSIC. P. 21 a, musical illustra-
tion, for chos read Chor.

IVANOFF. Add that he died at Bclogna,
July 8, 1880.


ACK. P. 27 a, 1. I, 7. See Spinet, vol. iii.

p. 651 a, footnote.
JACKSON, William, ' of Exeter.' Add day
birth, May 28.

JACKSON, William, ' of Masham.' Correct
te of birth to 1815.
JADASSOHN, Salomox. Line 13 of article,

D read D minor. Mention should be made

two pianoforte trios, a string quartet, two
intets for pianoforte and strings (op. 70 and
), a pianoforte quartet (op. 77), a piano con-
to (op. 89) , and of a setting of Psalm c. for
o solo, double chorus, and orchestra.
JADIN, Htacixthe. P. 29 6, 1. 29, for in
02 read in October 1800.
JAELL, Alfked. Add date of death, Feb.
, 1882.

JAHN, Otto. Add that his life of Mozart
.s published in an English translation by Miss
aline Townshend, in three volumes, by No-
llo and Co. in 1882.

JAHRBUCHER, etc. For continuations see
lEITKOPF & Hartel in Appendix, vol. iv. p. 562.
JANIEWICZ. Line 3 of article, for 1 783 or
read 1784 or 5. Add that an andante of
izart's for violin and orchestra, dated April i,
85 (K. 470), is believed by Jahn (iii. 297) to
ve been written for Janiewicz.
JANOTHA, Nathalie. Line 4 from end of
.iele.yor of the same year read 1S7S. Add
it in 1885 she was made pianist to the court
Germany and Prussia by William I.
JANSA, Leopold. Correct date of birth to
94; add that he last appeared at Vienna in
71, when he was 77 years of age, and add day
death, Jan. 25.

JARDINE & Co. a firm of organ-builders in
mchester. The house was founded in 1823

Benn. Between 1825 and 1830 the firm was
inn & Boston, and after that Renn alone, till

his death in or about 1848. In 1850 the busi-
ness was bought by Kirtland & Jardine. In
1S65 Kirtland retired, and Frederic W. Jardine
remained alone until 1S74. The business was
then bought by J. A. Thorold & C. W. Smith,
who are now trading under the name of Jardine
& Co. Examples of their work may be found
in St. Peter's Church and the Free "Trade Hall,
both in Manchester, and also in Stockport Sunday
School. [V. de P.]

JENSEN, Adolph. Correct date of death
to Jan. 23, and add that the score of an opera
' Turandot ' was found after his death.

JEUNE, Le. See Le Jeune, vol. ii. iiS.

JEWITT, Eandolph. See vol. iv. p. 170 &,
note 4.

JOACHIM. L. 9 of article read In 1841 he
became. (Corrected in later editions.) To list
of works add Variations for violin and orchestra,
in E minor.

JODEL. See Ttkolienne.

JOHNSON, John. See London Violin
Makees, vol. ii. p, 164 J.

JOMMELLI, NiccoLO. P. 366, 1. 13 from
bottom, ^or Sept. 11 read Sept. 10. P. 376,
I. 22 from bottom,/br 1771 readi'j'jo. P. 38a,
1. I, for Aug. 28 read Aug. 25.

JONAS, Emile. p. 39 a, add to Ust of
operettas, ' Le Chignon d'or,' Brussels, 1874;
'La bonne Aventure,' 1882 j * Le j)reinier
Baiser,' 1883.

JONCIERES, ViCTOEiN de, the adopted
name of Felix LuDGEii Rossignol, born in
Paris, April 12, 1839. ^^^ name by which he
is known was adopted by his father, a journalist
and advocate of the Cour d'Appel, who, under the
Empire, was one of the principal contributors to
the ' Patrie ' and the ' Constitutionnel.' Victorin
began by studying painting ; but by way of
amusement he composed a little opilra comique


a<lapted by a friend from Molifere's 'Sicilien,'
which was performed by students of the Conser-
vatoire at the Salle Lyrique in 1859. -^ critic
who was present advised the composer to give
up painting for music, and accordingly Jonciferes
began to study harmony with El wart. He entered
Leborne's counterpoint class at the Conservatoire,
but left it suddenlj' on account of a disagreement
with his master concernixig Wagner, who had just
given his first concert in Paris. From this time he
studied independently of the Conservatoire. At
the Concerts Musard he produced an overture,
a march, and various orchestral compositions ;
lie also wrote music to ' Hamlet,' jiroduced by
Dumas and Paul Meurice. A performance of this
work was given as a concei-t at his own expense
in May, iS6.^, and a representation was given at
Nantes on Sept. 21, 1S67, under his direction,
with JNInie. Judith, of the Com^die Fran^aise, in
the pi'incipal part. The play was produced in
Paris at the Galte later in the following year, but
for the recent performance of 'Hamlet' at the
Franfais, Jonciferes' music was rejected by M.
Perrin. On Feb. 8, 1867, Joncieres made his
real debut as a dramatic composer at the Theatre
Lyrique, with a grand opera, ' Sardanapale,'
wjiicli was only partially successful. In spite of
this comparative failure, Carvalho was per-
suaded to produce a second grand opera, 'Le
dernier jour de Pompei' (Sept. 21, 1S69), which
was harshly received by the public. Shortly
afterwards a violin concerto was plaj'ed by his
friend Danbtl at the Concerts of the Conservatoire
(Dec. 12, 1S69). The Lyrique having come to
an end after the war, Joncieres' dramatic career
ceased for a long time, as he would not -vmte
for the Op&'a Comique, and could not gain ad-
mittance to the Grand Opera. He wrote a Sym-
phonie Komantique (Concert National, March 9,
1873), and various other pieces weie produced at
the concerts conducted by Danbe at the Grand
Hotel. At length, on May 5, 1876, he suc-
ceeded in producing liis grand opera ' Dimitri,'
Jor the opening of the new Theatre Lyrique at
the Gaite, under the direction of Vizentini; and
the work, although it did not attract the public,
.showed that the composer possessed a strong
dramatic instinct, inspiration of some power, if
little origiualit}', and an effective style of or-
chestration. The opera was such a remarkable
advance upon his earlier productions that hopes
were formed which have not been realized either
by his ' Reine Berthe' (Dec. 27, i S 78 \ given
four times at the Opera, nor by his ' Chevalier
Jean' vOpera Comique, Marcli 11, 1885% which
succeeded in Germany, though it had failed in
Paris. Besides the&e dramatic works Joncieres
has written numerous compositions for the con-
cert-room : ' Serenade Hongroise,' ' La Mer,' a
symphonic ode for mezzo soprano, chorus, and
orchestra, ' Les Nubiennes,' orchestral suite, a
Slavonic march, a Chinese chorus, etc. His
works, of which ' Dimitri ' is by far the best,
have the merit of being carefully orchestrated,
and his vocal writing is marked by a just sense
of the laws of prosody. As a critic — for since


1 87 1 he has been musical critic to 'La Liber
and contributes to it theatrical notices,
under the pseudonym of ' Jennius ' — his opinio
like his music, are wanting in balance and uni
and have considerably injured his musical staj
ing. In Feb. 1877 M. Joncieres received
cross of the Legion d'honneur. [A,

JONES, Henry & Sons, organ-builders |
London, established 1S47; they made the orgai
lor Christ Church, Albany Street ; St. IMatthia
West Brompton; and the Aquarium, Westmi
ster. They invented an ingenious compositii
pedal, under the influence of which any sto^
may be brought on by a turn of the stop-hand
to the right ; so that any possible combinatio
prepared but an instant before it is wanted, m;
be brought on to, or taken off, the keys. [V. de P

JONES, John. P. 39 h, the last note b
one of the chant should he D not C. (Correcti
in later editions.)

JOEDAN, Abraham, sen. and jun., b
longed to an ancient family located in Jlai
stone in the 15th. century. The elder, who w
a distiller, but had a mechanical turn, devot-
himself to organ-building, and removed to Lc
don, where he made many fine instrumen'
He instructed his son Abraham in the sar
business. The Jordans deserve especial noti
as being the inventors of the swell, which w
in the form of a .sliding shutter, and was fii
applied to the organ which they built for i:
Magnus' Church, London Bridge, in 1712.
1720 they built the organ of the Duke of Cha
dos at Cannons, on which Handel used to pla
This was sold by auction in 1747, after which th-
repaired it and conveyed it to Trinity Chore
Gosp'ort. See Byfield, Jordan, and Bridc
voLiv. p. 571 ; also vol. ii. pp. 595, 596. [V. del

JOSQUIN. P. 42 /), 1. 20, for who creates
genial impression, read who impresses us as bei
a genius.

JULLIEN, Jean Lucien Adolphe, bo
June I, 1845, was the son and grandson of d
tinguished literary men, his grandfather, Berna
Jullien (i 752-1826) having held various p:
fessorships, and his father. Marcel Berna
Jullien (1798-1S81), having been for some ye;
principal of the College at Dieppe, and sub;
quently editor of the ' Eevue de Tinstructi
publique,' and having taken a prominent part
the compilation of Littre's Dictionary. Adolp
Jullien was educated at the Lycfe Charlemag
in Paris, and having taken the degree of !ic(
tiate in law, he completed his musical stud
under Bienaime, retired professor at the Cons,
vatoire. His first essay in musical critici.
was an article in ' Le M^nestrel,' on Sol
mann's 'Paradise and the Peri,' which had j:
been produced unsuccessfully in Paiis (186
In that article his pronounced opinions in favi
of tlie advanced school of music are expres-
as fearlessly as they are in his most reci
writings. He has ever since fought valian
for musical progress of every kind, and in (
Wagnerian controversy he has taken a posit


iich cannot be sufficiently admired. His re-
itly published life of that master is not only
uonument of accurate and erudite information,
t a complete and in most cases just review of
his works, while the collection of caricatures
d the other illustrations make the book ex-
idingly amusing. He is now about to publish
•ompanion volume on Berlioz. But before en-
ding in the great musical battle of our day, he
i proclaimed his convictions with regard to Ber-
iz, Schumann, and other composers who were
■■) little appreciated in France, with great vigour
i exhaustive knowledge of his subject. He
li at various times contributed to the ' Revue
I Gazette musicale,' the ' M^nestrel,' the
iOTonique musicale,' the 'Renaissance musicale,'
\i ' Revue contemporaine,' the ' Moniteur du
jbliophile/ the ' Revue de France,' the ' Corre-
[mdant,' the ' Revue Britannique,' ' L'Art,'
I'igaro,' and other periodicals. He was critic
the 'Fran9ais' from May 1S72 to Nov.
87, when that paper was amalgamated with
3 old ' Moniteur nniversel ' ; since that time
. Jullien has remained on the staff. Be-
ies exercising the ordinary avocations of a
ijsical critic, he has made an intimate study
the history of the eighteenth century, es-
eially in connection with the theatrical affairs
the time ; and most of his earliest books, which
ve become exceedingly difficult to procure,
:at of this subject. His first books, ' L'Ope'ia
1788' (1S-3), and 'La Musique et les Philo-
alies au XVIIP sifecle' (1873), were followed
several which have no direct bearing on
Ijsic. A complete list of his works since 1876
i:ippended : • — ' Un Potentat musical,' etc. (1876);
..'figlise et rOpera en 1735' (1S77) ; 'Weber
Paris' (1877) ; ' Airs varies, histoire, critique,
pgraphies musicales et dramatiques' (1S77) ;
|ia Cour et r Opera sous Louis XVI' (187S) ;
'ia Comedie etla Galanterie au XVIII® sifecle'
879); 'Histoire du Costume au Theatre'
880}; 'Goethe etla musique' (1880); 'L'Ope'ra
;ret au XVIIfe sifecle ' (1880) ; ' La Ville et la
>ur au XVIII® siecle ' (in which is embodied
le second of the earlier works, 1881) ; ' Hector
brlioz ' (1882); 'La Comedie a la Cour'
[883) ; ' Paris dilettante au commencement du
:cle ' (1884) ; and ' Richard \Yagner, sa vie et
joeuvres' (1886). [M.]

[nit the reference to Military Jouexals.
IJUXCK, Benedetto, born August 24, 1852,
I Tulin, his mother being an Italian, and liis
jtLer a native of Alsace. After a mathematical
liining at Turin, he was sent into a commercial
i)use at Paris. He would from the first have
ieferred to make music his profession, but al-
ough the Juncks were a wealthy family, his
ther objected to the choice of so precarious
career. His natural bias, however, proved too
rong ; and instead of applying himself closely
business, Benedetto Junck devoted his time
iefly to music. Such musical education as he
ought with him to Paris was slight, and almost
tirely confined to the pianoforte. Hence the



orchestral works of the great masters which he
first heard in Paris keenly stirred his artistic
temperament ; and his ambition to dedicate him-
self to music became deeply rooted. In 1S70 he
returned to Turin as required by law to perform
a j^ear of military service, and about this time his
father died. He was now free to follow his own
inclinations, and at the age of 22 he went to
Milan, and put himself under Alberto Mazzucato
(then principal of the Milan Conservatorio) for
a course of study in harmony and counterpoint.
He also worked a short time under Bazzini.

In 1879 Junck married, and his home is now
in Milan, where during the winter season he
gives concerts in his own house, at which lead-
ing artists are wont to meet. Being a man of
independent means, he has no motive for -writing
but the impulse of his own mind. His works
are not numerous, but are all marked by earnest-
ness, refinement and culture.

The list of his published works is as follows : —

1. *La Simona,' a set of twelve songs for Soprano and Tenor (words
by Fontana). 1578.

2. Otte Komanze (words by Heine and Panzacchi;. 1881.

3. Two Songs (words by Heine). 1383.

4. Sonata for PF. and Violin in G. ]S<4.

5. Sonata for PF. and Violin in D, lt85.

6. String Quartet in E. 18S6.

Although the earliest of Junck's works, ' La
Simona ' still stands pre-eminent among them for
originality and power; but some of the 'Otte
Romanze,' — especially nos. 2 and 4, entitled
Dolce sera and Fkbil iraversa Vanima mia, are
also compositions of a high order. The melodies
are graceful and flowing, and the accompani-
ments are worked out with care and taste.

It is, however, in chamber-music that Bene-
detto Junck may be said to have rendered the
most valuable service, because this kind of
music has been neglected in Italy, and is conse-
quently a scarce product there. Both the
sonatas and the quartet are well-written and
interesting works; the foim is clear, and the
ideas are fresh and melodious ; and the treat-
ment of the instruments shows a skilful hand.
Of the single movements' we would especially
commend the Andante of the Sonata in G,
which contains a warm and impassioned melody
of much beauty, and the graceful and delicate
Presto of the second sonata. Both are highly
effective without being difficult.

A special characteristic of Junck's is his skill
in combining distinct melodies. Throughout his
works it rarely happens that the principal
melody is merely suitported by an accompani-
ment ; it is far more common to find indepen-
dent melodies in the subordinate parts. As two
examples out of many we may mention the
Intermezzo of the second sonata, and the last
song of the ' Otte Romanze.'

With this wealth of melody, contrapuntal
knowledge and genuine musical feeling, Bene-
detto Junck may unquestionably be regarded as
one of the most distinguished of the younger
Italian composers of the present time. [A.H.W.]

1 The fact that the several movements of a Sonata are advertised
and sold separately in Italy is a si^n of the Imperlccl appieciatiuu
of cliamber-music by the Italiaji public.


KAHEER-EAPPOLDI, Mme. See vol. iii.
p. 766.
KALKBEENNEE, F. W. Line 3 of
article, the date of birth should probably be cor-
i-ected to 1784.

KAMMEETON. See Choeton in Appendix.

KAPSBEEGEE, J. H. See vol. iv. p. 264 1,
note 3.

KASTNEE, JoHANN Geokg, born at Strass-
burg March 9, iSio. He was destined to theo-
logy ; but music conquered, and the successful
performance of his opera, ' Die Konigin der
Sarmaten,' induced the town council of Strass-
burg to grant him the means of going to Paris
in 1835, where he finished his studies under
Berton and Eeicha, and resided till his death
there Dec. 19, 1867. In 1837 he published his
Treatise on Instrumentation, the first work of
the kind in Fi-ance, and the beginning of a long
series of elementary treatises. He was not less
fruitful as a composer of operas :— ' Beatrice '
(German), 1839; ' ^^^ Maschera,' at the Opera
Comique, 1841 ; 'Le dernier Eoi de Juda,' his

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 162 of 194)