Books › A biographical dictionary of musicians. [With portraits from drawings in pen and ink, 1900 › scan 262
Scan 262
A biographical dictionary of musicians. [With portraits from drawings in pen and ink, 1900
15 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. Printed page 250. See the scan on archive.org.
1the School of Sacred Music in 1875.—Works: Missa auxilium Christianorum; Quatuor hymni pro festo corporis Christi; Fünf lateinische Predigtgesänge; org.-accomp. to the Graduale and Vesperale Romanum; org.-pcs., etc.
3Han'ke, Karl, dram. comp.; b. Rosswalde, Schleswig, 1754; d. Hamburg, 1835. Self-taught, at 22 yrs. of age he was app. Kapellm. to Count Haditz, at Rosswalde. Married his pupil, the distinguished singer Stormkin. In 1786, court Kapellm. at Schleswig. In 1789, his wife died; in 1791, he married Berwald, another fine singer, and founded a music-school at Flensburg, where he became cantor and director. Finally city mus. director in Hamburg.—Comp.s: Operas, ballets, prologues, epilogues, and incid. mus. to plays; orch.l symphonies, concertos, instr.l sextets, quartets, trios, duets (abt. 300 f. 2 horns), vln. and flute solos, church-music, songs, etc.
5Hans'lick, Eduard, influential writer and mus. critic; b. Prague, Sept. 11, 1825. St. law at Prague and Vienna; took degree of Dr. jur. in 1849, qualifying himself for an official position. But he had already studied music under Tomasechek at Prague; from 1848-9 was mus. critic for the "Wiener Zeitung," and soon adopted a literary career. His first work, "Vom Musikalisch-Schönen; ein Beitrag zur Revision der Aesthetik der Tonkunst" (Leipzig, 1854; 9th ed. 1896), has done more to discredit silly sentimentalism in mus. criticism than any other book. Its leading idea is, that the beauty of a mus. comp. lies wholly and specifically in the music itself; i. e., it is immanent to the relations of the tones, without any reference whatever to extraneous (non-musical) ideas: Briefly, music expresses, in itself, musical ideas, and can express no others. This work has been transl. into French (1877), Spanish (1879), English (1891), Italian (Milan, 1894), and Russian (1895). From 1855-64, H. was musical editor of the "Presse"; since then of the "Neue freie Presse"; he became lecturer on mus. hist. and aesthetics at Vienna Univ., prof. extraordinary in 1861, and, in 1870, full professor, retiring in 1895, and succeeded by G. Adler. At the Paris Expositions of 1867 and 1878, and the Vienna Exp. of 1873, H. was a juror in the department of music.—Other writings: "Geschichte des Concertwesens in Wien" (1869); "Aus dem Concertsaal" (1870; 2nd ed. 1896); "Die moderne Oper" (1875; vol. vii publ. 1896); "Musikalische Stationen" (1880); "Aus dem Opernleben der Gegenwart" (1884); "Suite: Aufsätze über Musik und Musiker" (1885; 2nd ed. 1898); "Concerte, Componisten u. Virtuosen" (1886); "Musikalisches Skizzenbuch" (1888); "Musikalisches u. Litterarisches" (1889); "Aus dem Tagebuch eines Musikers" (1892); "Aus meinem Leben" (1894, 2 vol.s); "Fünf Jahre Musik" (1896). He also edited Th. Billroth's posth. essay, "Wer ist musikalisch?" (1895; 2nd ed. 1896); and wrote the letterpress for the illustrated "Galerie deutscher Tondichter" (1873), and "Galerie franz. u. ital. Tondichter" (1874).
7Hanssens, Charles-Louis-Joseph (ainé), dram. comp.; b. Ghent, May 4, 1777; d. Brussels, May 6, 1852. St. w. Vauthier, Verheym, and Fémy (Ghent); in Paris w. Berton. App. chef d'orchestre of an amateur theatre at Ghent, afterwards of a company giving operatic performances in Amsterdam, Rotterdam, and Utrecht. In 1804, went to Antwerp and Ghent in the same capacity. In 1825, invited to Brussels as orch.l dir. of the Th. de la Monnaie; in 1827, dir. of the Royal orch.; in 1828, app. Inspector of the Cons. He lost both positions through the political events of 1830, but in 1835-38 was again opera-conductor, and also in 1840, when he was ruined through the failure of the enterprise.—Works: Operas, masses, and sacred vocal music.
9Hanssens, Charles-Louis (cadet), violoncellist, and distinguished Belgian comp.; b. Ghent, July 12, 1802; d. Brussels, Apr. 8, 1871. Atten, member of the orch. of the National Th., Amsterdam, and at twenty was app. vice-kapellmeester. In 1824, 'cellist, later asst.-cond., of the orch. in the Brussels Th. In 1827, app. prof. of harm. at the Cons. The political events of 1830 also caused his retreat to Holland. In 1834, solo 'cellist at the Théâtre Ventadour, Paris, later becoming comp. and asst.-cond. In 1835, directed French opera at The Hague, again in Paris, then at Ghent. From 1848-69, cond. Th. de la Monnaie, Brussels, also (1851-4) dir. of the Opera, and prof. at the Conservatory. Prolific composer.—Works: 8 operas, ballets, symphonies, overtures, orch.l fantasias, 'cello-, vln.-, clarinet-, and pf.-concertos, string-quartets, "Symphonie concertante" f. clar. and vln., masses, cantatas, a capp. choruses, etc. one of two readings
10Hanssens, Charles-Louis (cadet), violoncellist, and distinguished Belgian comp.; b. Ghent, July 12, 1802; d. Brussels, Apr. 8, 1871. At ten, member of the orch. of the National Th., Amsterdam, and at twenty was app. vice-kapellmeester. In 1824, 'cellist, later asst.-cond., of the orch. in the Brussels Th. In 1827, app. prof. of harm. at the Cons. The political events of 1830 also caused his retreat to Holland. In 1834, solo 'cellist at the Théâtre Ventadour, Paris, later becoming comp. and asst.-cond. In 1835, directed French opera at The Hague, again in Paris, then at Ghent. From 1848-69, cond. Th. de la Monnaie, Brussels, also (1851-4) dir. of the Opera, and prof. at the Conservatory. Prolific composer.—Works: 8 operas, ballets, symphonies, overtures, orch.l fantasias, 'cello-, vln.-, clarinet-, and pf.-concertos, string-quartets, "Symphonie concertante" f. clar. and vln., masses, cantatas, a capp. choruses, etc. one of two readings
12Harcadelt. See ARCADELT.
14d'Hardelot, Guy [Mrs. Rhodes], contemporary composer of charming songs (chiefly French; a few to Engl. texts, and all w. Engl. translations), was born at the Château d'Hardelot, about 7 miles from Boulogne-sur-Mer, France. With her first publication, the melancholy and dramatic "Sans toi," her artistic reputation was established. The long list of her lyrics, ranging from gayest humor to pathetic sentiment, includes "Sous les branches," "A vous!" "Chanson de la mie," "The Bee's Courtship," "Avec toi!" "Valse des libellules," "Nuit d'été," "La nuit aux bois," "La Fermière,"
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