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Scan 732
Baker S Biographical Dictionary Of Musicians, 1900
8 lines. Read by computer on 9 September 2026. Printed page 712. See the scan on archive.org.
1school in Frankfurt. He publ. a number of songs, several of which became well known; particularly popular was Der Lenz.
3Hiles, Henry, English composer and pedagogue; b. Shrewsbury, Dec. 31, 1826; d. Worthing, near London, Oct. 20, 1904. He filled various positions as organist and harmony teacher for nearly 60 years (1846-1904); was editor of the 'Quarterly Musical Review' (1885-88). He composed several oratorios, glees, and part-songs; publ. the manuals Harmony of Sounds (1871); Grammar of Music (2 vols., 1879); First Lessons in Singing (1881); Part-Writing or Modern Counterpoint (1884); Harmony or Counterpoint? (1889); Harmony, Choral or Contrapunial (1894).
5Hill, Alfred, Australian composer; b. Melbourne, Dec. 16, 1870. He studied at the Leipzig Cons.; played violin in the Gewandhaus Orch., including concerts under the direction of Brahms, Grieg, and Tchaikovsky. He then settled in New Zealand, where he became interested in aboriginal music. From 1916 to 1937 he taught at the Sydney Cons.; in 1947, was elected President of the Australian Composers' Society. Many of his works include melodic elements of primitive Maori music. He wrote a Maori opera, The Weird Flute; cantatas on Maori themes (Hinemoa, Tawhaki, etc.); a Maori Symphony, Maori Rhapsody, many lighter works for orch.; 17 string quartets (including the Maori Quartet); songs; publ. a manual, Harmony and Melody (Sydney, 1927).
7Hill, Edward Burlingame, eminent American composer; b. Cambridge, Mass., Sept. 9, 1872. A member of a distinguished family of educators (his father was a professor of chemistry at Harvard, and his grandfather, president of Harvard), he pursued regular courses at Harvard Univ.; studied music with J. K. Paine; graduated in 1894 summa cum laude; took lessons in piano with B. J. Lang and A. Whiting, in composition with Chadwick and Bullard; also (for one summer) studied with Widor in Paris. He became greatly interested in the new tonal resources of the Impressionist school of composers; wrote articles (in the 'Boston Evening Transcript' and other publications) dealing with French music; publ. a book Modern French Music (Boston, 1924). In 1908 he joined the faculty of Harvard Univ. as instructor in music; became associate prof. in 1918; prof. from 1928-37; then James E. Ditson prof. (1937-40); retired in 1940, and lived mostly in New Hampshire; member of the National Institute of Arts and Letters, American Academy of Arts and Sciences; Chevalier of the Légion d'honneur; lectured at the universities of Strasbourg and Lyons (1921); was associate editor and contributor to the encyclopedia 'The Art of Music' (1915).—In his music, Hill reveals himself as a follower of the French school; clarity of design and elegance of expression are his chief characteristics. His best works are for orchestra; but he has also written chamber and choral music. — Orchestral works: symph. poem, The Parting of Lancelot and Guinevere (St. Louis, Dec. 31, 1915); Stevensoniana Suite No. 1 (N. Y., Jan. 27, 1918); symph. poem, The Fall of the House of Usher, after Poe (Boston, Oct. 29, 1920); Stevensoniana Suite No. 2 (N. Y., March 25, 1923). The following were perf. for the first time by the Boston Symph. Orch: Waltzes (Feb. 24, 1922); Scherzo for 2 pianos and orch. (Dec. 19, 1924); symph. poem, Lilacs (his best work in the Impressionist manner; Cambridge, March 31, 1927; many subsequent performances); Symphony in Bb, No. 1 (March 30, 1928); An Ode (for the 50th anniversary of the Boston Symph. Orch.; Oct. 17, 1930); Symphony in C, No. 2 (Feb. 27, 1931); Concertino for piano and orch. (Boston, April 25, 1932); Sinfonietta for string orch. (Brooklyn, April 3, 1936; also in Boston); Symphony in G, No. 3 (Dec. 3, 1937); violin concerto (Nov. 11, 1938); Concertino for string orch. (April 19, 1940); Music for English Horn and Orch. (March 2, 1945); Prelude for Orchestra (N. Y., March 29, 1953). Diversion for small ensemble was perf. at the Saratoga Festival (Sept. 6, 1947).—Chamber music: flute sonata (1926); clarinet sonata (1927); sextet for flute, oboe, clarinet, bassoon, horn, and piano (1934); string quartet (1935); piano quartet (1937); sonata for 2 clarinets (1938); quintet for clarinet and string quartet (1945); sonata for bassoon and piano (1948); sonatina for cello and piano (1949); sonatina for violin and piano (1951).—Vocal works: Nuns of the Perpetual Adoration, cantata for women's voices with orch. or piano (1908); Autumn Twilight, for soprano and orch.; The Wilderness Shall Rejoice, anthem for mixed chorus (1915); 2 pantomimes (with orchestral accompaniment): Jack Frost in Midsummer (1908); and Pan and the Star (1914); also Poetical Sketches for piano (1902); Country Idyls, a set of 6 piano pieces; Jazz Study for 2 pianos (1924).
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