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Scan 379
Baker's biographical dictionary of musicians, 1919
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1lies 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. Such being his view point through life, it follows logically that he could not entertain sympathy for Wagner's art; his violent opposition to the music-drama was a matter of profound conviction, not personal spite. On the other hand, he was one of the very first and most influential champions of Brahms. From 1855–64 H. was musical editor of the 'Presse'; thereafter of the 'Neue freie Presse'; he became lecturer on mus. hist. and esthetics at Vienna Univ., prof. extraordinary in 1861, and, in 1870, full professor, retiring 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. What gives his writings permanent value is the sound musicianship shown everywhere and their brilliant, masterly style.—Works: Geschichte des Concertwesens in Wien (1869); Aus dem Concertsaal (1870; 2d ed. 1896); Die moderne Oper (1875), followed by 8 vols. giving a fairly comprehensive view of the development of opera from Gluck to 1900: ii. Musikalische Stationen (1880); iii. Aus dem Opernleben der Gegenwart (1884); iv. Musikalisches Skizzenbuch (1888); v. Musikalisches u. Litterarisches (1889); vi. Aus dem Tagebuch eines Musikers (1892); vii. Fünf Jahre Musik (1896); viii. Am Ende des Jahrhunderts (1899); ix. Aus neuer und neuester Zeit (1900). Suite, Aufsätze über Musik u. Musiker (1885), Konzerte, Komponisten u. Virtuosen der letzten fünfzehn Jahre [1870–85] (1886); Aus meinem Leben (2 vols., 1894). All these works have passed through several editions. He also edited Th. Billroth's posthumous essay, Wer ist musikalisch? (1895; 4th ed. 1912); and wrote the letterpress for the illustrated Galerie deutscher Tondichter (1873), and Galerie franz. u. ital. Tondichter (1874).
3Hansmann, Victor, b. Warasdin, Croatia, Aug. 14, 1871; d. Berlin, Dec. 12, 1909.—Operas Enoch Arden (Berlin, 1897), Die Nazarener (Brunswick, 1906), Unter der Reichsfahne (Hohentwiel, 1906); and songs.
5Hanssens, 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 orchl. 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.
7Hanssens, 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-kapelmeester. 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, orchl. fantasias, 'cello-, vln.-, clarinet- and pf.-concertos, string-quartets, Symphonie concertante f. clar. and vln., masses, cantatas, a capp. choruses, etc.—Cf. L. de Burbure, Notice sur C.-L. H. (Antwerp, 1872); and L. Bawolf, C.-L. H. (Brussels, 1895).
9Harcadelt. See Arcadelt.
11d'Harcourt [dahr-koor'], Eugène, b. Paris, 1855. Pupil at Paris Cons. of Savard, Durand and Massenet (1882–6), then of A. Schulze and W. Bargiel in Berlin (until 1890). In 1892 he built the 'Salle d'Harcourt' in Paris, and inaugurated the 'Concerts éclectiques populaires,' which, however, came to an end after the third season; in 1900 he tried to revive them as 'Grands Oratorios à l'Église St.-Eustache.' In 1906 he was sent by the govt. to study musical conditions in Italy, and the following year he spent on a similar mission in Germany and Austria; at the Panama Expos. of 1915 d'H. and Saint-Saëns represented the French govt., while the former was also commissioned to report on mus. conditions in the U. S. He wrote an opera, Le Tasse (Monte Carlo, 1903), a mass in E; 2 ballets (in collaboration with dell'Era and Germain); 3 symphonies; 2 str.-quartets; cantatas and motets. His Symphonie néo-classique (1907) was written as a protest against formlessness and to prove that modern impressionism can be expressed in the classic forms. He transl. into French Schumann's Genoveva and (with Ch. Grandmougin) Weber's Freischütz; has publ. Quelques remarques sur l'exécution de Tannhäuser à l'Opéra (1895), Aperçu analy-
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