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Scan 419
Baker's biographical dictionary of musicians, 1919
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1Pitch (1896); and A Description and History of the Pianoforte, and the Older Keyboard Stringed Instrs. (1896); Dorian and Phrygian (1902).
3Hirn, Gustav Adolf, distinguished physicist; b. Logelbach, n. Colmar (Alsatia), Aug. 21, 1815; d. Colmar, Jan. 14, 1890, as dir. of the meteorological institute. A voluminous writer on physics, in La musique et l'acoustique (1878) he combats the idea that the beautiful in music is explicable by purely physical laws.
5Hirsch, Karl, b. Wendingen, Bavaria, Mar. 17, 1858. Studied in Munich; has held the following positions: 1876–8, teacher in the Violin-makers' School at Mittenwald; 1878–80, at the King Max Music-school, Tegernsee; 1880–2, 'regens chori' at Ending; 1882–4, cantor, mus. dir., etc., at Sigmaringen; 1884–5, Kapellm. at St. Jumier, Switz.; 1885–7, church mus.-director at Munich; 1887–92, Music-dir. at Mannheim; 1892–3, do. at Cologne; 1893–1906, do. at Elberfeld (Dir. of the 'Gesangschule,' the 'Liedertafel,' the Mixed Chorus, the Instrumental Society and the Philharm. concerts); 1906–9, cond. of a mixed and female chorus, and dir. of the Mus. School at Heilbronn; since 1909 cond. of the 'Aurora' and R. Musikdirektor at Baden-Baden.—Works: H. is one of the most prolific among present-day male-chorus composers; his a-cappella choruses, numbering several hundred, are prime favorites in Germany. His cantatas have also received the stamp of popular approval: Cantata Die Krone im Rhein, for male ch. and orch. (op. 45); cantata Landsknechtsleben (op. 74); Lieder-Cantate in 4 parts, Reiterleben, for soli, male ch. and orch. (op. 106); Der Rattenfänger v. Hameln, for solo voices, male ch., boys' voices, orch. and organ (op. 111); Werinher, dram. poem for S. A. T. B. soli, mixed ch., and orch. (op. 119); Bilder aus der alten Reichsstadt, for soli, male and boy-ch., orch. and org. (op. 120); Vagantensang, song-cycle for soli, male ch. and orch.; Der Trompeter von Säkkingen, dram. cantata in 6 scenes, for soli, male ch., orch. and organ (op. 101); An das Meer, 'Concertstück' for male ch. and orch. (op. 75); Fahr' wohl, ballad for soli, mixed ch. and orch. (op. 51).—Also numerous songs.
7Hirsch, (Dr.) Rudolf, musical critic, composer and poet; b. Napagedl, Moravia, Feb. 1, 1816; d. Vienna, March, 10, 1872. His Galerie der lebenden Tondichter (1836) is remarkable for its original criticisms; he also wrote Mozart's Schauspieldirector (1859), an apology for Mozart. Comp. vocal pieces, etc.
9Hirsch'bach, Hermann, instrumental composer; b. Berlin, Feb. 29, 1812; d. Gohlis, n. Leipzig, May 19, 1888. Pupil of Birnbach. Settled in Leipzig (1842), and founded and edited the 'Musikalisch-kritisches Repertorium' (1843–5). His caustic and intemperate criticisms made him so many enemies that he abandoned the musical for a mercantile career. He was an original and prolific composer of characteristic music.—Comps.: 14 symphonies; several overtures (Götz von Berlichingen, Julius Caesar, Hamlet, etc.); 13 string-quartets (Lebensbilder, op. 1; etc.); 2 string-quintets with 2 violas, and 2 string-quintets with 2 'celli; 2 quintets with clarinet and horn; septet; octet; and 2 operas, Das Leben ein Traum and Othello.
11Hirsch'feld, Robert, b. Moravia, Sept. 17, 1858; d. Salzburg, April 2, 1914. Graduate of Breslau and Vienna Universities, also st. at the Vienna Cons. From 1882, was lecturer at the Cons.; in 1884, app. teacher of mus. aesthetics, and the same year took his degree of Dr. phil. (dissertation, Johannes de Muris). In 1913 he was app. director of the Mozarteum in Salzburg. He wrote a noteworthy polemical pamphlet against Hanslick, in defence of old a-cappella music, and founded the 'Renaissance-Abende' to promote its cultivation. For the revivals at the Vienna Court Opera he arranged Haydn's Apotheker, Mozart's Zaide and Schubert's Der vierjährige Posten.
13Hirschmann, Henri (pseudonym V. H. Herblay), b. Ste.-Maude, 1872. Composer of the operas l'Amour à la Bastille (Paris, 1897), Lovelace (ib., 1898), Rolande (Nice, 1905), Hernani (Paris, 1909), La danseuse de Tanagra (Nice, 1911), La petite Nanon (Ghent, 1913); and of the operettas Das Schwalbennest (Berlin, 1904; as Les Hirondelles, Paris, 1907), La petite Bohème (Paris, 1905; as Musette, Berlin, 1905), La feuille de vigne (Paris, 1907), Mlle. Don Juan (ib., 1909), La vie joyeuse (Brussels, 1910), Les petits étoiles (Paris, 1911), Les deux princesses (ib., 1914); has also written pantomimes and ballets.
15Hissem-De Moss, Mary, concert-soprano; b. California, Ky., July 27, 1871. Studied at Cincinnati Coll. of Music with L. Mattioli, 1892–5; between 1900–12 she continued her studies at various times with I. Luckstone, A. Mees, Mrs. H. Brown, Marie Bissell and Mrs. A. Wolf in New York. She made her début in Cincinnati, Dec., 1899, with the Cincinnati Symph. Orch.; came to New York in 1900 as solo soprano at the 5th Ave. Presb. Church, a position she still holds (1916); has appeared with the leading choral societies and orchestras, at numerous festivals and in many recitals, establishing herself as one of the foremost concert-singers; she prefers oratorio, and her favorites are the sop. parts in Elijah, Messiah and Creation; her voice has a compass from b♭ to e♭♭. In 1894 she married Lacy M. De Moss.
17Hlawatsch, Woizech Ivanovitch, b. Le-
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