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Scan 409
Baker's biographical dictionary of musicians, 1919
12 lines. Read by computer on 4 September 2026. Printed page 388. See the scan on archive.org.
1dir. at Erfurt (1843), Altenburg (1845), and Berlin ('Urania,' private theatre, 1848–51). Resided in Berlin as music-teacher.—Opera Die Hexenreise; operettas; marches, etc., for orch. and mil. band; concertos for wind-instrs.; pf.-music, songs, etc.
3Hentschel, Theodor, b. Schirgiswalde, Upper Lusatia, March 28, 1830; d. Hamburg, Dec. 19, 1892. Chorister in Dresden; studied with Reissiger and Ciccarelli, then in Prague Cons. Concert-pianist at Leipzig, and became theatre Kapellm. there; 1860–90 at Bremen; after 1890 at Hamburg.—Works: Operas, Malrose und Sänger (Leipzig, 1857); Der Königspage (Bremen, 1874); Die Braut von Lusignan, oder die schöne Melusine (Bremen, 1875); Lancelot (Bremen, 1878); Des Königs Schwerdt (Hamburg, 1891); overtures and symphonic marches for orch.; pf.-music, songs; mass for double chorus; etc.
5Hepworth, William, b. Hamburg, Dec. 16, 1846. Pupil of his father, George H. (b. Almondbury, Engl., Dec. 21, 1825), and at Leipzig Cons., 1866–7, of David, Hauptmann, Moschcles, Richter and Röntgen; for many years (from 1873) organist at St. Jacobi in Chemnitz; since 1908 Kirchenmusikdirektor. Has written a string-quartet, op. 10; Suite for orch., op. 18; Andante for vcl. and orch.; organ-fugues and pf.-pieces; he orchestrated Bach's Organ-prelude and fugue in A m.; also publ. Mitteilungen für Spieler … von Streichinstrumenten … (1895; Engl. translation, 1899).
7Herbart, Johann Friedrich, eminent philosopher; b. Oldenburg, May 4, 1776; d. Göttingen, Aug. 14, 1841. Studied at Jena under Fichte; became preceptor at Bern. In 1805, app. prof. of philosophy at Göttingen; 1809–35, at Königsberg; 1835 (to his death) again at Göttingen. The determination of the proportions of intervals is treated of in his Psychologische Bemerkungen zur Tonlehre (1811), and the esthetics of music in chap. ix of his Encyclopædia of Philosophy. While of interest to advanced musicians, they contribute but little to the knowledge of the natural laws of creative music. H. was a good pianist, and of his comps. a pf.-sonata was published.—Cf. G. Bagier, H. und die Musik (Langensalza, 1911).
9Herbeck, Johann (Franz) von, b. Vienna, Dec. 25, 1831; d. there Oct. 28, 1877. Son of a poor tailor, he became soprano chorister at the Heiligenkreuz monastery. Studied harm. with Rotter a few months, but virtually educated himself. A man of high ambition, he became choir-director of the Piaristenkirche, Vienna, 1853; chorusmaster to the Vienna Männergesangverein, 1856; prof. at the Cons. and chorusmaster of the Singverein, 1858; conductor to the 'Gesellschaft der Musikfreunde,' 1859; chief court Kapellm., 1866; director of the Imperial opera, 1871, but resigned this position on account of intrigues and various annoyances, and resumed conductorship of the 'Gesellschaft' two years before his death. As a conductor he was held in high esteem, and left an indelible impress of his individuality on music in Vienna.—Works: Part-songs, some for male voices with horn-quartet, and some with orch.; also several sets for mixed chorus; graduals, a mass for male voices, and a grand mass; symphonies, Symphonic Variations, Tansmomente for orch., and a string-quartet.—Biographical: Johann Herbeck, ein Lebensbild, by his son, Ludwig H. (1885), contains portrait, and catalogue of his works. See also the sketch in E. Hanslick's Suite (Vienna, 1885).
11Herbert, Victor, b. Dublin, Ireland, Feb. 1, 1859, is a grandson of Samuel Lover, the famous Irish novelist. At seven he was sent to Germany to begin his musical education; 1876–8, private pupil (vcl.) of B. Cossmann at Baden-Baden; he then toured Germany, France and Italy as soloist; 1882, first 'cellist of the Strauss orch. in Vienna; in 1883–6 he was a member of the court orch. in Stuttgart, and studied comp. with M. Seifritz. Here he also began his career as composer with some songs and a suite for 'cello and orch. in F (op. 3), followed soon by the first concerto for 'cello and orch. in D. After his marriage in 1886 to Therese Foerster, prima donna at the Court Opera in Vienna, he accepted the position of first 'cellist at the newly established German opera at the M. O. H. in New York, appearing also frequently as soloist (his own concerto with the Philh. Soc., etc.); was also first 'cellist in Th. Thomas' orch., and first 'cellist and asst.-conductor of the Seidl orch.; from 1889–91 he was assoc. conductor of the Worcester Festival, for which he wrote an oratorio, The Captive (1891). In 1893 he succeeded P. S. Gilmore as Bandmaster of the famous 22d Reg. band. In the same year Wm. MacDonald, the manager of the Bostonians, persuaded H. to try his hand at light opera, offering him the libretto of Prince Ananias. The emphatic success which the work scored (N. Y., Nov. 20, 1894) decided H.'s further career as a composer. From 1898–1904 he was conductor of the Pittsburgh Symphony Orch.; in 1905, and again in 1906, he was invited by the N. Y. Philh. Soc. as one of a number of 'star' conductors (Colonne, Wood, Safonov, Weingartner, etc.); in 1900 he came specially from Pittsburgh to direct at Madison Square Garden, N. Y., an orch. of 420 performers for the benefit of the sufferers in the Galveston flood; in 1906 he directed a similar monster concert at the Hippodrome for the sufferers in the San Francisco earthquake. H.'s fame as a
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