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Scan 518
Biographical dictionary of musicians, 1940
12 lines. Read by computer on 8 September 2026, twice; the two readings disagreed in places. Printed page 498. See the scan on archive.org.
11900 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. He was one of the founders of the Amer. Soc. of Composers, Authors, and Publishers. H.'s fame as a composer rests upon his light operas, which owe their success to spontaneity of melodic invention, piquancy of rhythm and variety of style. From the simplicity of the earlier works there is a gradual evolution toward greater complexity in style and technic, so that some numbers in later works sound almost like excerpts from grand opera. Yet his two attempts in the grand style, Natoma (Philadelphia, Feb. 21, 1911) and Madeleine (M. O. H., Jan. 24, 1914), did not meet with lasting success because of the composer's evident inability to sustain his inspiration in a style foreign to his native talent.—Works: The operettas Prince Ananias (N. Y., 1894), The Wizard of the Nile (Chicago, 1895), The Gold Bug (N. Y., 1896), The Serenade (Cleveland, 1897), The Idol's Eye (Troy, 1897), The Fortune Teller (Buffalo, 1898), Cyrano de Bergerac (Montreal, 1899), The Singing Girl (ib., 1899), The Ameer (Scranton, 1899), The Viceroy (San Francisco, 1900), Babes in Toyland (Chicago, 1903), Babette (Washington, 1903), It Happened in Nordland (Harrisburg, 1904), Miss Dolly Dollars (Rochester, 1905), Wonderland, or Alice and the Eight Princesses (Buffalo, 1905), Mlle. Modiste (Trenton, 1905), The Red Mill (N. Y., 1906), Dream City (ib., 1906), The Magic Knight (ib., 1906), The Tattooed Man (Baltimore, 1907), The Rose of Algeria (Atlantic City, 1908), Little Nemo (Philadelphia, 1908), The Prima Donna (Chicago, 1908), Old Dutch (Wilkes-Barre, 1909), Naughty Marietta (Syracuse, 1910), When Sweet Sixteen (Springfield, Mass., 1910), Mlle. Rosita (Boston, 1911), The Enchantress (1911), The Lady of the Slippers (1912), The Madcap Duchess (Rochester, 1913), Sweethearts (Baltimore, 1913), The Débutante (Atlantic City, 1914), The Only Girl (N. Y., 1914), Princess Pat (ib., 1915), Eileen (ib., Mar. 19, 1917), Her Regiment (Springfield, Mass., Oct. 20, 1917), The Velvet Lady (1919), My Golden Girl (1919), The Girl in the Spotlight (1920), Oui, Madame (1920), Orange Blossoms (1922), Dream Girl (1924). In 1916 he made a new and successful departure with elaborate music to the photo-play The Fall of a Nation. He also composed incid. music to the following stage productions: Cinderella Man (1915), The Century Girl (1916), Ziegfeld Follies (1917, 1920–23), The Willow Plate (marionette play by Tony Sarg, 1924.) Besides the above works he wrote for orch. a symphonic poem, Hero and Leander; Serenade, op. 12; a second concerto for vcl., op. 30; Suite romantique, op. 31; the suites Woodland Fancies and Columbus; Irish Rhapsody; Pan-Americana and a Suite of Serenades (comp. for Paul Whiteman's orch.; perf. 1924); Golden Days; Dramatic Overture; orchl. arrs.; men's chors.; songs; many pcs. for pf., vln. and pf., and vcl. and pf. With the invention of the sound-film, some of H.'s operettas have achieved great popularity in a new medium.—Cf. J. Kaye, V. H. (N. Y., 1931). one of two readings
21900 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. He was one of the founders of the Amer. Soc. of Composers, Authors, and Publishers. H.'s fame as a composer rests upon his light operas, which owe their success to spontaneity of melodic invention, piquancy of rhythm and variety of style. From the simplicity of the earlier works there is a gradual evolution toward greater complexity in style and technic, so that some numbers in later works sound almost like excerpts from grand opera. Yet his two attempts in the grand style, Natoma (Philadelphia, Feb. 21, 1911) and Madeleine (M. O. H., Jan. 24, 1914), did not meet with lasting success because of the composer's evident inability to sustain his inspiration in a style foreign to his native talent.—Works: The operettas Prince Ananias (N. Y., 1894), The Wizard of the Nile (Chicago, 1895), The Gold Bug (N. Y., 1896), The Serenade (Cleveland, 1897), The Idol's Eye (Troy, 1897), The Fortune Teller (Buffalo, 1898), Cyrano de Bergerac (Montreal, 1899), The Singing Girl (ib., 1899), The Ameer (Scranton, 1899), The Viceroy (San Francisco, 1900), Babes in Toyland (Chicago, 1903), Babette (Washington, 1903), It Happened in Nordland (Harrisburg, 1904), Miss Dolly Dollars (Rochester, 1905), Wonderland, or Alice and the Eight Princesses (Buffalo, 1905), Mlle. Modiste (Trenton, 1905), The Red Mill (N. Y., 1906), Dream City (ib., 1906), The Magic Knight (ib., 1906), The Tattooed Man (Baltimore, 1907), The Rose of Algeria (Atlantic City, 1908), Little Nemo (Philadelphia, 1908), The Prima Donna (Chicago, 1908), Old Dutch (Wilkes-Barre, 1909), Naughty Marietta (Syracuse, 1910), When Sweet Sixteen (Springfield, Mass., 1910), Mlle. Rosita (Boston, 1911), The Enchantress (1911), The Lady of the Slippers (1912), The Madcap Duchess (Rochester, 1913), Sweethearts (Baltimore, 1913), The Débutante (Atlantic City, 1914), The Only Girl (N. Y., 1914), Princess Pat (ib., 1915), Eileen (ib., Mar. 19, 1917), Her Regiment (Springfield, Mass., Oct. 20, 1917), The Velvet Lady (1919), My Golden Girl (1919), The Girl in the Spotlight (1920), Oui, Madame (1920), Orange Blossoms (1922), Dream Girl (1924). In 1916 he made a new and successful departure with elaborate music to the photo-play The Fall of a Nation. He also composed incid. music to the following stage productions: Cinderella Man (1915), The Century Girl (1916), Ziegfeld Follies (1917, 1920-23), The Willow Plate (marionette play by Tony Sarg, 1924.) Besides the above works he wrote for orch. a symphonic poem, Hero and Leander; Serenade, op. 12; a second concerto for vcl., op. 30; Suite romantique, op. 31; the suites Woodland Fancies and Columbus; Irish Rhapsody; Pan-Americana and a Suite of Serenades (comp. for Paul Whiteman's orch.; perf. 1924); Golden Days; Dramatic Overture; orchl. arrs.; men's chors.; songs; many pcs. for pf., vln. and pf., and vcl. and pf. With the invention of the sound-film, some of H.'s operettas have achieved great popularity in a new medium.—Cf. J. Kaye, V. H. (N. Y., 1931). one of two readings
4Herblay, V. H. See HIRSCHMANN.
6Herbst, Johannes, Moravian minister and composer; b. Kempten, Germany, July 23, 1735; d. Salem, N. C., Jan. 15, 1812. He was over 50 when he came to America; minister at Lancaster (1787–91), then at Lititz (until 1811), and finally bishop of the church in its Southern Province. H. was the most prolific among the Moravian composers in America. Evidently well trained and rather capable, he wrote more than 100 anthems for chor., strs. and organ, approximately half of them in America. His colls. of choral works, especially by Moravian composers, are preserved partly at Bethlehem, partly at Winston-Salem. His comps. are listed in A. G. Rau's and H. T. David's 'A Catalogue of Mus. by Amer. Moravians' (Bethlehem, 1938). 2 of his works, a solo for sop., strs. and organ, and an anthem for chor., strs. and organ, are included in vols. 1 and 10 of the series 'Mus. of the Moravians in America', publ. by the N. Y. Public Lib.—Cf. H. T. David, Background for Bethlehem: Moravian Mus. in Pa., in 'Magazine of Art' (Apr., 1939). one of two readings
7Herbst, Johannes, Moravian minister and composer; b. Kempten, Germany, July 23, 1735; d. Salem, N. C., Jan. 15, 1812. He was over 50 when he came to America; minister at Lancaster (1787-91), then at Lititz (until 1811), and finally bishop of the church in its Southern Province. H. was the most prolific among the Moravian composers in America. Evidently well trained and rather capable, he wrote more than 100 anthems for chor., strs. and organ, approximately half of them in America. His colls. of choral works, especially by Moravian composers, are preserved partly at Bethlehem, partly at Winston-Salem. His comps. are listed in A. G. Rau's and H. T. David's 'A Catalogue of Mus. by Amer. Moravians' (Bethlehem, 1938). 2 of his works, a solo for sop., strs. and organ, and an anthem for chor., strs. and organ, are included in vols. 1 and 10 of the series 'Mus. of the Moravians in America', publ. by the N. Y. Public Lib.—Cf. H. T. David, Background for Bethlehem: Moravian Mus. in Pa., in 'Magazine of Art' (Apr., 1939). one of two readings
9He'ring, Karl (Friedrich August), violinist; b. Berlin, Sept. 2, 1819; d. Burg, near Magdeburg, Feb. 2, 1889. Studied with H. Ries and Rungenhagen (Berlin), Lipinski (Dresden), and Tomaschek (Prague). Made concert-tours, became violinist in the Berlin royal chapel, founded the 'Sonatenverein' in 1848, and a music-school in 1851. Appointed royal music-director.—Comps.: Symphonies, overtures, masses, chamber-music, songs.—Author of educational works: Methodischer Leitfaden für Violinlehrer (1857), Über R. Kreutzers Etüden (1858), and an elementary Violin-Method.
11Héritte-Viardot, Louise-Pauline-Marie, b. Paris, Dec. 14, 1841; d. Heidelberg, Jan. 17, 1918. Daughter of Louis Viardot and Pauline García. Vocal teacher at St. Petersburg Cons.; later at Dr. Hoch's Cons., Frankfort; then lived in Berlin, and later in Heidelberg, as a voice-teacher. She married Consul-General Héritte. — Comps.: Opera Lindora (Weimar, 1879); cantata Das Bacchusfest (Stockholm, 1880); other cantatas;
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