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Scan 481
The New Encyclopedia of Music and Musicians, 1924
19 lines. Read by computer on 17 September 2026. Printed page 443. See the scan on archive.org.
1in all cases with much artistic enterprise. From 1880 he was principal of the new Guildhall School of Music, which he rapidly raised to a commanding position. Wrote some pieces for violin or 'cello. G (Weist-Hill).
3Hill, Wilhelm (Fulda, 1838–1902, Homburg). Hessian pianist and composer, pupil of Henkel and Hauff, from 1854 settled at Frankfort. Wrote the opera Alona (2d prize in competition), a piano-quartet, 2 piano-trios, 2 violin-sonatas, a piano-fugue, piano-pieces and many effective songs. Memoir by Schmidt, 1910.
5Hill, W., & Son. Celebrated firm of organ-makers in London, founded in 1755 by John Snetzler, followed in 1780 by his foreman Ohrmann and later by Nutt and Elliott. From 1825 William Hill (1800–1870) became partner, adopting the present firm-name in 1838). He was one of the first in England to use the long pedal-compass (to low C). The firm has built a notable list of fine instruments, including those in Ely, Worcester and Manchester Cathedrals. Its recent head was Arthur G. Hill (1857–1923), author of The Organ-Cases and Organs of the Middle Ages and Renaissance, 2 vols. 1883–91, and of many works on archaeology. G.
7Hill, W. E., & Sons. Noted London firm of violin-makers and dealers, founded about 1760 by Joseph Hill (1715–1784), who had five sons, all able players as well as craftsmen, the eldest, William Ebsworth Hill (1817–1895), first using the firm-name as now. The business is at present in the hands of his four sons, who have collaborated in preparing lives of Maggini (1892) and especially Stradivari (1909). G.
9Hille, Eduard (Wahlhausen, 1822–1891, Göttingen). Hanoverian choral conductor, pupil of Heinroth, at first teaching at Hanover, where he led two societies (founder of the Neue Singakademie), then visiting Berlin, Leipzig, Prague, Vienna, etc. (having close relations with Marschner and Hauptmann), and from 1855 music-director at Göttingen, where he started a Singakademie and revived the academical concerts. Wrote the opera Der neue Oberst, 1849, choruses and songs, besides editing the Hanoverian Choralbuch, 1886.
11Hille, Gustav (Jerichow, 1851). Prussian violinist, trained at the Kullak Academy and the Berlin Hochschule, from 1874 active in Berlin, in 1879 a member of the Mendelssohn Quintette Club in Boston, in 1880–99 taught at the Philadelphia Musical Academy, then (with Leefson) started a new music-school there, but in 1910 returned to Germany. Has written 5 violin-concertos, a double concerto, 3 violin-suites, 2 sonatas, etc. A.
13Hillemacher, Paul Joseph William (Paris, 1852), and Lucien Joseph Édouard (Paris, 1860–1909, do.), brothers. Notable French composers, regularly working in close collaboration. Both studied at the Paris Conservatory (Prix de Rome, 1876 and 1880 respectively). Have written the operas St.-Mégrin, 1886, Le Drac, 1896 (as Der Fluthgeist), Orsola, 1902, and Circé, 1907, the short operas Une Aventure d'Arlequin, 1888, and Le Régiment qui Passe, 1894, incidental music to Harancourt's Héro et Léandre (1893) and George Sand's Claudie (1900), the pantomime One for Two, 1894 (London), the cantatas Judith, 1876 (by Paul) and Fingal, 1880 (by Lucien), the symphonic légendes Loreley, 1882 (City of Paris prize), and Ste.-Geneviève, the orchestral suites La Cinquantaine and Les Solitudes, a Passion Mystery (1887), piano-pieces and many songs. Authors of a life of Gounod (1905). They have used the pen-name 'P. L. Hillemacher'. G.
15Hiller, Ferdinand von (Frankfort, [Oct. 24] 1811–1885 [May 12], Cologne). Distinguished Badenese (Jewish) pianist, conductor and composer, pupil of Aloys Schmidt, Vollweiler and Hummel (visiting Vienna with the latter in 1827). In 1828–35 he lived in Paris, mixing with all the leading musicians of the day, making a name as an interpreter of Bach and Beethoven and teaching somewhat at Choron's Institute. In 1836–37, having returned to Frankfort, he took Schelble's place temporarily as conductor of the Cäcilien-Verein and entered upon composition on a large scale. In 1838–39 he was at Milan, with Rossini's help bringing out his first opera, in 1839–40 at Leipzig, where Mendelssohn took up his first oratorio with enthusiasm, and in 1841 studied church-music with Biani at Rome. In 1843–44 he conducted the Gewandhaus concerts at Leipzig during Mendelssohn's absence in Berlin. From 1847 he was town-musician at Düsseldorf and from 1850 in a similar position at Cologne. Here he became the foremost figure in the musical life of the Rhine Valley till his retirement in 1884. He was leader of the Gürzenich Orchestra and of the Lower Rhine Festivals as far as held at Cologne. In 1850 he founded the Cologne Conservatory (on the basis of an earlier school started by Dorn) and was then its efficient director. In 1852–53 he was invited to conduct Italian opera in Paris. From 1852 he repeatedly visited England as guest-conductor, and also made similar trips to Vienna, Petrograd (notably in 1870) and elsewhere. In 1849 he became a member of the Berlin Academy and in 1868 Bonn Univ. made him Ph.D. As a composer he belonged to the post-classical group with Spohr and Mendelssohn. His workmanship was uniformly elegant and often ingenious, with a prevailing geniality and often considerable charm, but he had no great individuality or capacity for expanded or weighty utterance. He was at his best in pieces of small dimension. Yet the impress of his choral and chamber-works, with his decided ability as conductor and teacher, exerted a widespread and useful influence for a time. His principal works are as follows (opus-numbers in brackets):
17Vocal Works
18Operas—Romilda, 1839 (Milan), Ein Traum in der Christnacht, 1845, Konradin, 1847 (both Dresden), Der Advocat, 1854 (Cologne), Die Katakomben, 1862
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