Page:A Dictionary of Music and Musicians vol 1.djvu/767

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HOWGILL.
755
HULLAH.

ment for the Organ'; 'Two Voluntaries for the Organ, with a Miserere and Gloria Tibi, Domine,' and 'An Anthem and two preludes for the Organ.'

[ W. H. H. ]

HOYLAND, John, son of a cutler at Sheffield, born in 1783, in early life a pupil of William Mather, organist of St. James's Church in that town. In 1808 he succeeded his master, and in 1819 removed to Louth, Lincolnshire, where he established himself as a teacher, and was shortly afterwards chosen organist of the parish church. He composed several anthems and other pieces of sacred music, besides songs and pianoforte pieces. He died Jan. 18, 1827. His son, William, was elected organist of Louth parish church in 1829, and held the appointment until his death, Nov. 1, 1857.

[ W. H. H. ]

HOYLE, John, was author of a dictionary of musical terms entitled 'Dictionarium Musicæ, being a complete Dictionary, or Treasury of Music,' published in 1770, and republished with a varied title in 1790. He is said to have died in 1797.

[ W.H.H. ]

HUBERT. See Porporino.

HUDSON, Robert, Mus. Bac., born 1731, was a tenor singer, and sang when a young man at Ranelaghand Marylebone Gardens. In 1755 he was assistant organist of St. Mildred, Bread Street. In 1756 he was appointed vicar-choral of St. Paul's, in 1758 a gentleman of the Chapel Royal, and in 1773 almoner and master of the children of St. Paul's, which offices he resigned in 1793. He was also music master at Christ's Hospital. Hudson was the composer of 'The Myrtle,' a collection of songs in three books, published in 1767; of a service and some chants, and many hymn tunes. He also set for five voices the lines on Dr. Child's monument at Windsor, commencing 'Go, happy soul.' He died at Eton in Dec. 1815. His daughter, Mary, was in 1790, and till her death, Mar. 28, 1801, organist of St. Olave, Hart Street, and St. Gregory, Old Fish Street. She was the composer of several hymn tunes, and set for five voices the English version of the Latin epitaph on Purcell's gravestone, 'Applaud so great a guest.'

[ W. H. H. ]

HÜNTEN, Franz, pianist and composer, born Dec. 26, 1793, at Coblentz, where his father Daniel was organist. In 1819 he went to the Paris Conservatoire, studying the piano with Pradher, and composition with Reicha and Cherubini. He lived by teaching and arranging pieces for the pianoforte, and in time his lessons and compositions commanded high prices, although the latter, with the exception of a trio concertante for P. F. violin, and cello, were of little value. His 'Méthode nouvelle pour le piano' (Schott) had at one time a reputation. In 1837 he retired to Coblentz, and lived on his means till his death in February 1878 [App. p.681 "Feb. 22"]. His two brothers, Wilhelm and Peter, are still successful pianoforte teachers at Coblentz and Duisburg.

[ F. G. ]

HÜTTENBRENNER. An Austrian musical family, memorable from its connexion with Beethoven and Schubert. Anselm, the eldest, a professional musician, was born at Gratz, Oct. 13, 1794. He was for five years a pupil of Salieri's in Vienna, during which time he became intimate with Beethoven, Schubert, and other musicians of the day. He was one of the two persons present when Beethoven died. Why he took no part in the funeral is not explained, but it is certain that his name is not mentioned. He was a very voluminous composer in ail departments, and one of his Requiems, dedicated to Salieri, is spoken of as a work of real merit. It was performed for Schubert Dec. 23, 1828. Schubert had a great regard for Anselm. The well-known song 'Die Forelle' (op. 32) was written at his house 'at 12 o'clock at night,' as Schubert himself says.[1] In his hurry Schubert shook the ink over the paper instead of the sand, a fact to which the autograph bears ample witness. The B minor Symphony was in Anselm's possession up to the time of its first performance at Vienna in Dec. 1865. He died at Ober-Andritz, Styria, June 5, 1868. For full details see his biography by von Leitner (Gratz, 1868).

Josef, the second brother, an enthusiastic amateur, was a government employé. His devotion to Schubert was excessive, so great as sometimes to bore the object of it; he was unwearied in his active services, communicated with publishers, and did all that devotion and admiration could do for his idol. The two used to play duets on an old worn-out piano. He was about Schubert during his last illness, and obtained the official permission for the performance of the Requiem after his death. The fine dramatic song 'Die Erwartung' by Schiller (op. 116) is dedicated by Schubert to 'his friend Josef Hüttenbrenner.'

The third brother, Heinrich, was a lawyer and a 'Dr. juris.' He was also a poet, and wrote the words for at least one of Schubert's pieces—the part-song 'Wehmuth' (op. 80, No. 1). [[App. p.681 amends to "he wrote the words for at least two of Schubert's pieces—'Der Jüngling auf dem Hügel,' op. 8, and the part-song 'Wehmuth' (op. 80, no. 1)."]

[ G. ]

HUGUENOTS, LES. Opera in 5 acts; words by Scribe and Deschamps, music by Meyerbeer. Produced at the Académie Feb. 29, 1836; in London, first by a German company, at Covent Garden, April 20, 1842; in Italian at Covent Garden as 'Gli Ugonotti,' July 20, 1848; in English at the Surrey Theatre, Aug. 16, 1849. Like 'William Tell,' the opera is always greatly shortened in performance.

For a remarkable criticism by Schumann see the Neue Zeitschrift, Sept. 5, 1837, and Gesammelte Schriften, ii. 220.

[ G. ]

HULLAH, John, LL.D., was born at Worcester, June 27, 1812, but came whilst very young to London, where his life has been spent. He received no regular musical instruction until 1829, when he was placed under William Horsley. In 1832 [App. p.681 "1833"] he entered the Royal Academy of Music for the purpose of receiving instruction in singing from Crivelli. He first became known as a composer by his music to Charles Dickens' s opera, 'The Village Coquettes,' produced at the St. James's Theatre, Dec. 5, 1836. This was

  1. Kreissle von Heilborn, 128. But I am assured by Mr. Nottebohm that the song was composed in 1817, so that this, though an autograph, is not the autograph.