Page:A Dictionary of Music and Musicians vol 1.djvu/741

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and received with rapturous applause. On July 14, 1815, Lays had a similar success when repeating the air at a performance of 'Iphigénie en Aulide' and 'La Dansomanie' before Louis XVIII, the Emperor of Russia, and the King of Prussia. On the opening of the new theatre of the 'Academie royale de Musique' in the Rue le Peletier, the first words sung in that area, the loss of which is so much to be regretted on acoustical grounds, were those of 'Vive Henri IV.' Paer wrote some brilliant variations on this air. They were engraved in full score and deserve to be rescued from the oblivion into which they have fallen. Grétry also introduced the air into the Overture in 'Le Magnifique' (1773).

[ G. C. ]

HENRIQUE; or the Love-pilgrim. Grand opera in 3 acts; words by T. J. Haines; music by Rooke. Produced at Covent Garden, May 2, 1839.

[ G. ]

HENRY VIII, King, born June 28, 1491, died Jan. 28, 1547–8, being originally designed for the church, was duly instructed in music (then an essential part of the acquirements of an ecclesiastic), and appears to have attained to some skill in composition. Hall, the Chronicler, and Lord Herbert of Cherbury mention two masses of his composition, neither now extant; Hawkins (chap. 77) has printed a Latin motet for 3 voices by Henry from a MS. collection of anthems, motets, etc., written in 1591 by John Baldwin, singing man of Windsor and subsequently gentleman and clerk of the cheque of the Chapel Royal (died Aug. 28, 1615); and the anthem, 'Lord, the Maker of all things,' assigned by Barnard and others to William Mundy, was by Aldrich and Boyce declared to be proved to be his production (see Boyce's 'Cath. Music,' ii. i ). In the British Museum (Add. MSS. 5665) is 'Passetyme with good cumpanye. The Kynges balade,' set to music for 3 voices. It is printed in John Stafford Smith's 'Musica Antiqua' and Chappell's 'Popular Music of the Olden Time.' In Harl. MSS. 1419, fol. 200, is a catalogue of the numerous musical instruments belonging to Henry at the time of his death.

[ W. H. H. ]

HENSCHEL, Georg, born Feb. 18, 1850, at Breslau, made his first appearance as a pianist at 12 years of age. In 1867 he entered at the Leipzig Conservatorium under Moscheles, Richter and Gotze. His next move, in 1870, was to Berlin, where he studied composition under Kiel and singing under Adolph Schulze. Since that date Heir Henschel's reputation as a concert singer has been steadily increasing. His voice is a baritone of great power, richness, and compass. His style is pure, his repertoire large, and he is always conscientious and loyal to the composer. His own compositions are numerous and varied, embracing solo and part songs; choruses; a gipsy serenade with orchestra; a serenade for stringed orchestra in canon form; the 130th Psalm for solos, 5-part chorus, and orchestra (op. 30).

Mr. Henschel made his first appearance in England Feb. 19, 1877, and has now (1879) taken up his residence here.

[App. p.671 "Additions will be found under Symphony Orchestra, vol. iv. 43, and Boston Musical Societies, Appendix, vol. iv. p. 555. In the winter of 1885–6 Mr. Henschel started a series of sixteen concerts, called the London Symphony Concerts, at which he appeared as conductor for the first time in England. An interesting feature of the series was that each programme contained a composition by a living English composer, many of whom were introduced to the public for the first time in this way. From Easter 1886 to Easter 1888 he was Professor of Singing (vice Mme. Goldschmidt), at the Royal College of Music, London. [ M. ]"]

[ G. ]

HENSEL, Fanny Cecile, the eldest of the Mendelssohn-Bartholdy family, born at Hamburg Nov. 14, 1805, and therefore more than 3 years older than her brother Felix. She was regularly instructed in music, and Mendelssohn used to say that at one time she played better than he. (See also Devrient, Recoll, p. 3). Oct. 3, 1829, she married W. Hensel, a painter, of Berlin (1794–1861 ), and on May 17, 1847, died suddenly. Her death shook her brother terribly, and no doubt hastened his own, which happened only 6 months later. Felix's letters show how much he loved her, and the value which he placed on her judgment and her musical ability. He called her 'the Cantor.' 'Before I can receive Fanny's advice,' says he, 'the Walpurgisnight will be packed up … I feel convinced she would say "Yes," and yet I feel doubtful' (Letter, April 27, 1831). 'Fanny may add the second part,' says he, in sending a Song without words (Dec. 11, 1830). Again, 'I have just played your Caprices … all was unmixed delight' (Jan. 4, 40). Still, indications are not wanting of certain over-earnestness, not to say pedantry, which was occasionally too severe for her more plastic brother. (See Letter, April 7, 34, on Melusina; 'Goethe and Mendelssohn,' p. 47, etc.)

Six of her songs were published with his without indication, viz. Op. 8, Nos. 2, 3, 12; Op. 9, Nos. 7, 10, 12. She also published in her own name 4 books of melodies and Lieder for P.F. solo; 2 ditto of songs for voice and P.F.; 1 ditto of Part-songs—'Gartenlieder' (republished by Novello 1878); and after her death a few more songs and P.F. pieces were printed, and a Trio for P.F. and Strings in D, reaching in all to op. 11. For her letters, journals, and portrait see 'Die Familie Mendelssohn,' by S. Hensel (Berlin 1879).

She is buried in the Mendelssohn portion of the Friedhof at the Hallethor, Berlin, and a line of her music is engraved on the tombstone:—

{ \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \time 6/8 \key a \major \partial 8 \relative e' {e8 cis'4 b8 a4 b8 a4. gis | a a4 a8 b4. e a2. ~ a4 s8 r4 r8 | e4. gis,4 a8 d4. ~ d4 cis8 a4. }
\addlyrics {Ge -- den -- ken gehn und Lie -- der, fort bis in Him -- mel -- reich; fort bis in Him -- mel -- reich. } }

[ G. ]

HENSELT, Adolph, born May 12, 1814, at Schwabach in Bavaria, and since 1838 resident at St. Petersburg, had lessons from Hummel, but can hardly be called Hummel's disciple, since his method of treating the pianoforte differs as much from Hummel's as our concert-grands differ from the light Viennese instruments of 1820. Henselt's ways at the keyboard may be taken as the link between Hummel's and Liszt's; that is to say, with Hummel's strictly legato touch, quiet hands and strong fingers, Henselt produces effects of rich sonority something like those which Liszt gets with the aid of the wrists and pedals. But as such sonority, apart from