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(b.Radstadt, 1 Jan. 25, 1459; d. Salzburg, 1539), became, apparently without much special instruction, one of the most distinguished organ - players of his time. He entered first the service of Archduke Sigismund of Tyrol, but afterwards betook himself to the court of the Emperor Maximilian I. He was in high favour with the Emperor, and frequently accompanied him on his journej^s. There is some uncertainty as to the precise dates of his appointments, but from 1480- 1519 his chief place of abode would seem to have been Innsbruck, where the Emperor had his regular chapel with Hofhaimer as organist. In 1515, on the occasion of a solemn Te Deum sung in St. Stephen's Church, Vienna, when Hofhaimer played the organ in the presence of three crowned heads, he was, at the Emperor's request, created a Knight of the Golden Spur by King Ladislaus of Hungary, and was raised to the rank of nobility by the Emperor himself. After the Emperor's death in 1519 he would seem to have returned to Salzburg, where from 1526 to his own death in 1539 he was in the service of the Archbishop as Cathedral organist. 1 l a th e ter ritory of th e Archbishop of Salzburg. I t was chiefly as an organ-player tha t Hofhaimer acquired fame in his lifetime and was celebrated by his contemporaries. Ottomar Luscinius praises his playing in the h ighest terms, describing it as full of warmth and power, uniting the most wonderful finger-skill with a majestic flow of harmony previously unsurpassed. Bu t of his organ compositions little if anything remains. In a MS. of song compositions by Isaac, Senfl and others, now in the Imperial Library, Vienna, Ambros was fortunate enough to discover a piece with Hofhaimer's name, which appeared to be a three-part organ fantasia upon a song, ' On freudt verzer ich manchentag.' Ritter in his Geschichte des Orgelspiels (p. 97), where the piece is reproduced (n. 58), confirms the judgment of Ambros as to its being really an organ piece, and considers that it alone suffices to give Hofhaimer his place as a master of the organ beside Arnold Schlick, who, if he surpasses Hofhaimer in the invention of florid passages for the organ, is inferior to him as a harmonist. Bu t it is chiefly as the composer of simple four-part German songs that Hofhaimer is now known to us. Eitner is able to reckon up fifteen songs as certainly by Hofhaimer, but many more by him may be hidden among the anonymous works in the various collections of the time. Five of them are found without name in Oeglin's Liederbuch, 1512.2 Several others besides these are to be met with in Forster's Liederbuch, 1539. Kade in the Noten-Beilagen to Ambros has reprinted three from Forster, one of which is the same as in Oeglin. These songs, as Eitner says, are distinguished by a rare tenderness of feeling and unusual loveliness of expression. They are written for the most part in very simple four-part harmony, without much contrapuntal elaboration. In the Monatshefte, xxv. p. 191, Eitner gives a specimen of Hofhaimer's different contrapuntal treatment of a three-part song. In one of the four-part songs reprinted by Kade (' Meins trauern ist '), Ambros calls attention to the remarkable resemblance to the melody of the well-known Choral, ' Aus tiefer Noth.' Another work of Hofhaimer's to be noticed is his * Harmoniae poeticae, sive carmina nonnulla Horatii,' 4 voc., published at Nuremberg in 1539. This work consists of forty-four simple harmonic settings (thirty-five by Hofhaimer, nine by Senfl) of Odes of Horace in strict accordance with the rules of Latin prosody. The idea of writing music in strict accordance with the rules of metre was one of the fruits of the classical humanism of the time, and had considerable influence in helping forward the movement in favour of homophonic music, as also on the development of the simple note-for-note setting of the Protestant Choral. These settings of the Horatian Odes have been reprinted in recent times. j . r . m. ? See th e re print by Eitner, 1880.

(b. Vienna, 1711 ; d. Mannheim, Apr. 7, 1783), composer. He was a chorister in St. Stephen's Church, and was destined for the law, but devoted all his spare time to music, and by study of Fux's Gradus made himself a good contrapuntist. On Fux's advice he went to Italy, running away from the Prince of Tour and Taxis to whom he was secretary at Laybach ; but a fever, caught a t Venice, obliged him to return. He next became Kapellmeister to Count Rottal in Moravia, and while there married. Returning to Vienna in 1745, the court theatre engaged him as director of music, and his wife as singer. In 1747 they started on a tour in Italy, and in 1751 he became first Kapellmeister to the Duke of Wurtemberg at Stuttgart. In 1753 his pastoral opera ' II figlio delle selve ' (Schwetzingen) procured him the appointment of Kapellmeister to the Elector Palatine at Mannheim. It was during this time that the Mannheim orchestra attained that ex cellence of performance which made it famous, though it is difficult to say how much of this was due to Holzbauer and how much to Cannabich the leader. In 1757 he produced ' Nitteti ' a t Turin w ith great success, and in the following year his best work, ' Alessandro nell' Indie ' was well received at Milan. In 1776 he composed his only German opera, * Gunther von Schwarzburg ' (Mannheim), which was brilliantly successful. When the orchestra was transferred to Munich, Holzbauer remained at Mannheim ; he was entirely deaf for some years before his death. He composed other operas besides those l Le tte r of Aug. 29, 1824. 3 Nohl, No. 380. 2 Letter, Aug. 11, 1825. * Aug. 30. mentioned, and church and instrumental music (see Q.-L. for list), all now forgotten, though not without value in their day, as we may judge from the testimony of Mozart, no lenient critic : ' I heard to-day a Mass of Holzbauer's, which is still good although twenty-six years old. He writes very well, in a cood church style ; the vocal and instrumental parts go well together, and his fugues are good.' (Letter, Nov. 4, 1777.) And a gain : * Holzbauer's music ' (in " Gunther " ) ' is very beautiful-too good for the libretto. I t is wonderful th a t so old a man has so much spirit, for you can't imagine how much fire there is in the music.' (Nov. 14-10, 1777.) He evidently behaved well to Mozart, without any of the jealousy which he too often generated. The score of ' Gunther von Schwarzburg ' is printed in the D .D .T . , vols. viii. and ix., and a thematic list of 65 symphonies is given in D .T .B . , Jhrg. iii. vol. i. m. c . c.

(b. Antwerp, late 16th cent.), a lutenist who published his first work, ' Florida sive cantiones . . .' for 2 voices and lutes, at Leyden, 1601 ; his second work, ' Delitiae musicae . . .,' songs and dances arranged for lute, ib. 1612 ; a third book, ' Praeludia . . for lutes and viols, appeared a t the Hague in 1616. E. v. d. s.

(d . Canonbury, Jan. 11, 1738), was employed by Handel to make additions to the libretto of his oratorio ' Esther,' to fit it for public performance in 1732. He subsequently provided him with the words of ' Deborah * and ' Athaliah.' He was also author of * Ulysses,' an opera set to music by John Christopher Smith, and of a poem on the Duke of Chandos's seat a t Canons. He died at Canonbury, aged about 40 years, w. H . H .

(b. Ratibor, Silesia, Jan. 31, 1847), pianist, studied at the age of 10 in Wandelt's music school at Breslau. At 14 years old, Frl. Hollaender appeared, with orchestra, in Mendelssohn's G minor concerto ; and soon afterwards was sent to Berlin to study with Kullak, who gave her gratuitous instruction, 1862-68. On Dec. 3 of the latter year she made her first appearance a t a Gewandhaus concert in Leipzig, and shortly afterwards appeared with success in various German towns. In 1870 she came to London for the season, playing at one of Arditi's concerts in Hanover Square Rooms. In 1871 she again visited England, and on Jan. 1, 1872, was married to Dr. Ernst Haas, assistant in the Printed Book Department in the British Museum, and Professor of Sanskrit at University College, London. After his death in 1882, she took up her profession again, appearing at the Popular Concerts, at Franke's Chamber Concerts, and with the Heckmann Quartet; she played with the latter party in many British and foreign towns. In 1886, at the first of Henschel's London Symphony Concerts, she took part with Gompertz and Piatti in Beethoven's triple concerto. Besides many appearances in the provinces and London, with the Elderhorst, and other organisations, Mme. Haas gave interesting recitals and chamber concerts in 1889 and 1890, and later was associated with Mrs. Hutchinson in recitals for voice and piano. She taught at Bedford College in 1876-86 ; in 1887 she had an appointment at the R.C.M., which she shortly afterwards resigned ; and in 1886 she began a most useful work at the head of the musical department in King's College, London. Her playing, distinguished 488 by h ig h a r t i s t ic q u a l i t ie s , w o n h e r th e a dm i r a t io n of c u l t iv a te d mus ic ians . M.

(b. ? Arras, c. 1230 ; d. Naples, before 1288), one of the most prominent figures in the long line of Trouveres who contributed to the formation of the French language in the 12th and 13th centuries. Tradition asserts that he owed his surname, L e Bossu, to a personal deformity; but he himself writes : ' On m'appelle bochu, mais je ne le suis mie.' His father, Maitre Henri, a well-to-do burgher, sent him to the Abbey of Vauxcelles, near Cambrai, to be educated for holy orders ; but, falling desperately in love with a ' jeune demoiselle * named Marie, he evaded the tonsure and made her his wife. He soon effected a separation, however, and retired, in 1263, to Douai,2 where he appears to have resumed the ecclesiastical habit. After this we hear little more of him, until the year 1282, when, by command of Philippe le Hardi, Robert II . Comte d'Artois accompanied the Due d'Alen9on to Naples, to aid the Due d'Anjou in taking revenge for the Vepres Siciliennes. Adam de la Hale, having entered Count Robert's service, accompanied him on this expedition, and wrote some of his most important works for the entertainment of the French court in the Two Sicilies. The story of his death at Naples, between 1285 and 1288, is told by his contemporary, Jean Bodel d 'Arras, in Le Gieus du Pelerin ; the state- 1 See Mosoheles' Life, 1. 270, etc. 8 F4tls says to Paris. mcnt in the Diet. Hist, of Prud'homme, that he returned to France and becamo a monk at Vauxcelles, is therefore incorrect. The first of the compositions which are held to have been the beginning of opera-comique was ' Le Jeu Adam, ou de la feuillee,' performed at Arras about 1262 ; it is a piece 3 of considerable freedom, not to say licence, and the author had to learn a more seemly deportment before his most interesting work. This was a Dramatic Pastoral, entitled ' Le Jeu de Robin e t Marion,' written for the French court at Naples, and first performed in 1275 or 1285. Eleven personages appear in the piece, which is written in dialogue, divided into scenes, and interspersed-after the manner of an operacomique- with airs, couplets and duos dialogues, or pieces in which two voices sing alternately, but never together. The work was first printed by the Societe des Bibliophiles de Paris, in 1822 (thirty copies only), from a MS. in the Paris Bibliotheque Nationale ; and one of the airs is given in Kiesewetter's 'Schicksal und Beschaffenheit des weltlichen Gesanges ' (Leipzig, 1841). In 1872 the works of Adam de la Hale were published by Coussemaker; and in June 1896 a performance of ' Le Jeu de Robin e t Marion ' was given at Arras in connexion with the fetes in honour of the composer. 4 The authentic tex t was edited by Ernest Langlois in 1896, and Julien Tiersot edited the complete work, adding accompaniments to the songs. Adam de la Hale was a distinguished master of the chanson, of which he usually wrote both the words and the music. A MS.5 of the 14th century, in the Paris Library, contains sixteen of his chansons a 3, in rondeau form ; and six motets, written on a canto fermo, with florid counterpoint in the other parts. Combarieu speaks of seven motets ; other poetical and musical works of his are found in MSS. at Paris, Arras, Montpellier, Aix, Cambrai, Rome, Oxford and Siena. Kiesewetter printed one of them, and also one of the motets a 3, in the work mentioned. (See also Q.-L. under Adam.) w. s. R.; addns. M. L . P. BIBLIOGRAPHY H. Guy : Essai sur la vie et les oeuvres litteraires d 'Adam de La Hale. 1 8 9 8 . J . T ik iu o t : Le J e u de Robin et de Marion (adaptation frangaise p ar fimile Btemont, Arras, 1896). E. L a n o l o 18 : Le Jeu de Robin et de Marion, 1 8 9 6 (w i t h f a c s im i l e a n d c o m m e n t a r y ) . Le Jeu Adam ou de la feuillie. 1911. J . B. Weckerlin : Reprint of the ' J eu de Robin e t de Ma r io n ' (Paris, Durand & Schoenewerk). Grande Encyclopedic, a r t. by H. L avoix, under A dam (with bibliography).

are small bells fitted with clappers and springs, and provided with leather loops as handles, which allow of their being held in the hand and struck by an upward or downward movement. They are used for the practising of change-ringing methods and also for tune-playing. In England, especially the north, there are many bands of hand-bell ringers who play music in several parts and m anipulate with great dexterity chromatic sets of bells 5 octaves in compass. w. w. s.

(1) T h e E v o l u t i o n o f t h e H a rm o n i c S e n s e .- T h e p ra c t ic e of com b in in g so u n d s of d i f f e r e n t p i tc h is d e s c r ib e d b y th e tw o te c h n ic a l te rm s : harmony a n d counterpoint. T h e re is n o t in f a c t a wh o lly logical s e p a r a t io n b e tw e e n th e s e tw o fo rm s of d e f in it io n , b u t th e m a in d i s t in c t io n s w h ic h tu e y em b o d y c a n be u n d e r s to o d w i th f a i r a c c u r a c y if h a rm o n y is t a k e n to m e a n a m o re v e r t ic a l c o n s id e r a t io n of c om b in e d n o te s , while c o u n te r p o in t d e als w i th a m o re h o r iz o n ta l a s p e c t of th em . C o u n te rp o in t is th u s a w e a v in g of melodic s t r a n d s of th o u g h t , in w h ic h th e c om b in a t io n s of n o te s t h a t ar is e in c id e n ta l ly h a v e o r h a d a co n s id e ra b le p a r t of th e i r m e a n in g a n d ju s t i f ic a t io n in th e melodic logic of th e p r o gre s sions which give rise to th em . T h e v e r t ic a l c om b in a t io n of s o u n d s is n o t , c o n t r a p u n ta l ly sp e a k in g , a n e n d in itself. In d e e d , i t wo u ld h a rd ly be to o m u c h to s a y t h a t th e r e is 110 t r a d i t io n a l c om b in a t io n of n o te s in e x is ten c e which, a n a ly s e d in to i t s s im p le s t te rm s a n d t r a c c d th ro u g h i t s h is to r ic a l e v o lu t io n , c a n n o t be d e r iv e d in th e la s t r e s o r t f rom th e in c id e n ta l e n c o u n t e r s of e s s e n t ia l ly melodic ideas. E v e n th e in te rv a l of t h e o c ta v e is n o e x c e p t io n t o th i s r u l e ; fo r a l th o u g h th i s in te rv a l re p re s e n ts , f rom th e h a rm o n ic p o in t of view, th e m o s t f u n d a m e n ta l a n d c o n v in c in g c o n so n a n c e t h a t e x is t s , th e r e is l i t t le d o u b t t h a t i t was u s e d in tu i t iv e ly fo r th e re in fo rcin g of a s ingle melodic line long before i t s m a th em a t ic a l a n d p h y s ic a l s im p l ic i ty wa s in te l le c tu a l ly u n d e r s to o d . E q u a l ly p r o b a b le is i t t h a t t h e use of c o n s e c u t iv e fo u r th s a n d f if ths a ro s e in th e f ir s t pla c e f rom a de s ire to p ro v id e th o s am e me lodic m a te r ia l fo r voices of d i f f e r e n t p i tc h . In te l le c tu a l a n a ly s is of th e s e p h e n om e n a h a s s u b s e q u e n t ly r e la te d th em to th e o r ie s of in t r in s ic h a rm o n ic c o n so n a n c e , a n d m a n y a b le a n d in g e n io u s e x p la n a t io n s h a v e b e en g iv e n of t h e s till mo re c om p l ic a te d im p r e s sions which h a v e since s a tis f ied th e a u r a l in tu i t io n s of mu s ic ian s . B u t th e g ulf b e tw e e n th e logical science of a co u s t ic s a n d th e em p i r ic a l a r t of h a rm o n y h a s n e v e r b e en c o n v in c in g ly br id g e d , a n d th e c au s e of th i s fa i lu re to m a k e s cience a n d a r t coinc ide seems to lie u n d o u b te d ly in th e f a c t t h a t h a rm o n y is la rg e ly th e s e c o n d a r y p ro d u c t of c om b in e d melodies. Whatever be the proper view of the dim historical beginnings of harmony, it is at least certain that melodic combination provides the only aesthetic explanation of many of the most important elements in the harmonic systems to which music has from time to time attached itself. It is this fundamentally contrapuntal derivation of so much of our music which makes the analysis and definition of harmony as such a task which is not only highly complex, but which also admits of many legitimate divergences of view. Just as counterpoint is much more than a purely horizontal technique, in that the incidental clashes of its melodies must also obey moro or less rigid conventions of harmonic consonance, so harmony, though conceived primarily as a system of vertical associations, y et finds much of its logic in the precedent or subsequent behaviour of individual parts. Even with regard to so established a convention as the common chord, the chord, that is, which consists of a fundamental note sound cl together with its third and fifth, the fact that this formula has for so long been accepted as a stable point of rest does not alter the historical truth that at least one important element in it, the third, was in the first place contrapuntally approached and exploited, and did not for a considerable time satisfy the then prevailing ideas of consonance. Considerations such as these must be constantly borne in mind in the discussion of harmonic evolution. The art of harmony derives its general orientation from historical tradition and experience. It is the study of aural conventions of consonance, some of which may agree with scientific theory, while others certainly do not. The pivots of harmonic thought are those combinations of notes which enjoy varying but accepted degrees of stability in the technique of their particular environment. Expansions of the system generally arise through the comparatively exceptional behaviour of single parts. Chords which are accepted as stable are classified as concords. Unstable chords are those in which not every element is accounted to be melodically at rest. These are called discords. It is a natural feature in the evolution of the harmonic sense that these two terms, concord and discord, are always slowly but steadily shifting their ground. What was initially a discord becomes by reiterated use a more stable convention, with reference to which other and more exceptional combinations are in turn discovered, and so, theoretically at least, ad infinitum. This does not one whit invalidate the meaning and reality of concord and discord with respect to their fundamental values in the art of musical e x pression. What history has to tell us is that the story of harmony is the story of a gradual fixing of relations, a slow growth of conventions, and in this flux of impressions there is no break. The Greeks were theoretically conscious of the mathematical relations on which certain harmonic conceptions can be made to rest, but it does not appear that they actually used these discoveries for artistic purposes. Their scales were melodically conceived, and the various intervals which these scales offered were not regarded as elements capable of harmonic combination. The artistic purpose of variations of pitch was melodic expression, and this purpose remained paramount throughout the early history of the music of which we have record. The scales characteristic of the various ecclesiastical modes, whether derived or modified from Greek sources, were also, both in theory and practice, exclusively melodic in conception. So far as we are able to gather from the fragmentary evidence of these early centuries, probably the only device which can be prophetically interpreted as involving the possibility of what we now define as a harmonic consciousness, was the use of a drone. W hether this drone came from a pipe of definite pitch or from the more ambiguous sound of a drum, it served as no more than a background for tho melodic line. It did not combine with it. The earliest system in which something approaching a latent sense of harmony is clearly indicated, is that known as ' D iaphony ' (see D ia ph o n ia ) or Organum (q.v.), of which examples are found in the 10th century. This music consists for the most part in successions of perfect fifths and fourths, sometimes built into a three-part structure whose external dimensions are mainly octaves. The following examples arc from Musica Enchiriadis, and have been variously ascribed to Hucbald or Otger: It is important to observe that a t this time only the fourth, fifth and octave could be used harmonically without qualification. Other intervals were passing and unstable effects which had to be approached and quitted contrapuntally. Even a century later, Guido of Arezzo defines Organum as consisting essentially of successions of these primitive consonances. There was, however, almost contemporary with Guido, a more elaborate system called ' Discantus ' (see D e sc a n t ), which involved a simultaneous performance of distinct melodies, tho combination being made comparatively tolerable by certain modifications of discordant notes. This system is described by Franco of Cologne (11th cent.), and if to this we add the early attempts a t Canon, whether deliberate or accidental, we have the genesis of that wonderful growth of polyphony to which music owes so many of its major traditions. ' Sumer is icumen in ' is an outstanding example of canonic organisation as the 13th century understood it, and in this same century Marchetto of Padua gives examples of combined melodic progressions which are remarkably independent. <

a well-known music-publishing firm in Vienna, originally the ' Bureau des arts et d'industrie,' next S. A. Steiner & Co., and since 1826 Tobias Haslinger. (1) T obias (b. Zell, Upper Austria, Mar. 1, 1787 ; d. Vienna, June 18, 1842), who came to Vienna in 1810, was an energetic, intelligent man of business, on intimate terms with the best musicians of Vienna. Beethoven and he were in constant communication, and the numerous letters to him from the great composer, which have been preserved (probably only a small proportion of those which were written), each with its queer joke or nickname, show the footing they were on-Adjutant, or Adjutanterl, or Bestes kleines Kerlchen, or Tobiasserl or Tobias Peter Philipp, or Monsieur de Haslinger, General Musicien e t General Lieutenant-such are the various queer modes in which B eethoven addresses him. In a letter to Schott (Nohl, No. 328) he sketches a comic biography of his friend, with illustrative canons. Another canon, ' 0 Tobias Dominus Haslinger,* occurs in a letter of Sept. 10, 1821 ; and one of his very last notes contains a flourish on his name, added, with the signature, by the hand of the master : Haslinger prepared a complete copy of Beethoven's compositions in full score, beautifully written by a single copyist. This was purchased by the Archduke Rudolph, and bequeathed by him to the Gesellschaft der Musikfreunde, in whose library it now is. He was one of the thirty-six torch-bearers who surrounded the bier of his great friend, and it fell to his lot to hand the three laurel wreaths to Hummel, by whom they were placed on the coffin before the closing of the grave. At his death the business came into the hands of his son, (2) K arl (b. June 11, 1816; d. Dec. 26, 1868), a pupil of Czerny and Seyfried, a remarkable pianoforte player and an industrious composer. His soirees were well known and much frequented, and many a young musician made his first appearance there. He left as many as 100 published works of all classes and dimensions. The concern was carried on by his widow till Jan. 1875, by whom it was maintained under the style of ' Carl Haslinger, quondam Tobias.' I t passed in 1875 into tho hands of Schlesinger. Among the works published by this establishment may be named Schubert's ' Winterreise ' and ' Schwanengesang ' ; Beethoven's Symphonies 2, 3, 4, 7, 8, Overtures to 1 Coriolan,' ' Ruins of Athens,' op. 115, ' King Stephen,' * Leonora No. 1,' Violin Concerto, Battle Symphony, PF. Concertos 1, 3, 4, 5, Trio in Bfc>, Sonatas and Variations, Liederkreis, e t c .; Spohr's Symphonies 4 (Weilie der Tone) and 5 ; Liszt's Concerto in E? ; Moscheles' Concertos 2, 3, 5, 6, 7 ; Hummel's Concertos in C, G, A minor and Ab, 4 Sonatas, etc. The dance music of Lanner and the Strausses formed an important part of the repertory of the firm. c. r. p.

in contradistinction to chest-voice. This term is applied indifferently to the second or third register, but is more strictly appropriate to the second. Its range is indefinable, seeing that many or most of the notes naturally produced 4 from the chest ' may also be produced 4 from the head ' ; or, in other words, that the different 4 registers ' of every voice may be made to cross each other. (See Ch e st -voice ; F al se t to ; Sin g in g .) j . h .