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' Die Hebriden ' is one of the names of Mendelssohn's concert overture (in B minor, op. 26), the others being ' Fingals Hohle ' and ' Die einsame Insel.' It was first played by the Philharmonic Society, May 14, 1832. o.

(b. Gotha c. end of 16th cent.), studied theology and became schoolmaster at Friemar, near Gotha, c. 1614- 1615 ; afterwards pastor of R emstedt, wrhere he w as in 1620. He w rote ' Cvmbalum genethliacum,' New Year and Christmas songs, 4-6 v. (1614) ; ' Cvmbalum Davidicum,' sacred songs mostly taken from the Psalms of David, 5, 6 and 8 parts (1620); also a number of sacred and secular songs in various collective volumes, among others the well-known song, 4 Das alte Jahr vergangen ist.* e . v . d . s.

(b. Breslau, Feb. 18, 1850), distinguished as a singer, composer and conductor, had the advantage of very early training in music, as at the age of 5 years he joined a class of eight children who were taught to play simultaneously on eight pianos. This naturally encouraged tho strong sense of rhythm which has always distinguished Henschel's vocal and other performances. He joined the university choral society of Breslau, and sang the soprano solo of Mendelssohn's 4 Hear my prayer ' in 1859. He made his first public appearance as a pianist in 1862 in Berlin as a pupil of the Wandell Institut in Breslau. Only four years after this he developed a basso-profondo voice, and sang a t a concert at Hirschberg, July 28, 1866. In 1867 he entered the Leipzig Conservatorium under Moscheles for pianoforte, Reinecke and Richter for theory, Goetze for singing, and Papperitz for the organ. In 1868 4 Die Meistersinger ' was produced at Munich, and in the same year young Henschel, whose voice had become a fine baritone, sang the part of Hans Sachs at a concert performance of the work at Leipzig, thus early associating himself with the music, although he never sang the part on the stage. In 1870, on the completion of his three-years' course at Leipzig, he entered the Royal Conservatorium a t Berlin, studying composition with Kiel, and singing with Adolph Schulze. An important appearance as a singer was at the Niederrheinische Festival a t Cologne in 1874 ; and in the following year he sang the principal part in Bach's 4 St. Matthew Passion,' conducted by Brahms. His first appearance in England was at the Popular Concert of Feb. 19, 1877, when he sang songs by Handel and Schubert, and impressed all his hearers with his sympathetic voice and the wonderful artistic intelligence he put into his songs. He was at once engaged for all kinds of important concerts, and gave what would now be called a 4 vocal recital ' on June 7 of the same year. In 1878 he sang at a Bach Choir concert, and in 1879 a t the Philharmonic on Apr. 30, when the young American soprano, Miss Lillian B a il e y (q.v.), made her first appearance in England. She joined Henschel in a duet, and subsequently took lessons from him. They were married two years later, and even before their marriage began to give delightful vocal recitals which had important results in after years, both in England and America. In 1881, the year of his marriage, Henschel was appointed conductor of the newly founded Symphony Orchestra at B oston (q.v.)y which he conducted fcr the first three seasons. In 1884 England became his home, and in 1886, while still busily engaged as a singer and vocal teacher (he succeeded Mme. Jenny Lind- Goldschmidt as professor of singing a t the R.C.M. in 1886-88), he established the London Symphony Concerts, which were an important feature of musical life in London during the eleven years of their existence. Although he never gained the same kind of public approbation for his conducting that had been bestowed on his singing, he laid London musicians under a deep obligation, for, while not neglecting the well-known symphonic masterpieces, he revived many forgotten works of excellence, and brought forward many new compositions, English and foreign, that were well worth hearing. In 1891 he organised a choir to take part in large works a t the concerts ; in 1895- 1896 he gave very nearly the complete orchestral works of Be eth oven ; he introduced Brahms's 4 Triumphlied,' op. 55, and the double concerto, op. 102, to London audiences, as well as the Te Deum of Dvorak, and many less important compositions. In 1893-95 he conducted the Scottish Orchestra in Glasgow, and on Mar. 1, 1895, gave a 4 command ' performance with the orchestra a t Windsor Castle. Among important appearances as a singer may be mentioned the Birmingham Festivals of 1891 and 1894, at the first of which he sang the part of Satan in Stanford's 4 Eden,' and a t the second tha t of King Saul in Parry's work of that name, in such a wray that it would be difficult if not impossible for any successor to efface the impression he made in both. At the latter festival was produced a Stabat Mater for soli, chorus and orchestra. His setting of Psalm cxxx., op. 30 ; Te Deum, op. 52 ; and Requiem, op. 59, are other sacred works in the larger forms (the last was performed for the first time a t Boston in Feb. 1903, and has been given in many musical centres in America, Holland and Germany); and his opera 4 Nubia ' was produced with great success at the Court Theatre, Dresden, on Dec. 9, 1899, with a strong company, including Mme. Wittich, Herren Anthes, Scheidemantel and Perron. The last-named singer fell ill before the second performance, and the composer took his place as Friar Girolamo, making his first and only appearance on the stage. Among other dramatic compositions are an early opera,4 Friedrich der Schone,* and an operetta, 4 A Sea Change ; or Love's Stowaway,' to wrords by W. D. Howells. Henschel's instrumental works include two orchestral serenades, a string quartet, a ballad for violin, and some extremely beautiful incidental music to Hamlet, written for Beerbohm Tree's revival of the play a t the Haymarket in 1892. After Mrs. Henschel's death in 1901, Henschel lived in retirement in Scotland until 1907, when he married a pupil, Miss Amy Louis of New York. He returned to the concert platform in 1909, and for five years sang and gave recitals in England and on the Continent. In Apr. 1914 he gave a farewell recital in London, since when he has been active, and successful as ever, as a teacher. He was knighted in 1914. He conducted the H a n d e l So c ie ty (q.v.) in London and still (1926) accepts occasional engagements as a conductor, notably with the S cottish Orchestra. Among recent compositions a 4 Mass for Eight Voices * (English), first sung a t All Saints, Margaret Street, on Ascension D ay, 1916, is a work of great beauty. In 1918 he published Musings and Memories of a Musician (Macmillan).

(b. Houdain, Pas de Calais, June 30, 1825; d. Paris, Nov. 3, 1892), operatic composer and manager, received his musical education at the parish church of Saint Roch, where he sang as choir-boy ; then from Elwart, and, about 1840, from Auber. He was afterwards organist at the church of Bicetre Asylum, near Paris ; and from 1845 at St. Eustache, Paris, where he remained more than eight years, and became an organist at various Parisian churches. In 1848 he produced at the Opera National 1 Don Quixote and Sancho Pansa,' appearing in it himself with Joseph Kelm the chansonnette singer. He then became conductor at the Odeon, and in 1850 at the Palais R o y a l; in 1854 he was manager of the Folies Concertantes, Boulevard du Temple, which name was changed to Folies Nouvelles, a small theatre converted by him from a music-hall, where he was composer, librettist, conductor, singer and machinist, as occasion required. Of his then compositions we must name ' Vade au Cabaret' and ' Le Compositeur toque ' (played by him at the Lyceum and Globe Theatres in 1870 and 1871). In 1856 illness forced him to retire from his p o s t ; he had written for his theatre 20 pieces in 1855 and 11 for 1856. He played successively at the Bouffes Debureau, Paris, 1858 ; at Marseilles with Kelm ' in his own repertory ' ; at Montpellier in small tenor parts such as Cantarelli (' Pre aux Clercs '), Arthur (' Lucia '), etc., and later on at Cairo. In 1859 Herve was conductor at the Delassements- Comiques, Paris, until 1862, in which year he produced two new operettas, ' Le Hussard persecute ' and ' Le Fanfare de Saint Cloud.' He was for two or three years composer, conductor and actor at the Varietes, Porte St. Martin, and Eldorado. He wrote new music in 1865 for the celebrated revival of the * Biche aux Bois,' and composed an opera in three acts, ' Les Chevaliers de la Table Ronde,' Bou.fe3 Parisiens, Nov. 17, 1866. During the next three years he gave some of his most popular works, produced at the Folies Dramatiques, v i z .: ' L'G^il creve,' libretto by himself, Oct. 12, 1867 (Globe Theatre, by the Dramatiques, June 15, 1872; in English as ' Hit or Miss,' in one act and five scenes, freely adapted by Burnand, Olympic, Apr. 13, 1868 ; and another version, three acts, Opera- Comique, Oct. 21, 1872); ' Chilperic,' libretto by himself, and at first a failure, Oct. 24, 1868 (in French at the Globe by the above company, June 3, 1872; in English at the Lyceum for the debut of Herve, Jan. 22, 1870; frequently revived at other theatres); he himself wrote a parody, ' Chilmeric ' for the Eldorado; 4 Le Petit Faust,' his most successful work, Apr. 29, 1869 (in English at the Lyceum, Apr. 18, 1870, and revived a t various theatres); ' Les Turcs,' a parody of ' Bajazet-,' Dec. 23, 1869. None of his subsequent operettas and operasbouffes attained the same success ; many of them, on the contrary, were disastrous failures, but ' La Belle Poule,' Folies Dramatiques, Dec. 30, 1875, was played in English at the Gaiety, Mar. 29, 1879. He was afterwards very successful in new songs, etc., written for Mme. Judic, Dupuis and others, such as the ' Pi . . . Ouit,' the * Chanson du colonel,' the Provencjal song ' Ques aco ? ' ' Babet e t Cadet,' the 4 sneezing duet,' the 4 Legende de Marfa ' and other music introduced into the musical comedies performed at the Varietes, v i z .: the 4 Femme a Papa,' Dec. 2, 1879, 4 La Roussotte,' w ith Lecocq and Boulard, Jan. 26, 1881, 4 Lili,' Jan. 10, 1882 (Gaiety, with Judic, June 1883), 4 Maam'zelle Nitouche,' Jan. 19, 1883 (Gaiety, June 1884), 4 La Cosaque,' Jan. 26, 1884 (Gaiety, June 1884), in English at Royalty, Apr. 12 of the same year. 4 Fla-Fla,' Sept. 14, 1886, three acts (Theatre des Menus-Plaisirs), reached only five representations. Herve, in addition, composed for the English stage 4 Aladdin the Second,' at the Gaiety, Dec. 24, 1870, as 4 Le Nouvel Aladin,' at the Varietes, Apr. 26, 1873. He wrote some of the music of 4 Babil and Bijou,' Aug. 29, 1872, and in 1874 was conductor at the Promenade Concerts in London, when he introduced a heroic symphony, 4 The Ashantee War,' for solo voices and orchestra. On June 29,1886, his 4 F r iv o li5 was brought out at Drury Lane, and on Dec. 22, 1887, the ballets 4 Dilara ' and 4 S p o r t: were produced at the Empire Theatre, of which he was for a few years conductor. 4 La Rose d'Amour ' (1888), 4 Cleopatre ' (1889) and 4 Les Bagatelles ' (1890) are to be added to tho number of his ballets. One of his latest works, 4 Bacchanale,' brought out at the Theatre des Menus-Plaisirs, Oct. 22, 1892, wras a failure. A. C. B i r l .-L. S c h n e id e r , Les Maitres de Vopirelte fran^aise, Herve et Charles Lecocq (Paris, Perrin, 1924).

(1680-1743), and his son Jo h a n n G ottfried, were eminent organ-builders in Germany. The latter, who was the principal workman of the Dresden Silbermann, built the noble organ of St. Michael's, Hamburg, in 1762, which cost more than .4000. v. de p.

(b. Ebersdorf, near Vienna, Jan. 22, 1707 ; d. Zerbst, 1772), violinist, hornplayer and composer. He was a pupil of Franz Benda, with whom he toured in Poland, and was engaged with him at Warsaw- When Benda went to Berlin he recommended Hoeckh to the court a t Zerbst, where he became Konzertmeister in 1742, and Kapellmeister in 1759. He composed 10 symphonies, violin concertos, solos, capricetti for violin (together with Benda), all in MS., and 7 * Parthien ' (suites), published 1761. e . v. d. s.

(d. before 1570), from 1549 choirmaster at St. Walburg's, Audenarde, became in 1559 singer in the Imperial Chapel at Vienna under the Emperors Ferdinand I. and Maximilian II. A large number of motets by him are contained in the collections of the time, and especially in the Thesaurus of Joannelli, 1568, from which Commer has reprinted twenty-five. The only other works of Hollander that appeared in print are : (1) A collection of German songs, sacred and secular, for 4 to 8 v. (Munich, 1570) ; (2) ' Tricinla ' (Munich, 1573). From the former Commer has reprinted two sacred songs for 5 voices, * O He rr durch delnen bitte rn Tod,' * Allm&chtiger G ott der du all' Ding e rh i lts t ,' and two secular songs for four voices, * Der Wein, der schmeckt,' * Ach edles Bild.' For a critical account of his motets, see Ambros's Geschichte der Musik, Bd. iii. J . R. M.

(b. Nordhausen, Saxony, 1762 ; d. Aug. 5, 1830). After studying music under Schroter a t Nordhausen, he came in 1782 (Mrs. Papendiek says, as a valet) to London, where Count Briihl, the Saxon Ambassador, patronised him, and introduced him XXXV as a teacher amongst the English nobility. Having published his first work, ' Six Sonatas for the Pianoforte,' he was appointed musicmaster in ordinary to Queen Charlotte and the Princesses, an office which he held until 1811. In 1808, in conjunction with Samuel Wesley, he began the preparation of an English edition of J. S. Bach's Wohltemperirtes Clavier, which was published in 1810. In 1824 he succeeded William Sexton as organist of St. George's Chapel, Windsor. Horn composed some ' Military Divertimentos,' ' Twelve Themes with Variations for the Pianoforte, with an accompaniment for Flute or Violin,' and several sets of sonatas. He was also author of a Treatise on Thorough-bass. His son, (2) Char le s E dward (b. St. Martin'sin- the-Fields, 1786; d. Boston, Oct. 21, 1849), received his early musical education from his father, and in 1808 had a few lessons from Rauzzini. Returning to London, he endeavoured to obtain a position as a concert singer, but not succeeding he changed his course, and on June 26, 1809, appeared at the English Opera House, Lyceum, in M. P. King's opera, * Up all night.' In the next year he composed and produced ' The Magic Bride,' upon which he quitted the stage and studied singing under Thomas Welsh. Horn's musical setting of Moore's second attempt at an opera libretto, ' M. P., or the Blue Stocking,' was produced at the English Opera House, London, Sept. 4, 1811, but was a failure. Shortly afterwards, a more successful work, 1 The Beehive,' was produced at the same house. He arranged ' Allan Water,' which was introduced into his ' Rich and P o o r ' in 1812. In 1818 he wrote music for Moore's ' Lalla Rookh,' and had it performed in Dublin ; it met w ith little favour. Four years later his ' Dirce ' and ' Annette ' were given at the Theatre Royal, Dublin. In 1814 he reappeared as the Seraskier in Storaee's ' Siege of Belgrade,' with great success. His connexion with the theatres both as composer and singer lasted for many years. His voice was poor, but of such extensive compass that he was able to undertake baritone as well as tenor parts. He visited Dublin again in 1823, bringing back with him, as an articled pupil, M. VV. Balfe. On the production of ' Der Freischutz ' in 1824 at Drury Lane, Horn took the part of Caspar, displaying considerable histrionic ability. His ' Peveril of the Peak ' (1830) had a passing popularity. In 1827-29 he was one of the composers at Vau xh a ll; in 1830 he played Fenton in The Merry Wives of Windsor at the Theatre Royal, Dublin. In 1831 and 1832 he was director of the music at the Olympic. In 1833 he went to America and introduced several English operas at the Park Theatre, New York, with marked success. A severe illness having deprived him of the use of his voice, he retired from the stage and began teaching, and established himself in business as an importer and publisher of music in connexion with a Mr. Davis. During his stay in America he produced an oratorio entitled ' The Remission of Sin.' In the beginning of 1843 Horn returned to England. In 1845 his oratorio, renamed ' Satan,' was performed by the Melophonic Society, and he was appointed musical director at the Princess's Theatre. In 1847 he again went to America, and on July 23 was elected conductor of the Handel and Haydn Society of B oston (q.v.). Early in 1848 he revisited England for a short time, and produced his oratorio ' Daniel's Prediction.' Upon his return to Boston he was re-elected conductor of the Handel and Haydn Society, June 10, 1848. His productions for the theatre include : He also composed ' Nourjahad,' the date of performance of which is uncertain ; his last opera, * Ahmed al Kamel,' was produced at the New York National Theatre in 1840 (d.N.B.) ; a cantata entitled ' Christmas Bells,' a set of canzonets, besides numerous single songs, glees, etc., and edited a collection of Indian Melodies. Some of his songs, * Cherry ripe,' ' Thro' the wood,* ' I 've been roaming,' and * E v 'n as the sun,' were highly popular. w. H. h . ; a d d n s . w. H. G. f .

ballad opera in two a c t s ; text by Harold Child, music by R. Vaughan Williams. Produced privately by R.C.M., July 4, 1924, and publicly by B.N.O.C., His Majesty's Theatre, July 14, 1924.

{d. 1646), church composer and organist of Durham Cathedral, 1614-44. I t is probable that he held previously some appointment at Southwell Minster. An anthem, ' Behold how good,' the score of which is in the British Museum (Harl. 7340/ 636), is doscribed as by ' John Hutchinson, Organist of Durham Cathedral in y e reigne of James I .' As J o h n H u t c h in s o n , his son (q.v.), was not born until 1615, and James died in 1625, he could not have been organist during this reign, and indeed is not known to have been organist of Durham a t any time. The anthem 1 is therefore assigned to his father Richard, who did hold this appointment in James's time. Another anthem, ' 0 God my heart prepa red is ' (Durh. incomp.), is by Richard: the tenor cantoris part of this is also in B.M. Add. MSS. 30,478-9. Richard is possibly the composer of ' 0 Lord, I am not highminded,' as well as some other of the anthems included in the list under John Hutchinson. His son, (2) J o h n (bapt. Durham Cathedral, J u l y 2, 1615),2 c h u r c h composer. A man of this name was organist at York Minster in 1633 (West's Cath. Org.). The anthem, 1 Behold how good,' assigned to him (Harl. 7340), is by his father. Some other of the following anthems may also be b y Richard : Grant, we beseech Thee. Durh. ; B.M. Add. MSS. 30,478-9. Tenor cantoris p a r t only. He ar my crying. P.H. Lift up your heads. B.M. Add. MSS. 30,478-9. Tenor cantoris p a r t only. O Lord, I am n o t highminded. D u r h . ; P.H. ; B.M. Add. MSS. 30.478-9. Tenor cantoris p a r t only. O God the proud. Durh. Im p . ; B.M. Add. MSS. 30,478-9. Tenor cantoris p a r t only. O Lord, le t i t be Thy pleasure. Durh. Im p . ; B.M. Add. MSS. 30.478-9. Tenor cantoris p a r t only. Of mortal men. P.H. Out of the deep. B.M. Add. MSS. 30.478-9. Tenor cantoris p a r t only. Ye th a t fear the Lord. Durh. ; P.H. ; B.M. Add. MSS. 30,478-9. Tenor cantoris p a r t only j jyjK