(b. May 29, 1730 ; d. July 5, 1803),6 son of a grocer in that city, received a liberal education, and having displayed a strong partiality for music, was placed under John Silvester, organist of Exeter Cathedral, for instruction. In 1748 he removed to London and became a pupil of John Travers. On his return to Exeter he established himself as a teacher. In 1755 he published a set of ' Twelve Songs,' which were so simple, elegant and original that they immediately became popular throughout the kingdom. He afterwards produced 4 Six Sonatas for the Harpsichord,' 4 Elegies for three male voices ' and a second set of 4 Twelve Songs.' These were followed by an anthem, a setting of Pope's ode The Dying Christian, a third set of 4 Twelve Songs ' and a setting of Warton's Ode to Fancy. In 1767 he composed the music for a dramatic piece called 4 Lycidas,' altered from Milton's poem, on the occasion of the death of Edward, Duke of York, brother of George III., and produced at Covent Garden on Nov. 4, but never repeated. He next published 4 Twelve Canzonets for two voices,' which were highly successful, and one of which, 1 Time has not thinned my flowing hair,' enjoyed a long career of popularity. To these succeeded 1 Eight Sonatas for the Harpsichord ' and ' Six Vocal Quartets ' (1780). In 1777 Jackson received the appointments of subchanter, organist, lay-vicar and master of the choristers of Exeter Cathedral. In 1780 he composed the music for General Burgoyne's opera, ' The Lord of the Manor,' which was produced at Drury Lane, Dec. 27, with great success, and kept possession of the stage for more than half a century, mainly owing to Jackson's music In 1782 Jackson published " Dates of birth and dea th from the monument in the vestry of St. Stephen's, E xe te r (West's Cath. Org.) Thirty Letters on various subjects '-three of them relating to music, which were well received, and in 1795 reached a third edition. ' The Metamorphosis,' a comic opera, of which Jackson was believed to be the author as well as, avowedly, the composer, was produced at Drury Lane, Dec. 5, 1783, but performed only two or three times. In 1791 Jackson published a pamphlet entitled Observations on the present State of Music in London. In 1798 he published Four Ages, together with Essays on various subjects, intended as additions to the Thirty Letters. His other musical publications comprised a second set of ' Twelve Canzonets for two voices,' ' Twelve Pastorals,' a fourth set of ' Twelve Songs,' ' Hymns in three parts,' ' Six Madrigals,' and ' Six Epigrams ' (1786). His cathedral music was collected and published many years after his death (about 1820) by James Paddon, organist of Exeter Cathedral. Paddon states that the service ' Jackson in F ' is not by Jackson. Be that as it may, it is by the fame of ' Jackson's Te Deum,' and nothing else, that the name of ' Jackson of Exeter ' has been kept alive for more than a century after his death. Jackson employed much of his leisure time in painting landscapes in the style of his friend Gainsborough, in which he attained considerable skill. Whilst much of his music charms by its simplicity, melodiousness, refinement and grace, there is also much that sinks into tameness and insipidity; his church music especially is exceedingly feeble. Jackson died of dropsy. w. H. H., with addns.
(b. Palermo, c. 17451; d. St. Petersburg, Nov. 21,1804)-whose real name, as he wrote it in Clement's Album, was Giovanni Mane Giornovichj, though commonly given as above-was one of the eminent violin-players of the 18th century and a scholar of the famous Lolli. He made his debut in Paris in 1770 a i the Concert spirituel, and for some years was all the rage in that capital. Owing to some misbehaviour he left Paris in 1779, and entered the band of tho King of Prussia, but his disputes with Du port drove him thence in 1783. He then visited Austria, Poland, Russia and Sweden, and in 1791 arrived in London, where he gave his first concert on May 4. H e had great success here, both as player and conductor. H as insolence and conceit seem to have been inbounded, and to have brought him into disastrous collision with Viotti, a far greater artist than himself, and with J. B. Cramer-who went the length of calling him out, a challenge which Jamowick would not accept-and even led him to some gross misconduct in the presence of the King and Duke of York. He lived at Hamburg from 1796 to 1802, and then went to St. Petersburg, where he died-it is said during a game of billiards. From the testimony of Kelly, Dittersdorf and other musicians, it is not difficult to gather the characteristics of Jarnowick's playing. His tone was fine, though not strong ; he played with accuracy and finish, and always well in tune. His bow-hand was light, and there was a grace and spirit about the whole performance, and an absence of effort, which put the hearer quite a t ease. He wrote about eighteen violin l According to the Abb*5, P.obineau (Les Caprices de la fortune P aris, 1816, p. 17) Jamowick died a t the age of 69, and w as their fore born In i735. The d a te is quite uncertain concertos, three string quartets, and duet and solo for the violin. Dragonetti is said to have declared that his violin-playing was the most elegant he ever heard before Paganini's, but that it lacked power. Jamowick lived for some time in Edinburgh, and several of his compositions were published by the Gow family. One, on a single sheet, is ' Mr. Jamovichi's Reel, composed by himself,' c. 1800. ' Jarnovichi's Hom-pipe ' was published in Gow's Fourth Collection of Strathspey Reels, 1800. o. ; a d d n s . F. K. A grandson of Jamowick, (2) P ie r r e L ouis H us-D e sforges (b. Toulon, Mar. 14, 1773; d. Pont-le-Voy, near Blois, Jan. 20, 1838), had an equally active musical career. He was successively violoncellist at the Grand Theatre de Lyon, then a pupil of Janson l'aine at the Paris Conservatoire, then a conductor in Kussia. He returned in 1810, gave concerts in the provinces, settled in Paris in 1817 (violoncellist at the Theatre de la Porte St. Martin founded in 1820), at a music school at Metz, which did not long succeed, was again in Paris in various posts as violoncellist or as conductor, and ended his days in a precarious post as professor of music at the ficole de Pont-le-Voy. He has left some 50 works of instrumental music, and a Method for the violoncello (Paris). M. p.
was maestro di cappella to the Duke Ercole of Ferrara, according to the title-page of his ' Madrigali,' published 1541. The title-page of the Symphonia. 1543, has led to a supposition that Maistre Jhan of Ferrara was the same person as Joannes Gallus. Fetis (Biog. Univ.) was of opinion that Maistre Jhan was identical with Jhan G e r o (q.v.). The following list of compositions has been largely taken from Eitner's Musik-Sammelwerke. 1877, and Vogel's Weltliche Vocalmusik Italiens, 1892. 1. II primo libro de 1 Madrigali, di Maistre Jh an , Maestro dl Capella, dello Eccellentissimo Signor Hercole Duca di Ferrara, & de a lt'.i Eccellentissimi Auttori. Nouamente po"to in luce. 1541. Non aine privilegio. Excudebat Venetiis, apud Antonium Gardane. Obi. 4to, pp. 32. Dedicated by A nt. Oardane to G irolamo B ustrone. I t contains five madricals for four voices by Maistre Jh an :-' Amor non vedi ' ; ' Amor perche tormenti ' ; * C'ieco fanciul ' ; ' Deh quant" e dolce amor ' : * Madonna i vostri basci.' F our partbooks in Vienna IJofbibliothek, etc. 2. Cantus Symphonia quatuor modulata vocibus excellentissiml musici Joannis Ualli, alias Chori Ferrariae Magistri, quae vulgo Motecta Metre Jeh an nominantur, nuper in lucem edita. Venetiis : Hieron. Scotum. 1543. Obi. 4to. (Jn th e Tenor part-book * excellent. Musici, vulgo noncupati Metre Jehan quae alias e t Motecta nominantur '). Four partbooks in the Munich Hofbibl., etc. 3. Motetti de la corona. Libro secundo. 1519. Petrucci. Maistre J a n * O benignissime domine Jesu ' for four voices. 4. Madrigali novi de div. excell, musici. Libro primo de la 8erena. Roma. 1533. Maistre J a n :-* Hor vedete M adonna ' for four voices. 5. Novum e t insigns opus musicum, C, 5. et 4 vocum. (Noribergae J . Otto. 1537.) M. Jehan (in MS.):-' Hodie in Jordane ' and * Descendit spiritus sanctus,' for six voices. See Evangeliorum, 1555. 6. 11 lerzo libro de madrigali di Verdelotto. Venetia : Scotto. 1537. Metre J a n :-' Amor voria donna humana ,' for four voices. 7. De i madrigali di Verdelotto et de a ltri eccell. autori a 5 voci. Lib. 2. Venetia : Scotto. 1538. Mestre J a n :-' Altro non & il mio amor ' ; * Amor se tu sei Dio ' ; ' Madonna io v ' amor et taccio ' ; * Per aspri boschi ' ; ' Sio m iro ogni.' The same w ork was published without date by Scotto, about 1537. 8. Verdelot la piCi divina et piu bella musica . . . madrigali a 6 voci. Venetia: Ant. Oardane. 15 41. Maistre J h a n :-' Deh perche non e in voi ' ; * Ditemi o diva mia,' ' Madonna i prieshi miei ' ; 4 Non vi lassero mai ' ; * Quando nasceti.' The two last are here without composer's name, b u t are by Maistre J h a n in the 1546 edition, which om ts ' Madonna i prieshi * and a ttribute s ' Ditemi o d iva ' to Verdelot. In the 15G1 edition only three appe ar : ' Deh perche,' * Non vi lassero ' ; ' Quando nasceti.' 9. Triginta novem "motetos. Ferrara. 153c . Dedicated to * Illus. Ferrariae & C amatum Duel H e r uli Estensi.' Contains three motets by Maistre J a n for lour voices. 10. Motetti de la Simia. Lib. 1. Viginti motetos. Ferrara. 1539. Dedic. as in No. 9. Maistre J a n :-* O sidus ilispaniae ' tor live voices. I t is aDo in Mutetarum divinitatis. Lib. 1. 1543. 11. Cantiones 5 vocum selectissimae . . . mutetarum. Lib. 1. Argentorati. P. Schoeffer. 1539. Maistre J a n :-' P a te r noster ' and * Ave Maria.' 12. Quartus liber motettorum ad 5 e t 6 voces. L u g d u n i: J . Modernum. 1539. Two motets for five voices by M. Jhan. 13. Primus liber . . . Motetti del frutto a quatro. Venetia: Ant. Gardane. 1*89. Reprinted by Scotto, Vinegia, in 1562. M. J a n : -' Ceme meos ergo gemitus ' ; * Thomas unus ex duodeeim ' and * E t post dies.' 14. Selectissimae necnon familiarissimae cantiones. (M. Kriesstein) Augsburg. 1540. M. J h a n :-* Miser quel huomo ' lor Uve voices, ' Miser qui am a t ' for four voices. 15. Le d o tte e t eciellente compositioni de i madrigali di Verdelot a 5 voci. Ven etia: Ant. Gardane. 1541. Maistre Jh an :-* Per aspri boschi.' 16. D. autori il primo libro d ' i madrigali de div. eccell. autori a 5 voci. Venetia : Ant. Gardane. 1542. Maistre J h a n :-* E cco signor ' ; * Miser quel huomo ' ; * Occhi miei vaghi.' 17. II primo libro d i m otetti di M. Adriano a sei. Venetia. 1542. Mautre J h a n :-* Qui credit in Domino.' 18. II primo libro a due voci de div. autori. Venetia : Ant. Gardane. 1513. M. J a n :-' Agnus Dei ' ; ' benedictus.' 19. Concentus 8, 6, 5, & 4 vocum. Augsburg : P. Llhardus. 1545. M. J a n :-' Paulus Apostolus, cum 2 par te ' for four voices. 20. Cantiones 7, 6 & 5 vocum. Augsburg : M. Kriessteta. 1545. M. J a n :-Two motets for six voices, and one for Uve voices. 21. Diphona arooena e t florida. Selectore Eras. Rotenbuchero Boiaro. Norimbergae. 1549. Maistre J a n :-' P randebis tecum * for two voices. 22. II primo libro de mote tti a 6 voci da div. eccell. musici. Venetia: Scotto. 1549. Three motets by M. Jehan. 23. Elect.iones diversorum motetorura distincte quatuor vocibu* Venetia: Ant. Gardane. 1549. Three motets by M. J h a n :-' Cum audissent apostoli,' * In viam pacis,' and ' Levita laurentius.' 24. Di Adriano e d l J a che t. I Salmi . . . accomodati d a c antare a uno e a duo! chori. Venetia : Ant. Gardane 1550. La te r edition in 1557. M. J a n :-' La etatus sum. IV. tor-i ' ; ' Nisi Dominus aediflcaverlt. I toni.' 25. II quinto libro dl madrigali d ' Archadelt a 4 voci. Venetia : Ant. Gardane. 1550. M. J h a n :-4 S' amor mi desse.' I t is in the 1514 edition without a composer's name. 26. Quartus tomus Evangeliorum. 4, 5, 6 e t plurium vocum. Noribergae. 1555. Maistre J a n :-* Hodie in Jordane ' and ' Descendit spiritus sanctus,' for six voices. Sextus tomus Kyaueeliorum. 1556. Mestre Jehan :-' Cerne meos ergo gemitus ' for four voices. 27. Musica spirltuale. Libro primo di canzon* e t madrigali a 5 voci. Vinegia : Scotto. 1563. Mestre J h a n d a Ferrara :-* Con dosrlla e con.' The composer Jo de Ferrare in the following work is probably identical with Maistre J h a n . Liber ter tius : vicrinti musicalea quinque, sex, vel octo vocum Motetos habe t. Parisiis : Petr. Attaingnant. Mense Junio. 1534. Jo . de Ferare :-' Omnia oue fecisti ' and ' Largire quesumus ' for five voices. Liber octavus : X X . musicales motetos quatuor , quinque vel sex vocum moduloa habet. Attaingnant. Mense Decemb. 1534. M. Jo . de Ferrare * Ecco qos reliquua ' and ' E t omnis qui ' for four voices.. I n th e B.M. Add. M8S. 19,583, one par tbook. Mestre J a n ' Adiutor in tribulationibua nostris ' and ' Deus In medio ' ; ' O benignissime Domine ' ; ' J a y veu le regnart.' I n the Archivio dei cappellanl cantori pontiflei, Rome, M9. Codex 17, f. 1*28, and Codex 19, f. 148. Maistre Jeh an :-Ave Maria and ' Virgo Dei Mater,' with second movement. Entered as Jo . de Ferrare in the index (Hitner). L. Torchi, / ,' arte musicale, 1897, reprinted th e Ave Maria for five voices from Cantiones, 1539, giving i t under the name of J h a n Gero. C. S.
(b. Llanderfel, Merionethshire, Eaater Day, Apr. 2, 1752 ; d. Easter Day, Apr. 18, 1824). He waa born at a farm-house called ' Henblas,' i.e. Old mansion. His father taught him and another son to play on the Welsh harp, and other sons on bowed instruments, so that the family formed a complete string band. Edward soon attained to great proficiency on his instrument. In the spring of 1775 he came to London, and in May of the same year he played at a private concert at Dr Burney's ; in 1783 he waa appointed bard to the Prince of Walea. In 1784 he published ' Musical and Poetical Relicks of the Welsh Bards, w ith a General History of th e Bards and Druid*, and a Dissertation on th e Musical In strumen ts of the Aboriginal Britons,' a work of learning and research. Another edition appeared in 1794, and in 1802 a second volume of the work was issued under the title of The Bardic Museum. Jones had prepared a third volume, a portion only of which was published a t his death, the remainder being issued subsequently. The three volumes together contain 225 Welsh airs. Besides this, he compiled and edited : ' Lyric Airs ; consisting of Specimens of Greek, Albanian, Walachian, Turkish, Arabian, Persian, Chinese and Moorish National Song- ; with . . . a few Explana tory Notes on the Figures and Movements of the Modern Greek Dances, and a sh o rt Dissertation on th e Origin of th e Ancient Greek Music,' 1804 ; ' The Minstrel's Serenades ' ; ' Terpsichore's Banque t, a Selection of Spanish, Maltese, Russian, Armenian, Hindostan, English, German, French and Swiss Airs ' ; ' The Musical Miscellany, chiefly selected from eminent composers * ; * Musical Remains of Handel, Bach, Abel, e tc .' ; * Choice Collection of I ta lian Songs ' ; ' The Musical P o r tfolio ; consisting of English, Scotch, Irish and other favourite Airs ' ; ' Popular Cheshire Melodies ' ; * Musical Trifles calculated for Beginners on the Harp ' ; an d * T he Musical Bouquet, or P opula r Songs and Ballads.' Besides his professional pursuits Jones filled a situation in the Office of Robes at St. James's Palace. He collected an extensive library of scarce and curious books, part of which, to the value of about .300, he sold in the latter part of his life, and the remainder was dispersed by auction after his death, realising about .800. w. H. H.
(b. Grattersdorf, July 6,1747 ; d. Grossmehring, near Ingolstadt;, priest, composed masses and other church music ; also songs with pianoforte (Q.-L.).
(b. Trieste, Mar. 5, 1832 ; d. Paris, Feb. 27, 1882), pianist, began his career at 11 years old as a prodigy, and seems to have acquired his great skill by constant performance in public. He appeared at the Teatro San Benedetto, Venice, in 1843 ; in 1844 he was brought to Moscheles at Vienna, and in 1845 and 1846 he resided in Brussels, next in Paris, and then, after the Revolution of 1848, went to America for some years. In 1854 he returned to Europe. In 1862 he played at the Musical Union in London, and on June 25, 1866, at the Philharmonic Society ; from that time he played frequently in England. In 1866 Jaell married Frl. M a r i e T r a u t - m a n n , (b. Steinseltz, Aug. 17, 1862 ; d. Paris, Feb. 4, 1925), a pianist of ability, and the author1 of several works on pedagogics and aesthetics. His published works consist of transcriptions, potpourris and other salon pieces. He always showed himself anxious to bring forward new compositions ; and played the concertos of Brahms and of Raff at the Philharmonic, at a time when they were unknown to that audience. g ., with addns.
(b. Dransfeld, Hanover, 1582). In 1609 he was at Nuremberg ; from 1613 was Kapellmeister to Count Hohenlohe at Weickersheim, where he still was in 1640. He composed a book of psalms and several books of secular songs, some appearing in many editions. (See Q.-L.)
( S a l e s - b e r i e n s i s ) (b . Salisbury, 1120; d. 1180), studied at Paris and was Bishop of Chartres in 1179. He returned to England and wrote a treatise ' De musica e t instrumentis . . contained in his works printed 1513, Book i. chap. 6 (Q.-L.).
(b. Hunfaiu, Hungary, July 3, 1852 ; d. New York, June 25, 1915), a distinguished and highly accomplished pianist. His youth was spent in Miskolcz, and there, when a boy of 8 years, he began his study of the pianoforte. Although he was not in any respect an infant prodigy, his father made him continue his studies in Budapest, under Brauer, who years before had been the teacher of Stephen Heller. Joseffy entered the Conservatorium a t Leipzig when he was 14 years old ; here he came under the instruction of E. F. Wenzel chiefly, though he also had a few lessons from Moscheles. In 1868 he went to Berlin to study with Carl Tausig. Another potent influence was exerted upon the young man by Liszt, with whom in Weimar he spent the summers of 1870 and 1871. Joseffy made his first public appearance in Berlin in 1872, where he was received with marked appreciation ; he thereafter gave a number of concerts in Vienna, and in most of the continental musical centres, that brought him the reputation of a virtuoso of remarkable technical powers. His style at this time, as described by Hanslick, was of great brilliance, showing Tausig's influence in a thorough development of his technique, his clearly and sharply chiselled phrasing, and the rich variety of his touch and tone ; but it was lacking in some of the finer qualities of poetic insight. So it was when he went to the United States in 1879, where he made his home. He made his American debut in New York in 1879, with an orchestra under Dr. Damrosch. He soon after played with the Philharmonic orchestra, and subsequently made many appearances in New York and other American cities with Theodore Thomas and his orchestra. With advancing years his artistic nature ripened and deepened, and he put his transcendent technical powers at the service of a richer and mellower musical style. He did pioneer work in spreading a knowledge and appreciation of Brahms's pianoforte works in the United States, and was one of the first to give frequent performances of his second concerto. In his youth Joseffy published a number of salon pieces for the pianoforte. His chief contribution to the literature of the instrument is his important School of Advanced Piano P la y ing (New York, 1902), upon which he worked for many years. He also edited a large number of pianoforte compositions. R . a .
(b. Totis, Hungary, June 2, 1856; d. Constantinople, Mar. 17, 1919), was educated at the Polytechnicum and Conservatorium of Vienna, and at the Berlin University (1 8 8 1 -8 2 ). Tho invention by which his name is known will be found described under K e y b o a r d ; it was a great practical improvement on a keyboard devised at first by an Englishman, and patented in 1843, but in spite of the successful tours about 1886, in which it was brought before the public by various pianists who had taken the trouble to master its peculiarities, it found little favour. For fuller information, Von Janko's pamphlet, Eine neue Klaviatur (Wetzler, Vienna, 1886), may be consulted. From 1892 until his death the inventor lived in Constantinople. (Riemann; Zeitschrift of the Int. Mus. Ges. vol. v. pp. 165 and 321.) m.