DICTIONARY OF MUSIC - El Atril

388 HERVEY HERZ
Lyceum for the di'biit of Herve, Jan. 22, 1870 ;
frequently revived at other theatres, as at the
opening of the Empire Tlieatre and as recently
as 1903 at the Coronet Theatre, Notting Hill)
lie himself wrote a parody ' Chilmeric ' for the
Eldorado; ' Le Petit Faust,' his most success-
ful work, April 23, 1869 (in English at the
Lyceum, April 18, 1870, and revived at vari-
ous theatres) ;
' Les Turcs, ' a parody of ' Baja-
2et,' Dec. 23, 1869. None of liis subsequent
operas attained tlie same success ; many of
tliem, on the contrary, were disastrous failures,
hut ' La Belle Poule, ' Folies Dramatiques, Dec.
30, 1876, was played in English at the Gaiety,
March 29, 1879. He was afterwards very suc-
cessful in new songs, etc., written for Mme. Judic,
Dupuis, and others, such as the 'Pi . . . Ouit,
the 'Chanson du Colonel,' the Provencal song,
'Ijuesaco?' 'Babetet Cadet,' the 'sneezing duet,'
the ' Legende de Marfa,' and other music, introduced
into the musical comedies performed at the
Varietes, viz. the 'Femme aPapa,' Dec. 3, 1879,
'La Eoussotte,' with Lecocq and Boulard, Jan.
23, 1881, 'Lili,' Jan. 10, 1882, Gaiety, with
Judic, June 1883, 'Maam'zelle Nitouche,' Jan.
26, 1883 (Gaiety, June 1884), 'La Cosaque,'
Feb. 1, 1881 (Gaiety, June 1884), in English at
Koyalty, April 12 of the same year. ' Fla-Fla,
tliree acts (Theatre des Menus-Plaisirs), reached
Duly tive representations in Sept. 1886. M. Herve
lias in addition composed for the Englisli stage
' Aladdin the Second,' played with great success
at the Gaiety, Dee. 24, 1870, but without suc-
cess, as ' Le Nouvel Aladin,' at the Dejazet,
Dec. 1871. He wrote some of the music of
' Babil and Bijou,' August 29, 1872, and in
1874 was conductor at the Promenade Concerts
in London, when he introduced a Heroic Symphony,
'The Ashantee War,' for solo voices
and orchestra. On June 29, 1886, his ' Frivoli
was brought out at Drury Lane, and on
Dec. 22, 1887, the ballets 'Dilara' and 'Sport,'
were produced at the Empire Theatre, of which
he was for a few years conductor. ' La Rose
d'Aiiiour' (1888), ' Cleopatre ' ' (1889), and Les
Bagatelles' (1890)are to be added to the number
of his ballets. One of his latest works ' Bacchaiiale,'
brought out at the Theatre des Menus-
Plaisirs, Oct. 22, 1892, was a failure. A. c.
HERVEY, Aia'HUR, born in Paris of Irish
parents, Jan. 26, 1855. Educated at the
Oratory, Birmingham studied with Berthold
;
Tours and Edouard Marlois. He was intended
for the diplomatic service, but from 1880 took
up the profession of music. He was musical
critic to Vanity Fair from 1889 until his
appointment in 1892 to a similar position on
the Morning Post. It will readily be guessed
that the duties of such appointments do not leave
much time for composition, and Mr. Hervey's
music is of such excellent quality that his friemls
are apt to grudge the time necessarily devoted
to journaUsin. A one-act opera, ' The Fairy's
Post-Box,' to words by Palgrave Simpson, was
produced at the Court Theatre in 1885, and a
more serious opera is still in MS. Of his charming
songs, several sets have been published
(' Sechs Liebeslieder,' ' Herzens Stimmen,'
' Neue
songs.
Liebeslieder,' etc.), as well as single
A scena for baritone and orchestra, ' The
Gates of Night, ' was performed at the Gloucester
Festival of 1901. His dramatic overture ' Love
and Fate' (St. James's Hall, 1890, and Crystal
Palace, 1892) had made it quite clear that Mr.
Hervey was a master of the orchestra ; and a
couple of tone -poems, 'On the Heights' and
' On the March, ' played at the Cardiff Festival
of 1902 enhanced his refiutation. Another
overture, ' Youth,' was played with great success
at the Norwich Festival of 1902, and a third
tone -poem, 'In the East,' was given at the
Cardiff Festival of 1904. A graceful romance
for violin is well known, and other pieces for
violin are often played. Mr. Hervey is the
author of Masters of French Music (1894),
and French Music in the Nineteenth Century
(1904). M.
HERZ, Heineich, born at Vienna, Jan. 6,
1806, son of a musician who, after teaching
the boy himself and giving him lessons from
Hiinten at Coblenz, was anxious to turn his
early talent for the piano to the best account,
and wisely entered him in 1816 at the Conservatoire
at Paris under Pradher. He carried
off the prize for pianoforte-playing in his first
year, and thenceforward his career was con-
tinually successful. He became virtually a
Parisian, and was known as Henri Herz. In
1821 Moscheles visited Paris, and though there
is no mention of Herz in that part of his Journal,
yet we have Herz's own testimony that Moscheles
had much influence in the improvement
of his style.' For the next ten years he enjoyed
an immense reputation in Paris both as a writer
and a teacher, and his compositions are said to
have fetched three or four times the prices of
those of much better composers. In 1831 he
made a tour in Germany with Lafont, but to
judge from the notices in the Allg. Zeitiing
Lafont made the better impression of the two.
In 1833 ho made his first visit to London,
played at the Philharmonic on June 10, and
gave a concert of his own, at which he played
duets with Moscheles and with J. B. Cramer.
In 1842 he was made Professor of the Pianoforte
in the Conservatoire. He returned the following
year, appeared again at the Philharmonic,
May 5, and took a long tour, embracing Edinburgh
and Dublin. About this time he was
tempted to join a jiianoforte-maker in Paris
named Klepfa, but the speculation was not
successful, and Herz lost much money. He
then established a factory of liis own, and to
repair his losses and to obtain the necessary
capital for this made a journey through the
1 Quoted iQ FiStis.