See also:

• HERMANN, JOHANN GOTTFRIED JAKOB (1772–1848)
• HERMANN, KARL FRIEDRICH (1804–1855)

HERMANN See also:

• HERMANN GOETZ (184o-1876)

GOETZ (184o-1876)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• KONIGSBERG (Polish Krolewiec)

Konigsberg in See also:

• PRUSSIA
• PRUSSIA (Ger. Preussen; Lat. Borussia)

Prussia, on the 17th of See also:

• DECEMBER (Lat. decent, ten)

December 184o, and began his See also:

• REGULAR

regular musical studies at the comparatively advanced See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of seventeen . He entered the See also:

• MUSIC

music-school of See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor Stern at See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, and studied See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition chiefly under See also:

• ULRICH

Ulrich and Hans von Billow . In 1863 he was appointed organist at See also:

• WINTERTHUR

Winterthur in See also:

• SWITZERLAND

Switzerland, where he lived in obscurity for a number of years, occupying himself with composition during his leisure See also:

• HOURS, CANONICAL

hours . One of his See also:

• WORKS

works was an See also:

• OPERA (Italian for " work ")

opera, The Taming of the See also:

• SHREW

Shrew, the libretto skilfully adapted from See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare's See also:

• PLAY

play . After much delay it was produced at See also:

• MANNHEIM

Mannheim (in See also:

• OCTOBER

October 1874), and its success was as instantaneous as it has up to the See also:

• PRESENT

present proved lasting . It rapidly made the See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round of the See also:

• GREAT

great German theatres, and spread its composer's fame over all the See also:

• LAND

land . But See also:

• GOETZ, HERMANN (184o-1876)

Goetz did not live to enjoy this happy result for See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long . In December 1876 he died at See also:

• ZURICH
• ZURICH (Fr. Zurich; Ital. Zurigo)

Zurich from overwork . A second opera, Francesca da See also:

• RIMINI

Rimini, on which he was engaged, remained a fragment; but it was finished according to his directions, and was performed for the first See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time at Mannheim a few months after the composer's See also:

• DEATH

death on the 4th of December 1876 . Besides his dramatic See also:

• WORK

work, Goetz also wrote various compositions for chamber-music, of which a trio (Op . 1) and a quintet (Op . 16) have been given with great success at the See also:

• LONDON

London See also:

• MONDAY (in O.E. Monandaeg, the moon's day, a translation of the Late Lat. Lunae dies, from which the French lundi is taken)

Monday Popular Concerts .

Still more important is the See also:

• SYMPHONY

Symphony in F . As a composer of comic opera Goetz lacks the sprightliness and See also:

• ARTISTIC

artistic savoir faire so rarely found amongst Germanic nations . His was essentially a serious nature, and See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion and pathos were to him more congenial than See also:

• HUMOUR (Latin humor)

humour . The more serious sides of the subject are therefore insisted upon more successfully than Katherine's ravings and Petruchio's eccentricities . There are, however, very graceful passages, e.g. the singing See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

lesson Bianca receives from her disguised See also:

• LOVER, SAMUEL (1797-1868)

lover . Goetz's See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, although influenced by See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

Wagner and other masters, shows signs of a distinct individuality . The See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design of his music is essentially of a polyphonic See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, and the working out and interweaving of his themes betray the musician of high See also:

• SCHOLAR, SCHOLARSHIP

scholar-See also:

• SHIP

ship . But breadth and beautiful flow of See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody also were his, ' After See also:

• WALTHER, BERNHARD (1430-15o4)

Walther's death upwards of £ro,000 in bonds, &c., were discovered put away and forgotten in escritoires and See also:

• ODD (in middle English odde, from old Norwegian oddi, an angle of a triangle; the old Norwegian oddamann is used of the third man who gives a casting vote in a dispute)

odd corners . 2 This was the See also:

• REASON (Lat. ratio, through French raison)

reason given by See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

Baron Walther himself to the writer's See also:

• MOTHER

mother, an old friend of Frau von See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe, who lived with her See also:

• FAMILY

family in the Goethehaus for some years after 1871 . as is seen in the symphony, and perhaps still more in the quintet for See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte and strings above referred to . The most important of Goetz's See also:

• POSTHUMOUS

posthumous works are a setting of the 137th See also:

• PSALM (from the Gr. word * hXAew, to play the harp)

Psalm for See also:

• SOPRANO (a variant of Ital. sovrano, supreme, sovereign, Late Lat. superanus, from super, above)

soprano See also:

• SOLO, OR SOLO WHIST

solo, See also:

• CHORUS (Gr. xopbs)Z

chorus and See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra, a " See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

Spring " See also:

• OVERTURE (Fr. ouverture, opening)

overture (Op . 15), and a pianoforte See also:

• SONATA (From Ital. sonare, to sound)

sonata for four hands (Op .

17) .