See also:

• FERDINAND
• FERDINAND (1577-1650)
• FERDINAND (COLOGNE)
• FERDINAND (Span. Fernando or Hernando; Ital. Ferdinando or Ferrante; in O. H. Ger. Herinand, i.e. " brave in the host," from O. H. G. Heri, "army," A. S. here, Mod. Ger. Heer, and the Goth. nan]jan, " to dare ")
• FERDINAND, MAXIMILIAN KARL LEOPOLD MARIA

FERDINAND See also:

• FERDINAND HILLER (181i-1885)
• HILLER, JOHANN ADAM (1728–1804)

HILLER (181i-1885)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• FRANKFORT

Frankfort-on-See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

Main, on the 24th of See also:

• OCTOBER

October 1811 . His first See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master was Aloys Schmitt, and when he was ten years of See also:

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

age his compositions and See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent led his See also:

• FATHER

father, a well-to-do See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, to send him to See also:

• HUMMEL, JOHANN NEPOMUK (1778-1837)

Hummel in See also:

• WEIMAR

Weimar . There he devoted himself to See also:

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

composition, among his See also:

• WORK

work being the entr'actes, to Maria See also:

• STUART, ARABELLA (1575-1615)
• STUART, GILBERT (1755-x828)
• STUART, JAMES EWELL BROWN (1833-1864)
• STUART, JOHN
• STUART, MOSES (1780-1852)
• STUART, SIR JOHN, COUNT

Stuart, through which he made See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe's acquaintance . Under Hummel, See also:

• HILLER, FERDINAND (181i-1885)
• HILLER, JOHANN ADAM (1728–1804)

Hiller made See also:

• GREAT

great strides as a pianist, so much so that See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early in 1827 he went on a tour to See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, where he met See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven and produced his first quartet . After a brief visit See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home Hiller went to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris in 1829, where he lived till 1836 . His father's See also:

• DEATH

death necessitated his return to Frankfort for a 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, but on the 8th of See also:

• JANUARY

January 1839 he produced at See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan his See also:

• OPERA (Italian for " work ")

opera La Romilda, and began to write his See also:

• ORATORIO

oratorio See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die Zerstorung See also:

• JERUSALEM (Heb. ^S0-r, Yerushalaim, pronounced as a dual)
• JERUSALEM, SYNOD OF (1672)

Jerusalem., one of his best See also:

• WORKS

works . Then he went to See also:

• LEIPZIG

Leipzig, to his friend Mendelssohn, where in 1843–1844 he conducted a number of the Gewandhaus concerts and produced his oratorio . After a further visit . to See also:

• ITALY
• ITALY (Italia)

Italy to study sacred See also:

• MUSIC

music, Hiller produced two operas, Ein Traum and See also:

• CONRADIN, or CONRAD THE YOUNGER (1252–1268)

Conradin, at See also:

• DRESDEN

Dresden in 1845 and 1847 respectively; he went as conductor to See also:

• DUSSELDORF

Dusseldorf in 1847 and See also:

• COLOGNE (Ger. Koln, or officially, since 1900, Coln)

Cologne in r85o, and conducted at the Opera Italien in Paris in 1851 and 1852 . At Cologne he became a See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power as conductor of the Gurzenich concerts and See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of the Conservatorium . In 1884 he retired, and died on the 12th of May in the following See also:

• YEAR

year . Hiller frequently visited See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . He composed a work for the opening of the Royal See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall, his Nala and Damayanti was performed at See also:

• BIRMINGHAM

Birmingham, and he gave a See also:

• SERIES (a Latin word from serere, to join)

series of See also:

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

pianoforte recitals of his own compositions at the See also:

• HANOVER
• HANOVER (Ger. Hannover)

Hanover Square Rooms in 1871 .

He had a perfect mastery over technique and See also:

• FORM (Lat. forma)

form in musical composition, but his works are generally dry . He was a See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound pianist and teacher, and occasionally a brilliant writer on musical matters . His compositions, numbering about two See also:

• HUNDRED

hundred, include six operas, two oratorios, six or seven cantatas, much chamber music and a once-popular pianoforte See also:

• CONCERTO (Lat. concertus, from certare, to strive, also con-fused with concentus)

concerto .