JOHANN See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

ADAM See also:

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

HILLER (1728–1804)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Wendisch-Ossig near See also:

• GORLITZ

Gorlitz in See also:

• SILESIA

Silesia on the 25th of See also:

• DECEMBER (Lat. decent, ten)

December 1728 . By the See also:

• DEATH

death of his See also:

• FATHER

father in 1734 he was See also:

• LEFT

left dependent to a large extent on the charity of See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends . Entering in 1747 the Kreuzschule in See also:

• DRESDEN

Dresden, the school attended many years afterwards by See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

Richard See also:

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

Wagner, he subsequently went to the university of See also:

• LEIPZIG

Leipzig, where he studied See also:

• JURISPRUDENCE (Lat. jurisprudenlia, knowledge of law, from jus, right, and prudentia, from providere, to foresee)
• JURISPRUDENCE, COMPARATIVE

jurisprudence, supporting himself by giving See also:

• MUSIC

music lessons, and also by per-forming at concerts both on the See also:

• FLUTE

flute and as a vocalist . Gradually he adopted music as his See also:

• SOLE (Solea)

sole profession, and devoted himself more especially to the permanent See also:

• ESTABLISHMENT (0. Fr. establissement, Fr. etablissement, late Norm. Fr. establishement, from O. Fr. establir, Fr. etablir, Lat. stabilire, to make stable)

establishment of a See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

institute at Leipzig . It was he who in 1781 originated the celebrated Gewandhaus concerts which still flourish at Leipzig . In 1789 he became ".cantor " of the See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas school there, a position previously held by See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach . He died in Leipzig on the 16th of See also:

• JUNE

June 1804 . Two of his pupils placed a See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument to his memory in front of the Thomas school . See also:

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

Hiller's compositions comprise almost every See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church music, from the See also:

• CANTATA (Italian for a song or story set to music)

cantata to the See also:

• SIMPLE

simple See also:

• CHORALE (from the Lat. chorales, sc. cantus; the final e is added to show the Ger. pronunciation choral)

chorale . But much more important are his operettas; 14 in number, which for a See also:

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

long 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 retained their See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place on the boards, and had considerable See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on the development of See also:

• LIGHT

light dramatic music in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany . The See also:

• JOLLY (from O. Fr. jolif; Fr. joli, the French word is obscure in origin; it may be from late Lat. gaudivus, from gaudere, to rejoice, the change of d to 1 being paralleled by cigada and cigale, or from O. Norse jol, Eng. " yule," the northern festival of

Jolly Cobbler, Love in the See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

Country and the See also:

• VILLAGE

Village See also:

• BARBER (from Lat. barba, beard)

Barber were amongst the most popular of his See also:

• WORKS

works . Hiller also excelled in sentimental songs and See also:

• BALLADS

ballads .

With See also:

• GREAT

great simplicity of structure his music combines a consider-able amount,of genuine melodic invention . Although an admirer and imitator of the See also:

• ITALIAN

Italian school, Hiller fully appreciated the greatness of See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel, and did much for the appreciation of his music in Germany . It was under his direction that the See also:

• MESSIAH (Dan. x. 25, 26)

Messiah was for the first time given at See also:

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

Berlin, more than See also:

• FORTY

forty years after the See also:

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

composition of that great See also:

• WORK

work . Hiller, was also a writer on music, and for some years (1766–177o) edited a musical weekly periodical named Wochentliche Nachrichten and Anmerkungen See also:

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

die Alusik betreftend .