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678 (3 acts, op. 56), the words of the two first by Felix Dahn, and 'Donna Diana' (op. 75, Berlin, Nov. 13, 1886). Among his most recent compositions are a Liederspiel (op. 84) for solo quartet with PF. accompaniment, entitled 'Lenz und Liebe,' a set of songs for baritone and orchestra, 'Die Lieder des Troubadours Raoul' (op. 89), and 'Harald's Brautfahrt' for baritone solo, male chorus, and orchestra (op. 90). An orchestral suite, 'Im Schlosshof,' was lately given at Breslau. Many concerted vocal works songs, duets, and pianoforte pieces have also been published. [ M. ]

HOGARTH,, writer on musical and other subjects, was born in 1783. He studied law in Edinburgh, associating with the literary characters of the day and taking part in the musical life of the city as joint secretary to the Edinburgh Musical Festival of 1815, etc. He came to London in 1830, when he contributed articles to the 'Harmonicon,' and was engaged on the staff of the 'Morning Chronicle.' On the establishment in 1846 of the 'Daily News,' under the editorship of his son-in-law, Charles Dickens, Hogarth was at once appointed musical critic, an office which he held until his failing health obliged him to resign in 1866. Besides filling a similar post for the 'Illustrated London News,' editing for their short period of existence 'The Evening Chronicle' and 'The Musical Herald,' assisting Dickens in the compilation of 'The Household Narrative,' and contributing articles, to several periodicals, Hogarth found time to write some volumes on musical subjects, in which his judgment on contemporary art-life appears to have been sound and his mind open to the new influences at work; for his artistic instinct was sure even where his knowledge was limited. These works are 'Musical History,' etc., 1835; 'Memoirs of the Musical Drama,' 1838; a revised edition of the same, called 'Memoirs of the Opera,' 1851; 'The Birmingham Festival,' 1855; and 'The Philharmonic Society, from its foundation in 1813 to its 50th year in 1862,' a history he was well qualified to undertake, owing to his connection with the Society as secretary from 1850 to 1864. His musical compositions comprise ballads, glees, and editions of standard English songs.

Hogarth died on Feb. 12, 1870, in his 87th year. [ L. M. M. ]

HOLDEN,, published an 'Essay towards a Rational System of Music,' Glasgow, 1770; other editions appeared in Calcutta, 1799, and Edinburgh 1807. He published a 'Collection of Church Music, consisting of New Setts of the Common Psalm Tunes, with some other Pieces; adapted to the several Metres in the Version authorised by the general assembly … principally designed for the use of the University of Glasgow,' 1766. By Fétis he is stated to be a Professor in Glasgow University. This is an error, arising not unnaturally from the ponderous title quoted above. [ W. He. ]

HOLMES,. P. 744 a, for l. 4 read His last works were two Overtures, of which 'The Cid' was played at the Crystal Palace, Feb. 21, 1874, and The Muses' in London later.

HOLMES,, born in Paris Dec. 16, 1847, of Irish parents, and naturalized in France in 1879, is, in fact, a composer of French music, for, being a member of the advanced school of Franck, she only writes music to French words. Her parents were strongly opposed to her musical propensities, and she began her career as a prodigy, playing the piano at concerts and in drawing-rooms, and singing airs of her own composition signed with the nom de plume of Hermann Zenta. She studied harmony and counterpoint with H. Lambert, organist of the cathedral at Versailles, where she was then living, and received excellent advice as to instrumentation from Klosé, bandmaster of the Artillerie de la Garde Impériale, and professor of the clarinet in the Conservatoire. In reality, however, Mlle. Holmes, whose character was one of great independence, worked alone both at her musical and literary studies, for since her début she has always written her own librettos; but in 1875 she became aware of the necessity for more serious studies under a master, and enrolled herself as a pupil of César Franck. With the exception of an opera, 'Héro et Léandre,' submitted to the directors of the Opéra Populaire, and of the Psalm 'In exitu,' performed by the Société Philharmonique in 1873, her compositions nearly all date from this time. After two years of serious study under Franck's direction, she produced at the Concerts du Châtelet (Jan. 14, 1877) an Andante Pastorale from a symphony on the subject of Orlando Furioso, and in the following year she gained a second place after Dubois and Godard (bracketed together) at the musical competition instituted by the city of Paris. Her prize composition, a symphony entitled 'Lutèce,' was afterwards played at the concerts at Angers (Nov. 30, 1884). In 1880 Mlle. Holmes again entered the second competition opened by the city of Paris, and though she only gained an honourable mention she was fortunate enough to attract the attention of Pasdeloup, who performed the entire score of her work, 'Les Argonautes,' at the Concerts Populaires (April 24, 1881), and this unexpected test proved to be entirely to her credit, and to the discomfiture of Duvernoy, whose 'Tempête' had been preferred to Mlle. Holmes's work by eleven judges against nine. On March 2, 1882, Mlle. Holmes produced at the Concerts Populaires a Poème Symphonique entitled 'Irlande'; another symphony, 'Pologne,' after its production at Angers, was played at the same concerts on Dec. 9, 1883; and a symphonic ode for chorus and orchestra with recitative, entitled 'Ludus pro patria,' was given on March 4. 1888, at the Concerts of the Conservatoire. The above, with a collection of songs called 'Les Sept Ivresses,' are the works by which Mlle. Holmes's vigorous and far from effeminate talent may be udged. We see the influence of Wagner, but only in the general conception; we do not light upon whole bars and passages copied literally from him, such as are found in the case of some