Hiller, Ferdinand von

1811-1855.

Hiller's life and works were intimately associated with and influenced by Mendelssohn, whom he knew from boyhood, Rossini, Cherubini, Chopin, Liszt, Meyerbeer, Berlioz, Heine, Joachim, Nournt and other famous musicians, whose friendship and esteem he always held. He was born of Jewish parentage at Frankfort-onthe-Main in 1811. His first musical instruction was from Hoffman, a violinist, and this was followed by piano instruction from Aloys Schmidt, and harmony and counterpoint from Vollweiler. His first public appearance as a pianist was in 1821, when he played a concerto of Mozart's; and two years later began his work as composer At Weimar he studied with Hummel, whose criticisms of his compositions were very severe, but the boy showed a determination to succeed and won the regard of Hummel, who took him on a professional tour to Vienna. While in Vienna Hiller published a piano quartet, which he had written at Weimar He. went to Paris in 1828 and was for a short time   professor in Choron's School of Music. Here he met many distinguished musicians, and helped by his performances to make better known the works of Bach and Beethoven. He remained in Paris for seven years and then went, to Frankfort, and for a year was conductor for a musical society there. He next went to Milan, where he began his most important work, The Destruction of Jerusalem, an oratorio. Mendelssohn pronounced this work an inspiration and induced Hiller to go to Leipsic and personally superintend its production in 1840. Tt proved a great success and was later produced in Frankfort, Berlin, Dresden Vienna, Amsterdam and other musical centers. To further perfect himself, Hiller went to Rome and studied old Italian church music under Raine. He returned to Germany, living first in Frankfort, then in Leipsic as conductor of the Gewandhaus concerts from 1843 to 1844, and next in Dresden, where he produced two more operas, Traum in der Christnacht and Conradin. He was chorusmaster at Düsseldorf in 1847, and in 1850 held a like position in Cologne, where he founded and directed a conservatory. He held the directorship as long as he lived. From 1852 to 1853 Hiller was conductor of Italian Opera in Paris; from 1850 conductor of all the Lower Rhine Festival concerts held at Cologne, and here gained much distinction. He also conducted a series of concerts by the Russian Musical Society, and gave successful concerts in Liverpool and Manchester. In 1849 he was elected a member of the Royal Academy of Fine Arts, Berlin; in 1868 he was given honorary title of Doctor, by Bonn University; and in 1877 the King of Würtemberg conferred on him a patent of nobility.

Hiller's published compositions include chamber-music, piano quartets, trios, string quartets, sonatas for piano, and for piano, violin and violoncello, serenade for piano, etudes, studies in rhythms, four overtures for orchestra, a festival march, three symphonies, four operas, choruses and a number of cantatas. His two great oratorios, The Destruction of Jerusalem, and Saul, are by many critics thought worthy of a place beside Mendelssohn's oratorios. Hiller is remembered not only as a pianist, con ductor and composer, but also as a clever writei on musical subjects. His literary works are of a biographical and critical nature. While on tour with Hummel he saw Beethoven on his death-bed, and years later recorded the scene and memories of that master. His Recollections of Mendels- sohn he dedicated to Queen Victoria. He edited a volume of letters by Hauptmann to Spohr and other mu sicians Hiller was the chief exponent of the modern classical school- and to him is given first place among the masters influenced by Mendelssohn.