'Mentre ti lascio' (Köchel 513), and for the family more than one charming little Canzonet for 2 sopranos and a bass, such as 'Ecco quel fiero' or 'Due pupille amabili' (K. 436, 439). An air of Gottfried's, 'Io ti lascio' is to this day often sung in concert rooms as Mozart's. He took part in the funny scene which gave rise to Mozart's comic 'Bandl Terzett' 'Liebes Mandl, wo ists Bandl.' The lines which Gottfried wrote in Mozart's Album—'True genius is impossible without heart; for no amount of intellect alone or of imagination, no, nor of both together, can make genius. Love, love, love is the soul of genius'—characterise him as faithfully as those of his father, written in the same book, do the old man of tact and science:—
'Tibi, qui possis
Blandus auritas fidibus canoris
Ducere quercus,
In amicitiæ tesseram.'
[ G. ]
JADASSOHN, Salomon, born at Breslau Sept. 15, 1831. His years of study were passed partly at home under Hesse, Lüstner and Brosig, partly at the Leipzig Conservatorium (1848), partly at Weimar under Liszt, and again in 1853, at Leipzig under Hauptmann. Since that time he has resided in Leipzig, first as a teacher, then as the conductor of the Euterpe concerts, and lastly in the Conservatorium as teacher of Harmony, Counterpoint, Composition, and the Pianoforte. His compositions are varied and numerous (58, to May 1879). Among the most remarkable are Symphony No. 3, in D [App. p.685 "D minor"] (op. 50); 3 Serenades for Orchestra (ops. 42, 46, 47); 2 pieces for Chorus and Orchestra (ops. 54, 55); Serenade (op. 35) and Ballet-music (op. 58), each for P.F. and each a series of canons; songs, duets, etc. [App. p.685 "Mention should be made of two pianoforte trios, a string quartet, two quintets for pianoforte and strings (op. 70 and 76), a pianoforte quartet (op. 77), a piano concerto (op. 89), and of a setting of Psalm c. for alto solo, double chorus, and orchestra."] His facility in counterpoint is great, and his canons are both ingenious and effective. As a private teacher Jadassohn is highly esteemed.
[ G. ]
JADIN, Louis Emmanuel, son, nephew, and brother of musicians, born Sept. 21, 1768, at Versailles, where his father Jean, a violinist and composer, settled at the instigation of his brother Georges, a performer on the bassoon attached to the chapelle of Louis XV. As a child Louis showed great talent for music; his father taught him the violin, and Hüllmandel the piano. After being 'page de la musique' to Louis XVI, he was in 1789 appointed 2nd accompanyist, and in 1791 chief maestro al cembalo at the Théâtre de Monsieur, then in the Rue Feydeau. This post gave him the opportunity of producing 'Joconde' (Sept. 14, 1790), a comic opera in 3 acts. Jadin's industry was extraordinary. Though fully engaged as composer, conductor, and teacher, he lost no opportunity of appearing before the public. He composed marches and concerted pieces for the Garde Nationale; patriotic songs and pièces de circonstance such as 'Le Congrès des Rois,' in conjunction with others, 'L'Apotheose du jeune Barra,' 'Le Siége de Thionville' (1793) 'Agricol Viola ou le jeune héros de la Durance,' for the various fêtes of the Revolution; and 38 operas for the Italiens, the Théâtres Molière and Louvois, the Variétés, the Académie, and chiefly the Feydeau. Of this mass of music, however, nothing survives but the titles of 'Joconde' and 'Mahomet II' (1803) familiar to us from the operas of Isouard and Rossini. This does not necessarily imply that Jadin was without talent, but like many others his librettos were bad, and his music, though well written, was wanting in dramatic spirit, and in the style, life, passion and originality necessary for success. In fact his one quality was facility.
In 1802 he succeeded his brother as professor of the pianoforte at the Conservatoire, and was 'Gouverneur des pages' of the royal chapel from the Restoration to the Revolution of 1830. He received the Legion of Honour in 1824. To the close of his life he continued to produce romances, nocturnes, trios and quartets, string quintets, and other chamber-music. Of his orchestral works, 'La Bataille d'Austerlitz' is the best known. He was one of the first to compose for two pianos, and was noted as the best accompanyist of his day. In private life he was a good talker, and fond of a joke. He died in Paris, April 11, 1853.
His brother Hyacinthe, born at Versailles 1769, a pupil of Hüllmandel's, and a brilliant and charming pianist, played at the Concerts Feydeau in 1796–97, and was a favourite with the public up to his early death in 1802 [App. p.685 "in October 1800"]. On the foundation of the Conservatoire he was appointed professor of the pianoforte, but had barely time to form pupils, and both Louis Adam and Boieldieu excelled him as teachers. He composed much both for his instrument and the chamber; 4 concertos and sonatas for 2 and 4 hands for P.F.; sonatas for P.F. and violin; string trios and quartets, etc.; all now old-fashioned and forgotten.
[ G. C. ]
JÄHNS, Friedrich Wilhelm, born at Berlin Jan. 2, 1809. His talent for music showed itself early, and strongly; but the first important event in his musical life was the first performance of Freischütz (June 18, 1821), which not only aroused his enthusiasm for music, but made him an adherent of Weber for ever. After some hesitation between the theatre and the concert-room, he finally chose the latter, and became a singer and teacher of singing, in which capacity he was much sought for. In 1845 he founded a singing society, which he led for 25 years. In 1849 he was made 'Königliche Musikdirector'; in 1871 'Professor'; and has since been decorated with the orders of Baden, Saxony, Bavaria, and Hanover. He has composed and arranged much for the piano, but the work by which he will live for posterity is his Thematic Catalogue of Weber's works ('C. M. von W. in seinen Werken,' 1871), founded on Köchel's Catalogue of Mozart, but much extended in limits beyond that excellent work. It is in fact a repertory of all that concerns the material part of those compositions, including elaborate information on the MSS., editions, performances, Weber's handwriting, etc. etc.—a large vol. of 500 pages. The library which he formed in the course of this work, is one of the sights of Berlin. [App. p.819 "date of death, Aug. 8, 1888."]
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