has copied in his Musical Extracts (Brit. Mus. Add. MSS. 11,588), 'Le chant des Oyseaux,' 'Le caquet des Femmes,' 'La chasse de liévre, Le chant du Rossignol,' and one containing imitations of the street cries of Paris—'Voulez ouyr les cris de Paris.' To those who would know how far it may be possible to reproduce these compositions at the present day, it will be a fact of interest that the first three of them were sung in Paris in 1828 under the direction of M. Choron and 'produced a surprising effect.' The Bataille was sung by pupils of the Conservatoire in a course of historical lectures by M. Bourgault Ducoudray, Dec. 26, 1878.
A second edition of some of Jannequin's works was published in Paris (according to Fétis) in the year 1559, and the composer must have been living at that time, for they were 'reveuz et corrigez par lui meme.'
In the same year, according to the same authority, Jannequin published his music to 82 psalms, with a dedication to the Queen of France, in which he speaks of his poverty and age. Old indeed he must have been, for the year after, 1560, Ronsard the poet, an amateur of music and intimately connected with the musicians of his time, in writing a preface for a book of chansons published by Le Roy & Ballard at Paris, speaks of Jannequin with reverence enough as one of Josquin's celebrated disciples, but evidently regards him as a composer of a bygone age.
[ J. R. S.-B. ]
JANOTHA, Natalie, born at Warsaw; first appeared there when nine years old; studied at the Berlin Hochschule under Rudorff and Bargiel, and with Franz Weber at Cologne. Also for several years with Madame Schumann, whose first pupil she was to appear in public. In London she played at Philharmonic, Popular Concerts, Crystal Palace, &c.; in Leipzig at the Gewandhaus, and was made Court Pianist to Emperor Wilhelm I. Among her compositions are nine 'mountain scenes' for P.F.; a 'court gavotte' dedicated to Q. Victoria; an 'Ave Maria' composed for Pope Leo XIIIth's jubilee, and dedicated to him. Miss Janotha holds the highest diploma of the Academy of S. Cecilia at Rome.
[ G. ]
JANSA, Leopold, violinist and composer, was born in 1797 [App. p.685 "1794"] at Wildenschwert in Bohemia. Though playing the violin from his childhood, he entered the University of Vienna in 1817 to study law according to the wish of his father, but very soon gave up the law and devoted himself to music. After a few years he appeared successfully as a violinist in public; in 1824 became member of the Imperial Band, and in 1834 Conductor of Music at the University of Vienna. Jansa, though a good player and sound musician was not a great virtuoso. In 1849 he lost his appointment in Vienna for having assisted at a concert in London for the benefit of the Hungarian Refugees. He then remained in London and gained a good position as teacher. [App. p.685 "He last appeared at Vienna in 1871, when he was 77 years of age."] He died at Vienna in 1875 [App. p.685 "Jan. 25"].
The most eminent of his pupils is Madame Norman-Neruda. Jansa published a considerable number of works for the violin: 4 concertos; a concertante for 2 violins; Violin Duets; 8 string-Quartets, etc. all written in a fluent musician-like style, but with no claim to originality. His duets are much valued by all violin-teachers.
[ P. D. ]
JARNOWICK—whose real name, as he wrote it in Clement's Album, was Giovanni Marie Giornovichj, though commonly given as above—was one of the eminent violin-players of the last century; born at Palermo 1745, and a scholar of the famous Lolli. He made his début in Paris in 1770 at one of the Concerts Spirituels, and for some years was all the rage in that capital. Owing to some misbehaviour he left Paris in 1779 and entered the band of the King of Prussia, but his disputes with Duport drove him thence in 1783. He then visited Austria, Poland, Russia, and Sweden, and in 1791 arrived in London, where he gave his first concert on May 4. He had great success here, both as player and conductor. His insolence and conceit seem to have been unbounded, and to have brought him into disastrous collision with Viotti, a far greater artist than himself, and with J. B. Cramer—who went the length of calling him out, a challenge which Jarnowick would not accept—and even led him to some gross misconduct in the presence of the King and Duke of York. He died in Petersburg in 1804—it is said during a game of billiards. From the testimony of Kelly, Dittersdorf, and other musicians, it is not difficult to gather the characteristics of Jarnowick's playing. His tone was fine, though not strong; he played with accuracy and finish, and always well in tune. His bow-hand was light, and there was a grace and spirit about the whole performance, and an absence of effort, which put the hearer quite at ease. These qualities are not the highest, but they are highly desirable, and they seem to have been possessed in large measure by Jarnowick. In mind and morals he was a true pupil of Lolli.
[ G. ]
JAY, John, Mus. Doc., born in Essex, Nov. 27, 1770, after receiving rudimentary instruction from John Hindmarsh, violinist, and Francis Phillips, violoncellist, was sent to the continent to complete his education. He became an excellent violinist. He returned to England in 1800, settled in London, and established himself as a teacher. He graduated as Mus. Bac. at Oxford in 1809, and Mus. Doc. at Cambridge in 1811, and was an honorary member of the Royal Academy of Music. He published several compositions for the pianoforte. His eldest daughter was a harpist and his second a pianist. His son, John, is a good violinist. Dr. Jay died in London, Sept. 17, 1849.
[ W. H. H. ]
JEAN DE PARIS. Opera-comique in 2 acts; music by Boieldieu. Produced at the Theatre Feydeau April 4, 1812.
[ G. ]
JEBB, Rev. John, D.D., formerly Prebendary in Limerick Cathedral, now Canon of Here-
