Utrecht, which was concluded March 31, 1713. Mendelssohn also set the Psalm, but not for liturgical use.
JUBILEE OVERTURE, THE (in E), by C. M. von Weber; composed for the festival held at Dresden in commemoration of the 50th anniversary of the accession of Frederick Augustus I. of Saxony; op. 59. The autograph is dated Dresden, Sept. 11, 1818, and the first performance was at the Court Theatre on Sept. 20. The overture winds up with 'God save the King.' Weber had written a Jubel cantata for the occasion, but it was put aside, and the overture—an entirely independent work—performed instead.
JUDAS MACCABÆUS. The 12th of Handel's English oratorios, written by command of the Prince of Wales. Handel himself is said to have suggested the subject (à propos to the Duke of Cumberland's victories in Scotland) to Dr. Morell, who made the libretto. The music was begun July 9, and completed Aug. 11, 1746, and it was produced at Co vent Garden April 1, 1747. It has always been a favourite. 'See, the conquering hero comes' was transferred to Judas from Joshua. The air 'Wise men flattering,' and, the chorus 'Sion now'—were introduced several years after the production of the oratorio, and the latter is said to have been one of the last pieces composed by Handel.
JUDITH. 1. An oratorio; words by W. Huggins, music by Defesch. Produced in London 1733. 2. An oratorio by Dr. Arne (his 2nd); the words selected and adapted by Isaac Bickerstaff. Produced at the Lock Hospital Chapel Feb. 29, 1764. 3. A 'biblical cantata' in 3 scenes; words selected from the Bible by Chorley, music by H. Leslie. Composed for Birmingham Festival, and first performed Sept. 1858; also at St. Martin's Hall March 8, 59.
JUIVE, LA. Opera in 5 acts; words by Scribe, music by Halévy. Produced at the Académie Feb. 23, 1835. In England by the Brussels troupe at Drury Lane in French July 29, 1846; in Italian, 'La Ebrea,' at Covent Garden July 25, 1850.
JULLIEN (originally JULIEN), Louis Antoine, was born at Sisteron, Basses Alpes, April 23, 1812. His father was a bandmaster, and the boy was thus familiar with instruments and music from his cradle. At 21 he went to Paris and entered the counterpoint class of Le Carpentier at the Conservatoire, Oct. 26, 1833. Composition, however, and not counterpoint was his object, and after a year's trial he quitted Le Carpentier for Halévy, Dec. 16, 1834, but with no greater success; he refused to do the exercises, and insisted on presenting the Professor with dances as specimens of 'composition'—not perhaps quite to Halévy's annoyance if it be true, as it used to be said, that the waltz 'Rosita,' which became the rage in Paris as Jullien's, was written by his master. He did not obtain a single mention at the Conservatoire, and at the beginning of 1836 finally left it, and soon after appeared before the public as the conductor of concerts of dance music at the Jardin Turc. The 'Huguenots' was just then in all the flush of its great success, and one of Jullien's first quadrilles was made upon the motifs of that opera, the announcement of which, as quoted by M. Fétis, is exactly in the style with which Londoners afterwards became familiar. To this enterprise he joined the establishment of a musical paper. No wonder that he was unsuccessful. In June 1838 he became insolvent, and had to leave Paris. His first appearance in London seems to have been as conductor, jointly with Eliason, of shilling 'Concerts d'Été' at Drury Lane theatre, which opened June 8, 1840, with an orchestra of 98, and chorus of 26. On the 18th of the following January he conducted 'Concerts d'hiver' at the same theatre, with a band of 90 and chorus of 80. These were followed by 'Concerts de Société' at the English Opera House, Lyceum, Feb. 7 to Mar. 18, 1842, comprising Rossini's Stabat for the first time in England. On Dec. 2, 42, began his 'annual series of concerts' at the English Opera House, and he thenceforward continued them season after season, at the close of the year, now at one theatre, and now at another, till the Farewell series in 1859. 'His aim,' in his own words, 'was always to popularise music,' and the means he adopted for so doing were—the largest band; the very best performers, both solo and orchestral; and the most attractive pieces. His programmes contained a certain amount of classical music—though at the beginning hardly so much as that given by some of his predecessors, who announced a whole symphony on each evening. This was probably too much for a shilling audience in the then state of musical taste, and Jullien's single movements and weaker doses just hit the mark. Later on in his career he gave whole symphonies, and even two on one evening. No doubt this judicious moderation did good, and should always be remembered to his credit, or that of his advisers. But the characteristic features of Jullien's concerts were, first, his Monster Quadrille, and secondly himself. He provided a fresh quadrille for each season, and it was usually in close connexion with the event of the day. The 'Allied Armies Quadrille' during the Crimean war, 1854; the 'Indian Quadrille, and Havelock's March,' during the Mutiny, 1857; the 'English Quadrille'; the 'French ditto'; and so on. These were written by himself, and though then considered noisy were always rhythmical, melodious, and effective. In some of them as many as six military bands were added to the immense permanent orchestra. In front of this 'mass of executive ability,' 'the Mons'—to adopt the name bestowed on him by Punch, whose cartoons have preserved his image with the greatest exactness—with coat thrown widely open, white waistcoat, elaborately embroidered shirtfront, wristbands of extravagant length turned back over his cuffs, a wealth of black hair, and a black moustache—itself a startling novelty—wielded his baton, encouraged his forces, repressed the turbulence of his audience with indescribable gravity and magnificence, went
