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Scan 340
Grove's dictionary of music and musicians, 1916
37 lines. Read by computer on 10 September 2026. Printed page 296. See the scan on archive.org.
1publications of the Hare family, and was, in all likelihood, not held after 1706-7; Richard Meares is at this sign in 1722. It has been stated, but lacks confirmation, that Walsh and Hare were the first to stamp music on pewter plates to supersede engraving on copper. The registers of St. Michael's Church, Cornhill, give the dates of burial of the Hare family who, living in Freeman's Yard, were in its parish.
3Burials 1725, Sept. 9. John Hare in the New Vault.
4,, 1728, April 28. John, son of Jos'ph Hare and Elizabeth his wife [apparently an infant son].
5,, 1733, July 17. Joseph Hare in the New Vault.
6,, 1741, July 8. Elizabeth Hare, widow, from Islington, in the New Vault.
8ELIZABETH HARE, probably a daughter of Joseph Hare (as his wife bore the same Christian name). She had a music shop in or near Cornhill, but not on the old premises. She issued country dances for 1750 and 1751, and her shop was opposite the Mansion House. F. K.
10HARINGTON, or HARRINGTON,1 HENRY, M.D., born Sept. 29, 1727, at Kelston, Somersetshire; in 1745 entered at Queen's College, Oxford, with the view of taking orders. He used to pass his vacations with his uncle, William, vicar of Kingston, Wilts, from whom he imbibed a taste for music and poetry. He resided there during eight years, and wrote some unimportant verses and music. In 1748 he took his B.A. degree, abandoned his intention of taking orders, and commenced the study of medicine. He remained at Oxford until he took his M.A. and M.D. degrees. Whilst there he joined an amateur musical society established by Dr. W. Hayes, to which those only were admitted who were able to play and sing at sight. On leaving Oxford he established himself as a physician at Bath, devoted his leisure to composition, [and was appointed 'composer and physician' to the Harmonic Society of Bath on its foundation by Sir John Danvers in 1784. W. H. G. F. Two books, in folio, of Harington's glees were issued by Longman & Broderip before 1785; a third followed later. F. K.] In 1797 he published a volume of glees, catches, etc., and afterwards joined Edmund Broderip, organist of Wells, and Rev. William Leeves, composer of 'Auld Robin Gray,' in the publication of a similar volume. In 1800 he published 'Eloi! Eloi! or, The Death of Christ,' a sacred dirge for Passion Week. Harington was an alderman of Bath, and served the office of mayor with credit. He died at Bath Jan 15, 1816, and was buried in Bath Abbey. His compositions are 'distinguished for originality, correct harmony, and tenderness, and he was remarkably successful in some humorous productions' (Harmonicon). His round 'How great is the pleasure' is one of the prettiest of its kind. W. H. H.
121 [The spelling of the name is doubtful; in works apparently issued under his own direction, the form 'Harington' is used, and is generally followed by contemporary publishers. F. K.]
14HARMONIC STOPS
16HARMONIC FLUTE, an organ-stop of 4-foot pitch. The pipes of harmonic flue stops being of double speaking-length, the scale, windage, and voicing are such as to cause the pipe to overblow into the octave above.
18A small hole (or sometimes two small holes opposite to each other) is (or are) pierced midway in the speaking-length of the pipe, which, by weakening the wind at that point, assists in the division of the vibrating wave or air-column into two lengths, thereby eliminating uncertainty of pitch or tone, and ensuring rapidity of speech. If the holes are temporarily covered by the fingers, and the pipe is softly blown, it gives its full speaking-length pitch.
20The lowest note of the harmonic (or double-length) portion of this stop is usually middle c', having a nominal length of 2 feet, but yielding the pitch of the twelve-inch c''. The tenor and bass are carried down in (true length) metal, and (half length) stopped wood pipes, a singular sequence of pipe lengths in the same stop. The Harmonic Piccolo is the corresponding stop in 2-foot pitch.
22The tubes of the harmonic portions of reed stops are likewise of double length, and generally have a hole pierced midway. See HARMONIC STOPS, below.
24T. E.
26HARMONIC INSTITUTION. See ARGYLL ROOMS.
28HARMONIC MINOR is the name applied to that version of the minor scale which contains the minor sixth together with the major seventh, and in which no alteration is made in ascending and descending. Its introduction as a substitute for the old-fashioned or 'Arbitrary' minor scale was strongly advocated by Dr. Day and others [see DAY], and in the latter half of the 19th century it was very generally adopted. It is true that its use is calculated to impress the learner with a sense of the real characteristics of the minor mode, but its merits are counterbalanced by the awkwardness arising from the augmented second between the sixth and seventh notes, while it is difficult to regard it as a diatonic scale at all, in spite of its theoretical correctness.
30M.
32HARMONIC PICCOLO. See HARMONIC FLUTE.
34HARMONIC STOPS are organ-stops, the upper pipes of which do not produce the sound that would be expected, having regard to their length, but the octave to that sound. They have been known in Germany for nearly two hundred years. The 'violoncello, 8-foot pitch' on the Pedal organ at Weingarten, made in the first half of the 18th century, is in reality 16 feet in length, of tin, and 3 1/2 inches in diameter.
36Harmonic stops have in recent years come into great favour, in the first instance through the careful and successful experiments of the eminent French house of Cavaillé-Coll, of Paris. Guided by the fact that performers upon wind
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