Books › Grove's Dictionary of Music and Musicians, 1927 › scan 609
Scan 609
Grove's Dictionary of Music and Musicians, 1927
22 lines. Read by computer on 11 September 2026. Printed page 551. See the scan on archive.org.
1performers, and is complete, in the sense that it can play the classical symphonies, etc., without doctoring the score, and though of course the strings are hardly numerous enough to balance the wind, the orchestra is efficient enough to give a good account of the normal repertory.
3H. T.
5HART, ANDRO, an early Edinburgh printer of note, who printed with musical notation some editions of the Scottish Psalter as The CL. Psalmes of David in Prose and Meeter … Edinburgh, printed by Andro Hart, 1611, 8vo. One by his 'heires' is dated 1635. F. K.
7HART, CHARLES (b. May 19, 1797; d. London, Mar. 29, 1859), pupil at the R.A.M. under Crotch, was, 1829–33, organist at St. Dunstan's, Stepney, and subsequently at the church in Tredegar Square, Mile End, and St. George's, Beckenham. In 1830 he published 'Three Anthems,' and in 1832 a Te Deum and Jubilate, the latter of which had gained the Gresham Prize Medal in 1831. In Apr. 1839 he produced an oratorio entitled 'Omnipotence.' He was author of a motet which gained a premium at Crosby Hall, 'Sacred Harmony,' and other compositions.
9W. H. H.
11HART, JAMES (b. York, 1647; d. May 8, 1718), was bass singer in York Minster until 1670, when he was appointed a gentleman of the Chapel Royal and lay-vicar of Westminster Abbey. He was the composer of several songs published in 'Choice Ayres, songs and dialogues,' 1676–84; 'The Theater of Musick,' 1685–87; 'The Banquet of Musick,' 1688–92, and other collections. (See HART, Philip.) W. H. H.
13HART, JOSEPH BINNS (b. London, 1794; d. Hastings, Dec. 10, 1844), became in 1801 a chorister of St. Paul's under John Sale. Whilst in the choir he was taught the organ by Samuel Wesley and Matthew Cooke, and the piano by J. B. Cramer. At the age of 11 he acted as deputy for Attwood at St. Paul's. He remained in the choir nearly nine years, and on quitting it became organist of Walthamstow, and private organist to the Earl of Uxbridge. He left Walthamstow to become organist of Tottenham. At the termination of the war in 1815, when quadrille dancing came into vogue, Hart became an arranger of dance music, and the LANCERS' QUADRILLE (q.v.). From 1818–20 he was chorus-master and pianist at the English Opera House, Lyceum. He composed the music for 'Amateurs and Actors' (1818), 'A Walk for a Wager' and 'The Bull's Head' (1819), all musical farces; and 'The Vampire,' melodrama, 1820. In 1829 he removed to Hastings, started business as a music-seller, and was appointed organist of St. Mary's Chapel. Hart produced 48 sets of quadrilles, waltzes and galopades, and An easy Mode of teaching Thorough-bass and Composition.
15W. H. H.
17HART, PHILIP (d. London, July 17, 1749), conjectured by Hawkins to be the son of James HART (q.v.), was organist of St. Andrew Undershaft and St. Michael, Cornhill. In 1703 he composed the music for Hughes's 'Ode in Praise of Musick,' performed at Stationer's Hall on St. Cecilia's Day, 1703. On May 28, 1724, he was appointed the first organist of St. Dionis Backchurch, at a salary of £30. In 1729 he published his music to 'The Morning Hymn from the Fifth Book of Milton's Paradise Lost.' He also published a Collection of Fugues for the Organ. Two anthems by him are included in the Tudway Collection (Harl. MS. 7341). From Hawkins's account of him (chap. 175) he appears to have been a sound and very conservative musician, and a highly respectable man. Sir John elsewhere mentions his excessive use of the shake in his organ-playing. Hart died at a very advanced age.
19W. H. H.
21HART & SONS, an eminent firm of violin-makers and experts, was founded at 28 Wardour Street, London (the present premises of the firm, though the name of the street has been altered), by (1) JOHN HART about 1825. This John Hart, was an expert not only in all matters connected with the violin, but with the shot-gun also. He opened business with a collection of guns and violins, and for a considerable time it was doubtful which of these two would prove the fitter, and survive. In the end violins prevailed. (2) JOHN THOMAS (b. Dec. 17, 1805; d. Jan. 1, 1874) was articled in May 1820 to Samuel Gilkes, who had learnt his business under William Foster, a very famous English maker of violins and violoncellos. As an articled pupil he had many opportunities for copying, repairing and studying the peculiarities of Cremonese and other violins of Italian make, and so laid the foundation of his extensive knowledge of instruments. He began business at a time when amateur violinists were longing for famous Italian violins, and as his reputation for unerring accuracy of judgment grew rapidly he became the channel through which most of the greatest instruments came to England. He it was who formed James Goding's collection, that of Charles Plowden, most of Joseph Gillott's collection, and of the famous Adam group. His son and successor, (3) GEORGE (b. London, Mar. 23, 1839; d. near Newhaven, Apr. 25, 1891), was a violinist and writer, and studied at the R.A.M. under Macfarren and Sainton. Though an excellent player on the violin, it is by his literary ability and by his wide knowledge of what may be called the literary side of the violin that he is best known. In 1875 he published his well-known book The Violin: its famous Makers and their Imitators, which has passed through many editions in England. Of it a French edition was issued in 1886. Next he published a description of Count Cozio de Salabue's purchase of the stock of violins remaining with Paul
The computer misreads some letters and numbers. Where a name matters to you, read the scan.