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Grove's Dictionary of Music and Musicians, 1927
18 lines. Read by computer on 11 September 2026. Printed page 554. See the scan on archive.org.
1HARWOOD, EDWARD (b. Hoddleson, near Blackburn, 1707; d. 1787), was the author of many songs, among which may be named 'Absence,' 'The Chain of Love,' 'Hapless Collin,' 'To ease my heart'—all published at Liverpool. He also issued two sets of original hymn tunes, the first without date, the second in 1786. The first volume contains the metrical anthem 'Vital spark of heavenly flame,' formerly popular in country churches. The traditional account of its origin is as follows: Harwood had been staying in London, in company with Alexander Reed, of Liverpool; but when the time for their return arrived, they found themselves without the means of discharging the reckoning at the inn. In this emergency it was resolved to compose some piece of music and raise money upon it. What Reed attempted in that direction is not told, but Harwood, taking up a collection of poetry which lay in the coffee-room, came across Pope's Ode, which he immediately set to music, and taking it to a publisher, sold the copyright for forty pounds. This relieved the friends from their embarrassment, and brought them back to Liverpool. Some difficulties occur in connexion with the story which need not be specified.
3H. P.
5HASILTON (HASELTON, HASILTOUINE, HASYLTON), ROBERT, English church composer of the early 16th century. He contributed an anthem to the 2nd part of Day's 'Certaine Notes,' 1565, which was reprinted in the 'Anthems for Parish Church Choirs' (pub. 1846 by the Society for Promoting Church Music). There are also the cantus parts of 2 anthems: 'My soul truly waiteth' and 'Praise we the Lord at all times'; and 2 hymns, 'Lord have mercy' and 'Now Israel may say' (B.M. Add. MSS. 15,166).
7J. M.
9HASLINGER, a well-known music-publishing firm in Vienna, originally the 'Bureau des arts et d'industrie,' next S. A. Steiner & Co., and since 1826 Tobias Haslinger. (1) TOBIAS (b. Zell, Upper Austria, Mar. 1, 1787; d. Vienna, June 18, 1842), who came to Vienna in 1810, was an energetic, intelligent man of business, on intimate terms with the best musicians of Vienna. Beethoven and he were in constant communication, and the numerous letters to him from the great composer, which have been preserved (probably only a small proportion of those which were written), each with its queer joke or nickname, show the footing they were on—Adjutant, or Adjutanterl, or Bestes kleines Kerlchen, or Tobiasserl or Tobias Peter Philipp, or Monsieur de Haslinger, Général Musicien et Général Lieutenant—such are the various queer modes in which Beethoven addresses him. In a letter to Schott (Nohl, No. 328) he sketches a comic biography of his friend, with illustrative canons. Another canon, 'O Tobias Dominus Haslinger,' occurs in a letter of Sept. 10, 1821; and one of his very last notes contains a flourish on his name, added, with the signature, by the hand of the master:
11Bester To
13Haslinger prepared a complete copy of Beethoven's compositions in full score, beautifully written by a single copyist. This was purchased by the Archduke Rudolph, and bequeathed by him to the Gesellschaft der Musikfreunde, in whose library it now is. He was one of the thirty-six torch-bearers who surrounded the bier of his great friend, and it fell to his lot to hand the three laurel wreaths to Hummel, by whom they were placed on the coffin before the closing of the grave. At his death the business came into the hands of his son, (2) KARL (b. June 11, 1816; d. Dec. 26, 1868), a pupil of Czerny and Seyfried, a remarkable pianoforte player and an industrious composer. His soirées were well known and much frequented, and many a young musician made his first appearance there. He left as many as 100 published works of all classes and dimensions. The concern was carried on by his widow till Jan. 1875, by whom it was maintained under the style of 'Carl Haslinger, quondam Tobias.' It passed in 1875 into the hands of Schlesinger. Among the works published by this establishment may be named Schubert's 'Winterreise' and 'Schwanengesang'; Beethoven's Symphonies 2, 3, 4, 7, 8, Overtures to 'Coriolan,' 'Ruins of Athens,' op. 115, 'King Stephen,' 'Leonora No. 1,' Violin Concerto, Battle Symphony, PF. Concertos 1, 3, 4, 5, Trio in Bb, Sonatas and Variations, Liederkreis, etc.; Spohr's Symphonies 4 (Weihe der Töne) and 5; Liszt's Concerto in Eb; Moscheles' Concertos 2, 3, 5, 6, 7; Hummel's Concertos in C, G, A minor and Ab, 4 Sonatas, etc. The dance music of Lanner and the Strausses formed an important part of the repertory of the firm.
15C. F. P.
17HASSE, (1) FAUSTINA BORDONI (b. Venice, 1693; d. there, 1783), famous soprano singer, the wife of J. A. Hasse (2), came of a noble family, formerly one of the governing families of the Venetian Republic. Her first instruction was derived from Gasparini, who helped her to develop a beautiful and flexible voice to the greatest advantage. In 1716 Bordoni made her début in 'Ariodante,' by C. F. Pollaro, achieved at once a reputation as a great singer, and was soon known as the 'New Syren.' In 1719 she sang again at Venice with Cuzzoni and Bernacchi, whose florid style her own resembled. In 1722 she sang at Naples, and at Florence a medal was struck in her honour. She visited Vienna in 1724, and was engaged for the court theatre at a salary of 15,000 florins. Here she
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