Books › Pratt (ed.), Grove's Dictionary of Music and Musicians: American Supplement (1920) — the Squier, Juhan, Gemünder and Elias Howe entries, 1920 › scan 32
Scan 32
Pratt (ed.), Grove's Dictionary of Music and Musicians: American Supplement (1920) — the Squier, Juhan, Gemünder and Elias Howe entries, 1920
39 lines. Read by computer on 9 September 2026, twice; the two readings disagreed in places. Printed page 18. See the scan on archive.org.
1Hastings, Thomas (Litchfield, Conn., 1787–1872, New York), from 1816 conspicuous as leader, compiler, composer and author in the field of psalmody, from 1823 at Utica and from 1832 in New York. See Tune-Books.
3*Hawkins, John Isaac, an English civil engineer who, while living in Philadelphia, devised, made and for a short time put upon the market a notable cottage-piano, having many features not practically developed till later. This piano was patented both in America and in England in 1800. See Spillane, pp. 80–3, etc., Hipkins, Hist. of the Pianoforte, p. 111, and cut in Dolge, Pianos and their Makers, p. 53.
5*Hayter, A. U. (England, 1799–1873, Boston), having been cathedral-organist at Salisbury and Hereford, came to New York in 1835, was for a short time at Grace Church and from 1838 at Trinity Church, Boston, and in 1838–49 organist of the Handel and Haydn Society.
7*Heinrich, Anton Philipp (Bohemia, 1781–1861, New York), a singular character in Kentucky who began composing by instinct in 1818, from 1827 was in London, studying and composing, in 1834 visited Germany and Austria, then came to New York, where he was much in evidence as an 'American' composer, but with ephemeral success. See Baker, Dict. of Musicians, 1918, pp. 1087–8, and note in 'Musical Quarterly,' April, 1920, p. 249.
9Hewitt, Miss S., was organist of the Handel and Haydn Society, Boston, in 1820–29.
11Hews, George (1806–1873), from about 1830 was tenor soloist, teacher, organist and piano-maker in Boston. He was prominent in the Handel and Haydn Society.
13Hill, Ureli Corelli (New York, 1802?–1875, New York), early active in New York as violinist, from 1831 was conductor of the Sacred Music Society (in that year giving 'The Messiah' with orchestra), from 1836 studied with Spohr at Cassel, in 1842 organized and was the first conductor of the Philharmonic Society, and attempted to start regular chamber-concerts. After 1850 he wandered from place to place, engaging in ill-starred business ventures, and finally committed suicide. Though not a strong musician, he was historically important. See Ritter, Music in America, pp. 266–7, and Krehbiel, Philharmonic Society of New York.
15*Hiskey was a good German piano-maker in Baltimore from before 1820 till about 1845. His pianos were widely popular in the South and to the West.
17*Hodges, Edward (England, 1796–1867, England), came to Toronto as organist in 1838 and to New York in 1839, from 1846 being at Trinity Church, and returned to England in 1863. See Vol. ii. 414, and art.
19Holt, Benjamin (1774–1861), besides compiling church music (see Tune-Books), was one of the founders and early conductors of the Handel and Haydn Society from 1815.
21Hook, Elias (1805–1881), with his brother George G. Hook (1807–1880), the former having been trained by Goodrich, began making organs at Salem in 1827, removed to Boston in 1832 and became recognized as leaders in the industry. From 1855 Francis H. Hastings (1836–1916) was associated with them, the firm name becoming Hook & Hastings in 1865.
23*Horn, Charles Edward (England, 1786–1849, Boston), from 1809 actor-singer and composer of operettas, came to New York in 1832–33 and brought out English operas until diverted by illness into teaching and music-publishing. After being in England in 1843–47, in 1848 he became conductor of the Handel and Haydn Society in Boston. See Vol. ii. 433–4.
25*Hupfeld, Charles P., a competent German violinist, who from about 1815 joined Carr and Taylor in Philadelphia in promoting chamber- and orchestral music. He was one of the founders and early conductors of the Musical Fund Society. See Madeira.
27*Jackson, Samuel P. (England, 1818–1885, Brooklyn), son of an organ-maker who came to New York in 1825, was from 1830 organist at St. Clement's, from 1842 at St. Bartholomew's and from 1861 at other leading churches. Besides being an excellent teacher, he published much organ-music, anthems, etc., and for nearly thirty years was proof-reader for the publisher Schirmer.
29*Jardine, John, an English piano-maker in New York from 1832 who made 'overstrung' pianos as early as 1833. His brother George Jardine (1801–? ), a highly trained organ-maker, came to New York in 1837 and soon founded the successful firm from 1860 known as Jardine & Son.
31*Jarvis, Charles, an English pianist and teacher who was prominent in Philadelphia from about 1835. He published a successful instruction-book in 1852.
33*Knabe, William (Prussia, 1803–1864, Baltimore), a trained piano-maker, came to Baltimore in 1833, worked under the talented Henry Hartye, formed a partnership with Henry Gaehle in 1839 which continued till 1854, and then proceeded alone. Before 1860 he had become known as one of the best makers in the country. After the War the business was finely continued by his two sons, William (d. 1889) and Ernest (d. 1894), and handed on to grandsons. In 1908 it was merged into the American Piano Co. See Dolge, pp. 282–6. one of two readings
34*Knabe, William (Prussia, 1803–1864, Baltimore), a trained piano-maker, came to Baltimore in 1833, worked under the talented Henry Hartye, formed a partnership with Henry Gaehle in 1839 which continued till 1854, and then proceeded alone. Before 1860 he had become known as one of the best makers in the country. After the War the business was finely continued by his two sons, William (d. 1889) and Ernest (d. 1894), and handed on to grandchildren. In 1908 it was merged into the American Piano Co. See Dolge, pp. 282–6. one of two readings
36*Lindeman, William (Saxony, 1795–1875, New York), came to New York in 1834 and soon developed a notable piano-making business which still continues. Lindeman was instrumental in overcoming the strong prejudice in New York against German workmen. The 'cycloid' piano patented in 1860 by his son Henry Lindeman (b. 1838) presaged the later small or 'baby' grands.
38*Loud, Thomas (d. 1834, New York), an English piano-maker who patented an upright in 1802, was the head of a notable family of makers. He came to New York about 1816. Meanwhile his son Thomas Loud, Jr. had settled in Philadelphia in 1812 as pianist and
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