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Groves Dictionary Of Music And Musicians,vol.2, 1906
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1published a History of the Stage, in 5 volumes, and in 1803 his Professional Life, in 4 volumes. He had published several novels previously, such as The Devil, 1785; Hannah Hewitt, 1792; The Younger Brother, 1793; and a periodical, The Bystander, 1787. In 1802 Dibdin gave his entertainment in Dublin. In 1805 he sold his theatre and retired from public life. In 1803 Government granted him a pension of £200 per annum, but this being withdrawn on a change of ministry he was led to open a music shop in the Strand as a means of subsistence. The speculation, however, failed, and he became bankrupt. A subscription for his relief was opened in 1810, with part of which an annuity of £30 was purchased for himself, his wife and daughter successively. Subsequently his pension was restored to him. He brought out another play, 'The Round Robin,' at the Haymarket in 1811, and composed songs for Dr. Kitchener's 'Belle Assemblée.' Towards the end of the year 1813 Dibdin was attacked by paralysis, and died the following year. He was buried in the cemetery belonging to the parish of St. Martin-in-the-Fields, in Pratt Street, Camden Town, where there is a monument to his memory. Dibdin's two sons, Charles and Thomas, were well-known dramatists.
3The following is a list of Dibdin's operas and other dramatic pieces. Of those marked thus * he was author as well as composer:
5*The Shepherd's Artifice, 1763; Love in the City (part of the music), 1767; Damon and Phillida, Lionel and Clarissa (part of the music), and The Padlock, 1768; The Mind the Mistress, The Recruiting Sergeant, The Ephesian Matron, The Jubilee, Doctor Ballard, Queen Mab, and The Captive, 1769; Pigmy Revels, 1770; The Wedding Ring, and The Institution of the Garter, 1771; *The Ladle, *The Mischance, The Brickdust Man, *The Widow of Abingdon, and The Palace of Mirth, 1772; The Trip to Portsmouth, The Deserter (partly selected from Monsigny and Hildidor), and *The Grenadier, 1773; *The Waterman, A Christmas Tale, and *The Cobbler, 1774; *The Quaker, and The Two Rivers, 1775; *The Seraglio, The Blackamoor, *The Metamorphoses, *The Razor Grinder, *Yo, Yea, or, The Friendly Tars, *The Old Woman of Eighty, *The Mad Doctor, *She is mad for a Husband, *England against Italy, *The Fortune Hunter, and *All's not Gold that Glitters, 1776; *Poor Vulcan, *Rose and Colin, *The Wives Revenged, *Annette and Lubin, and *The Milkmaid, 1778; Plymouth in an Uproar, *The Chelsea Pensioner, *The Mirror, and *The Touchstone, 1779; *The Shepherdess of the Alps, *Harlequin Freemason, and *The Islanders, 1780; *Jupiter and Alcmena, 1781; *None so blind as those who won't see, 1782; *The Barrier of Parnassus, *The Graces, *The Saloon, *Mandarina, or, The Refusal of Harlequin, *The Land of Simplicity, *The Passions, *The Statue, *Clump and Cudden, *The Benevolent Tar, *The Regions of Accomplishment, *The Lancashire Witches, *The Cætus, *Pandora, *The Long Odds, Tom Thumb, and Harlequin the Phantom of a Day (all for the Royal Circus), 1782-84; *Liberty Hall, 1785; Harvest Home, 1787; *A Loyal Effusion, 1797; and *Hannah Hewitt, 1798.
7His table entertainments were—
9The Whim of the Moment, and The Oddities, 1789; The Wags, 1790; Private Theatricals, 1791; The Quizzers, 1792; Coalition, 1792; 'Castles in the Air, 1793; Nature in Nubibus, and Great News, 1794; Will of the Wimp, and Christmas Gambols, 1795; Datchet Mead, and The General Election, 1796; The Sphinx, and Valentine's Day, 1797; King and Queen, 1798; A Tour to the Land's End, and The Goose and the Gridiron, 1798; Tom Wilkins, 1799; The Cake House, 1800; A Friar, 1801; Most Votes, 1802; New Year's Gifts, Britons, strike home, Heads and Tails, Valentine's Day, The Election, A Trip to the Coast, The Frolic, 1804; The Professional Volunteers, Rent Day, Commodore Pennant, Heads or Tails, and Cecilia, 1805; Wives and Sweethearts, Broken Gold (Drury Lane), 1805-6
11Besides these Dibdin was author of 'The Gipsies,' a comic opera for which Dr. Arnold composed the music, The Harmonic Preceptor, a didactic poem, 1804, and The Musical Mentor, Music Epitomised. (Corr. and addns. from D.N.B. See also Mus. T. for 1886, p. 68. A bibliography of Dibdin's works, by a descendant, appeared intermittently in Notes and Queries, July 1901-June 1904; a supplementary bibliography by Frank Kidson appeared in the same publication on May 22, 1909).
13W. H. H.; addns. F. G. E. and others.
15(2) HENRY EDWARD (b. Sadler's Wells, Sept. 8, 1813; d. Edinburgh, May 6, 1866), youngest son of Charles Dibdin the younger (that is, grandson of the above), acquired his first knowledge of music from his eldest sister, Mary Anne, afterwards Mrs. Tonna, an excellent harpist, pupil of Challoner and Bochsa.
17He subsequently studied the harp under Bochsa, and also became proficient on the organ and violin. He appeared as a harpist at Covent Garden, Aug. 3, 1832, at Paganini's last appearance. Early in 1833 Dibdin went to Edinburgh, where he held the honorary post of organist of Trinity Chapel, and established himself as a teacher. Dibdin composed a few psalm tunes and some pieces for the organ and pianoforte, but he is best known as the compiler of 'The Standard Psalm Tune Book' (1857), the largest and most authentic collection of psalm tunes ever published, the contents being mainly derived from ancient psalters; also of 'The Praise Book' (1865). Besides his attainments as a musician Dibdin possessed considerable skill as a painter and illuminator. (Addns. D.N.B.)
19W. H. H.
21DICKINSON, EDWARD (b. West Springfield, Mass., Oct. 10, 1853), was educated in music at the New England Conservatory (Boston), and under Klindworth at Berlin. In 1893 he became professor in Oberlin College and Conservatory and developed a system of instruction in musical history which has had a wide influence (see Degrees in Music, subsection American Universities). He has published a number of books, amongst which the Study of the History of Music, 1905 (3rd ed. 1914), is important.
23Amer. Supp.
25DICKONS, MRS. MARIA (b. London, c. 1770: d. May 4, 1833), whose father's name was Poole, was a pupil of Rauzzini, and in 1787 appeared at Vauxhall Gardens as a singer. She sang at the Concert of Ancient Music and other concerts. On Oct. 9, 1793, she made her appearance at Covent Garden Theatre as Ophelia in 'Hamlet' and shortly afterwards as Polly in the 'Beggar's Opera.' She next sang in several of the principal towns of England, Scotland and Ireland with great success. She married in 1800, and retired for a time, but resumed her career, and reappeared at Covent Garden in 1807 as Mandane in 'Artaxerxes.' She joined the Drury Lane company in 1811. She was subsequently engaged at the King's Theatre, where on June 18, 1812, she performed the Countess in Mozart's 'Nozze di Figaro' to the Susanna of Mme. Catalani. In 1816 she was engaged at the Italian opera at Paris;
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