320:, both through his love of English madrigals, and through the influences he derived from German music. His connection with Oliphant had given him an immediate path of information and study. A visit to England of the Cologne Choir is thought to have given new impetus to the glee movement in England, and Hatton was in the vanguard. Their harmonised melodies, German part-songs by Mendelssohn and others, were called glees in imitation of the English glees, and attracted a great deal of interest. Among all English composers, Hatton with his new understanding of the German music and his sure foundation in the English melodious idiom, responded by producing a series of part-songs of which it has been said 'they were imitated by many but surpassed by none.' On his return from America Hatton became conductor of the Glee and Madrigal Union, and it was during the 1850s, while working with Charles Kean, that he published the first of his several collections of part songs, including "Absence", "When evening's twilight", "The happiest land", etc. They were performed by the 'Orpheus Vocal Union', a group of professional singers led by William Fielding. Hatton thus set the example for others like
249:
year 1848, and presented as little souvenirs to several of my friends on my leaving
England. The rest with one exception were written entirely for my own amusement during the time I was away, and all of them were composed without any view to their publication... On my return to England I was urged by one of my friends... to make a complete collection of these little compositions and publish them in a consolidated form. The kindness of my friends in restoring me some of my MSS. has enabled me to do this, and I now send these songs forth into the world, satisfied if they should be the means, in however humble a degree, of adding to the material of musical enjoyment, or of contributing anything to the regeneration of the popular taste in an important department of chamber music.' It was also during the 1840s that he wrote "Simon the Cellarer", another abiding favourite (which he sold to Oliphant for 'a £10 note'). This was incorporated into the ballad opera
176:
some capital specimens of pianoforte music by various masters including
Corelli, Bach, Handel, Mozart, Beethoven, etc. He sang songs comic, sentimental, and serious. He levied contributions upon many nations for their compositions, and kept his audience alternately moved with delight and excited with laughter. Mr Hatton was modest enough not to obtrude too many of his own works upon his visitors. 'The Adventures of Robinson Crusoe', a song intended, no doubt, to be very comic, was the only composition of Mr Hatton's performed during the evening." Although differing in that – on that occasion – Hatton did not perform many of his own compositions, this style of one-man entertainment with speech, songs and a keyboard with accessories had been pioneered by
632:
way. His glees and part-songs, such as "When
Evening's Twilight", are still reckoned among the best of their class; and he might have gained a place of higher distinction among English composers had it not been for his irresistible animal spirits and a want of artistic reverence, which made it uncertain in his younger days whether, when he appeared at a concert, he would play a fugue of Bach or sing a comic song." Yet he was not irreverent: the lasting value of his own ballads and songs, of which he composed more than 150, the merits of his arrangements of the English songs, his role as composer to Kean and accompanist to Mario, Reeves and Santley, and his service over a long period to Boosey both as publishers and as promoters of the
152:. He was 'unsurpassed as a snapper-up of unconsidered madrigalian trifles', and his personal collections were made up, after his death in 1873, into nearly 600 lots for sale. Hatton's Oliphant songs were published in England under the pseudonym 'P.B. Czapek' (alluding to the Hungarian word for a Hat, for 'Hatton'), and became Oliphant's property, as did other of Hatton's copyrights. Among Hatton's settings for his collaborator were "Streamlet gently flowing", "Autumn reflections", "The goldsmith's daughter", and 'My days have been so wondrous free".
1366:
1312:
22:
1384:
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96:', in the hope of bringing forward native talent... I, however, wish you would look at your cloak, or great-coat, lest you should have had a bit cut out of it: for there is a young man of the name of Hatton, who seems to have got a little bit of it, indeed he seems to assimilate to your style without plagiary more than anyone I have met with."
248:
at this time which were published in and before 1850. Others became the property of Thomas
Oliphant. In his August 1850 Preface, Hatton says that they were written 'at different times under various circumstances. Some few of them were composed previous to my departure to America in the autumn of the
294:
Reeves, on account of Hatton's appearance with a bald dome and surrounding fringe, used to call him 'The Sultan'. Hatton used to perform a comic song "The little fat man" which was supposed to be a skit on himself. When, for instance, he sang it before the Leeds
Rational Recreation Society in April
63:
and at the Roman
Catholic church in Liverpool. (Auditioning for Woolton, he played a voluntary upon the street-song "All round my Hat", hinting at his own name.) A man of many-sided talents and a broad humour attending them, he appeared as an actor on the Liverpool stage. Subsequently, he found his
631:
of 1911 wrote: "Hatton excelled in the lyrical forms of music, and, in spite of his distinct skill in the severer styles of the madrigal, &c., he won popularity by such songs as "To Anthea", "Good-bye, Sweetheart", and "Simon the
Cellarer", the first of which may be called a classic in its own
175:
in
December 1846: "Mr J.L. Hatton was the Atlas of the entertainment, and bore the weight of the concert on his own shoulders. He lectured, sang, and performed on the pianoforte. Like Malaprop's Cerberus, he was three gentlemen at once. The entertainment was novel and interesting. Mr. Hatton gave
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in
October 1844, as a benefit for Staudigl, who took the principal part. It had a mixed reception, and was not presented to a London audience, yet still the 'Revenge' song – the only part to be published – was made very popular in England by Staudigl. Fitzball, finding that his text had been
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presented, in German, without his consent, the playbill naming 'Herr
Fixball' as the English author, was obliged to accept the situation, but it seems to have ended his association with Hatton. But Vienna greatly admired Hatton's piano playing, especially the fugues of
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Hatton's sheer versatility, his multifarious skills and interests, his energy and the exuberance of his good nature, characterised one of the extraordinary musicians of his age: and yet these same qualities led some to disparage his brilliance. His biographer for the
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are household words, and no English collection would be complete which did not contain the best songs of these composers... New symphonies and accompaniments have been written to more than fifty of the old songs.' His selection also drew substantially on Chappell's
275:, that became the two favourite songs most associated with Mario. Hatton toured with Reeves in 1850 before returning briefly to America, and made a tour to Dublin, Belfast and Manchester with him in 1853, on which occasion, in Dublin, Reeves first sang
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by Henri Drayton in 1859. Charles Santley, who championed "To Anthea" and "Simon the Cellarer" singing them with Hatton accompanying, lived long enough to record them both, twice, in the early 20th century, preserving his association with the composer.
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269:. For Mario he composed his famous song "Good-night, sweetheart, good-night", instructing him in the pronunciation of the words and coaching him in the music before it had been committed to manuscript. It was this, and 'Com'è gentil" from
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The Songs of England : a Collection of English Melodies, including the most popular traditional ditties and the principal songs and ballads of the last three centuries. Edited with new symphonies and accompaniments by John Liptrot
423:
had not been published, Hatton sought to show that it remained his own property and could be adapted or performed at his discretion. The court, however, found that it was an inseparable part of Kean's design, and ruled against him.
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piano concerto, but also sang "Christmas Sleigh Ride" while he played the piano and jangled sleigh bells, all to the great amusement of the crowd. It is said that on the next day he was due to conduct a performance of Mendelssohn's
213:. "Contemporary critics deplored the failure of the public to appreciate his great art." He did pander to the public on occasion: in Boston, where he obtained a position in the Handel and Haydn Society, he performed
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From 1848 to 1850 Hatton was in America, and in 1848 gave several public and private concerts in New York City. For example, on 12 September, at the Apollo Theatre, he performed his own comic songs as well as works by
47:
to a musical family, for both his father John and grandfather were violinists. Although largely self-taught as a musician, he became a pupil of Michael Maybrick (uncle of the singer and composer
669:(Sonnenschein, London 1888) (& Reprint by Cambridge University Press 2013), XVIII: John Liphot Hatton, pp. 309–323. This book is the origin of the mis-spelling of the name 'Liptrot'.
228:(first performed 1846) at which, the baritone being indisposed, Hatton in the relevant numbers turned to face the audience from the conductor's podium and sang the title role himself.
148:, who commissioned the songs, with German translations. Oliphant was a collector of music, and between 1840 and 1849 he catalogued the manuscript and printed music collections of the
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In the winter season of 1842–43 he obtained an appointment directing the choruses in the English opera series at the Theatre Royal, Drury Lane, and in February 1843 his own first
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when it was mounted independently at the Liver Theatre (the 'Little Liver') in Liverpool. It happened to be staged simultaneously with the London production during 1839 in which
385:. Only the glee by Kelly was kept. Kean sought authenticity: Hatton rewrote it completely, 'based on Indian airs... founded on melodies published in Rivero and Tschudi's work on
490:, an influential published collection which helped to establish a canon of English song with accompaniments, and cumulatively ran to three volumes under the later editorship of
84:
took the same role: Hatton scored so great a success that the London production disappointed when it came to Liverpool. Meanwhile, he was making his mark as a musician: in 1835
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and others, serving both as accompanist and solo pianist. He also gave monodramatic entertainments, as for example in this description of a concert in the Assembly Rooms at
696:
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1853, he also performed 'La ci darem la mano' with Mme D'Anteny, gave his own song 'Day and Night', and finished off with Handel's 'O ruddier than the cherry' (from
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in New York on 31 October. His daughter, Frances J. Hatton, emigrated to Canada in 1869, where she became a respected composer and the singing instructor at the
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419:, for which several mediaeval instruments were required. The arrangement with Kean seems to have collapsed in a legal dispute of 1859. As the music for
116:), obtained a successful run of six performances. This included the madrigal "The merry bridal bells", sung by Miss Romer, Mr H Phillips and Mr Allen.
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1220:(Boosey & Co., London, ?1873), 'Preface' p. iii. The collection rose to 200 songs in two volumes, and the third brought the total to 272 by 1892.
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in 1877; like all his larger works it met with moderate success. In his last years he lived at Margate in Kent, and died there on 20 September 1886.
460:, London, commenced, for which Hatton held the post of accompanist for the first nine seasons. Hatton developed a fondness for the seaside town of
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301:). Then the Leeds Madrigal and Motet Society performed his work "Sailors Beware!" Hatton was always very diverse. In 1856 his secular cantata of
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279:. Mario sang it suavely, and with an Italian accent, so as to break one's heart; Reeves made it vigorous and soul-stirring. Hatton composed
464:, in Suffolk, where he lived for some time, and was certainly staying there in October 1865. In this connection he wrote a four-part
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924:
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The Songs of Charles Dibdin, Chronologically Arranged, with Notes Historical, Biographical and Critical, with a Memoir of the Author
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In 1866 he went again to America, where as a member of H.L. Bateman's Concert Troupe he took part in the inaugural concert of the
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Soon after this he composed a number of songs modelled on the style of German classics, including some eighteen songs to words by
564:(who died in 1877) on a performing edition, providing it with new symphonies and accompaniments, which replaced the old one by
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Despite Hatton's later collaboration with John Oxenford on the ballad operas, this is not to be confused with the opera of
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in December 1832. Santley tells that Hatton took the part of Joe Blueskin (who has the song "Jolly Nose") in the play of
55:'s father, and also studied in the academy of a Mr. Molyneux. By the age of 16 he had become organist in the churches of
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35:(12 October 1809 – 10 September 1886) was an English musical composer, conductor, pianist, accompanist and singer.
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929:
Voices of the Past, A Catalogue of Vocal Recordings from the English Catalogues of The Gramophone Company (etc)
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120:, the eminent German bass, was a member of the company: at his suggestion Hatton wrote a more ambitious work,
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409:
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1189:
Edwin M. Good, 'William Steinway, and Music in new York 1861–1871', in M. Saffle and J.R. Heintze (Eds),
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861:
Classical Music's Strangest Concerts and Characters: Extraordinary But True Tales of Harmony and Discord
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523:, in which many of the accompaniments were rewritten by George Alexander Macfarren, and contrasted with
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of 1866, in which only the unaccompanied melodies were given. He also edited the companion volume of
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This date is shown by a Letter from J.L. Hatton to Jas. Couper, 1865, in the Collections of the
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927:(10-inch G & Ts, "To Anthea" 2-2864 and "Simon the Cellarer" 2-2862), see John R. Bennett,
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Hatton was one of the great accompanists of his time, and during the 1850s he toured with
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52:
1193:, New Edn. (Routledge, Abingdon 2013 (orig. Garland Publishing 1998)), pp. 3–28, at p. 8.
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Brian C. Thompson, 'Henri Drayton, English opera and Anglo-American relations, 1850–72',
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494:. Hatton remarked, 'I have culled the choicest of the old ditties... The names of
456:, but it met with little success. It was in that year that the Ballad Concerts at
371:(1855) was dedicated to Mrs Charles Kean; in 1856 his music for Kean's revival of
1382:
1260:
The Late Victorian Folksong Revival: The Persistence of English Melody, 1878–1903
1351:
Strong on Music: The New York Music Scene in the Days of George Templeton Strong
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585:
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321:
266:
89:
21:
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691:
J.A. Fuller Maitland, 'Hatton, John Liptrot', in L. Stephen and S. Lee (Eds),
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436:(text by Henry Sutherland Edwards), was presented at the Royal English Opera,
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including a morning and evening service in E, and a number of anthems such as
241:
133:
which he played from memory. While in Vienna he took the opportunity to study
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is set in the context of late Victorian song collecting by E. David Gregory,
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Hatton's work at the Princess's Theatre in London is well documented by the
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44:
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E.g. "Fair Daffodils, we weep to see" (R. Addison & Co., London 1848).
535:, with J.L. Molloy, a volume of Comic songs, and a volume of the songs by
389:
as handed down to us by Spaniards after the conquest.' He wrote music for
739:
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105:
1294:
The Beggar's Opera as it was performed at the Lyric Theatre, Hammersmith
1336:. Vol. 13 (11th ed.). Cambridge University Press. p. 64.
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56:
1135:
Music for the Melodramatic Theatre in 19th Century London and New York
92:, "We have recently had a new establishment here which is called 'The
194:
160:
125:
1012:
Dictionary of Composers for the Church in Great Britain and Ireland
1317:
This article incorporates text from a publication now in the
1296:, 2nd (Revised) Edition (Boosey & Co., London 1926) Note p. v.
831:, 2 Vols. (G.H. Davidson, London 1842, 1848), Vol 1, pp. xxiv–xxv.
348:'s Shakespearean revivals. In this capacity he composed music for
20:
1390:
Performed by Atelier vocal des Herbiers (petit ensemble Amarante)
1244:
The Song Book, Words and Tunes from the Best Poets and Musicians
214:
72:, appearing in a cast led by Macready and Kean in Shakespeare's
1107:(Cambridge 2004): cf J.L. Hatton, R.B. Sheridan and C.J. Kean,
1088:
English Glees and Part Songs: An Inquiry into their Development
486:
Hatton was responsible for re-editing the first two volumes of
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From about 1853 Hatton was engaged as Director of Music at the
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The Cambridge Companion to the Victorian and Edwardian Theatre
768:(Cambridge University Press 1963), pp. 37–59 passim, at p. 59.
727:
A Century of Ballads, 1810–1910, Their Composers and Singers,
636:, tell their own story of his unique place in English music.
1364:
1176:
Augener, 1868. See Fuller Maitland, 'Hatton, John Liptrot',
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Sheridan's Tragic Play of Pizarro, Or, The Spaniards in Peru
184:: Hatton was certainly well aware of the example of Dibdin.
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playbill collection of the University of Kent at Canterbury
361:, both in 1853. He wrote an overture, and entr'actes, for
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Festival as a singer, and also played a piano concerto of
1137:(University of Iowa Press, 2014), pp. 111–13, and p. 133.
845:
Strong on Music: The New York Music Scene in the Days of
680:
Student and Singer: The Reminiscences of Charles Santley
1233:, 2 vols (Cramer, Beale and Chappell, London), c. 1859.
1204:
Songs of England, A Collection of 274 English Melodies.
795:
793:
791:
1419:
Foster Hall Collection at the University of Pittsburgh
1090:(Longmans, Green & Co., London 1886), pp. 330–33.
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Austin went back to early editions of Pepusch and Dr
163:. He undertook concert tours at about this time with
1050:
Popular Music in England 1840–1914: A Social History
312:
Hatton became a foremost exponent of the writing of
1262:(Scarecrow Press, 2010), especially at p. 359 ff.,
1009:Humphreys, Maggie; Evans, Robert (1 January 1997).
1077:to Oxenford's libretto, produced during the 1860s.
738:Published by D'Almaine & Co, London 1843, see
986:(Stanley Paul & Co, London 1924), pp. 172–73.
931:(Oakwood Press, 1955), p. 50: and afterwards for
874:Songs and Poems by Herrick, Ben Jonson and Sedley
576:. Hatton and Oxenford also produced editions of
305:, to a text by George Linley, was given at the
766:Some British Collectors of Music, c. 1600–1960
695:Vol. 25 (Elder Smith & Co., London 1891),
413:in 1858. Reference is also found for music to
332:and very many more who followed where he led.
1206:3 vols (Boosey & Co., London, 1873–1892).
753:Thirty-Five Years of a Dramatic Author's Life
8:
984:Sims Reeves, Fifty Years of Music in England
923:Santley recorded them first in 1904 for the
755:, 2 Vols (T Newby, London 1859), II, 159–60.
729:(Mills and Boon, London c.1911), pp. 127–28.
355:(the orchestra including six harps) and for
1052:(Manchester University Press 1997), p. 33.
236:Hatton composed various songs to poems by
1424:Carleton College Music Department website
1413:International Music Score Library Project
970:Fuller Maitland, 'Hatton, John Liptrot',
777:Fuller-Maitland, 'Hatton, John Liptrot',
615:, and also wrote a sacred musical drama,
209:, in that year, he shared the stage with
180:more than fifty years previously, in his
899:Journal of the Royal Musical Association
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468:in commemoration of the place he loved.
1146:H. Sutherland Edwards and J.L. Hatton,
645:
16:English composer and singer (1809–1886)
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1191:Music and Culture in America 1861–1918
901:136 no. 2, pp. 247–303, at pp. 262 ff.
814:, 26 December 1846: cited in Simpson,
1124:(Yale University Press, 2008), p. 72.
721:Letter of 9 February 1835, quoted in
568:, and was itself replaced in 1920 by
365:in 1854; his music for Shakespeare's
344:to provide and conduct the music for
7:
240:(including his famous "To Anthea"),
110:Queen of the Thames, or, The Anglers
682:(Edward Arnold, London 1892), p. 6.
1409:Free scores by John Liptrot Hatton
1275:J. Oxenford and J.L Hatton (Eds),
1202:J.L. Hatton and Faning, E. (Ed.),
1065:(Metzler & Co., London 1879).
336:Shakespeare music for Charles Kean
14:
1246:(Macmillan and Co., London 1866).
1122:Imagining Native America in Music
925:Gramophone and Typewriter Company
876:(Brewer & Co., London 1850).
440:in 1864. It had the advantage of
100:The composer in London and Vienna
1459:Burials at Kensal Green Cemetery
1398:Problems playing this file? See
1380:
1310:
1150:(Boosey & Co., London 1864).
863:(Anova Books, 2007), pp. 101–02.
693:Dictionary of National Biography
25:John Liptrot Hatton (left) with
1279:(Boosey & Co, London 1870).
1231:Popular Music of the Olden Time
51:), who was also the teacher of
1479:19th-century British composers
1:
1484:19th-century British pianists
289:Blessed be the Lord of Israel
64:way to London as a member of
1489:19th-century English singers
1061:J. L. Hatton and G. Linley,
94:Society of British Musicians
1086:William Alexander Barrett,
725:, cited in Harold Simpson,
652:See 'John Liptrot Hatton',
560:. Hatton collaborated with
521:Popular Music of Olden Time
232:Song-writer and accompanist
155:In 1846 he appeared at the
1510:
1075:George Alexander Macfarren
859:B. Levison and F. Farrer,
381:replaced the old score by
342:Princess's Theatre, London
326:George Alexander Macfarren
442:Helen Lemmens-Sherrington
182:Entertainments Sans Souci
1464:Musicians from Liverpool
1353:, pp. 538–89 (1995)
1111:(John K. Chapman, 1856).
850:(1995), pp. 538–89.
477:Hellmuth Ladies' College
207:Pittsburgh, Pennsylvania
1376:When evening's twilight
1333:Encyclopædia Britannica
847:George Templeton Strong
629:Encyclopædia Britannica
611:In 1875 Hatton went to
539:, for Boosey & Co.
1369:
1161:Royal Academy of Music
1148:Rose, or Love's Ransom
656:50 (1909), pp. 641–46.
542:Among the sources for
434:Rose, or Love's Ransom
432:Hatton's third opera,
421:Much Ado About Nothing
410:Much Ado About Nothing
404:The Merchant of Venice
277:Good-night, sweetheart
29:
1368:
1347:Vera Brodsky Lawrence
1277:English Ballad Operas
1063:Robin Hood, A Cantata
841:Vera Brodsky Lawrence
281:Anglican church music
24:
1328:Hatton, John Liptrot
1037:A Century of Ballads
912:A Century of Ballads
816:A Century of Ballads
783:A Century of Ballads
387:Peruvian Antiquities
363:Faust and Marguerite
1494:People from Woolton
1133:Michael V. Pisani,
1120:Michael V. Pisani,
878:Read at Hathi Trust
452:, Henry Corri, and
251:Diamond cut diamond
188:First American tour
43:Hatton was born in
33:John Liptrot Hatton
1370:
1165:Accession 2006.237
1067:Read here in IMSLP
961:, pp. 246, 249–50.
827:G. Hogarth (Ed.),
710:Student and Singer
621:The Crystal Palace
606:No song, no supper
580:and Mrs. Brooke's
549:The Beggar's Opera
30:
1454:English composers
1429:Hatton's portrait
1385:
1022:978-0-7201-2330-2
1015:. A&C Black.
764:Alec Hyatt King,
594:Love in a Village
466:Aldeburgh Te Deum
395:in 1857, and for
211:Stephen C. Foster
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1469:English pianists
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959:Musical Memories
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946:Musical Memories
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933:Columbia Records
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544:Songs of England
533:Songs of Ireland
488:Songs of England
446:Willoughby Weiss
330:Walter Macfarren
298:Acis and Galatea
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572:'s version for
570:Frederic Austin
566:Stephen Storace
537:Robert Schumann
481:London, Ontario
458:St James's Hall
444:and Mr and Mrs
430:
353:King of Assyria
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1444:1809 births
1290:Thomas Arne
619:, given at
322:Henry Smart
267:Sims Reeves
265:, and with
219:Mendelssohn
90:Mendelssohn
1438:Categories
1400:media help
1178:Old D.N.B.
1071:Robin Hood
972:Old D.N.B.
957:W. Smart,
944:W. Smart,
779:Old D.N.B.
712:, pp. 6–7.
640:References
558:Dr Pepusch
392:Richard II
368:Henry VIII
318:part songs
309:Festival.
303:Robin Hood
242:Ben Jonson
169:Vieuxtemps
70:Drury Lane
1264:read here
1092:Read here
1039:, p. 127.
1035:Simpson,
999:, p. 250.
910:Simpson,
785:, p. 125.
781:Simpson,
708:Santley,
613:Stuttgart
529:Song Book
462:Aldeburgh
398:King Lear
203:Scarlatti
131:J.S. Bach
88:wrote to
61:Childwall
45:Liverpool
740:worldcat
617:Hezekiah
554:John Gay
373:Sheridan
307:Bradford
106:operetta
66:Macready
1415:(IMSLP)
1411:at the
1321::
1304:Sources
995:Smart,
598:Storace
496:Purcell
416:Henry V
378:Pizarro
358:Macbeth
173:Peckham
139:Sechter
74:Othello
57:Woolton
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1218:Hatton
1019:
697:p. 166
582:Rosina
578:Shield
525:Hullah
516:Bishop
508:Dibdin
504:Shield
407:, and
225:Elijah
195:Handel
165:Sivori
161:Mozart
137:under
126:Vienna
602:Hoare
314:glees
263:Grisi
259:Mario
205:. In
199:Field
1017:ISBN
600:and
596:and
588:and
586:Arne
556:and
546:was
514:and
512:Horn
500:Arne
328:and
316:and
287:and
261:and
244:and
215:Bach
201:and
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