composers. Certain portions of Mlle. Holmes's work, as the opening of 'Irlande,' her most complete work, and the third part of 'Les Argonautes,' although they contain serious faults in prosody and in the union between the words and the music, are nevertheless creations of great worth, evincing by turns a charming tenderness, ardent passion, and masculine spirit. It is true that the author does not always measure her effects; she gives rather too much prominence to the brass instruments, and in seeking for originality and grandeur she is sometimes affected and pompous; but this exuberance is at least a sign of an artistic temperament, and of a composer who has something to say and tries to give it a fitting expression. This virtue is rare enough amongst men, but is exceptional in women, and is therefore worthy of the highest praise.
HOLMES, Henry. P. 744a, add that for some years he has given an interesting series of chamber concerts, under the title of 'Musical Evenings,' and that he has held the post of professor of the violin at the Royal College of Music since its foundation. A symphony, entitled 'Boscastle,' was given at one of the London Symphony Concerts in the spring of 1887.
HOLMES, W. H. Add date of death, April 23, 1885.
HOLSTEIN, Franz von, the son of an officer of high position, born at Brunswick Feb. 16, 1826. He was himself obliged to adopt the military profession, but eagerly embraced every opportunity of improving his musical knowledge. He studied with such success under Griepenkerl that in 1845, while he was working for an examination, he found time to finish an opera in two acts, 'Zwei Nächte in Venedig,' which was privately performed. He went through the Schleswig-Holstein campaign, and on his return to Brunswick set to work upon an opera on the subject of 'Waverley.' This more ambitious work in five acts was finished in 1852, and was shewn to Hauptmann, who was so pleased with it that he persuaded Holstein to leave the army and devote himself to art. From 1853 to 1856 therefore, with a considerable interval occasioned by ill-health, he studied at Leipzig, and produced several very promising works, among them a concert overture, 'Loreley.' He went to Rome in the winter of 1856–7, and continued his studies there, and subsequently at Berlin and Paris. In 1869 a new opera, 'Die Haideschacht,' was produced with success at Dresden, and was heard on all the principal stages of Germany. A comic opera, 'Die Erbe von Morley,' was produced in 1872 at Leipzig, and in 1876 yet another, 'Die Hochländer,' was given at Mannheim. In the night of May 21–22, 1878, the composer died at Leipzig. Besides the dramatic works we have mentioned, the following are important: a posthumous overture, 'Frau Aventiure,' a solo from Schiller's 'Braut von Messina,' 'Beatrice,' a scena for soprano with orchestra, and many songs and instrumental compositions.
HOLYOKE, Samuel. See vol. i. p. 753.
HOME, SWEET HOME. Add that the fact of its introduction into 'Anna Bolena' has given rise to an idea, among certain continental authorities, that Donizetti wrote it; but that opera was not written till 1831, while 'Clari' was produced in 1823. Mr. Charles Mackay stated in the 'Daily Telegraph' of March 19, 1887, that Bishop, in an action for piracy and breach of copyright, made oath to the fact of his having composed the tune. The words are by Howard Payne.
HOMILIUS, G. A. Line 26 of article, for homophone read homophonic.
HOMOPHONE. For this word read Homophony. The reference in the last line of article should be Polyphonia.
HOPKINS, J. L. H. Page 747a, l. 4, for in 1820 read Nov. 25, 1819.
HOPKINSON. Line 7 of article, for 1842 read 1835. Line 10, add that in 1882 the business was removed to 95 New Bond Street. At end, add that Messrs. John and James Hopkinson, sons of the member of the firm last mentioned, are the present heads of the house.
HORN. Page 749a, l. 4, for raised read lowered. Page 750b, third paragraph, omit the sentence beginning This solo, though preserved, etc.
HORNPIPE. The last four quavers in the last bar of the second line of the first musical illustration should be C, B, A, G, i. e. a third higher than the notes given. On Miss Catley's hornpipe see vol. i. p. 326b, 763b, and vol. ii. 161b.
HORSLEY, CHARLES EDWARD. Page 754a. Add day of birth, Dec. 16 (1822 is the correct date), and in line 3 from end of article, for March 2 read Feb. 28.
HOSANNA. Page 754b, line 2, for [Osanna] read [Mass].
HOTHBY, John (see p. 754). It should be mentioned that the treatise beginning 'Quid est Proportio,' of which there are copies at the British Museum and Lambeth Palace, is not identical with the 'Regulæ super proportionem' of the Paris, Venice, and Bologna libraries. In the national library at Florence is a MS. containing several works by Hothby; namely, (1) Ars musica; (2) a dialogue on the same subject, in which the author quotes, among others, Dunstable, Dufay, and even Okeghem; (3) a letter in Italian, refuting the censures of Osmense, a Spaniard; (4) 'Calliopea legale,' a musical treatise, of which there is another copy at Venice. This last work is interesting as giving an account of the transition from neumes to square notes. Another important MS. of Hothby's was formerly at Ferrara, but has been lost: besides a 'Kyrie,' a 'Magnificat,' and other musical compositions, it contained the following short treatises, of which there are copies in the Liceo Communale at Bologna:—(1) the above-mentioned 'Regulæ super proportionem'; (2) 'De Cantu figurato'; (3) 'Regulæ super Contra-
