From 1829 to 1833 organist to St. Dunstan's, Stepney, and subsequently to the church in Tredegar Square, Mile End. and St. George's, Beckenham. In 1830 he published 'Three Anthems,' and in 1832 a 'Te Deum and Jubilate,' the latter of which had gained the Gresham Prize Medal in 1831. In April 1839 he produced an oratorio entitled 'Omnipotence.' He was author of a motet which gained a premium at Crosby Hall, 'Sacred Harmony,' and other compositions. He died March 29, 1859.
Joseph, born in London in 1794, became in 1801 a chorister of St. Paul's under John Sale. Whilst in the choir he was taught the organ by Samuel Wesley and Matthew Cooke, and the piano by J. B. Cramer. At 11 he acted as deputy for Attwood at St. Paul's. He remained in the choir nearly 9 years, and on quitting it became organist of Walthamstow, and private organist to the Earl of Uxbridge. He left Walthamstow to become organist of Tottenham. At the termination of the war in 1815, when quadrille dancing came into vogue, Hart became an arranger of dance music, and his 'Lancers' Quadrille' has continued in use ever since. From 1818 to 1820 he was chorus master and pianist at the English Opera House, Lyceum. He composed the music for 'Amateurs and Actors,' 1818; 'A Walk for a Wager,' and 'The Bull's Head,' 1819, all musical farces; and 'The Vampire,' melodrama, 1820. In 1829 he removed to Hastings, commenced business as a music seller, and was appointed organist of St. Mary's Chapel. Hart produced 48 sets of quadrilles, waltzes and galopades, and 'An Easy Mode of teaching Thorough-bass and Composition.' He died in December, 1844.
Philip (conjectured by Hawkins to be the son of James Hart), bass singer at York Minster until 1670, and thereafter to his death, May 8, 1718, a Gentleman of the Chapel Royal, and lay vicar of Westminster Abbey, was the composer of several songs published in 'Choice Ayres, Songs and Dialogues,' 1676–84; 'The Theater of Musick,' 1685–87; 'The Banquet of Musick,' 1688–92, and other collections of that period. Philip Hart was organist of St. Andrew Undershaft, and St. Michael, Cornhill. In 1703 he composed the music for Hughes's 'Ode in Praise of Musick,' performed at Stationers' Hall on St. Cecilia's day, 1703. On May 28, 1724, he was appointed the first organist of St. Dionis Backchurch, at a salary of 30l. In 1729 he published his music to 'The Morning Hymn from the Fifth Book of Milton's Paradise Lost.' He also published a Collection of Fugues for the Organ. Two anthems by him are included in the Tudway Collection (Harl. MS. 7341). From Hawkins's account of him (chap. 175) he appears to have been a sound and very conservative musician, and a highly respectable man. Sir John elsewhere mentions his excessive use of the shake in his organ playing. Hart died, at a very advanced age, In or about 1749.
Boston Musical Societies in Appendix, vol. iv. p. 555."]
[ F. H. J. ]
HASLINGER. A well-known music firm in Vienna, originally the 'Bureau des arts et d'industrie,' next S. A. Steiner & Co., and since 1826 Tobias Haslinger. Tobias, born March 1, 1787, at Zell, in Upper Austria, 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:—