Page:A Dictionary of Music and Musicians vol 1.djvu/734

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722
HAYES.
HAYDN.


'Le Midi.'

1761.
 

{ \time 4/4 \tempo \markup { \smaller \italic Adagio. } \relative c'' { <c e, g,>4\f r8 g-.\p a-. b-. c-. d-. | <e c g c,>4\f r8 g-.\p f-. e-. d-. f-. | <e c g c,>4\f r8 a-.\p f-. e-. d-. c-. } }


'Le Soir.'

[176-.]
 

{ \time 3/8 \key g \major \tempo \markup { \smaller \italic "Allegro molto." } \relative d'' { d8-. d-. d-. b-. c-. d-. d-. e-. c-. b4 r8 d-. d-. d-. b-. c-. d-. } }


'Il Distrato.'
(Overture to 'Der Zerstreute.')

[1776.]
 

{ \time 2/4 \tempo \markup { \smaller \italic Adagio. } \relative g { <g e' c'>4\f c8. c16 c4 c16( d32 e f g a b) c8-. r e-. r g-. r } }


'Kinder-Symphonie.'

[178-.]
 

{ \time 4/4 \tempo \markup { \smaller \italic Allegro. } \relative c'' { c4\f e8 d c4 g'8 f e4 a8 g f4 e d8 f16 d c8 b c4 e8 d } }


'Mercury.'

[1772.]
 

{ \time 3/4 \key ees \major \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic Allegro. } \relative g { <g ees' ees'>4\f ees'\p ees ees2 \acciaccatura g8 f8( ees) ees4 c' c8( bes) bes4 r r } }


'Der Philosoph.'

'1764.'
 

{ \time 4/4 \key ees \major \tempo \markup { \smaller \italic Adagio. } \relative e' { ees8-.\p bes-. g-. bes-. ees-. bes-. g-. ees'-. d c bes aes g ees' g ees f ees c d ees f g c } }


'La Passione.'

[1773.]
 

{ \time 3/4 \key f \minor \tempo \markup { \smaller \italic Adagio. } \relative c' { c4\p( des) bes c( f) aes g( bes) e, f aes2 } }


'Feuer-Symphonie.'
(Probably Overture to 'Die Feuersbrunst.')

'1774.'
 

{ \time 4/4 \key a \major \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic Presto. } \partial 8 \relative a'' { a8\f << { a,2:8 a: a: a:16 a: a:8 } \\ { a,4 r8 fis'-. e-. d-. cis-. b-. cis-. d-. e-. fis-. g4 r fis r gis! r } >> } }


'Concertante.'

'London, 1792.'
 

{ \time 4/4 \key bes \major \tempo \markup { \smaller \italic Allegro. } \relative f' { f2.\p d'8( bes) | ees4.( c8) a4 r8 f bes[ \grace { c16[ bes a] } bes8] d[ bes] g[ \grace { a16[ g fis] } bes8] bes[ g] f4. ees } }


'Lamentations.'[1]

1772.
 

{ \time 4/4 \key d \minor \tempo \markup { \smaller \italic "Allegro assai con spirito." } \relative d' { d8\p d4 d d d8 ~ d f4 e d a8 bes bes4 bes bes bes8 ~ bes g'4 f e a,8 } }

[ C. F. P. ]

HAYDN IN LONDON. The second volume of 'Mozart und Haydn in London,' by C. F. Pohl (Vienna, Gerold, 1867), devoted to an account of Haydn's two visits to England and the musical condition of the country at the time. It abounds with curious details gathered during a long residence here, and its accuracy is unimpeachable. It will to some extent be superseded by Mr. Pohl's Life of Haydn from new and authentic sources, especially from the archives of Eisenstadt, and Forchtenstein, of which one volume [App. p.670 "two volumes. The third volume of Herr C. F. Pohl's biography of Haydn, left unfinished at the author's death, is in process of completion by Herr Mandyczewski."] has appeared (Leipzig, Breitkopf & Härtel, 1878).

[ G. ]

HAYES, Catharine, distinguished soprano, was born in Ireland in 1825 or 26, and learnt singing in Dublin from Sapio, in Paris from Garcia, and at Milan from Ronconi. On her departure for abroad Thackeray wished her farewell in his Irish Sketchbook. She made her first appearance at Marseilles in 1845 in the Puritani, and this successful débût was the beginning of a very brilliant career in Italy and Austria. Her first appearance in London was at Covent Garden, April 10, 1849, in Linda. After a short period of fair success here, during which she also sang in Lucia, the Sonnambula, and the Prophète (Bertha)—and of much greater eclat in Ireland, where she sang Irish songs amid vast applause—she left Europe for America, India, Australia, and Polynesia. In 1857 she returned with a fortune, and married Mr. Bushnell, but was known by her maiden name till her death, which took place at Roccles, Sydenham, Aug. 11, 1861. Her voice was beautiful, but she was an imperfect musician, and did not study. In society and domestic life she was greatly beloved and esteemed.

[ G. ]

HAYES, Philip, Mus. Doc., second son of Dr. William Hayes, born in April 1738; received his musical education principally from his father; graduated Mus. Bac. at Oxford, May 18, 1763; on Nov. 30, 1767, was appointed a Gentleman of the Chapel Royal. In 1776, on the resignation of Richard Church, he was chosen to succeed him as organist of New College, Oxford, and on the death of his father in the following year obtained his appointments of organist of Magdalen College, Oxford, and Professor of Music in the University. He proceeded Doctor of Music, Nov. 6, 1777. On the death of Thomas Norris in 1790 he was appointed organist of St. John's College, Oxford. Dr. Hayes composed several anthems, eight of which he published in a volume; 'Prophecy,' an oratorio, performed at the Commemoration at Oxford, 1781; Ode for St. Cecilia's day, 'Begin the Song' (written by John Oldham and originally set by Dr. Blow, 1684); 'Telemachus,' a masque, and 16 Psalms from Merrick's Version. He was editor of 'Harmonia Wiccamica,' a collection of the music sung at the Meeting of Wykehamists in London, and of some MS. Memoirs of the Duke of Gloucester (son of Princess Anne of Denmark), commenced by Jenkin Lewis, one of his attendants, and completed by the editor. Dr. P. Hayes, who was one of the largest men in England, died March 19, 1797, and was buried in St. Paul's Cathedral.

[ W. H. H. ]

HAYES, WILLIAM, Mus. Doc., born at Gloucester [App. p.670 "Hexham"] in 1707, became a chorister of the cathedral there under William Hine. He was articled to Hine, and soon became distinguished as an organist. After the expiration of his articles he obtained the appointment of organist at St. Mary's Church, Shrewsbury. In 1731 he

  1. The Adagio contains the Ecclesiastical Melody for Passion Week.