Cooke and Blewitt), 1823; 'Philandering,' 1834; 'The Death Fetch,' and 'Peveril of the Peak,' 1826; 'Pay to my order,' 1827; and 'Honest Frauds' (containing the beautiful ballad, 'The deep, deep sea,' originally sung by the composer, and afterwards raised to the summit of popularity by the singing of Malibran), 1830. He also composed 'Lalla Rookh' (produced in Dublin), 'Annette,' 'Nourjahad.' and ' M. P.,' the dates of performance of which are uncertain, a cantata entitled 'Christmas Bells,' a set of canzonets, besides numerous single songs, glees, etc., and edited a collection of Indian Melodies. Some of his songs, 'Cherry ripe,' 'Thro' the wood,' 'I've been roaming,' and 'Ev'n as the sun,' were highly popular.
[ W. H. H. ]
HORNPIPE. An English dance, probably called after an obsolete instrument, of which nothing but the name is known. The 'College Hornpipe' is a well-known and spirited specimen. It is in two sections of 8 bars, each ending with three beats of the foot, like the Branle. [See p. 289.] We quote the first section; there is no repeat, but the tune closes with the three hut bars of the quotation.
[App. p.679 "The last four quavers of [bar 6] should be C, B, A, G, i. e. a third higher than the notes given."]
Hornpipes were much written in the last century, and Dr. Stainer (Dict. of Musical Terms) and Mr. Chappell (Popular Music) give specimens with various dates from 1700 to 1800. The older ones are in 3-2 time; the later ones, as above, in common time.
Handel ends the 7th of his 12 Grand Concertos with one which may serve as a specimen of the Hornpipe artistically treated.
In his 'Semele' the Chorus 'Now Love, that everlasting boy,' is headed alla Hornpipe.
The airs 'My Love is but a lassie yet' and 'The British Grenadier,' and the hymn tune 'Helmsley,' are hornpipes; the last, indeed, strongly resembles Miss Catley's hornpipe, 1780. [App. p.679 "On Miss Catley's hornpipe see vol. i. p. 326b, 763b, and vol. ii. 161b."]
[ G. ]
HOLYOKE, Samuel. A.M. An American teacher and composer of both vocal and instrumental music, born at Boxford, Mass., 1771. He published 'Harmonia Americana' (printed in type at Boston, 1791)—a collection of hymn-tunes and other pieces, in which the absurd practice of imitations and 'fugues' was done away with, and homophony and common sense introduced. Also 'The Instrumental Assistant' (vol. i. 1806, vol. ii. 1807, Exeter, N.H.) Also 'The Columbian Repository of Sacred Harmony' (Exeter, N. H., 1809), a very voluminous work. Also, with Oliver Holden, 'The Massachusetts Compiler.' He died at Concord, N. H., in the spring of 1816, much regretted and esteemed. No piece of his music is known on this side of the Atlantic.
[ G. ]
HORSLEY, William, Mus. Bac., born in London, Nov. 15, 1774, having at the age of 16 chosen music as a profession, was articled for five years to Theodore Smith, a pianist and minor composer, from whom he received but small instruction and much ill usage. He profited greatly however by his intimacy with the three brothers Pring and Dr. Callcott, his association with whom led him to the practice of purely vocal composition, and he soon produced many excellent glees, canons and rounds, besides services and anthems. He became organist of Ely Chapel, Holborn. In 1798 a suggestion of his resulted in the establishment of the Concentores Sodales. About the same time he was appointed assistant organist to Dr. Callcott at the Asylum for Female Orphans, upon which he resigned his appointment at Ely Chapel. On June 18, 1800, he graduated Mus. Bac. at Oxford, his exercise being an anthem, 'When Israel came out of Egypt.' On the revival of the Vocal Concerts in 1801, Horsley produced several new compositions, and for several years continued to supply them, not only with glees and songs, but also with instrumental pieces, amongst which were three symphonies for full orchestra. In 1802, Callcott having resigned the organistship of the Asylum, Horsley was appointed his successor. In 1812 he was chosen organist of the newly-erected Belgrave Chapel, Halkin Street, Grosvenor Place, which he held in conjunction with the Asylum. In 1837, on the death of R. J. S. Stevens, he became organist of the Charter House, still retaining his other appointments. Horsley published five Collections of Glees; a Collection of 40 Canons; a Collection of Psalm Tunes with Interludes, 1828; many single glees and songs, sonatas and other pieces for the piano-forte, and 'An Explanation of the Major and Minor Scales.' He contributed several glees to Clementi and Co.'s 'Vocal Harmony,' the second edition of which was issued under his care. He edited a Collection of the Glees, etc., of Dr. Callcott, to which he prefixed a memoir of the composer and an analysis of his works, and Book I. of Byrd's 'Cantiones Sacræ' (for the Musical Antiquarian Society). Horsley holds a deservedly high rank among glee composers. His 'By Celia's arbour,' 'See the chariot at hand,' 'Mine be a cot' 'Cold is Cadwallo's