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voci' (Norimberga, 1590) and his 'Cantiones sacræ de festia praecipuis totius anni 4, 5, 8 et plurium vocum'—(Augsburg, 1591) 28 Latin motets. These were followed by his 'Concentus ecclesiastici' (Augsburg, 1596); 'Neue teutsche Gesaeng' (1596); 'Madrigali' (ibid.), and Cantiones novæ' (1597). The statement so often repeated by the Lexicons that Hassler entered the Imperial chapel at Vienna in 1601 is inaccurate, and arises from the fact that a certain Jacob Hasler joined that establishment on July 1, 1602. (See Köchel 'Kais. Hofkapelle,' p. 53.) At a later time Hassler entered the service of Christian II. of Saxony, and died probably on June 5, 1612.

Besides the works already named there exist 8 Masses of his (1599); four-part Psalms and Gesänge (Nuremberg 1607, republished by Breitkopfs in score, 1777); and five collections of German and Latin secular songs. Many single pieces are given in Boclenschatz's 'Florilegium' and in Schadaeus's 'Promptuarium Musicum.' (See Eitner's Bibliographic of his compositions in the 'Monatshefte für Musikgelehrte,' 1871.) Proske (Musica Divina) gives 3 Masses and 7 other pieces of his, and says of his style that 'it unites all the greatest beauty and dignity that can be found in both the Italian and German art of that day.' Rochlitz includes a Pater Noster for 7 voices in his 'Sammlung,' vol. 3. The well-known chorale 'Herzlich thut mich verlangen' or 'Befiehl du deine Wege,' so much used by Bach in the Passion, was originally a love song, 'Mein Gemuth is mir verwirret,' in his 'Lustgarten deutscher Gesänge' (1601).

His younger brother, Jacob, a meritorious church composer, is probably the Hasler already mentioned as having joined the Chapel at Vienna: it is at least certain that he was organist to Graf Eytel Friedrich von Hohenzollern Herbingen in 1601. The third brother, Caspar, born probably 1570, acquired a reputation for playing the organ and clavier, and was one of the musicians appointed to try the organ at Gröningen, near Halberstadt. Some of his vocal pieces are found in 'Symphoniæ sacræ' (Nuremberg, 1598–1600).

[ F. G. ]

HATTON, John Liphot [App. p.669 corrects to "John Liptrot"], born in Liverpool 1809, received in his youth a small rudimentary instruction in music, but was otherwise entirely self-taught. He settled in London in 1832, and soon became known as a composer. In 1842 he was engaged at Drury Lane Theatre, at which house, in 1844, he produced an operetta called 'The Queen of the Thames.' In the same year he went to Vienna and brought out his opera, 'Pascal Bruno.' On his return to England he published, under the pseudonym of 'Czapek,' several songs which met with considerable success. In 1848 he visited America. Hatton was for some years director of the music at the Princess's Theatre under Chas. Kean, and whilst there composed music for 'Macbeth' and 'Sardanapalus,' 1853; 'Faust and Marguerite,' overture and entr'actes, 54; 'King Henry VIII,' 55; 'Pizarro,' 56; 'King Richard II,' 57; and 'King Lear,' 'The Merchant of Venice,' and 'Much Ado about Nothing,' 58. He has also composed two Cathedral services; several anthems; 'Rose, or, Love's Ransom,' opera, Covent Garden, 1864; 'Robin Hood,' cantata, Bradford Musical Festival, 1856; several books of part songs, and upwards of 150 songs ('Good bye, sweetheart,' etc.). One of his latest achievements was the 'sacred drama' of 'Hezekiah,' produced at the Crystal Palace, Dec. 15, 1877. [App. p.669 "date of death, Sept. 20, 1886."]

[ W. H. H. ]

HAUCK, Minnie, born (of a German father) at New York Nov. 16, 1852, made her first appearance at a concert at New Orleans about 1865. She was then placed under the care of Signor Errani in New York, and made her début on the stage of that city as Amina in 1868. After a successful tour in the States with a large répertoire of characters she came to London, and appeared at Covent Garden as Amina (Oct. 26, 1868) and Margherita. In 1869 she was engaged by the Grand Opera, Vienna, and sang there and at Moscow, Berlin, Paris, and Brussels, with great success for several years in a large range of parts. On April 27, 1878, she reappeared here at Her Majesty's as Violetta in the Traviata. She sustained the part of Carmen in Bizet's opera of that name at Brussels, and on its production in London by Mr. Mapleson at Her Majesty's on June 2 2, thus making the success of the piece, which had not pleased in Paris, and showing herself to be not only a high-class singer, but also possessed of no ordinary dramatic power. Her voice is a mezzo soprano of great force and richness, and she is said to sing Italian, German, French and Hungarian with equal facility.

[ G. ]

HAUPT, Carl, a very distinguished German organist, born Aug. 25, 1810, at Cunau in Silesia; pupil of A. W. Bach, Klein, and Dehn, and at a later date of the two Schneiders. In 1832 he obtained his first post at the French convent in Berlin, from which he gradually rose to the parish church of the city, where he succeeded Thiele in 1849. His reputation spread far beyond his native country, and in 1854 he was consulted by Professors Donaldson, Ouseley, and Willis, the committee appointed to draw up a scheme for a gigantic organ at the Crystal Palace. In 1870 he succeeded his old master Bach as Director of the Königliche Kirchenmusik Institut at Berlin, over which he still continues (1878) to preside. Haupt is remarkable for his fine extempore variations in the style of J. S. Bach—close and scientific, and increasing in elaboration with each fresh treatment of the theme; and in that master's organ music he is probably unsurpassed.

[ G. ]

HAUPT, Leopold, a clergyman of Görlitz, author of 'Volkslieder der Wenden' (Grimme, 1841), a collection of the melodies sung in the district round Dantzig, the ancient seat of the Wends.

[ M. C. C. ]

HAUPTMANN, Moritz, Doctor of Philosophy, German composer and eminent theorist, and Cantor of the Thomas School at Leipsic, born at Dresden Oct. 13, 1792. His education was conducted mainly with a view to his father's