of superiority to Burney and neglected Hawkins. Evidence of the feeling is found in a catch which was formerly better known than it is now:—
'Have you Sir John Hawkins' History?
Some folks think it quite a mystery.
Musick fill'd his wondrous brain.
How d'ye like him? is it plain?
Both I've read and must agree,
That Burney's history pleases me.'
Which in performance is made to sound:—
'Sir John Hawkins!
Burn his history!
How d'ye like him?
Burn his history
Posterity, however, has reversed the decision of the wits; Hawkins' History has been reprinted (Novello, 1875, 2 vols. 8vo.), but Burney's never reached a second edition. The truth lies between the extremes. Burney, possessed of far greater musical knowledge than Hawkins, better judgment, and a better style, frequently wrote about things which he had not sufficiently examined; Hawkins, on the other hand, more industrious and painstaking than Burney, was deficient in technical skill, and often inaccurate. In 1784 Dr. Johnson appointed Sir John Hawkins one of his executors, and left to him the care of his fame. Sir John fulfilled this trust by writing a life of Johnson, and publishing an edition of his works in 11 vols. 8vo. in 1787. Whilst engaged on the work the library at his house in Queen Square, Westminster, was destroyed by fire. Fortunately he had, soon after the publication of his History, presented the fine collection of theoretical treatises and other works formed by Dr. Pepusch, and which he had acquired, to the British Museum, so that the loss, although severe, was much less than it might have been. On May 14, 1789, Hawkins was attacked by paralysis, from the effects of which he died on 21st of the same month. He was buried in the cloisters of Westminster Abbey, under a stone on which was inscribed, pursuant to his own wish, only the initials of his name, the date of his death, and his age.
The following pieces are printed by Hawkins in his History. The reference is to the chapter, in the Appendix to the No.
Allwoode. A Voluntary, App. 11.
Aretinus, Guido. Cantilena, 55.
Bach, J. S. Aria, 182.
Baltzar. Allemande, 142.
Banister, J. 'Hedge lane,' App. 26.
Bateson. Your shining eyes, 103.
'Bellamira,' App. 23.
Bell tune, 160.
Bennet, J. 'Ye restless thoughts,' 105.
Bevin. Canon, 103.
'Black Sanctus,' App. 2.
Blitheman. A Meane, App. 9.
Bononcini, 'In vain is delay,' 172.
Do. 'Deh lascia.' 186.
Bradley, R. Smoking catch, 159.
Bull. Canons, 67.
Byrd, W. Canon, 'O Lux,' 66.
Do. Miserere, 66.
Do. Canon, 67.
Do. 'Venite,' 96.
Do. 'Diliges,' 96.
Do. The eagle's force, App. 3.
Birds, songs of, 1.
Canon, 5 in 2.
Canons, various, 119.
Canto figurato, 51.
Carissimi. 'Dite o cieli,' 154.
Cebell, the old. App. 22.
Cesti, M. A. 'Cara, cara,' 124.
Clayton, Thos. Overture to Rosamond, 171.
Clemens non Papa. Canon, 66.
'Cock Lorrel.' App. 30.
'Cold and raw.' App. 20.
'Come follow me,' Canon, 67.
'Conditor alme.' 57.
Contrapunctus, 'Simplex and Diminutus,' 51.
Corelli. Solo in A, 196.
Cornyshe, W. 'Ah beshrew you,' 78.
Do. 'Hoyday,' 78.
Couperin. 'Les Gouts reunls,' 162.
Croft. Dr. 'My time, O ye muses,' 167.
Dorian, motet in, 70.
Draghi. The old Cebell, App. 22.
Drum, voluntary and march, 51.
Dunstable. 'Nesciens virgo, 61
Dygon, J. 'Ad lapidis,' 76.
Eccles, J. 'A soldier and a sailor,' 164.
Eccles, J. A rope dance, App. 34.
Eccles, Sol. 'Bellamira,' App. 23.
Edwards, E. 'Where griping grief,' App. 4.
Edwards, B. By painted words, App. 5.
Do. 'In going to.' App. 7.
'Exaudi,' canon, 119.
Fa-burden, 57.
Fandango, App. S3.
Farinel's ground, App. 24.
Farmer. 'You pretty flowers.' 105.
Fayrfax, Dr. 'Ave summe.' 75.
Frescobaldi. Canzona. 130.
Galliard. 'Ye that in waters,' 177.
Geminiani Solo. 181.
Goes, D. a. 'Ne læteris,' 71.
'Green sleeves,' App. 21.
Greene, Dr. 'By the streams,' 191.
Gregorian Tones, 27, 28.
Harrington. Black sanctus,' App. 2.
Haym. 'Too lonely,' 174.
'Hedge Lane,' App. 26.
Henry VIII. 'Quam pulcra,' 77.
'Hey boys,' App. 31.
'Hold thy peace,' canon, 67.
'How should we sing?' canon. 67.
Humfrey, P. 'I pass all my hours,' App. 32.
'In te,' canon, 119.
Isaac, H. 'Conceptio,' 70.
Isham. J. 'Bury delights,' 168.
'John, come kiss me,' App. 18.
'John Dory,' App. 28.
'Johnny, cock thy beaver,' App. 25.
Johnson. 'Defyied is my name,' App. 1.
Josquin. King's Canon, 70.
Do. 'O Jesu fili.' 72.
Kerl. J. G. Organ canzona, 124.
Lasso, O. 'O d'amarissime,' 74.
Do. 'Quand mon mary,' 88.
Lawes, H. 'Sweet echo,' 121.
Louis XIII. 'Tu crois,' 133.
Lully. 'Roland,' 136.
Mace, Lesson, 151.
Marbeck. 'A virgine and mother,' 94.
Do. Our Father, etc., 112. 113.
Marcello. 'Dall' Tribunal,' 180.
Marenzio, L. 'Dissi a l'amata,' 89.
Milton. 'O had I wings,' 102.
Miserere, canon, 119.
'Miserere nostri,' Tallls, 95.
Monte, F. de. 'Da bei rami.' 74.
Monteverde. 'Perch' a' (Orfeo), 108.
Do. Moresca (do.), 108.
Morley, T. 'Beside a fountain,' 100.
Mouton. 'Salve mater,' 74.
Musica ficta, 68.
Ockeghem. Fuga in Epidiapente, 73.
Old Simon the king,' App. 16.
O my fearful dreams,' canon. 67.
Ora et labura,' canon, 119.
Palestrina. 'Sicut cervus,' 88.
Do. 'Credo gentil,' 88.
'Parthenia,' 152.
'Paul's steeple,' App. 15.
Phillips, Peter. 'Voi volete,' 98.
Porta, Cost., 8.
Purcell, H. 'Æolus,' 155.
Do. 'Golden sonata,' 156.
'Quicquid,' canon, 119.
Ravenscroft. Hornpipe, 194.
Redford. 'Rejoice,' App. 8.
'Roger of Coverley.' App. 19.
Rogers, B. 'Te Deum patrem,' App. 12.
Rore, Cipriano. 'Ancor che col,' 74.
Rossi. Emilio. Canon, 67.
Scacchi. 'Vobis dotum est,' 123.
'Sellenger's Round,' 96.
'Shaking of the sheets,' App. 13.
Shephard, J. 'Stev'n first,' 76.
Do. A point, App. 10.
Sloth, cry of the, 1.
Steffani. 'Forma un mare,' 140.
Sternhold & Hopkins. 5 Psalms, 117.
Striggio, A. 'All' acqua,' 64.
Subligny's minuet, App. 27.
Sumer is i cumen in, 45.
Sympson, Chr. Division, 149.
Tallis. 'Absterge,' 95.
Do. 'Miserere,' 95.
Do. 'Like as the doleful.' App. 6.
Taverner, J. 'O splendor,' 75.
Theobald of Navarre. Song, 41.
'There lies a pudding,' 119.
Thorne, J. 'Stella cœli,' 77.
'Toilet's ground,' App. 17.
Tye. 'It chanced in Iconium,' 96.
'Uxor mea,' App. 29.
Valentini. Canon, 67.
Venosa, Prince of. 'Baci soavi,' 90.
Vicentino. 'Alleluia,' Madrigals, etc., 8.
'We be soldiers three,' 119.
Weelkes. 'Aye me!' 102.
Weldon. 'From grave lessons,' 144.
Whitelocke. Coranto, 121.
Wilbye. 'Lady, when I behold,' 104.
Willaert, A. Quem dicunt, 73.
HAYDÉE OU LE SECRET. Opéra comique in 3 acts; words by Scribe, music by Auber. Produced at the Opéra Comique Dec. 28, 1847. It was produced in English (same title) at the Strand Theatre April 3, 48, and at Covent Garden (Pyne and Harrison [App. p.670 corrects to "Bunn"]) Nov. 4, 48 (1st appearance of Miss Lucombe).
HAYDEN, George, organist of St. Mary Magdalen, Bermondsey, in the earlier part of the 18th century. About 1723 he published Three Cantatas, which displayed considerable ability. He also composed a song called 'New Mad Tom,' commencing 'In my triumphant chariot hurl'd,' which was afterwards tacked on to the former part of the older song 'Forth from my dark and dismal cell,' instead of the latter verses beginning 'Last night I heard the dog-star bark,' and was often sung with it. His two-part song, 'As I saw fair Clora walk alone,' was long a favourite.
HAYDN, Johann Michael, born, like his brother Joseph, at Rohrau, Sept. 14, 1737; was grounded in music by the village schoolmaster, and at eight became chorister at St. Stephen's, Vienna. His voice was a pure soprano of great compass, and his style so good that, as soon as
