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Page:A Dictionary of Music and Musicians vol 1.djvu/735

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became organist of Worcester Cathedral, which he resigned in 1734 on being appointed organist and master of the choristers at Magdalen College, Oxford. He graduated at Oxford as Mus. Bac. July 8, 1735. On Jan. 14, 1742, he succeeded Richard Goodson as Professor of Music in the University. On the opening of the Radcliffe Library Hayes directed the performance, and was on that occasion created Doctor of Music, April 14, 1749. In 1763 Dr. Hayes became a competitor for the prizes then first offered by the Catch Club, and obtained three for his canons, 'Alleluja' and 'Miserere nobis,' and his glee, 'Melting airs soft joys inspire.' He conducted the music at the Gloucester Festival in 1763. His compositions comprise 'Twelve Arietts or Ballads and Two Cantatas,' 1735; 'Collins's Ode on the Passions'; 'Vocal and Instrumental Music containing I. The Overture and Songs in the Masque of Circe, II. A Sonata or Trio and Ballads, Airs, and Cantatas, III. An Ode being part of an Exercise performed for a Bachelor's Degree in Music,' 1742; 'Catches, Glees, and Canons'; 'Cathedral Music' (Services and Anthcms), 1795; 'Instrumental Accompaniments to the Old Hundredth Psalm, for the Sons of the Clergy'; and 'Sixteen Psalms from Merrick's Version.' He was author of 'Remarks on Mr. Avison's Essay on Musical Expression,' 1762. He died at Oxford July 30 [App. p.670 "July 27"], 1777, and was buried in the Churchyard of St. Peter in the East.

William Hayes, jun., third son of the above, was born in 1741, and on June 27, 1749, was admitted a chorister of Magdalen College. He resigned in 1751. He matriculated from Magdalen Hall, July 16, 1757, graduated as B.A. April 7, 1761, M.A. Jan. 15, 1764, was admitted a clerk of Magdalen College, July 6, 1764, and resigned in 1765 on obtaining a minor canonry in Worcester Cathedral. On Jan. 14, 1766, he was appointed minor canon of St. Paul's Cathedral, and made 'junior cardinal' in 1783. He was also Vicar of Tillingham, Essex. He died Oct. 22, 1790. In May 1765 he contributed to the Gentleman's Magazine a paper entitled, 'Rules necessary to be observed by all Cathedral Singers in this Kingdom.'

[ W. H. H. ]

HAYM, Nicolo Francesco, born at Rome, of German parents, came to England in 1704. A little later, he engaged with Clayton and Dieupart in an attempt to establish Italian opera in London; and played the principal cello in Clayton's 'Arsinoe.' 'Camilla' was Haym's first opera, produced at Drury Lane, April 30, 1706. His next performances were the alteration of Buononcini's 'Thomyris' for the stage, and the arrangement of 'Pyrrhus and Demetrius' [see Nicolini], which, in his copy of his agreement (in the writer's possession), he calls 'my opera,' though in reality composed by A. Scarlatti[1]. For the latter he received £300 from Rich, while he was paid regularly for playing in the orchestra, and bargained for a separate agreement for every new opera he should arrange or import. The principal parts in 'Pyrrhus and Demetrius' were sung by some of the performers in Italian, and by the rest in English; but this absurd manner of representing a drama was not peculiar to England. These operas continued to run from 1709–11, and in the latter year his 'Etearco' was produced; but the arrival of Handel seems to have put Haym to flight. In Nos. 258 and 278 of the Spectator, for Dec. 26, 1711, and Jan. 18, 1712, are two letters, signed by Clayton, Haym, and Dieupart, in which they protest against the new style of music, and solicit patronage for their concerts at Clayton's house in York-buildings. Haym was ready however to take either side, and in 1713 he reappears as the author of the libretto of Handel's 'Teseo,' a position which he filled again in 'Radamisto,' 'Ottone,' 'Flavio,' 'Giulio Cesare,' 'Tamerlano,' 'Rodelinda,' 'Siroe,' 'Tolomeo,' etc. for Handel; 'C. M. Coriolano,' and 'Vespasiano,' for Ariosti; and 'Calfuruia' and 'Astianatte,' for Buononcini. He seems to have been no more particular about claiming the words than the music of others; for he claims the book of 'Siroe,' though it is the work of Metastasio (see Burney, iv. 329). His merit as a musician, however, entitled him to better encouragement than he received; he published 2 sets of Sonatas for a violins and a bass, which show him to have been an able master, and his talent for dramatic music may be appreciated from an air printed by Sir. J. Hawkins in his History (chap. 174).

Haym was a connoisseur of medals. He published 'Il Tesoro delle Medaglie antiche,' 2 vols. Italian and English, 4to. He also wrote 'Merope' and 'Demodice,' two tragedies; and published a fine edition of the 'Gierusalemme Liberata' of Tasso, and a 'Notizia de' Libri rari Italiani,' a useful book. Hawkins tells us (as above) that he also had the intention of printing a History of Music on a large scale, the prospectus of which he published about 1730. He had written it in Italian, and designed to translate it into English, but relinquished the scheme for want of support. It must not be omitted, that we owe to the pencil of Haym the only known portraits of our great early English masters, Tallis and Byrd, engraved by G. Vander Gucht, perhaps for the projected History of Music. The two portraits are on one plate, of which only one impression is known to exist. On abandoning the musical profession, he became a collector of pictures, from two of which he probably copied the heads of Tallis and Byrd. Fétis, incorrectly as usual, puts his death in 1720; he must have died shortly after the publication of the above-mentioned prospectus, for he is mentioned as 'the late Mr. Haym' in vol. 3 of the 'Merry Musician' (circ. 1731).

[ J. M. ]

HEAD-VOICE in contradistinction to chest-voice. This term is applied indifferently to the second or third register. Its range is absolutely indefinable, seeing that many or most of the notes naturally produced 'from the chest' may

  1. Haym composed for this, it is true, a new overture and several additional songs, which have considerable merit.