See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

JOHN LIPTROT See also:

• JOHN LIPTROT HATTON (1809-1886)
• HATTON, SIR CHRISTOPHER (1540–1591)

HATTON (1809-1886)  , See also:

• ENGLISH

English musical composer, was See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

horn at See also:

• LIVERPOOL
• LIVERPOOL, EARLS
• LIVERPOOL, EARLS OF

Liverpool on the 12th of See also:

• OCTOBER

October 1809 . He was virtually a self-taught musician, and besides holding several appointments as organist in Liverpool, appeared as an actor on the Liverpool See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, subsequently finding his way to See also:

• LONDON

London as a member of See also:

• MACREADY, WILLIAM CHARLES (1793—1873)

Macready's See also:

• COMPANY

company at See also:

• DRURY, SIR WILLIAM (1527-1579)

Drury See also:

• LANE, EDWARD WILLIAM (1801–1876)
• LANE, JAMES HENRY (1814–1866)

Lane in 1332 . Ten years after this he was appointed conductor at t he s inne i hrutre for a See also:

• SERIES (a Latin word from serere, to join)

series of English operas, and in 1843 his own first ooeretta,See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen of the i /hones, wasgiven with success . Staudigl. the eminent See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass, was a member of the company, and at his See also:

• SUGGESTION

suggestion See also:

• HATTON, JOHN LIPTROT (1809-1886)
• HATTON, SIR CHRISTOPHER (1540–1591)

Hatton wrote a more ambitious See also:

• WORK

work, See also:

• PASCAL, BLAISE (1623-1662)
• PASCAL, JACQUELINE (1625-T661)

Pascal See also:

• BRUNO (BRUN, BRUNS) OF QUERFURT, SAINT (c. 975-1009)
• BRUNO, GIORDANO (c. 1548-1600)
• BRUNO, or BRUN (925–965)
• BRUNO, SAINT

Bruno, which, in a German See also:

• TRANSLATION

translation, was presented at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, with Staudigl in the See also:

• PRINCIPAL

principal See also:

• PART

part; the See also:

• OPERA (Italian for " work ")

opera contained a See also:

• SONG

song, " Revenge," which the basso made very popular in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, though the piece as a whole was not successful enough to be produced here . Hatton's excellent See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte playing attracted much See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention in Vienna; he took the opportunity of studying See also:

• COUNTERPOINT (Lat. contrapunctus, " point counter point," " note against note ")

counterpoint under Sechter, and wrote a number of songs, obviously modelled on the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of German See also:

• CLASSICS

classics . In 1846 he appeared at the See also:

• HEREFORD

Hereford festival as a See also:

• SINGER, SIMEON (1846-1906)

singer, and also played a pianoforte See also:

• CONCERTO (Lat. concertus, from certare, to strive, also con-fused with concentus)

concerto of See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart . He undertook See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert See also:

• TOURS

tours about this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time with See also:

• SIVORI, ERNESTO CAMILLO (1815-1894)

Sivori, Vieuxtemps and others . From 1848 to 185o he was in See also:

• AMERICA

America; on his return he became conductor of the See also:

• GLEE

Glee and See also:

• MADRIGAL (Ital. madrigale)

Madrigal See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

Union, and from about 1853 was engaged at the Princess's See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre to provide and See also:

• CON

con-duct the See also:

• MUSIC

music for See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles See also:

• KEAN, EDMUND (1787–1833)

Kean's Shakespearean revivals . He seems to have kept this apppointment for about five years . In 1856 a See also:

• CANTATA (Italian for a song or story set to music)

cantata, See also:

• ROBIN

Robin See also:

• HOOD,
• HOOD, JOHN BELL (1831–1879)
• HOOD, SAMUEL HOOD, VISCOUNT (1724–1816)
• HOOD, SIR SAMUEL (1762-1814)
• HOOD, THOMAS (1799-1845)
• HOOD, TOM (1835–1874)

Hood, was given at the See also:

• BRADFORD
• BRADFORD, JOHN (1510?—1555)
• BRADFORD, WILLIAM (1590—1657)
• BRADFORD, WILLIAM (1663—1752)
• BRADFORD, WILLIAM (1827—1892)

Bradford festival, and a third opera, See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

Rose, or Love's See also:

• RANSOM (from Lat. redemptio, through Fr. rancon)

Ransom, at Covent See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

Garden in 1864, without much success . In 1866 he went again to America, and from this See also:

• YEAR

year Hatton held the See also:

• POST

post of accompanist at the Ballad Concerts, St See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James's See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall, for nine seasons . In 1875 he went to See also:

• STUTTGART

Stuttgart, and wrote an See also:

• ORATORIO

oratorio, See also:

• HEZEKIAH (Heb. for " [my] strength is [of] Yah ")

Hezekiah, given at the Cyrstal See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace in 1877; like all his larger See also:

• WORKS

works it met with very moderate success .

Hatton excelled in the lyrical forms of music, and, in spite of his distinct skill in the severer styles of the madrigal, &c., he won popularity by such songs as " To Anthea," " See also:

• GOOD, JOHN MASON (1764-1827)

Good-bye, Sweetheart," and " See also:

• SIMON, ABRAHAM (1622-1692)
• SIMON, JULES FRANCOIS (1814–1896)
• SIMON, RICHARD (1638–1712)
• SIMON, SIR JOHN (1816–1904)
• SIMON, THOMAS (c. 1623-1665)

Simon the Cellarer," the first of which may be called a classic in its own way . His glees and part-songs, such as " When Evening's See also:

• TWILIGHT

Twilight," are still reckoned among the best of their class; and he might have gained a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of higher distinction among English composers had it not been for his irresistible See also:

• ANIMAL
• ANIMAL (Lat. animalis, from anima, breath, soul)

animal See also:

• SPIRITS

spirits and a want of See also:

• ARTISTIC

artistic reverence, which made it uncertain in his younger days whether, when he appeared at a concert, he would See also:

• PLAY

play a See also:

• FUGUE (Lat. fuga, flight)

fugue of See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach or sing a comic song . He died at See also:

• MARGATE

Margate on the loth of See also:

• SEPTEMBER (Lat. septem, seven)

September 1886 .