DICTIONARY OF MUSIC - El Atril

HOPKINSON HORN 427
August 27, 1900. John Hopkins composed ser-
vices, anthems, chants, hymn tunes, voluntaries,
pianoforte sketches, songs, and part-songs, a few
of which liave been published.
His cousin, John Larkin Hopkins, Mus.D.,
born in Westminster, Nov. 25, 1819, was a
chorister of Westminster Abbey under James
Turle. In 1841 he succeeded Ralph Banks as
organist of Rochester. In 1842 he graduated
Mus.B. at Cambridge. In 1856 he removed
to Cambridge ou being appointed organist to
Trinity College and to the University. He jiroceeded
JIus.D. in 1867. Hopkins composed
many services and anthems, and published a
collection of his anthems. In 1847 he edited,
in conjunction with Rev. S. Shepherd, a col-
lection of the Words of Anthems used in
Rochester Cathedral. He died at Yentnor,
April 25, 1873. w. h. h.
HOPKINSON. The greater part of the
pianoforte making of this country has centred
in London, and the firm of J. & J. Hopkinson
though foundedand at hrst carried on exclusively
at Leeds—cannot now be quoted as an exception.
John Hoptkinson established his workshops in
Leeds in 1835, and removed them to London
in 1846. The warerooms were at first in Soho
Square, and were in 1856 removed to Regent
Street, where the business was carried on until
1882, when it was removed to 95 New Bond
Street. From 1892 to 1900 the business was
carried on at 34 Margaret Street, Cavendish
Square, and in the latter year it was moved
back to the piresent address, 84 New Bond Street.
Branch showTooms at Kilburn were opened in
1900. From 1886 to 1895 a music-publishing
business was carried on in addition to the piano-
forte trade. Hopkinson patented a repetition
action for a grand pianoforte in 1850, and in
1862 he further patented a 'harmonic pedal,'
producing the octave harmonies from the strings
by the contact, at the exact half of the "vdbrating
length, of a very slender strip of felt governed
by a special pedal. The firm gained high distinction
at the Exhibitions of 1862 and 1878
—at the latter the Great Gold Jledal. A similar
distinction was conferred at the Music and
Inventions Exhibitions of 1885. John Hopkinson
retired in 1869, leaving his brother, James
Hopkinson, the first place in the business. The
latter's son, John, a director of the company
formed in 1895, is the only member of the
family now in the firm. a. j. h.
HOPPER. A name applied to the jack or
escapement lever in the action of a pianoforte,
or to the escapement lever with its backpiece,
regulating screw, etc. complete. [See Gkass-
HOPPER. ] So named because this lever hops out
of the notch against which its thrust has been
directed ; allowing the hammer to rebound, and
leaving the string free to vibrate.
HORN BAND (Russian). In
A. J. H.
1751, J. A.
Maresch, a horn player attached to the Court of
the Empress Elizabeth of Russia, conceived the
idea of forming a band exclusively conifjosed
of hunting horns. The instruments varied in
length from one foot to seven feet, covered a
distance of four octaves, and were thirty-seven
in number. Most of the players could only
jiroduce the one fumjamental tone, but a few of
the smaller horns jiroduced two notes. The difliculty
of playing with precision by such a band
as this must have been enormous ; but neverthe-
less the first concert at Moscow in 1755 W'as
a huge success. Horn bands became the rage
with all the great nobles, and they frequently
sold the bands— horns and players— to one
another. In 1817 one of these bands visited
Germany, and performed a Te Ikum at Mannheim.
Another band visited France and England
in 1833. In the latter case there were twentytwo
performers led by a clarinet. Two complete
sets of these Horns made of hammered
copper were exhibited in the ^'ienna Exhibition,
1892. Further piarticulars niay be found in
Dalyell's Musical Memoirs of Scotland, p. 170.
See also Ccdalogitc du M%isM InstrumsniaZ
du Conservatoire Royal dc Bnixelles, tome ii.
liv. V. J. c. B.
HORN, FRENCH HORN (Fr. Cor, Cor dt
Chasse ; Ger. Horn, JJ'ahihorn ; Ital. Corno,
Corno di Cac'ia). [In popular language all
instruments with cupped mouthpieces are
frequently called either horns or trumpets.
The two terms, howe^'er, even when used in
the broadest sense, are not projterly interchange-
able, for 'horn,' as siginfying any instrument
having its origin in a natural horn
may be held to include the trumpet, but
'trumpet,' having a much more limited significance,
cannot include the horn. By withdrawing
trumpets (including with them for this
purpose, trombones) from the whole group of
lip-blown instruments, we have left under the
term horn a large variety of wind instruments,
the mutual relationship and developments of
which can be easily understood, and if we
speak of horns a)id trmnpets and not of horns
or trumpets, we are using terms which can be
defined with some accuracy, and which afford
a xiseful means of classifying the two main
divisions of brass instruments.
A general view of the horn class is presented
under Wind Insthuments, but in this article
a somewhat more detailed account may be
conveniently given.
Among primitive races of men, the convenience
both in war and the chase of some means
of signalling more powerful than that atforded
by the human voice must have led to the
appreciation of some rude instrument fashioned
from a conch-shell, an ox-horn, or an elephant's
tusk. The interior form of all these objects is
approximately conii-al, and such a tube, when
blown with the lips at the small end, gives a succession
of notes approximately iu the harmonic