DICTIONARY OF MUSIC - El Atril

434 HOENPIPE HORNPIPE
of 1843 Horn returned to England. In 1845
hia oratorio, renamed 'Satan,' was performed by
the Melophonic Society, and he was appointed
musical director at the Princess's Theatre. In
1847 he again went to America, and on July 23
was elected conductor of the Handel and Haydn
Society of Boston. Early in 1848 he revisited
England for a short time, and produced his
oratorio 'Daniel's Prediction. ' Upon his return to
Boston he was re-elected conductor of the Handel
and Haydn Society, June 10, 1848. He died at
Boston, Oct. 21, 1849. His productions for the
theatre include ' The Magic Bride, ' and ' Tricks
upon Travellers' (with Reeve), 1810 ;
' M. P.'
(1811); 'The Beehive' and 'The Boarding
House,' 1811; 'Rich and Poor,' and 'The
Devil's Bridge' (with Braham), 1812 ;
' Godolphin,
the Lion of the Korth,' 1813; 'The
Kinth Statue,' and 'The Woodman's Hut,'
1814 ; 'Charles the Bold,' 1815 ; 'The Persian
Hunters,' 1816; 'The Election,' and 'The
Wizard,' 1817 ; 'Lalla Rookh,' Dublin, 1820 ;
'Dirce'and 'Annette,' 1822 ; Songs in 'The
Merry Wives of Windsor ' (with Webbe, jun.
Parry, etc., including the popular duet, ' I know
a bank'), and 'Actors al fresco' with T. Cooke
'The
and Blewitt), 1823; 'Philandering,' 1824 ;
Death Fetch,' 1826 ;
' Pay to my order,' 1827 ;
' Peveril of the Peak, ' and ' Honest Frauds '
(containing the beautiful ballad, ' The deep, deep
sea, ' originally sung by the composer, and afterwards
raised to the summit of popularity by the
singing of Malibran), 1830. He also composed
' Nourjahad, ' the date of performance of which
is uncertain [his last opera, 'Ahmed al Kamel,'
;
was produced at the New York National Theatre
in 1840. Diet, of Nat. Biog.^ a cantata entitled
'Christmas Bells,' a set of canzonets, besides
numerous single songs, glees, etc., and edited a
collection of Indian Melodies. Some of his
songs, 'Cherry ripe,' 'Thro' the wood,' 'I've
been roaming, ' and
' Ev'n as the sun, ' were
highly popular, w. H. H. (with additions in
square brackets by w. h. g. f.).
HORNPIPE, in its present meaning, a step
dance, also a particular type of melody in common
time to which this is danced. The name appears
to have been derived from a certain early
rude instrument mentioned by Chaucer in
his translation of the Moviaunt of the Rose,
the original of which is in date about the
middle of the 1 3th century. Chaucer translates
' Estives de Cornoaille ' into ' Hornpipes of
instrument of this day must
Cornwailes. ' The
have been a pni>e made from the horn of an ox
or other animal, which, from a primitive design,
most likely culminated in the Stock and Horn
[q.v.) in common use in certain districts of Scotland
and Wales during the earlier portion of the
18th century.
Stainer and Barrett in their Z>i>