Page:A Dictionary of Music and Musicians vol 1.djvu/768

756. followed by 'The Barbers of Bassora,' a comic opera, produced at Covent Garden Theatre, Nov. 11, 1837, and 'The Outpost,' at the same theatre, May 17, 1838. Soon after this Mr. Hullah's attention was turned to that which became subsequently the business of his life—popular instruction in vocal music; and attracted by the reports of Mainzer's success as a teacher, he visited Paris, only to find Mainzer's classes entirely dispersed. Early in 1840 [App. p.681 "1839"] he returned to Paris, and remained for some time observing Wilhem's classes, then in the full tide of success. On his return to England he made the acquaintance of the late Sir James Kay Shuttleworth, then Dr. Kay, and undertook the instruction of the students in the Training College at Battersea, the first established in England, and just opened under the direction and at the cost of Dr. Kay and Mr. Edward Carlton Tufhell. On Feb. 18, 1840, he gave his first class-lesson at Battersea, and from that day dates the movement he originated. On Feb. 1, 1841, he opened at Exeter Hall a school for the instruction of Schoolmasters of Day and Sunday Schools in Vocal Music by a system based on that of Wilhelm, which met with remarkable success. Not only schoolmasters but the general public flocked to obtain instruction, and country professors came to London to learn the system and obtain certificates of being qualified to teach it. The system was acrimoniously attacked, but it outlived all opposition. From his elementary classes Mr. Hullah formed two schools, an upper and a lower, and commenced giving concerts in Exeter Hall, the members of his upper school forming his chorus, and the orchestra being completed by professional principal singers and instrumentalists. Remarkable among these were four historical concerts illustrating in chronological order the rise and progress of English vocal music, given at Exeter Hall on Mondays in the first four months of 1847. At this time Mr. Hullah's friends and supporters determined on erecting and presenting to him a concert hall, and, having procured a piece of ground near Long Acre, the foundation stone of St. Martin's Hall was laid June 21, 1847. The hall was opened, although not entirely completed, on Feb. 11, 1850, and Mr. Hullah continued to give his concerts there until the building was destroyed by fire Aug. 28, 1860, on the occurrence of which event his friends and pupils testified their gratitude and sympathy for him by the presentation of a handsome testimonial. During the existence of the upper school Mr. Hullah brought forward a large number of unknown works, old and new, and introduced many vocalists, some of whom have become very eminent. From 1840 to 1860 about 25,000 persons passed through his classes. In 1844 Mr. Hullah was appointed Professor of Vocal Music in King's College, London, an office which he resigned in 1874. He still holds (1879) similar appointments in Queen's College and Bedford College, London, with both of which he has been connected since their foundation. From 1870 to 1873 he was conductor of the concerts of the Royal Academy of Music. On the death of his old master, Horsley, in 1858, Mr. Hullah was appointed organist of the Charter House, where since 1841 he had carried on a singing class. For many years he conducted the annual concert of the Children of the Metropolitan Schools at the Crystal Palace. In March 1872 he was appointed by the Committee of Council on Education Inspector of Training Schools for the United Kingdom, which office he still holds. In 1876 the University of Edinburgh unexpectedly conferred on him the honorary degree of LL.D., and in 1877 he was made a member of the Society of St. Cecilia in Rome and of the Musical Academy in Florence. Dr. Hullah is the composer of many songs, etc., and is author of 'A Grammar of Vocal Music'; 'A Grammar of Harmony'; and 'A Grammar of Counterpoint'; 'The History of Modern Music' (1862), and 'The Third or Transition Period of Musical History (1865) (Courses of Lectures delivered at the Royal Institution of Great Britain); 'The Cultivation of the Speaking Voice'; 'Music in the House,' 1877; and of numerous essays and other papers on the history and science of music contributed to various periodicals; also of many songs, some of which—such as 'O that we two were Maying,' 'Three Fishers,' 'The Storm'—have become very popular. He edited 'Wilhem's Method of teaching Singing, adapted to English use'; 'The Psalter, a collection of Psalm Tunes in 4 parts,' 1843; The Book of Praise Hymnal,' 1868; 'The Whole Book of Psalms, with Chants'; and a large number of vocal compositions in parts and other publications for the use of his classes. Amongst these should be named 'Part Music' (reprinted as 'Vocal Music'), for 4 voices, and 'Vocal Scores,'—two most admirable collections; 'Sacred Music' (1867); 'The Singer's Library'; 'Sea Songs,' etc., etc. [See ../Part Music; ../Vocal Scores.] [App. p.681 "date of death, Feb. 21, 1884."] [ W. H. H. ]

HUME,, an officer in the army and an excellent performer on the viol-da-gamba; published in 1605 'The First Part of Ayres, French, Pollish and others together, some in Tabliture, and some in Pricke Song. With Pavines, Galliards, and Almaines for the Viole de Gambo alone … and some Songes to bee sung to the Viole,' etc., containing 116 airs in tableture and 5 songs. In 1607 he published 'Captaine Hume's Poeticall Musicke principally made for two basse-viols, yet so contrived that it may be plaied eight severall waies upon sundry instruments with much facilitie,' etc., containing 18 instrumental and 4 vocal pieces. Hume rose to the rank of colonel. In 1642, being then a poor brother of the Charter House, he presented a petition to the House of Lords offering his services against the Irish rebels, which he afterwards printed, but it is evident from its contents that he was labouring under mental delusion. [ W. H. H. ]

HUMFREY, (as he himself wrote his name, although it is commonly found as Humphry or Humphrys, with every possible