viaLibri Requires Cookies CLICK HERE TO HIDE THIS NOTICE

Recently found by viaLibri....

Autograph Letters Signed / Partly-printed Autograph Manuscript
This English composer, conductor, pianist and singer is remembered for his many comic songs and glees, but also composed operas such as "Queen of the Thames," "Pascal Bruno" and "Rose, or Love's Ransom" and the cantata "Robin Hood." First, an ALS, 3pp, 4½" X 7¼", Upper Halloway, England, 1861 January 1. Addressed to William Cox Bennett (1820-95), a minor English poet who authored several verse collections. Near fine. Cordial note from a poet who it seems wants Hatton to set some of his poems to music. "I am much obliged for your new Book of Poems which I will devour as soon as I get the chance. The '1000 miles away' will, I think, suit my knuckle -- & I'll have a try at it. The Publisher of 'The Homeward Watch' will send you copies very shortly. When the weather gets a little decent, we will have a 'big talk' at yr. fireside con molto piacere.... I have forwarded Kingsley's Poems by this Post...." Boldly penned. Second, another ALS, 2pp, 7" X 4½", Margate, England, 1874 July 5. Addressed to William Kingston Sawyer (1828-82), poet who authored "Ten Miles from Town" (1866) and "The Legend of Phyllis" (1872). Near fine. In bold purple ink, Hatton pens another poet who wants Hatton to set his verse to music. "The 'Rose song' in yr. Vol. is very nice -- & would make a charming ballad -- but I cannot put myself in competition with Balfe -- who always did -- & always could write a more popular tune than ever I could...." Third and last is a Partly-printed Autograph Document in the form of a 12mo (4 3/4" X 7¼") full calf blind-embossed volume, n.y. Very good. Some edge and corner wear, but overall tight and decent; text pages a bit edgeworn. Front pastedown bears Hatton's 3" X 1½" printed "Mr. J.L. Hatton" calling card. "S. Goswell St." pencilled by Hatton above his printed name has been crossed out in ink, as has the "210 Regent Street" inked in his hand below his printed name; next to this last, he pens "Aldeburgh, / Saxmand home." The full text block of this blank book consists of light brown leaves, on the front flyleaf of which he pens "Index / Ho! fill me a Tankard." Hatton has neatly affixed a 4" X 6½" sheet to the recto of the first three leaves, the first titled "Index" and all three bearing his inked a list of his titles (or first few text words) in a left-hand column and a page number in a right-hand column. Thus the first index page begins with "Ho! fill me a" on page "1" and ends with "Fat man" on page "14," the second leaf begins with "Mr. Brown's Serenade" on page "15" and ends with "Woman of Mind" on page "28," and the third leaf begins with "Sally, Sally" on page "29" and ends with "Kit the Cobbler" on page "43." After several blank leaves these lyrics appear, as printed in newsprint, clipped out and neatly affixed, with Hatton noting the indexed page number on each clipping. The clippings are bright and clean, showing no brittleness. Some fill one side, some fill two or more sides, and occasionally there are blank leaves interspersed. Three songs listed in the index do not appear: # 2 ("In days of old"), #5 ("Leather Bottel") and #20 ("Teacher of Express"). Hatton makes a number of interesting textual corrections and changes, and occasionally adds editorial remarks and such. In "Comic Song," for instance, he crosses out the line "I think I shall faint, I feel so queer" and inks in "I shall die an old maid, I fear." To "The Little Fat Grey Man," Hatton crosses out a dozen lines with a large "X" and pastes in a 3½" X 2¼" slip on which he has penned alternate lyrics. On "Mr. Brown's Serenade," Hatton crosses out two lines near the bottom, draws a line to the facing page and pens two new lines. He writes in the margin, "J. Boosey for his 'Numerous Song Book' -- June 4, 1874" (certainly referring to the British music publisher). And below this clipping, he adds, "Very good -- first rate affect always. J.L.H. 1874." Below the clipping of "King Canute and the Cold Water Cure," Hatton writes: "I think John Parry did this -- but I never saw it in print. J.L.H. 1874" -- most likely referring to John Orlando Parry (1810-79), Welch singer and pianist. Below the "A Dinner in London" clipping, he writes "don't like it much." Hatton pens a measure of miniscule music in the margins of the "William Tell" clipping, then adds below the clipping: "a first rate song. J.L.H. 1874." Below the "Little Red Riding Hook" clipping, he remarks "rather too long." He changes the title of "Mr. Lewis Thomas" (called "O Ruddier" in his index), crossing out "Lewis Thomas" and writing in "Weiss." Perhaps most interesting of all are two holograph fair copies penned by Hatton. The first is a five-page holograph fair copy of "The Cock Sparrow" which Hatton has tipped in -- #36 in his index. The second is a four-page, eight-stanza song titled "Legend of the Rotunda" -- #41 in his index. All in all a fascinating insight into this composer's work -- highly unusual.
      [Bookseller: Main Street Fine Books & Manuscripts, AB]
Last Found On: 2014-08-08           Check availability:      Biblio    

LINK TO THIS PAGE: www.vialibri.net/years/items/634449/1861-hatton-john-liptrot-1809-86-autograph-letters-signed-partly-printed-autograph

Browse more rare books from the year 1861


      Home     Wants Manager     Library Search     561 Years   Links     Contact      Search Help      Terms of Service     


Copyright © 2017 viaLibri™ Limited. All rights reserved.