Dr. Edward John Hopkins

Total Page:16

File Type:pdf, Size:1020Kb

Dr. Edward John Hopkins EDWARD JOHN HOPKINS. This content downloaded from 76.190.40.17 on Fri, 16 Nov 2018 20:37:41 UTC All use subject to https://about.jstor.org/terms THE MUSICAL TIMES. SEPTEMBER I, IS97. 585 THE ASSOCIATED BOARD of the R.A.M. and stock. His father, George Hopkins, and his R.C.M. for LOCAL EXAMINATIONS in MUSIC. father's brother, Edward Hopkins, were both President-H.R.H. the PRINCE OF WALES, K.G. excellent clarinettists, and as such they played THOMAS THRELFALL, Esq., Chairman. in the orchestra at Covent Garden at the The Hon. G. W. SPENCER LYTTELTON, C.B., Deputy-Chairman. production of Weber's opera " Oberon " (April LIST of PROFESSORS who are EXAMINERS to the BOARD. I2, I826), under the composer's direction. E. F. Arbos, Esq. T. A. Matthay, Esq. J. F. Barnett, Esq. G. P. Moore, Esq. Two brothers of the subject of our sketch, G. J. Bennett, Esq., Mus. Doc. W. Nicholl, Esq. John and Thomas Hopkins, also became A. C. Bent, Esq. A. O'Leary, Esq. O. Beringer, Esq. A. Oswald, Esq. organists the former is now organist of H. Blower, Esq. W. F. Parker, Esq. Sir F. Bridge, Mus. Doc. Sir W. Parratt, Mus. Doc. Rochester Cathedral; the latter (died I 893) A. Burnett, Esq. E. Prout, Esq., Mus. Doc. was organist of St. Saviour's Church, York, F. Cliffe, Esq. A. Randegger, Esq. F. Corder, Esq. F. J. Read, Esq., Mus. Doc. and, like his eminent brother, was a very fine F. W. Davenport, Esq. H R. Rose, Esq. extenlpore player. The other branch of the J. St. O. Dykes, Esq. E. Sauret, Esq. H. R. Eyers, Esq. H. F. Sharpe, Esq. family deserves further mention. In addition E. Faning, Esq., Mus. Bac. A. Somervell, Esq. H. Gadsby, Esq. C. V. Stanford, Esq., Mus. Doc. to being the first clarinettist of his day, Edward A. Gibson, Esq. F. Taylor, Esq. Hopkins (Dr. E. J. Hopkins's uncle) was a F. E. Gladstone, Esq., Mus.D. J. Thomas, Esq. R. Gompertz, Esq. W. H. Thomas, Esq. bandmaster, and was at the head of the band of W. B. Haynes, Esq. A. Visetti, Esq. W. S. Hoyte, Esq. F. Walker, Esq. the Scots Guards in I815. His son, Edwarcl, H. Inwards, Esq. H. Wessely, Esq. became a Vicar Choral of Armagh Cathedral; F. King, Esq. F. Westlake, Esq. T. B. Knott, Esq. W. E. Whitehouse, Esq. another son, John Larkin (died I873), was C. H. Lloyd, Esq., Mus. Doc. C. L. Williams, Esq., Mus. Bac. organist of Rochester Cathedral and afterwards Sir G. C. Martin, Mus. Doc. C. Wood, Esq., Mus. Doc. of Trinity College, Cambridge, and University LOCAL CENTRE EXAMINATIONS. organist; his daughter, Louisa, who was King's Last day for receiving applications, January 24, I898. See Syllabus A. Scholar at the Royal Academy of Music in I834, married one Richard Lloyd, and their LOCAL SCHOOL EXAMINATIONS. Applications and Fees for Registration of Schools and Teachers for son, Edward, has since been heard of as a I898 are due on December I, I897. famous tenor singer. Music, therefore, as the See Syllabus B. above record of eminence shows, was, and is, The Board has decided to offer for competition Two Exhibitions a very strong characteristic of the Hopkins every year, until further notice, one for the R.A.M. and one for the family. R.C.M., tenable for two years. Conditions and full particulars are contained in the Syllabus for I898 Master E. J. Hopkins, like Goss and Sullivan, Copiesof either Syllabus will be sent Post-free onapplication to the began his musical career as one of the children Central Office, 32, Maddox Street, London, W. of the Chapel Royal, St. James's. He entered SAMUEL AITKEN, Hon. Secretary. in 1826 when he was eight years old. The Master of the Children at that time was William With this Nxmber are presented gratis Extra Hawes, with whom his little charges lived at Supplements, consisting of a Part-Song, entitled Adelphi Terrace, Strand. Hawes was also " Songs of our Land," by Alicia Ade'laide Master of the St. Paul's choristers, and young Needham; and a Portrait of Dr. E. 3!. Hopkins, Hopkins, having a good voice and being an excellent reader, was made to do double duty specially taken for this paper by MY. Craik, of at the Chapel Royal and St. Paul's, though he Herne Bay. was not officially in the choir of the Cathedral. Master Hopkins's Sunday " putting on " (and off) of his " garments of praise " was as follows: THE MUSICAL TIMES He would appear at St. Paul's in his ordinary AND SINGING-CLASS CIRCULAR. attire at the 9.45 a.m. service. At a certain SEPTEMBER I, I897. part of the service he would retire, rush up to Adelphi Terrace and change into his gold and scarlet Charles II. court dress (change No. I) DR. EDRVARD JOHN HOPKINS. and hie oF to the Chapel Royal for the noon " COME and stay with me at the little pill- devotions. At 2.I5, under Mr. Hawes's box I have built here, and pebble the imaginary roof, he would partake of a frugal and hasty porpoises that are never seen on this coast." dinner, as he had to change his habilimgnts Such was the genial form of an invitation sent again (change No. 2) and get to St. Paul's by to us by "the father of English organistsX' 3. I 5 0 As in the morning, he would leave from his Herne Bay residence. No more before the service was finished and, hastening favourable opportunity could present itself for back to his domicile, would change again into his acquiring some information upon the long gorgeous raiment (change No. 3) and proceed to career of the Temple organist than during some St. James's forthe half-past Sve o'clock Evening pleasant walks and talks with him at the quiet Prayer. Back to Adelphi Terrace for the Enal Kentish watering-place, where for two lovely change of his garb (change No. 4) might August days we had the pleasure of being his naturally be thought sufficient in the way of guest. Sabbath achievements for a boy of tender years, Edward John Hopkins was born at West- especially when his " lightning changes," -his minster, June 30, I8I8. He comes of a musical scanty meals, and his pedestrian necessities are This content downloaded from 76.190.40.17 on Fri, 16 Nov 2018 20:37:41 UTC All use subject to https://about.jstor.org/terms 586 THE MUSICAL TIMES.-SEPTEMBER I, 1897. taken into account. But Master Hopkins and thus, by close observation, practical was, and, as a boy of older growth, still is, an experience, and having to make his own way enthusiast, and before going home to West- in the worldX young Hopkins, like many others minster to spend the night he would call in at before and after him, laid a good, solid founda- St. Martin's-in-the-Fields and play the outgoing tion of earnest, painstaking work, which, if voluntary for his master, Thomas Forbes pursued with steady perseverance and set Walmisley. Mr. Hawes was a type of school- purpose, is sure to bring its full reward. master now happily almost extinct. He used His Erst organ appointment was at Mitcham to get a boy's head under his arm, and, as Dr. Church, where, strangely enough, the late Hopkins says, "literally knock it into him." James Coward, formerlyorganist of the Crystal Many were the pranks the boys played. Mr. Palace, and the late. Sir Joseph Barnby both Hawes was very fond of a day's Sshing, began their careers as organists. Hopkins, -in but those occasions were dreaded by the his candidature for the post, again foLlnd a boys. If their master was successful they, on kind friend in Turle. A few days before the the following day, would have the smallest of competition Hopkins was in the Abbey organ- the catch for dinner; if otherwise, their loft, whenTurle said: "I want you to play the corporeal insufficiencies would give place to Psalms to-day, so that I can go downstairs to corpcyral excesses at the hands (or, in both hear the eSect." He did not return, and when cases, the rod) of Mr. Hawes. it came to ' Here endeth the Erst lesson," Thefirst Statefunction inwhich Dr. Hopkins Hopkins had to play the " MagniEcat." He took part was the coronation of William IV. enjoyed playing so much that he hoped Turle (September 8, I83I) in Westminster Abbey, would not return for the " Nunc dimittis." when he sarlg as a soprano in his official The Abbey organist did not re-appear, even capacity as a Chapel Royal boy. The last for the anthem, therefore the ex-chorister, to was the Diamond Jubilee of Queen Victoria, his proud delight, finished the service entirely when the veteran ex-chorister lustily sang his by himself. When he came down from the tenor part on the steps of St. Paul's Cathedral, organ he saw that Turle was speaking to a the two events being separated by a period of gentleman who, he afterwards discovered, was sixty-six years. At the coronation service the one of the most influential of the Mitcham choir attended at Westminster Abbey at seven committee of selection. Hopkins was then a o'clock in the morning for a rehearsal. The youth of sixteen in a light blue jacket-suit with sandwiches which the boys took for their lunch gilt buttons.
Recommended publications
  • Romance of Psalter and Hymnal : Authors and Composers
    Psalter and Hymnal The Leonard Library OTpcltffe College Toronto shelf No....\.:3.. .... STACKS Register No.... ...&.. I ,; J^^"fl ; I I ISHiH I 999 - - and F. G. EDWARDS. Romance of Psalter and Hymnal, cr. 8vo, doth, 2s. 1889 ROMANCE OF PSALTER AND HYMNAL. Presented to Wycliffe College Library, Toronto, by Magistrate James Edmund Jones, Convener and Secretary Hymnal Committee, General Synod, 1905 - 1938 ROMANCE OF PSALTER AND HYMNAL antr gurijxcrrs KY THE REV. R. E. WELSH, M.A., AND F. G. EDWARDS, " Author of United Praise" HODDER AND STOUGHTON, 27, PATERNOSTER ROW, MDCCCLXXX1X. Printed by Hazel), Watson, & Viney, Ld., London and Aylesbury. PREFACE. r I ^HE past thirty years have witnessed the issue of a host of Hymnals, each having its own special feature or guiding purpose. The Tractarian Movement and, at an earlier period, the Methodist Revival, awakened emotions and left tastes and ten dencies which contributed largely to this outburst of the Churches into song. Roundell Palmer's Book Praise and Ancient and of ', Hymns Modern^ published in 1860, of which a million copies have been sold every year, are significant landmarks. This multiplication of Hymnals has naturally excited a new and keener curiosity regarding the makers and the historic associations of the Hymns and Psalms with which our lips have become so familiar. The present volume seeks to meet and guide this new takes of our choicest sacred curiosity ; some PREFACE. verse and endeavours to throw around it the living interest of curious origin, personal incident, and historic episode, which weave for us a veritable romance, the Romance of Sacred Piaise.
    [Show full text]
  • Download Booklet
    The Temple Church and Henry III and his Queen who had bequeathed their english organ music its Organs bodies to the Church. (The King and Queen were finally buried at Westminster Abbey.) The resulting from the temple church The Temple Church is an oasis of calm in the ‘Hall Church’ – a masterpiece of Early English centre of London, positioned between Fleet Street Gothic – is a marvellous soaring space full of and the Embankment. For over 800 years it has light, in contrast to the Norman and Transitional been a place of worship. It is a building of great proportions of the Round. 1 Fanfare (from ‘Four Extemporizations’) Percy Whitlock [7.08] beauty, built by the London Templars who in the 2 Solemn Melody (arr. West) Henry Walford Davies [4.18] Temple had their Church, two halls, cloister By the fourteenth century, the Templars in Europe 3 Voluntary in D, op. 5, no. 5 John Stanley [5.16] and domestic buildings. Here they remained until were falling from favour. In October 1307, every their suppression. Templar in France was arrested on the orders of 4 - 5 Choral Song & Fugue (ed. Emery) Samuel Sebastian Wesley [7.05] King Philip the Fair and accused of blasphemy 6 Allegretto grazioso Frank Bridge [4.15] The Church has two distinct spaces: the Round and heresy. The motives were financial – the 7 - 9 Sonata I in C-sharp minor Basil Harwood Church and Chancel. The Round Church was King needed money to pay off huge debts – and Allegro appassionato [6.44] consecrated in 1185 and modelled on the circular the Templars were rich in land and treasure; they Andante [3.28] Church of the Holy Sepulchre in Jerusalem.
    [Show full text]
  • Anglican Chants from Rochester Cathedral
    ROCHESTER CATHEDRAL OLD CHORISTERS’ ASSOCIATION Archivist: James Strike, chorister 1950-52. ANGLICAN CHANTS FROM ROCHESTER CATHEDRAL Hearing the Psalms of David sung to an Anglican Chant is part of our Christian experience; part of our Liturgy and Worship. This article looks at the number of Anglican Chants which derive from the Choir of Rochester Cathedral. Chants which were composed by Rochester Cathedral Organists and have, over a period of time, and through the publication of Chant Books, become established in Cathedrals, Greater Churches, Chapels and Royal Foundations in England and around the world. Singing Myles Coverdale’s English wording of the psalms, to what we now know as the Anglican Chant, was first introduced in the early seventeenth century. The origin of the Anglican Chant has been widely debated, but there are two strong recognized beginnings: early Gregorian plainsong for the Latin Rite, and simple ‘hymn tunes’ used for the Protestant Metrical Psalters of the Reformation. (1) Chanting the Psalms can be traced back to St. Gregory (Pope, 590 –604) who fostered the liturgical music of Plainsong; chanting which was model, vocal and unaccompanied. The English monk, scholar and historian, Venerable Bede, writing in the early eighth century, records: ‘ When Theodore arrived in England in 664, sacred music was only known in Kent. And when Putta was consecrated Bishop of Rochester in 669, he was extraordinarily skilful in the Roman Style of music which had been learned from the disciples of the Holy Pope Gregory’. (2) The Period of Restoration (from 1543) caused considerable disruption to church music. Eventually, after a turbulent time, the Protestant Service in the English language became accepted.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses Changes in the Methodist Hymnody during the eighteenth and nineteenth centuries Hind, Roland How to cite: Hind, Roland (1968) Changes in the Methodist Hymnody during the eighteenth and nineteenth centuries, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9933/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ABSTRACT OP THESIS. .» Changes in Methodist Hymnody during the Eighteenth and Nineteenth Centuries. Submitted by Roland Hlnd.B.A..M.Lltt* for the degree of M.A. At first the singing was either unaccompanied, led by a choir of Charity Children, with the Parl6h Cleric as precentor; or accompanied by an instrumental band* Tunes were florid, with much faulty verbal accentuation. Taste reached its nadir 1770-1840. Style became superficial, boisterous, with repeats and fugal imitations; the melody and harmony were crude, deriving from nineteenth century Italian opera* There was slavish adoration and adaptation of the great classical composers* In the mid-nineteenth century, through the influence of the Oxford Movement, there were surpliced choirs; prose chant8 were sung and there were tentative attempts at plain- song* Tunes were like part-songs* There was also a better type of more sophisticated composer who produced good melody and sober harmony.
    [Show full text]
  • Scottish Church Music Its Composers and Sources (1891)
    Scottish Church Music V///,•'>';/.'// -r'-'/f'/fm CORNELL UNIVERSITY LIBRARY FROM The Carnegie Corporation wnsic Cornell University Library ML 3186.L89 Scottish church music its composers anc 3 1924 022 338 754 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022338754 SCOTTISH CHUECH MUSIC Scottish Church Music ITS COMPOSEES AND SOUECES JAMES LOVE WILLIAM BLACKWOOD AND SOKS BDINBUEaH AND LONDON MDCCOXCI : : ; • ; PEEFACE. In this book will be found an account of the source and history —so far as is known to me—of upwards of One Thousand Psalm and Hymn Tunes; Theee Hundred Chants, Dox- OLOGIES, AND SCEIPTURE SENTENCES OE AnTHEMS, — being those contained in the following works : — ' The United Presbyterian Hymnal, with Accompanying Tunes,' 1877; 'The United Presbyterian Psalter, with Accompanying Tunes,' 1878; ' The Presbyterian Hymnal Scripture Sentences and Chants,' 1886, —-all published by the authority of the Synod of the United Presbyterian Church ' The Free Church Hymn Book, with Tunes,' 1882 ' The Scottish Psalter, . with Appropriate Tunes and Chants,' 1883, —^both published by authority of the General Assembly of the Free Church of Scotland ' The Scottish Hymnal (Appendix Incorporated), with Tunes, for Use in Churches,' 1885 vi PREFACE. 'The Book of Psalms and Paraphrases (in Metre), with Tunes, for Use in Churches,' 1886, —both published by authority of the General Assembly of the Church of Scotland. There are also about Five Hundred Biographical Notices OF THE Composers, and an Appendix containing some par- ticulars REGARDING THE PRINCIPAL COLLECTIONS OF PSALM- ODY ISSUED IN SCOTLAND SINCE 1700.
    [Show full text]