Sigma Alpha Iota

P A N P I P E S Winter 2021 19 19 COMPOSERS the British Library and arranged for them to send me digital copies of 286 pages from a manuscript book of his (MS 37046). is manuscript book had four-hand piano versions of operatic transcriptions, sketches for solo songs, glees, piano music, an organ book, and piano accompaniments for all 24 Caprices for Violin by Paganini. Many of these works were being prepared by Hatton to be published by Novello. e 24 Caprices for Violin by Paganini were probably used by Hatton to accompany a violinist on a recital or tour, because he spent three months working on this project. I transcribed the famous last caprice with its variations. By viewing these manuscripts, I was able to gain an idea of how Hatton worked as a composer: e British Library manuscript showed his first dras and initial sketches, the Henry VIII manuscript showed a "developing" score or second dra, and the Macbeth and e Merchant of Venice scores, his final or "fair copies." In all cases he appeared to work quickly yet neatly, intuitively yet logically, habitually yet imaginatively, brimming over with musical ideas. Manuscript Book and Two Letters In addition, I was able to find a manuscript book and two letters of Hatton's for sale from a bookseller and purchased those items. e manuscript book was a collection of lyrics for songs that Hatton was working on, published clippings of his own song lyrics or other songs he encountered in print, and critiques of other lyrics as well as corrections or suggestions for alternative lines. In addition, there were two holograph fair copies of two of his own poems entitled e Cock Sparrow and Legend of the Rotunda. ese two poems are quite silly and amateurish but show his sense of humor. e two letters were in response to two requests from poets asking Hatton to write music for their poems. It appears he was in demand as a composer of songs and glees. Results of Research As a result of my research I published a 76- page book with two accompanying CDs. One CD contains the FINALE transcriptions from the Macbeth, e Merchant of Venice, Henry VIII, and British Library manuscripts, over 100 pages of score, and one hour of music. e second CD includes five selections from his Harmonium Book taken from the British Library manuscripts, performed on the piano by my wife, Jacqueline. A number of years ago PAN PIPES (February 2014) published an article of mine on research I had done on 19 th -century amateur composer and literary critic Richard Simpson, who, while writing his well-known book on the Philosophy of Shakespeare's Sonnets, spent his leisure time setting all of Shakespeare's 154 sonnets to music for voice and piano. e unknown Simpson manuscripts were in the British Library and I was able to obtain hard copies of the 700 pages of those manuscripts and spent much time analyzing them. Like the Hatton manuscripts, Simpson's were forgotten and hidden away. In both cases the Simpson and Hatton manuscripts provided stimulating glimpses into the creative processes of two forgotten composers. It was exciting to "discover" them. e transcriptions I have done have made it possible for me to enjoy John Liptrot Hatton's music, particularly the overtures to Macbeth and e Merchant of Venice, which need to be "rediscovered" by orchestras and concert- goers. ere is something fresh, engaging, and imaginative about his music. Composer and researcher Hollis oms has had a number of articles published in PAN PIPES over the years. He has had 40 articles published in journals and written over 150 musical works: symphonies, operas, chamber music, vocal, and choral music. He has a masters in composition from Northwestern University and finished the course work for the PhD in composition from the Eastman School of Music. In addition, he has an EdS in educational administration from the University of Toledo and a masters in liberal studies from St. Johns College, Annapolis. He was a teacher of English and music and a school administrator for over 30 years. He has been the recipient of a Joseph Klingenstein Fellowship to Columbia University, an Alden B. Dow Creativity Fellow, was a Fulbright Exchange Teacher to Scotland, and was selected to participate in the summer principal seminar at Harvard University Graduate School of Education. His musical compositions and research projects are in special collections at the Maryland State Archives, Folger Shakespeare Library, Shakespeare Birthplace Trust, and Church Music Center at Concordia University-Chicago. View his composer website at: www.hollisthoms.com ose interested in ordering one of the Hatton booklets can notify Mr. oms via his website. e Hatton booklet and 2 CDs are $25.00, including shipping.

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