Autograph musical quotation from the English composer, pianist and performer of popular song. Four measures of music for voice and piano, marked "Andante (pathetically)" and with the text "O crone! Where is the whiskey? The beautiful real old Bushmill whiskey." Signed and dated February 18, 1865. Uncommon.
"For most of his life, Hatton was constantly engaged in performing, both as a pianist and as a comic singer. He was the inventor, or at least one of the earliest exponents, of a kind of popular one-man show, in which he spoke, played the piano and sang to his own accompaniment. This was a novel idea in 1846: the Musical World commented that ‘like Malaprop's Cerberus, he was three gentlemen at once’. He had an extraordinarily wide range of taste, for he was equally at home in the most severe forms of contrapuntal exercise, in the ‘sacred’ manner of Mendelssohn's oratorios, in the styles of the 16th and 17th centuries, or in a kind of clowning style of singing which brought the house down wherever he went. It was often uncertain whether the place allotted to him on the programme would be occupied by one of Bach's fugues or by a comic song of his own composition." (Nicholas Temperley, Grove Online.)
Autograph musical quotation from the English composer, pianist and performer of popular song. Four measures of music for voice and piano, marked "Andante (pathetically)" and with the text "O crone! Where is the whiskey? The beautiful real old Bushmill whiskey." Signed and dated February 18, 1865. Uncommon.
"For most of his life, Hatton was constantly engaged in performing, both as a pianist and as a comic singer. He was the inventor, or at least one of the earliest exponents, of a kind of popular one-man show, in which he spoke, played the piano and sang to his own accompaniment. This was a novel idea in 1846: the Musical World commented that ‘like Malaprop's Cerberus, he was three gentlemen at once’. He had an extraordinarily wide range of taste, for he was equally at home in the most severe forms of contrapuntal exercise, in the ‘sacred’ manner of Mendelssohn's oratorios, in the styles of the 16th and 17th centuries, or in a kind of clowning style of singing which brought the house down wherever he went. It was often uncertain whether the place allotted to him on the programme would be occupied by one of Bach's fugues or by a comic song of his own composition." (Nicholas Temperley, Grove Online.)