Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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Hoof, Jef Van

(b Antwerp, 8 May 1886; d Antwerp, 24 April 1959). Belgian composer. He studied composition at the Antwerp Conservatory with Mortelmans and Gilson. He competed twice for the Prix de Rome (1909; 1911, second prize). In 1916 he succeeded his father as organist at the church of St Michiel in Antwerp. As a composer he was influenced by Peter Benoit, later achieving outstanding technical virtuosity, particularly in his works for brass, for example the Sinfonietta. He became well known for his espousal of Flemish nationalism, seen in his song Groeninge, an evocation of the Battle of the Golden Spurs (1302). After World War I he was imprisoned for eight months, suspected of sympathy with the Germans; these suspicions later led to ostracization. In 1933 he founded the Flemish National Song Festival and from 1936 taught harmony at the Royal Flemish Conservatory, becoming its director during World War II (1942–4). He wrote some programmatic orchestral works, for example the overture Willem de Zwijger. The six symphonies of his late years epitomize his essentially romantic style, in which tragic, heroic and ironic elements alternate with an exuberant, festive mood.


(selective list)

Stage: Tycho-Brahé (op, H. Baccaert), 1911; Meivuur (landelijk zangspel, P. De Mont), 1916, Antwerp, Koninklijke Vlaamse Opera, 12 Jan 1924; Vertraagde film (incid music, 2, H. Teirlinck), 1922, NIR (Radio Antwerp), 26 Feb 1937; Jonker Lichthart (comical-dramatical op, 1, E. Denhaene), 1928, Antwerp, Koninklijke Vlaamse Opera, 11 Nov 1961

Inst: Perseus, ov., 1908; Landelijke stemming, 1910; Willem de Zwijger, ov., 1910; Sym. Suite no.1, 1918; Nietigheden, str qt, 1922; Sinfonietta, brass ens, 1932; Sym. no.1, 1938; Sym. no.2, 1941; Sym. no.3, 1944–5; Sym. no.4, 1951; Sym. Suite no.2, 1952; Sym. no.5, 1956; Sym. no.6, 1958 [inc.]; works for pf, carillon, org, chbr ens

Vocal: Groeninge (song, G. Gezelle), SATB, ww and brass band, 11 July 1909; Missa ‘De Deo’, SATB, brass ens, 1937; Missa ‘De Beata’, SATB, orch, 1948; TeD, SATB, brass ens, 1949; patriotic and other secular songs, choral works

Principal publishers: CeBeDeM, De Crans, De Ring, Excelsior, Metropolis


L. Leytens: Thematische catalogus van de werken van Jef Van Hoof (Brussels, 1944)

P. Verheyden: Jef Van Hoof: een bundel studies en schetsen (Antwerp, 1950)

K. De Schrijver: ‘Jef Van Hoof’, Levende componisten uit Vlaanderen, 1865–1900 (Leuven, 1954), 84–8

P. De Raedt and L. Leytens: Jef Van Hoof (Brussels, 1974)

L. Leytens: Beknopte kroniek van Jef Van Hoof (Antwerp, 1986)




See Hauptwerk.


Belgian family of organ builders. The firm was founded in Geraardsbergen (Grammont) in 1867 by Francis Bernard Hooghuys (b Bruges, 15 Sept 1830; d Geraardsbergen, 30 Nov 1888) and his brother Simon Gerard Hooghuys (b Bruges, 21 March 1822; d Bruges, 1885). They built a number of organs in Belgian churches and also began to build barrel organs for use in all kinds of public places. The son of Francis, Louis François Hooghuys (b Bruges, 14 May 1856; d Geraardsbergen, 16 Nov 1924) expanded this aspect of the business, and from 1880 the firm concentrated exclusively on the production of street, dance and fairground organs. Large numbers were produced, and in 1895 they switched to the production of organs with Louis's own system of rapid-repetition pneumatic action operated by punched-cardboard music-books. Louis's sons Edouard Joseph, Charles François Edmond and Edgard George continued in the mechanical organ business well into the 1950s, although they ceased building new ones in the 1930s.


G. Moortgat: Oude orgels in Vlaanderen (Brussels, 1965)

E.V. Cockayne: The Fairground Organ (London, 1970/R)

S. Godfroid: ‘De familie Hooghuys te Geraardsbergen: Draaiorgelbouw in Vlaanderen’, Oosterlaamse Zanten, lviii/1 (1983)

S. Godfroid: Muziekinstrumentenbouw te Geraardsbergen van de 15de eeuw tot heden (Geraardsbergen, 1986)

J. Burg: ‘Die Arbeiten von Louis Benoit Hooghuys in Deutschland und ihr Bestand’, Ars organi, v (1993), 241–78


Hook, James

(b Norwich, ? 3 June 1746; d Boulogne, 1827). English composer. He was born in the parish of St John, Maddermarket, the son of James Hook, razor-grinder and cutler. He was born with a club foot; early surgical operations improved the condition and, according to Parke, ‘he could walk in a limping manner tolerably well’. Hook showed remarkable musical talent at an early age, being able to play the harpsichord at the age of four and performing concertos in public at six. For a time he was taught by Thomas Garland, the Cathedral organist, and before he was eight he had composed songs and his first opera. This was considered by connoisseurs as an ‘extraordinary instance of infantine genius’ (Mann, 75), but the music is lost. Hook’s father died in 1758 and his mother carried on the cutlery business. From 13 November 1756 fairly regular advertisments appeared in the Norwich Mercury for concerts at which Hook performed concertos, many of which were benefit concerts. Hook employed his talents in various ways at this time, including teaching, composing, transcribing music and tuning keyboard instruments.

At some time between June 1763 and February 1764 Hook moved to London. His first position was that of organist at White Conduit House, Pentonville, one of the many tea gardens that abounded in 18th-century London. He began to make a name for himself as an organist, teacher and composer of light, attractive music, particularly songs. In 1765 his catch, I wish you all good night (GB-Cu*), was awarded the Catch Club’s gold medal; and on 9 September 1765 some of his songs (published as op.1) were performed in the New Theatre, Richmond, at a benefit concert for John Fawcett, with Hook performing a harpsichord concerto. The following year, on 12 July, Thomas Arne’s The Sacrifice of Iphigenia, the overture of which was composed by Hook, was performed at the same theatre. On 29 May 1766 Hook married Elizabeth Jane Madden at St Pancras Old Church. His wife was both talented and artistic. She was a painter, provided the libretto for Hook’s opera The Double Disguise (1784) and the verses for some Vauxhall songs, and produced the designs and floral decorations for the pillars in the orchestra at Vauxhall’s Jubilee celebrations in 1786.

Hook’s songs began to be regularly performed at the main London pleasure gardens and the first of his many song collections for the gardens at Marylebone and Vauxhall was published in 1767. In 1768 he was appointed organist and composer to Marylebone Gardens. In addition to his performances on the organ, and occasionally on the harpsichord, he was now invited to perform concertos between the main works in the theatres. On 28 August 1772, at Hook’s Annual Festival at Marylebone Gardens, he performed a concerto on the pianoforte, the first occasion this instrument had been played at Marylebone, though earlier, on 12 April 1771, at a benefit concert for the soprano Frederica Weichsell at the Little Theatre in the Haymarket, Hook had used the pianoforte to accompany one of his new songs. 1769 saw the beginning of Hook’s many short musical entertainments for the pleasure gardens and on 24 July 1771 his first comic opera, Dido, was performed as an afterpiece at the Little Theatre in the Haymarket, followed a year later, on 27 July 1772, by Cupid’s Revenge. On 11 May 1772 the Society of Artists gave their first exhibition in their new Exhibition Rooms, near the Exeter Exchange in the Strand; Hook set to music an ode specially written for the occasion.

In May 1767 he had applied unsuccessfully for the post of organist for the united parishes of St Matthew Friday Street and St Peter Westcheap, but before 6 September 1772 he had been appointed organist of St Johns Horselydown, Bermondsey. He was also in demand to open new organs, both in London and in nearby counties. Contemporary Norwich newspapers show him to have been still performing in concerts around Norwich, frequently playing many of his own compositions. He continued his keyboard teaching and it is said that his income from this source alone amounted to over £600 per annum. Hook remained at Marylebone Gardens until the end of the 1773 season and in 1774 was engaged in a similar capacity at Vauxhall Gardens, a position he retained until 1820...\Frames/F002710.html Throughout this time he composed operas, the majority of which were produced at Drury Lane and Covent Garden Theatres. His son James (b 1772; d 5 Feb 1828) provided the librettos for Jack of Newbury (1795) and Diamond Cut Diamond (1797). On 20 March 1776 Hook’s only oratorio, The Ascension, was performed at Covent Garden. His second son, Theodore Edward (b 22 Sept 1788; d 24 Aug 1841), wrote the words for many of Hook’s songs and between 1805 and 1809 provided the librettos for eight of Hook’s operas. He later became the ghost writer for Michael Kelly’s Reminiscences (1826). On 18 October 1805 Hook’s wife died, and a year later, on 4 November 1806, he married his second wife, Harriet Horncastle James (d 5 April 1873). It is not known why Hook left his position at Vauxhall after almost a half century of service there; his departure was sudden and surprising: ‘so little was his abrupt retirement expected or understood, that the proprietor of the [gardens] kept his station in the band open for him, during one entire season’ (Busby, 93). He died in Boulogne in 1827 and his music library was sold at Puttick & Simpson’s on 30 January 1874.

Hook wrote over 2000 songs, the majority of which were composed for specific singers at the London pleasure gardens, notably Vauxhall. Their catchy melodies would have been immediately appealing to the Vauxhall crowds. Annual collections and single copies were published. The collections tend to contain the simpler songs, frequently strophic ballads; many of the songs contained on single copies are far more operatic in style, with coloratura passages, clearly written for more experienced singers. The autograph manuscripts contain many Vauxhall songs and show the meticulous care which Hook displayed in writing the name of the singer for whom the song was intended, the place of performance and the date of composition. From about 1808 the day and month are included and these give some indication of how quickly Hook composed. The autographs are also invaluable in providing the orchestral accompaniments; most of the printed editions have a keyboard reduction. The Vauxhall concerts concluded with a concerted item, often a short dramatic piece, in which all the soloists participated, sometimes with additional singers. It was for these finales, and for similar occasions at Marylebone Gardens, that many of Hook’s musical entertainments and serenatas were written: the stage at Marylebone was large enough to allow for some dramatic interpretation. Although Hook was active in the theatre, contributing music to the dramatic works of contemporary composers in addition to composing his own, this was not an area in which he was particularly successful. Despite much of the music being appealing, these works have not stood the test of time. His theatre and Vauxhall music became intermixed. The opera overtures became standard items in the Vauxhall concerts. Vauxhall songs and musical entertainments were sometimes performed between the main works in the theatres, and some of his popular Vauxhall songs were introduced into the dramatic works of contemporary authors.

Hook was conversant with the musical styles of his day and successfully exploited the style galant. His first overture of 1766, written in the Mannheim style, is indicative of the orchestral music that was to follow. Six years of Vauxhall programmes are known and these identify some instrumental music that is now lost; the works cannot be accurately dated since they may have been in the Vauxhall repertory for some years, but much of his printed music can be accurately dated from the Entry Book of Copies at Stationer’s Hall, London. The concerto was an important form for Hook since it was part of his duties to perform an organ concerto each evening at the Vauxhall concert. Despite the number that were performed, relatively few were published. Chamber music, sonatas for keyboard instruments, with or without accompaniment, are included in Hook’s vast output. Two-movement works give way to three-movement structures with the usual fast-slow-fast order of movements; first movements in embryonic sonata form emerge as fully-fledged sonata form movements before the end of the 18th century. Scotch snaps and Alberti bass figures are prominent. Much of his keyboard music was written for his pupils, which possibly accounts for the wide range of difficulty encountered. His Guida di musica, too, was probably an outcome of his teaching. With such an enormous output it is inevitable that Hook’s works are of variable quality. Much of his music, however, particularly the keyboard works, is charming and can bear revival.




Hook, James


(selective list)

autograph MSS, primarily of Vauxhall material, in GB-Cu, Lbl, Lcm, Lmt, Ob; other material in J-Tn, US-Wc; printed works published in London unless otherwise stated


all first performed in London; published in vocal score shortly after first performance unless otherwise stated

LCG – Covent Garden

LDL – Drury Lane

LLH – Little Theatre, Haymarket

LMG – Marylebone Gardens

LSW – Sadler’s Wells

LVG – Vauxhall Gardens

me – musical entertainment


Love and Innocence (pastoral serenata, 2), LMG, 10 Aug 1769, ?unpubd

Dido (comic op, ? T. Bridges), LLH, 24 July l771, ?unpubd


Trick Upon Trick (pantomime, 3), LSW, 17 July 1772 (1772), possibly based on entertainment of same name given at Yeates, Warner and Rosoman’s Great Theatrical Booth, May Fair, 9–16 May 1743


Cupid’s Revenge (pastoral farce, 2, F. Gentleman), LLH, 27 July 1772 (1772)

The Divorce (me, 2, D. Dubois), LMG, 28 July 1772 [first documented perf.], ?unpubd

Il dilettante (burletta), LMG, 28 Aug 1772, ?unpubd

Apollo and Daphne (serenata, J. Hughes), LMG, 27 Aug 1773, ?unpubd

The Dutchman (me, 2, T. Brydges [Bridges]), LLH, 21 Aug 1775, ?unpubd


The Lady of the Manor (comic op, 3, W. Kenrick, after C. Johnson: The Country Lasses), LCG, 23 Nov 1778, GB-Cu* [incl. revisions dated 1815–17], vs (1778); rev. LCG, 28 Jan 1788, addl songs (1788); rev. LDL, 23 April 1818

The Volunteers, or Taylors to Arms! (musical prelude, 1, G. Downing), LCG, 19 April 1780, ?unpubd


Too Civil by Half (farce, 2, J. Dent), LDL, 5 Nov 1782 (1783)

The Cryer [The Crier of Vauxhall] (interlude, 1, M.P. Andrews), LVG, 12 June 1783 (1783)


The Double Disguise (farce, 2, Mrs E.J. Hook), LDL, 8 March 1784, song Cu*, song Ob* (Harding Mus.c.16); (1784)

The Love Wrangle, 1783 (pastoral interlude, 1), LVG, 20 May 1784, Lbl*; 4 songs in Hook: Favourite Songs (1784)


The Country Wake (interlude, 1, Andrews), LSW, 21 June 1784 (1784)


The Poll Booth (me, 1), LVG, 29 June 1784 (1784)


A Word to Wives, or The Cryer’s Sequel (me, 1), LVG, 19 May 1785 (1785)


The Fair Peruvian [The Peruvian] (comic op, 3, after J.F. Marmontel: L’amitié à l’épreuve), LCG, 18 March 1786, glee Cu*; (1786)


The Triumph of Beauty (me, 1, Mrs Hook), LVG, 1 June 1786 (1786)

The Queen of the May (me, 1), LVG, 22 May 1787 (1787)


The Feast of Anacreon (serenata, 1), LVG, 24 May 1788 (1788)

The Effusions of Loyalty (me, 1, Andrews), LVG, 19 May 1789, ?unpubd

The Shepherds Festival (me, 1), LVG, 18 May 1790, ?unpubd

The Man Millener (me, 1, Andrews), LVG, 14 Aug 1790, ?unpubd

The Village Festival (me), LVG, 1791, ?unpubd


Look ere you Leap (serenata, 1, Vint), LVG, 2 June 1792 (1792)

The Soldier’s Adieu (finale, 1), LVG, 25 May 1793, glee (1793)

The Ladies in Haste (comic finale), LVG, 10 Aug 1793, ?unpubd

Great Britain Triumphant (finale, 1, R. Houlton), LVG, 1794, London, Shepherd’s Bush Library, 2 sections pubd as dialogues : Sweet girl adieu, For thee my fair I’ll brave the field (1794)


Jack of Newbury (comic op, 3 with masque, J. Hook jr), LDL, 6 May 1795, Act 1 finale Cu*; (1795)


Diamond Cut Diamond, or Venetian Revels (comic op, 2, J. Hook jr), LCG, 23 May 1797 (1797)

Maids and Bachelors (finale), LVG, 1797, Lbl*, ?unpubd


The Wreath of Loyalty, or British Volunteer (serenata, 1, Houlton), LVG, 31 July 1799 (1799)

May (finale, P. Pindar), LVG, 1800, Lbl*, ?unpubd

The Suitors (finale), LVG, 1800, Lbl*, ?unpubd


Wilmore Castle (comic op, Houlton), LDL, 21 Oct 1800 (1800)

The Fane of Pleasure (finale), LVG, 6 Aug 1801, ?unpubd

Summer (finale), LVG, 1801, ?unpubd

Britannia’s Invocation (finale), LVG, 1803, ?unpubd


The Soldier’s Return, or What can Beauty Do? (comic op, 2, T.E. Hook), LDL, 23 April 1805, ov. Cu*, duet Ob* (Harding Mus.c.16); (1805)


The Invisible Girl (operatic farce, 1, T.E. Hook), LDL, 28 April 1806 (1806)


Catch him who Can (farce, 2, T.E. Hook), LLH, 12 June 1806, chorus, song and finale Cu*, song Ob* (Harding Mus.c.15); (1806)


Tekeli, or the Siege of Montgatz (melodrama, 3, T.E. Hook, after R.C.G. de Pixérécourt: Tékéli, ou Le siège de Montgatz), LDL, 24 Nov 1806, Cu*; (1806); rev. (2), Lyceum, 10 Aug 1809


The Fortress (melodrama, 3, T.E. Hook, after Pixérécourt: La forteresse du Danube), LLH, 16 July 1807 (1807)


Music Mad (comic sketch, T.E. Hook), LLH, 27 Aug 1807 (1807)


The Siege of St Quintin, or Spanish Heroism (drama, 3, T.E. Hook, after Pixérécourt: Les mines de Pologne), LDL, 10 Nov 1808, Cu*, recit and air Ob* (Harding Mus.c.15); (1808)


Killing no Murder (farce, 2, T.E. Hook), LLH, 21 Aug [? 1 July] 1809, Ob* (Harding Mus.c.13); (1809)


Safe and Sound (comic op, T.E. Hook), Lyceum, 28 Aug 1809 (1809)

The Jovial Crew, Lyceum, 15 July 1813, ?unpubd


Sharp and Flat (operatic farce, D. Lawler), Lyceum, 4 Aug 1813 (1813)


2 unnamed operas: inc. (Lawler), 1813, Ob* (Harding Mus.c.14, 15); finale dated 5 Aug 1819, Cu*


Music in: Marriage a-la-mode, or Conjugal Douceurs, 1767; The Double Falsehood, 1770; St Patrick’s Day, or The Scheming Lieutenant, 1775; She Stoops to Conquer, 1775; The Snuff Box, or A Trip to Bath, 1775; The Sheep-Shearing, 1777; The Fairy Tale, 1777; A Fete, 1781; The Sultan, or A Peep into the Seraglio, 1782; An Harmonic Jubilee, 1786; Love and War, 1787; Le matin, midi, et le soir, 1788; Comus, 1791; Tippoo Saib, or British Valour in India, 1791; The Union, or St Andrew’s Day, 1791; Harlequin and Faustus, or The Devil will Have his Own, 1793; The Irishman in London, 1794; Inkle and Yarico, 1797; The Anacreontic Society Revived, 1798; Belle’s Stratagem, 1799; Daphne and Amintor, c1800; The Lyric Novelist, 1804

other large-scale vocal

† — published in Hook’s Collection of New English Songs (1765) or annual song collections (1772–95)

Ode to Venus, New Theatre, Richmond, 1765 (1765)†

Thyrsis and Laura (pastorale dialogue), New Theatre, Richmond, 1765 (1765)†

Ode on the Opening of the New Exhibition Rooms (E. Lloyd), 11 May 1772, unpubd


The Country Courtship (pastorale dialogue, 1), LSW, 1772 (1772)

Ye tender pow’rs how shall I move (cant.), LMG, 1772 (1772)†

With fiery steeds, his sword and rattling carr (cant.), LVG, 1773 (1773)†

Amphitrion (cant.), LVG, 1773 (1773)†

Damon and Delia (cant.), LVG, 1774 (1774)†

While Corydon the lovely shepherd stray’d (cant.), LVG, 1774 (1774)†

The Ascension (orat, 3), LCG, 20 March 1776, recit and air GB-Cu*, copy with corrections in Hook’s hand US-Wc

The Soldier’s Recantation (cant., Richard), LVG, 1776, words in Morning Chronicle (8 Aug 1776), music lost

Diana (cant.), LCG, 29 June 1777 (1777)

Jamie and Sue (dialogue), LVG, 1777 (1777)†

Know your Own Mind (cant.), LVG, 1777 (1777), words in Morning Chronicle (23 Aug 1777), music lost

The Debtor Reliev’d (sacred ode, W. Dodd), c1777, GB-Cu*, ‘for the Benefit of the Society for the Relief of Debtors’

The Nightingale (cant.), LVG, 1778 (1778)†

Fancy (cant.), LVG, 1779 (1779)†

King George and Old England for Ever (song and chorus), LVG, 1779 (1779)

Love’s the tyrant of the heart (cant.), LVG, 1780 (1780)†

With joy and mirth our valleys ring (cant.), LVG, 1780 (1780)†

Maids despise a sighing swain (cant.), LVG, 1781 (1781)

As Gay as the Spring (cant.), LVG, 1781, Cu*

Nymphs be Kind (cant.), LVG, 1782 (1782)


The Hermit (O. Goldsmith), 1v, 2 vn, hpd (1783)

The Return of Peace (ode), LVG, 13 May 1783 (1783)

Celia Let not Pride Undo You (cant.), LVG, 1784 (1784)†


William and Nancy, or the Perjured Swains (pastorale), 1v, hpd/pf (1785)


The Search after Happiness (pastorale, H. Moore) (1785)

Ode to May, LVG, 1786 (1786)†

Virgins while your beauty’s blooming (cant.), LVG, 1787 (1787)†

Ode to Friendship, LVG, 2 July 1787; possibly the same as The Power of Friendship, LVG, 1786, ?unpubd

The Musical Courtship (comic dialogue), LVG, 29 July 1788 (1788), Lmt*

Ode on the Happy Recovery of His Majesty, LVG, 25 May 1789, lost

The Lover’s Quarrel (comic dialogue), LVG, 14 July 1792, ?unpubd

O Love ’tis thy Power (dialogue), LVG, 1793 (1793)†

British Loyalty, or King, Lords and Commons (chorus, Vint), LVG, 1794 (1794)

The Soldier’s Farewell (dialogue, W. Upton), LVG, 1795 (1795)†

The Nightingale (cant., Rannie), LVG, 1796 (1796) [different from The Nightingale, 1778]

The Shield of Providence, or National Exultation (ode, R. Houlton), LVG, 10 June 1800, ?unpubd

Your charms my dear Molly long since have subdued me (dialogue), LVG, 1800, Lbl*

other vocal


A Collection of New English Songs Sung at the New Theatre at Richmond (1765)


Six English Canzonetts, 2–3vv (1777)

The Hours of Love, a Collection of [4] Sonnets, 1v, hpd, vn/fl/gui (1781, 2/1783)

The Aviary, a Collection of [6] Sonnets, 1v, hpd or hp, vn/fl (c1783)


The Seasons, a Collection of [4] Pastorals, 1v, 2 vn, va, hpd (1783)


The Minstrel, bk 1, 1v, 2 vn, hpd/pf (1783)


The Wreath … [12] Arietts, 1v, hpd (1788)


[8] Petra[r]ch’s Sonnets, 1v, kbd (1790)


The Anchoret, a favorite Collection of [12] Airs, 1v, pf (1791)

The Monthly Banquet of Apollo (1795)


A Christmas Box, i–iii, bagatelles, 2–3vv (1796–c1799)


The New Hours of Love, a Collection of [4] Canzonetts, 1v, hp/pf, vn/fl (c1799)


Six Vocal Duetts, 2vv, hp/pf (c1799)


A New Year’s Gift … [6] Canzonetts, 1–3vv (1801)


The Days of Delight … [4] Canzonetts, 1–2vv, hp/pf (c1802)


L’année … 12 Ariettes, 1v, hp/pf (1802)


Love and Loyalty, A Musical Olio, 1–3vv, 2 vn, kbd (1804)

Twelve Original Hibernian Melodies, 1v, pf (?1805)


Sunday Evening’s Recreation consisting of Hymns and Sacred Songs, 1–2vv, pf (c1806)


Six Original Canzonets, 1v, hp/pf (c1807)

Elegy in Commemoration of Her Royal Highness the Princess Amelia (E. Batchelor), 1–2vv, pf (1810)

A Monody on the Death of the Right Honble. Spencer Perceval (J. Davies) v, pf (1813)

Numerous annual collections of songs for Marylebone and Vauxhall Gardens (1767–c1807). Other songs, cantatas, duets and glees pubd singly and in 18th-century anthologies.



Ov. to The Lady of the Manor, pubd in parts (1778)

Prince of Wales’s March, military band, LVG, 11 August 1792, ?unpubd, arr. for hpd c1792

Grand March for the South Lambeth Association, GB-Lmt*, c1799

Several ovs./syms., incl. fugal movements Cu*, c1801–1812

Adagio, E, orch, Cu*



A Favourite Concerto [F] … with 12 Variations to Lovely Nancy, hpd (1769)

Six Concertos (C, E, E, B, D, A], hpd/pf, 2 vn, vc, no.1 pubd separately (? 1774); ? same as Six concertos, hpd/pf, 2 vn, vc, op.1 (Paris, n.d.)

Two Favourite Concertos [F, G], org/hpd, insts (1777)


Three Grand Concertos [B, C, D], org/hpd/pf, orch (1783)

Concerto, tpt, orch, 1st documented perf. lvg 12 August 1786, lost


Six Grand Concertos [C, A, E, B, G, D], org/hpd (1790)

Concerto per il organo et cembalo, F, org, orch, 1797, US-Wc*

Rondo, D, pf, orch, after 1802, GB-Cu*

Concerto, E, cl, orch, 1812, J-Tn*


Six Solos, fl, vc/hpd (?1774)

Six Sonatas, 2fl/2vn, vc/hpd (c1775)


Six Solos, vc, bc (c1783)


Twelve Duettinos, 2 fl/2 vn (c1785), ed. D.J. Rhodes (Barrhill-by-Givan, 1995)


Six Duetts, 2 vc (c1790)


Six Trios, 3 fl/3 vn/fl, vn, va (1797)


Three [6] trios, 2 fl, patent fl (c1810)

Menuetto, E, fl, 2 hn, str, after 1812, GB-Cu*

Sonatina, G, fl, pf, 1814, Cu*

Trio, 3 insts, 27 July 1816, Cu*

keyboard with accompaniments

for harpsichord or piano with violin or flute unless otherwise stated


A Second Sett of Twelve Sonatinos (?1776)


Six Sonatas (?1776)


Six Sonatas (?1777)


A Third Set of Twelve Divertimentos (c1783)


Six Grand Lessons (1783)


Twelve Divertimentos (1784)


A Third Set of Twelve Divertimentos (1784)


Six Conversation Pieces (1785)


Six Sonatas (c1789)


Three Sonatas, pf/hpd, fl, vc (c1793)


Three Sonatas (1793)


Six Sonatas (1795)


Three Grand Sonatas … in which are introduced … Irish Airs, pf, vn (1795)


Three Grand Sonatas (1797)


Six Sonatas (c1799)


Three Sonatas (1803)


Masquerade Sonata, pf/hp, vn/fl (c1803)


Sonata (c1804)


Three Sonatas, pf/hp, fl/vn (c1805)


Three Sonatas, pf/hp, fl/vn (?1805)

A Favorite Sonata, pf, vn/fl (1806), lost


Divertimento Polonese, pf/hp, fl/vn (c1809)

A … Rural Divertissement, pf/hp, fl/vn (?1810)

Divertimento, pf, fl, vc (c1815)

other keyboard

Five Lessons and … [the] Overture to the Pantomime of the Sacrifice of Iphigenia (1767)


Twelve Sonatinos, hpd/pf (?1776)

A Lesson, hpd/pf (c1785)


A Duetto, hpd/pf (c1785)

The Royal Chace, or Windsor Hunt, hpd/pf (c1792)


Three … Duetts, pf/hpd (1797)


Two English, Two Irish, Two Scotch and two Welch Airs … Duetts pf (c1797)

Three favorite Duetts, pf/hpd (1797), lost


Duett, pf (c1797)

The British Tar, a Favorite Medley Sonata, pf/hpd (c1797)

Six Familiar Sonatas, pf, in Pianoforte Magazine, iv/10 (1798)


Three Duetts, pf (1805)


Gough House Tunes, pf (c1807)


La Fête Champêtre … 8 Divertisements, hp/pf (c1807)

A Voluntary … Composed and Dedicated to Charles Wesley, org/pf (?1810)

4 Waltzes, pf, after 1810, GB-Cu*

The Don Cossack’s March & Rondo, pf (?1812)


Ten Voluntaries together with 50 Preludes & Interludes for Psalm & Hymn Tunes … for the Royal Seraphine, org (c1815)

12 Waltzes, pf, 1819, Cu*

12 Quadrilles, pf, Cu*

Duet, pf, Cu*

Numerous sets of variations on popular airs, rondos, rural and military divertimentos etc., pubd without op. numbers

Arrs.: Six Grand Choruses from Mr. Handel’s Oratorios, 5 sets, org/hpd (c1778–90); The Celebrated Chorusses, from Handel’s Oratorios … arr. Dr. Callcott, Mr. Hook, and other Esteemed Authors, i–iv, org/pf (c1814–19); op ovs., kbd

pedagogical works


Guida di musica, Being a Complete Book of Instructions for Beginners on the Harpsichord or Piano Forte … to which is added 24 Progressive Lessons (c1785)


Guida di musica, Second Part, Consisting of Several Hundred Examples of Fingering … and Six Exercises … to which is added, a Short … Method of learning Thoro’ bass … (?1794)

The Preceptor for the Piano-Forte, Organ or harpsichord … Favorite Airs … a Collection of Progressive Lessons … [and] Two Celebrated Lessons (?1795)


New Guida di musica, Being a Compleat Book of Instructions for Beginners on the Harpsichord or Piano Forte … to which is added 24 Progressive Lessons (1796)

Hook, James






T. Busby: Concert Room and Orchestra Anecdotes of Music and Musicians (London, 1825), i

W.T. Parke: Musical Memoirs (London, 1830/R), ii

R.H. Dalton Barham: The Life and Remains of Theodore Edward Hook (London, 1849)

A.H. Mann: Notebooks on East Anglian Music and Musicians (MSS, GB-NWr)

C. Cudworth: ‘The Vauxhall “Lists”’, GSJ, xx (1967), 24–42

P. McGairl: ‘The Vauxhall Jubilee, 1786’, MT, cxxvii (1986), 611–15
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