[28] I was lucky enough to meet with the approbation of Mr. Bates in the recitative of "Deeper and deeper still;" my next song was the laughing one. Mr. Harrison, my predecessor at those concerts, was a charming singer: his singing "Oft on a plat of rising ground," his "Lord, remember David," and "O come let us worship and fall down," breathed pure religion. No divine from the pulpit, though gifted with the greatest eloquence, could have inspired his auditors with a more perfect sense of duty to their Maker than Harrison did by his melodious tones and chaste style; indeed, it was faultless: but in the animated songs of Handel he was very deficient. I heard him sing the laughing song without moving a muscle, and determined, though it was a great risk, to sing it my own way, and the effect produced justified the experiment; instead of singing it with the serious tameness of Harrison, I laughed all through it, as I conceived it ought to be sung, and as must have been the intention of the composer. The infection ran; and their Majesties, and the whole audience, as well as the orchestra, were in a roar of laughter, and a signal was given from the royal box to repeat it, and I sang it again with increased effect.--_Michael Kelly's Reminiscences_, 1789. HATTON. John Liphot Hatton, a composer well known in America, not only by his songs and other works, but also by his visits here, was born in Liverpool in 1809. Though his early musical education was very scanty, he soon became known as a composer after his removal to London in 1832, and his works met with a very cordial reception. In 1842 he became conductor at Drury Lane Theatre, and while acting in that capacity brought out one of his operettas, called "The Queen of the Thames." In 1844 he went to Vienna and produced his opera "Pascal Bruno." Shortly afterwards he issued several songs under the _nom de plume_ of "Czapek," which secured for themselves widespread popularity. In 1848 he came to this country, and some years later made a concert-tour here. Upon his return to England he assumed direction of the music at the Princess' Theatre, and while engaged there wrote incidental music for "Macbeth," "Sardanapalus," "Faust and Marguerite," "King Henry VIII.," "Pizarro," "King Richard II.," "King Lear," "The Merchant of Venice," and "Much Ado About Nothing." In 1856 he wrote "Robin Hood," a cantata; in 1864 the opera "Rose, or Love's Ransom," for Covent Garden; and in 1877 "Hezekiah," a sacred drama, which was performed at the Crystal Palace. He has also written a large number of part songs, which are great favorites with quartet clubs, and nearly two hundred songs which are very popular; among them, "Good-by, Sweetheart, good-by," which has been a stock piece with concert tenors for years, and which the late Signor Brignoli used to sing with excellent effect.