Archive | H

(pronounced Ha) is the German name for B natural, B Hat being called by tho Germans B. (See A c c id e n t a l s and B.) In solfaing it is Si. G.

(1st half of 16th cent.), English composer of church music. An Edward Hake was employed in some capacity in the Chapel Royal at Windsor, and is ' heard of in connexion with the proceedings against Testwood and Merbecke ' (Davey, Hist. Eng. Mus.). Hake contributed 17 settings to * The whole psalmes in foure parts,' published by John D ay (q.v.) in 1563, and a 4-part Mass by him is in B.M. Add. MSS. 17,802-5. J . m k .

canon and maitre de chapelle a t Cambrai in 1477. He is said to have been a pupil of Wm. Dufay, and Jo. Tinctoris dedicates to him his treatise * de notis ac pausis,' giving the above date. As the spelling of names was very arbitrary in those times it is as y e t uncertain how many of the works by Henart, Heraart, Haneart, Heniart, etc., are his or those of other composers. (See Q.-L.)

(1852-54); a society based on subscriptions, ' for tho performance of sacred and secular music both of the Ancient and Modern Schools,' and particularly of living composers, with solos, chorus and orchestra. The first proposal was issued in July 1852, Benedict was chosen conductor, and Blagrove leader ; the concerts took place at Exeter Hall, and the subscription was .3: 3s. per head. The first was held on Dec. 17, 1852, the programme being Motet No. 6, J. S. Bach, and the oratorio of ' Joseph ' by C. E. Horsley. Others followed at about a month's interval until Feb. 23, 1854, which appears to have been the date of the last concert. New works brought forward included Macfarren's ' Lenora *; Pierson's * Jerusalem ' ; F. Mori's ' Fridolin ' ; Symphony in G minor by C. E. Stephens. G.

(b. Woodhouse, 01- veston, Gloucestershire, Apr. 11, 1859), organist and composer of church music (see A n t h e m ) and for the organ, son of Edward Harwood, J .P., was educated at Charterhouse and Trinity College, Oxford. He studied the pianoforte with J. L. Roeckel at Clifton, the organ with G. Riseley at Bristol, theory with Dr. C. W. Corfe a t Oxford, and composition for a short time a t the Leipzig Conservatorium under Reinecke and Jadassohn. He was organist of St. Barnabas', Pimlico, from 1883-87, of Ely Cathedral from 1887-92, and Christ Church Cathedral, Oxford, 1892-1907, when he retired from professional life. He was precentor of Keble College, Oxford, from 1892-1903, and conductor of the Oxford Orchestral Association from 1892-98. On the foundation of the Oxford Bach Choir in 1896 he was appointed its conductor, a post he held with distinction till 1900, in which year he became choragus of the university. His w'orks are all marked by most careful workmanship and fastidious taste. They include Psalm lxxxvi., ' Inclina, Domine,' for soprano solo, chorus and orchestra, performed Gloucester Festival of 1898; Psalm cxxxvii., ' As by the streams of Babylon,' for soprano solo, chorus and orchestra; motet, ' Jesus, thy boundless love,' soli, choir, orchestra and organ; an Agnus Dei, and O Salutaris, for choir and organ ; a service in A flat, op. 6 ; a Communion Service in D, op. 14; several anthems ; a vocal trio, songs, etc. His ' Ode on May Morning ' (Milton), for choir and orchestra, was produced at the Leeds F estival, 1913, and 'Love Incarnate,' for chorus, semi-chorus, orchestra and organ, was given a t the Gloucester F estival in 1925. His works for the organ are an important addition to the modern literature of the instrument. The first to establish this fact were the fine sonata in C sharp minor, op. 5 ; ' Dithyramb,' op. 7 ; ' Pa'an ' (played by Sir W. Parratt at the reopening of the organ in York Minster) ; and preludes on Old English Psalm Tunes. A concerto for organ and orchestra was produced a t the Gloucester Festival, 1910. A second organ sonata (op. 26, F sharp minor), a fantasia 1 Christmastide ' (op. 34), and a Rhapsody (op. 38) aro among his more recent productions. M.; addns. c. 554

(b. Kempsey, near Worcester, Nov. 21, 1859 ; d. London, Feb. 4, 1900), became a chorister at the Priory Church, Malvern, where he frequently acted as deputy for his uncle, the organist of the church and the boy's first instructor in music. Ho subsequently studied under Franklin Taylor (pianoforte) and Prout (harmony) in London ; but in 1878 his uncle sent him to the Conservatorium, Leipzig, his professors there being Reinecke and Jadassohn. His career at Leipzig was very brilliant, and he was awarded the Mozart Scholarship as being one of the 4 most excellent pupils in the Conservatorium.' He composed, during his pupilage, a symphony (in B flat), a concert-overture, a pianoforte trio, a sonata for pianoforte and violin, a prelude and fugue for two pianofortes (published), and an organ sonata in D minor (also published). After a residence of six months near Boulogne -when he occasionally played the organ in the cathedral-Haynes settled in London and obtained the organistship of St. Philip's Church, Sydenham, in 1884. This post he exchanged in 1891 for the Chapel Royal, Savoy, being organist there till his death. For some time he was director of music at the Borough Polytechnic, 5 I t is possible th a t this only impression was in th e possession of th e writer. His collection was dispersed af ter his dea th. I t was photographed, an d prin ts of this are fairly common. w. b. s. and in 1890 was appointed a professor of harmony and composition at the RA.M. In addition to the works above named Haynes composed two cantatas for female voices-' Fairies' Isle ' and 4 A Sea Dream ' ; an Idyll for violin and orchestra; twelve sketches for violin with pianoforte accompaniment ; organ pieces ; church music ; a book of charming 4 Elizabethan Lyrics,' etc. His compositions prove him to have been an artist of absolute refinement in the exercise of a melodic gift and skilful musicianship. f . g . e .

(b. Nuremberg, Apr. 11, 1626 ; d. there, Aug. 6, 1686). From a town musician he learned to play keyboard and all wind instruments. He went to Italy in 1646 for further studies ; on his return in 1649 he was appointed musician to the Town Council. In 1655 he became organist at S. Egidius; in 1656 Kapellmeister a t the Church of Our Lady ; and in 1658 organist at S. Sebald's Cathedral. He composed a large number of sacred songs of contemporary poets ; also church music. (For list see Q.-L.)

(1609-67), (2) Pieter (1619-80), the greatest bell-founders of the 17th century. Originally from Lorraine, they set up in business as makers of cannon at Zutphen in 1640. In 1645 they completed their first carillon for Zutphen wrinehouse tower. In 1654 Franz removed to Amsterdam. He was held in such esteem that the authorities presented him with a building site for his foundry, at the same time entrusting him with the founding of carillons for five towers in their city. At Zutphen the casting of cannon was continued. Pieter moved to Amsterdam in 1664, and after his brother's death carried on the business alone. In 1678 he published in Delft a brochure entitled The Usefulness of C$ and D$ in the Bass of Carillons: shown by various Opinions of skilful Organists and Carillonneurs, in which he vigorously maintained the omission of these notes. He was right in more w ays than one, particularly as to the technique which is possible on the carillon clavier in such an extreme key as Cjj. Now, however, with the tuning of equal temperament and the requirements of modern music no carillon of 4 octaves in compass should be made without these semitone;, being included. During their thirty-four years of existence this firm, according to a list wrritten out by them, made no less than 47 carillons, which list does not include many others known to have been made by them. w. w. s.

(b. Neveklov, Bohemia. 1886), one of the loading pianists of Czechoslovakia. After visiting America and Russia, where he settled for a time as a teacher, he became professor of the pianoforte in the newly organised Conservatoire at Prague (1914). He has frequently played in association with the Bohemian (Czech) String Quartet, and met with success in Paris and London (1919 and 1924). His playing is distinguished for rhythmic vigour, breadth and passion. r . n .

(b. Nuremberg, c. 1498; d. there, July 9, 1561), cantor at the Spitalschule, 1519, and rector at St. Sebaldus from 1537 ; a very learned theorist who wrote several important w orks, a list of which is given in Q.-L. and Mendel. He composed a Passion, psalms and other church music. His son (2) J o h a n n (1540-1613), the inventor of an archicembalo, described in his Commentatio de musicale instruments . . . (1605), was his successor as organist of St. Sebaldus. E. v. d. s.