Unger M.P. Historical Dictionary of Choral Music

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Because the Dresden court went into a period of mourning after the

death of August the Strong on 1 February 1733, Hasse did not begin

serving as Kapellmeister to the new ruler until the end of that year.

From then on he traveled back and forth between German territories

and Italy, especially during periods when the Elector (who was also

King of Poland) traveled with his retinue to Warsaw. Much of his

sacred music appears to have been written for the women of the Os-

pedale degli Incurabili in Venice, where he was named maestro di

cappella during the latter half of the 1730s.

Hasse was a prolific composer, whose works always emphasized a

beautiful vocal line. He wrote at least 11 Italian oratorios, almost all

first performed in Dresden. Among them are Il cantico de’ tre fan-

ciulli, first performed in 1734 and repeated in Dresden seven times

between 1734 and 1753; I pellegrini al sepolcro di Nostro Signore,

first performed on 23 March 1742 and repeated in Dresden during

nine subsequent years until 1756; and Sant’Elena al Calvario and Il

cantico de’ tre fanciulli, which were heavily featured in revised form

during the first three seasons of the Vienna Tonkünstler-Societät (a

charitable organization for musicians’ widows and children, founded

in 1771). Other extant sacred works include at least 15 masses

with orchestra (including some Requiem settings), plus many in-

dividual mass movements; and about 90 other sacred works (most

with orchestra) including offertories, psalm settings, antiphons,

and hymns (including Te Deum settings), among other motets.

Although his operas were not performed much after 1770, his sacred

works continued to be heard in Dresden and at the court chapel in

Vienna after his death.

HASSLER, HANS LEO (BAPTIZED 26 OCTOBER 1564; DIED 8

JUNE 1612). German composer, who brought Italian concerted and

polychoral styles and forms to Germany, synthesizing them with

native traditions. Having received his early training in Nuremberg

(where Leonhard Lechner was the leading musician), he quickly

established a reputation for his keyboard skills. In 1584 he trav-

eled to Venice, where he studied under Andrea Gabrieli, became

acquainted with Giovanni Gabrieli, and presumably also met other

leading musicians associated with St. Marks, including Gioseffo

Zarlino and Claudio Merulo. By the beginning of 1586 he was in

Augsburg, where he served as chamber organist at the Catholic court

of Octavian Fugger II and composed extensively. His reputation as

182 • HASSLER, HANS LEO

an expert in organ building also grew. After the death of Octavian

Fugger on 31 August 1600, he returned to Nuremberg to serve as

director of town music and organist at the Frauenkirche. In 1604 he

moved to Ulm, where he continued to release publications of his mu-

sic, even though he had no official music position. In 1608 he moved

to Dresden, where he served as organist and later as Kapellmeister at

the court of the Elector Christian II of Saxony.

Hassler’s Latin sacred music includes 9 masses for four to 12

voices, and more than 100 Latin motets, most of them appearing in

one of three volumes: Cantiones sacrae de festis praecipuis totius

anni, for 4–8, 11, and 12 vv. (1591, enlarged 1597); Sacri concentus,

for 4–12 vv. (1601, enlarged 1612); and Melos gratulatorium, for 5

vv. (Strasbourg, 1606). His extant German sacred works include some

100 pieces, most significantly perhaps, a set of 52 mostly homophonic

settings of Lutheran hymns: Kirchengesäng: Psalmen und geistliche

Lieder . . . (Nuremberg, 1608). Almost all are for four voices.

Hassler’s extant secular works include about 25 Italian madrigals

for five to eight voices, about as many four-voice Italian canzonet-

tas, and more than 50 German pieces published in Neüe teütsche Ge-

sang, for 4–8 vv. (Augsburg, 1596), Lustgarten, for 4–8 vv. (Nurem-

berg, 1601), and Venusgarten, for 4–6 vv. (Nuremberg, 1615). All of

Hassler’s published music was widely disseminated.

HASTINGS, THOMAS (15 OCTOBER 1784–15 MAY 1872).

American composer (especially of hymns), church music educator

and choirmaster, and writer about music. Largely self-taught as a

musician, he led singing schools in the state of New York, and for

a time wrote a regular column on church music. In 1832 he moved

to New York City, where he was influential in the movement to

provide musical training for church choirs and congregations. He

published many books of hymn tunes; the first of these was Musica

sacra (1815), which went through many editions and reprints over

two decades. He is estimated to have written some 1,000 hymn tunes,

some of which are still used in North American hymnals (e.g., Top-

lady—“Rock of Ages”). His 1822 Dissertation on Musical Taste was

the first extensive musical treatise by an American author.

HATFIELD, STEPHEN (19 NOVEMBER 1956– ). Canadian choral

composer, conductor, and clinician. Specializing in works for youth

choirs, he is known for blending influences from diverse cultures into

HATFIELD, STEPHEN • 183

an appealing and accessible idiom that celebrates the vibrant inter-

connectedness of life and integrates its various dimensions (includ-

ing, for example, physical movement). He is active internationally as

a conductor and workshop leader.

HAUER, JOSEF MATTHIAS (19 MARCH 1883–22 SEPTEMBER

1959). Austrian composer and self-taught theorist who developed a

12-tone system of composition about 1919. It differed from Arnold

Schoenberg’s system in that it allowed for greater freedom in the

ordering of pitches. Also in contrast to Schoenberg, Hauer aspired

increasingly to a depersonalized, expressionless art. Although his

music was rejected during the Nazi era as decadent, it experienced

renewed interest after World War II. His extant choral works include

Fünf Chorlieder, op. 7, for male vv. and pf./org. (1914); Lied der

Liebe, op. 24, for 3 female vv., pf., and hmn. (1923); Lateinische

Messe, op. 44, for chorus, org., chbr., and orch; Lateinische Messe,

op. 44 (incomplete); Wandlungen, op. 53, a chamber oratorio for

6 solo vv., chorus, and orch. (1927); Vom Leben, op. 57, for spkr.,

small chorus, and small orch. (1928); Tanzphantasien Nos. 1–2, op.

65, for S, A, T, B, and orch. (1932–33); Der Menschen Weg, op. 67

(also designated op. II)—a cantata for 4 solo vv., chorus, and orch.

(1934, rev. 1952); Empedokles, op. 68, for solo vv., male chorus,

and orch. (1935); and Frühling, op. 76/2, for chorus, vns., and vcs.

(1938).

HAYDN, FRANZ JOSEPH (31 MARCH 1732–31 MAY 1809).

Austrian composer and brother to Johann Michael Haydn, who

spent much of his career as a court musician for the Eszterházy

family. He pioneered new methods of musical construction based

on motivic development, which fostered the growth of instrumental

forms such as the symphony and string quartet. He is considered

the first of three great Viennese Classical composers—along with

Wolfgang Amadeus Mozart and Ludwig van Beethoven. Although

he is now remembered primarily for his instrumental works, he was

regarded just as highly for his vocal compositions during most of his

lifetime.

Despite very modest beginnings he attained international fame. His

first musical training was under Johann Mathias Franck, a relative of

his father’s by marriage. In 1739 or 1740 he became a choirboy at

Vienna’s St. Stephen’s Cathedral under Georg Reutter. There he re-

184 • HAUER, JOSEF MATTHIAS

mained for 10 years, receiving instruction in voice, harpsichord, and

violin, but apparently not in composition. Nevertheless, his musical

understanding must have benefited greatly from 10 years of continual

music-making at Austria’s most splendid cathedral. When his voice

changed at age 17 he was released. He spent the next years as a free-

lance musician in Vienna, performing and teaching, while working

tirelessly to teach himself composition. It was evidently during this

time that he worked his way through Johann Fux’s treatise, Gradus

ad Parnassum (1725). At some point he became familiar with Jo-

hann Mattheson’s Der vollkommene Capellmeister (1739). Through

a series of fortuitous circumstances, he became well acquainted with

Pietro Metastasio (the famous librettist) and Nicola Porpora, from

whom he benefited in singing, composition, and mastering Italian.

The latter connection, in turn, allowed him to meet Christoph Wil-

libald von Gluck and Georg Wagenseil.

As Haydn’s access to important patrons increased during the

1750s, his lot improved. About 1757 he received his first regular

appointment as director of music for Count Morzin. In 1761 he was

appointed vice Kapellmeister to Prince Paul Anton Esterházy, the po-

sition being newly created in deference to Haydn’s elderly predeces-

sor, who remained on the payroll. Paul Anton was a strong supporter

of the music. When he died the following year, he was succeeded

by an even more ardent musician—his brother, Nicolaus. In 1766

the Kapellmeister died, allowing Haydn to assume the position, with

its added responsibilities for church music. That summer the prince

moved some of his court (including Haydn and musicians) to Eszter-

háza, his new castle on the east side of Lake Neusiedl. In subsequent

years the prince spent more and more time there, so that eventually

the musicians lived there most of each year.

With his new responsibilities, Haydn began composing large-scale

vocal works, including six heterogeneous masses and one fragment:

the Missa Cellensis (a large work in distinct movements, begun in

1766); the Missa “Sunt bona mixta malis” of 1768 (a fragment in

stile antico for chorus and continuo that survives only as a Kyrie

and partial Gloria); the “Great Organ Mass” (1769); the Missa Sancti

Nicolai (1772); the “Little Organ Mass” (1775–78); and the “Maria-

zellermesse” in C (1782); a Stabat mater (1767); a Salve regina

(1771); the allegorical cantata Applausus (1768); and an Italian ora-

torio, Il ritorno di Tobia (1775), a work with many virtuosic arias

HAYDN, FRANZ JOSEPH • 185

but only three choruses (five in a later version). From 1776 there was

increasing royal demand for opera at Eszterháza.

After Prince Nicolaus died in 1791, his son and successor, Prince

Anton, disbanded the orchestra and granted Haydn a year’s leave to

go to London with the impresario, Johann Peter Salomon. Haydn’s

contract was for the 1791–92 season, with concerts running from

February to May. By all accounts his appearances (especially the

performances of his symphonies) were a huge success. It was dur-

ing this time that he heard George Frideric Handel’s oratorios

performed by massed forces in Westminster Abbey. Despite the

disapproval of Prince Anton Eszterházy, Haydn stayed in London for

an additional season. Upon his return to Austria in 1792, Beethoven

came to him for lessons; these however did not continue for long. In

January 1794 he returned to London. Upon Prince Anton’s death that

year, Haydn considered staying in London (especially in light of the

acclaim he enjoyed there) but he decided to return to Austria after

the 1795 season when Nicolaus II (a more musically inclined prince)

offered him reappointment as Kapellmeister. He returned home a

hero, his exalted status enhanced by the support of Baron Gottfried

van Swieten.

Now his duties for the Esterházy court were light. Prince Nico-

laus II spent much time in Vienna, and required of Haydn primarily

the composition of a yearly mass for the Nativity of the Blessed

Virgin Mary (8 September, the name-day of his wife, Princess Ma-

ria Hermenegild). The resulting six masses for soloists, choir, and

orchestra are Haydn’s greatest works in the genre, incorporating

symphonic principles of construction. They include Missa Sancti

Bernardi von Offida [“Heiligmesse”] of 1796; Missa in tempore belli

[“Paukenmesse”] of 1796 (which incorporates ominous timpani fig-

ures and trumpet fanfares in the Agnus Dei, alluding to the threaten-

ing Napoleonic invasion); Missa in angustiis [“Lord Nelson Mass”] of

1798 (whose Benedictus ends with a fanfare that was evidently also

intended as an allusion to the Napoleonic conflict); Theresienmesse

(1799); Schöpfungsmesse (1801); and Harmoniemesse (1802).

Other choral works of this period include a reworked and expanded

version of the Die Sieben letzten Worte unseres Erlösers am Kreuze

[The Seven Last Words] (1796), originally composed by Joseph

Friebert (now revised with help on the libretto from von Swieten);

13 partsongs with keyboard accompaniment for social occasions

186 • HAYDN, FRANZ JOSEPH

(1796–99); two oratorios, Die Schöpfung [The Creation] (1798), of-

fered in both German and English, and Die Jahreszeiten [The Seasons]

(1801); and a Te Deum “for the Empress” of about 1800, which calls

for a large orchestra. Additional liturgical works include offertories,

Marian antiphons, and hymns, mostly written during the first half of

his career. In 1794–95 he also wrote six English psalms.

The Creation was influenced by Haydn’s experience of Handel’s

oratorios in London. It is the most popular of Haydn’s oratorios,

notable for its imaginative orchestral writing (the chromatic intro-

duction, depicting chaos, is particularly compelling), brilliant choral

writing, and its many pictorialisms. The first two of its three parts

follow the biblical account; the third part celebrates Adam and Eve’s

idyllic life and praises the divine creator. The Seasons depicts pasto-

ral scenes with even more vivid and varied means, with explicit (and

sometimes humorous) word-painting.

HAYDN, JOHANN MICHAEL (BAPTIZED 14 SEPTEMBER

1737; DIED 10 AUGUST 1806). Prolific Austrian composer, younger

brother of Joseph Haydn. Like his brother, he served as a choirboy

under Georg Reutter at Vienna’s St. Stephen’s Cathedral, where he

showed early promise as an organist. He remained there until his voice

changed about 1753. Although details of his life at this time are scarce,

it appears that he was already composing prolifically. Sometime

between 1757 and 1760 he became Kapellmeister at Grosswardein

(now Oradea, Romania), where Carl Ditters von Dittersdorf later

succeeded him. The death of Johann Eberlin in 1762 led to an ap-

pointment in 1763 at the Salzburg court of Archbishop Sigismund von

Schrattenbach, where his colleagues included Leopold Mozart.

After Schrattenbach died in 1772, Michael Haydn evidently

pleased his new superior, Prince-Archbishop Count Hieronymus von

Colloredo, for he was appointed organist of the Dreifaltigkeitskirche

(Church of the Holy Trinity) about 1777, much to the dismay of Leo-

pold Mozart, who had expected his son to get the position. In 1782

he succeeded the younger Mozart as court organist. He continued to

compose industriously, and gained a growing reputation as a teacher

of composition. During his last years he received several royal com-

missions from Vienna.

Michael Haydn composed a great deal of music in all genres;

nevertheless, his sacred works are considered his greatest legacy. In

HAYDN, JOHANN MICHAEL • 187

addition to accomplished works in the stile antico, he also composed

florid pieces in the theatrical Neapolitan style. From the early 1770s

on, he wrote mostly in the simpler, homophonic style advocated by

Enlightenment reformers. His extant choral works (most of them

with orchestra) include at least 25 Latin masses (the attribution of

many others is questionable) and a half-dozen German ones, some

180 propers, another approximately 60 Latin liturgical pieces, 50

German sacred works, 80 male partsongs, 30 canons (mostly for

four voices), and a dozen or so other secular works.

HEALEY, DEREK (2 MAY 1936– ). British composer. A student of

Herbert Howells at the Royal Academy of Music, he subsequently

graduated with a doctorate from the University of Toronto. He taught

at the universities of Victoria, British Columbia (1969–71), Toronto

(1971–72), Guelph, Ontario (1972–78), and Oregon (1979–87), and

at the Royal Air Force School of Music, Uxbridge (1988–96). His

choral works, which are essentially neo-Classical in style, include

many shorter sacred works (among them, some 20 carols), and some

one dozen secular pieces. Among them are two sets of Canadian

folksongs and one set of American ones (six in each set: 1973, 1998,

and 2002, respectively), and Before the World Is Old, op. 68 (seven

songs for choir and piano, 1986). Longer sacred works include the

psalm cantata Praise the Lord, op. 7, for soloists, chorus, recorders,

and continuo (1960/79); and Discendi, amor santo, op. 28a, for S,

SATB, and org. (1967).

HEATH, FENNO FOLLANSBEE, JR. (30 DECEMBER 1926– ).

American choral conductor, composer, and arranger. He graduated

with bachelor’s and master’s degrees in music from Yale University

(1950, 1952). From 1953 to 1992 he conducted the Yale Glee Club

(an all male chorus until 1970, one year after the university began

admitting women at the undergraduate level). During his tenure he

also served as professor of choral conducting. Heath is known for his

many choral arrangements (especially ones for male chorus). He also

wrote original compositions, among them, Fern Hill, General Wil-

liam Booth Enters into Heaven, and Lux et Veritas.

HEDGES, ANTHONY (5 MARCH 1931– ). English composer

and teacher. He taught at the Royal Scottish Academy of Music

(1949–55) and the University of Hull (1963–95). His music ranges

considerably in style and technical complexity. Choral works include

188 • HEALEY, DEREK

Manchester Mass, op. 55, for chorus, orch., and brass band (1974);

Bridge for the Living, op. 62, for T, chorus, and orch. (1975); The

Temple of Solomon, op. 78, for chorus and orch. (1979); Aspects of

Love, op. 103 (1986); I’ll Make Me a World, op. 114, for children’s

chorus (1990); in addition to partsongs and anthems.

HEDWALL, LENNART (16 SEPTEMBER 1932– ). Swedish com-

poser, conductor, pianist, and writer. He has held various teaching

and conducting appointments in Sweden. His writing on music

includes extensive journalism and a doctoral dissertation in musicol-

ogy. He has composed in most genres; among his choral works are

Fünf Galgenlieder for male chorus (1959–60); Abra-Makabra, a

cantata for SATB and fl., cl., bn. ad lib. (1975–76); Sommarpsalm

(1980); Två sånger (1981); Herre, lär oss betänka (Psalms 90:12,

103:15–16); among others.

HEILLER, ANTON (15 SEPTEMBER 1923–25 MARCH 1979).

Austrian organist and composer. While most famous as an organ-

ist (known especially for his performances of Johann Sebastian

Bach’s organ works), he wrote much significant Catholic church

music in a polyphonic style similar to that of Paul Hindemith and

Johann Nepomuk David, progressing through increasing chromati-

cism to the thematic use of 12-tone rows. Among his choral works

are some 10 masses, including two based on 12-tone technique: the

Missa super modos duodecimales, for vv. and 7 insts. (1960), and the

Kleine Messe über Zwölftonmodelle, for unacc. choir (1961). Other

choral works include Mixolydian Mass (1944); Missa in nocte, for

female/boys’ vv. and org. (1949); Tentatio Jesu, a short oratorio for

solo vv., vv., and 2 pf. (1952); Missa super “Erhalt uns Herr,” for fe-

male/boys’ vv. (1953); Te Deum, for vv., org./winds, timp., and org.

(1953); Psalmenkantate, for solo vv., vv., orch., and org. (1955);

François Villon, a secular ballad for solo vv., vv., and orch. (1956);

Stabat mater, for vv. and orch. (1968); Geistliches Konzert, for vv.

and 6 ww. (1970); Adventmusik, for children’s vv., ob., vn., and org.

(1971); and Passionsmusik, for children’s vv. and org. (1973).

HEINICHEN, JOHANN DAVID (17 APRIL 1683–16 JULY 1729).

German composer and theorist. He studied at the Thomasschule in

Leipzig under Johann Kuhnau. According to his own testimony,

he was an avid composer even as a young student. After graduation

he enrolled in law at the Leipzig university, where he met Georg

HEINICHEN, JOHANN DAVID • 189

Philipp Telemann. Upon graduation in 1706, he evidently began a

law career in Weissenfels. However, he soon became active in the

musical life of the local court, where Johann Philip Krieger was

Kapellmeister. He also met Reinhard Keiser on occasions when

the Hamburg composer came home to visit his former teacher, the

organist Christian Schieferdecker. In 1709 Heinichen was invited

to Leipzig to compose operas. He also assumed the directorship of

a collegium musicum in the city. About this time he completed the

first edition of his treatise, the Neue erfundene und gründliche An-

weisung . . . zu Erlernung des Generalbasses (published 1711).

In 1710 Heinichen’s growing popularity led to an appointment at

the court in Zeitz, but already in that year he requested a release to

visit the musical establishments at various German courts. His plan

was abandoned when he received an invitation to travel to Italy.

Arriving in Venice, he soon made his mark as an opera composer.

Accompanied by Gottfried Heinrich Stölzel, who was visiting Italy

at the time, he visited the four Venetian conservatories and met their

music directors, among them, Francesco Gasparini, and Antonio

Vivaldi. He also came into contact with Antonio Lotti. In 1712 he

visited Rome. Once back in Venice his growing reputation came to

the attention of the visiting Prince-Elector of Saxony, who engaged

him as Kapellmeister for the Dresden court. Heinichen began his du-

ties in 1717, and remained in the position until his death.

At the Dresden court there were two chapels: a Protestant one,

and a Catholic one (the latter instituted in 1697, when August the

Strong converted to Catholicism). Heinichen shared the duties of

Kapellmeister with Johann Christoph Schmidt, who apparently took

care of the Protestant chapel while Heinichen worked in the Catho-

lic one. The musicians at Heinichen’s disposal were an impressive

group. Included among their number were the violinists Jean Baptiste

Volumier, Johann Georg Pisendel, and Francesco Maria Veracini;

the organist and composer Christian Petzold, the oboist Christian

Richter; the bass player and composer Jan Dismas Zelenka; the

flautists Pierre-Gabriel Buffardin and his student Johann Quantz; the

lutenist Silvius Leopold Weiss; and Pantaleon Hebenstreit, the inven-

tor of the pantaleon.

Because the opera company was disbanded shortly after the lavish

celebrations associated with the wedding of the crown prince (Sep-

tember 1719) Heinichen turned to writing sacred music. His extant

190 • HEINICHEN, JOHANN DAVID

choral works from the Dresden years include 12 masses, 2 Requiem

settings, 8 Magnificat, 3 Te Deum settings, 3 Lamentations, 4

litanies, 2 Italian oratorios, 2 Italian cantatas, and 35 Latin hymns

and motets. His 15 German church cantatas (some of which resemble

sectional motets) were probably written earlier in his career. His

music mixes German, French, and Italian idioms in a progressive,

pre-Classical manner.

HEININEN, PAAVO (13 JANUARY 1938– ). Finnish composer.

He trained at the Sibelius Academy in Helsinki (where Einojuhani

Rautavaara was one of his teachers and where he later succeeded

him as professor), the music conservatory in Cologne, and at the Juil-

liard School (where one of his teachers was Vincent Persichetti).

His works have been divided into two general categories: 12-tone

works and post-serial works that are loosely organized in an unpre-

dictable manner (after c. 1975). His choral works include The Au-

tumns (1970); …cor meum…, op. 35 (1979); Virsi-81 [Hymn-81], for

SATB and org. (1981); Four Lullabies, op. 56a, for TTBB (1986);

Readings in Music History, op. xyz, for speaking singers (1986, rev.

1992); Poetiikka, op. 56b, for TTBB (1986–90); Kasvot (Visages),

op. 56c, for TTBB (1990); Etydejä [Etudes], op. 56d, a textless work

for TTBB (1990); Tarinankulmia, op. 67 (1994); Me [We], op. 74,

no. 1, for TTBB (1998); Kaikuja [Echoes], op. 56/74, no. 2, a text-

less work for SATB (1998); Taivas, kukkamaa [Heaven, Blooming

Earth]—three tangos for TTBB (1999); and Toinen taivas, kukkamaa

[Another Heaven, Blooming Earth]—three tangos for TTBB (1999).

HEINIÖ, MIKKO (18 MAY 1948– ). Finnish composer and musicol-

ogist. He attended the Sibelius Academy in Helsinki (1971–75), then

studied composition in Berlin, and eventually completed a doctorate

in musicology at the University of Helsinki. A noted specialist on

new Finnish music, he has written several books and many articles.

His musical style has evolved into an engaging eclectic mix of do-

decaphony, melodic borrowings, Latin-American music, jazz, and

rock. It is emotional and accessible, with energetic rhythms. Choral

works include Drei finnische Volkslieder, op. 28 (1977); Kinerva,

op. 30, for T and male vv. (1978); Landet som icke är/Maa, jota ei

ole [The Land That Is Not], op. 37, for female vv., pf. (1980); Man-

nerkantaatti [Continent Cantata], op. 45, for S, B, SATB, and orch.

(1985); I den ljusa natten [In the Light Night], op. 47, for male vv.

HEINIÖ, MIKKO • 191