Unger M.P. Historical Dictionary of Choral Music
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(1985); Minimba 2, op. 50, for male vv. (1988); Wind Pictures (Tuu-
lenkuvia), op. 56, for SATB, orch., synth., and str. (1991); Luceat,
op. 57 (1992); Skålbordun, op. 60, for male vv. (1993); Non-Stop,
op. 63 (1995); Juhlamarssi hiljaisille miehille [Festive March for
Quiet Men], op. 65, for male vv. (1996); Pikavauro Turkku [Turku
Express] (2002); and Tomumieli, for male vv. (2003).
HEINRICH, ANTHONY PHILIP (11 MARCH 1781–3 MAY 1861).
American composer, born in Bohemia. Having suffered financial losses
in the wake of the Napoleonic wars, he emigrated to the United States
in 1810. Further business reverses led him to take up the vocation of
composer. For a while he lived in the backwoods of Kentucky. Making
several treks through the American wilderness, he adopted the persona
of “log-house composer,” writing descriptive works that captured his
frontier experiences. A violinist and pianist, he was largely self-taught
in composition. Most of the years from 1827 to 1837 were spent in
Europe, where he achieved modest success. In 1837 he settled in New
York, and became known as “Father Heinrich,” the “Beethoven of
America.” His primary interest was orchestral composition, and many
of his works (which are often eccentric, elaborate, and complex) call for
a large orchestra. Works for vocal ensemble include some 20 smaller
pieces (often with piano or organ accompaniment) and half that many
works with orchestra. He is historically significant as America’s first
professional composer, whose nationalist interests also set him apart.
HEMBERG, ESKIL (19 JANUARY 1938–26 JUNE 2004). Swedish
composer, choral conductor, and arts administrator. After studies at
the Stockholm Royal College of Music in music education, choral
music, and organ (1957–64), he worked for Swedish radio (1964–70),
the Institute of National Concerts (1970–83), Stora Teater, Göteborg
(1984–87), and the Swedish Royal Opera (1987–96). From 1959 to
1983 he conducted the Academic Choir at Stockholm University. His
many choral works combine elements such as tone clusters, glissan-
dos, and Sprechgesang with traditional counterpoint to good effect.
Examples of Hemberg’s works (most of which are unaccompa-
nied) include En gång i bredd med mig, for Bar., male vv., and wind
insts. (1961–75); Zoo, op. 7 (1965); Eighteen Movements, op. 12
(1967); Signposts, op. 15 (1968); Messa d’oggi, op. 23, for solo vv.
and chorus (1970); The Gallery, op. 20, for male vv. (1969); Cantica,
op. 27, for solo vv., chorus, and orch. (1972, rev. 1977); Markuspas-
192 • HEINRICH, ANTHONY PHILIP
sion, op. 25, for solo vv., chorus, and orch. (1972–84); Sörmländsk
sommar, op. 33, for 4 solo vv. and chorus (1973); Österbottnisk
visbok, op. 39, for male vv., hn., cl., db., and perc. (1975); Med Gud
och hans vänskap, op. 41, for priest, congregation, SATB, tpt., and
org. (1976); Three Ohio Gospels op. 21 (1976); Swedish Emigrant
Ballads, for chorus and pf. (1976); Kvinder, op. 46, a cantata for S,
Bar., female chorus, and orch. (1979); Tre sånger i juli, op. 47, for
male chorus/SATB (1978, rev. 1982); Concerning My Negotiations
with Myself and with God, op. 51, for S, A, T, B, 2 SATB, and org.
(1980); Andliga övningar, op. 53, for male chorus (1981); Mozart-
variationer, op. 57 (1981); Lützener Te Deum, op. 59, for 2 SATB
and 3 trbn. (1982); Magnificat primi toni, op. 61, for solo v. and 2
SATB (1982); Bless the Lord O My Soul (Psalm 103), op. 65, for
SATB and handbells (1983); Tre körer ur Gräsen i Thule, op. 66
(1984); Psalm 150, op. 69, for SATB, va. d’amore, and vc. (1985);
Requiem aeternam, op. 73 (1987); San Francisco Peace Cantata,
op. 75, for S, A, T, B, SATB, tpt., and crotales (1989); Psalm 96, op.
77 (1992); Thou Who Are Over Us, op. 78, no. 1 (1992); Requiem
aeternam, op. 78, nos. 2–3 (two SATB versions, 1992); Requiem, op.
82 (1994); Tre citat, op. 85 (1995); Tre kärlesdikter, op. 90, for Bar.,
and male chorus (1997); Psalm 23, op. 87, no. 2 (1998); and Three
Songs at Ease, Please, op. 94 (1998).
HENZE, HANS WERNER (1 JULY 1926– ). German composer,
whose music often voices political and sociological concerns. He
was the oldest son in a home where freedom was limited and Nazi
doctrines were enforced. Nevertheless, he was able to acquaint
himself somewhat with art music and great literature. Having taken
piano lessons from his father as a child, he was allowed in 1942 to
enroll in a music school, where he took lessons in piano, percussion,
and music theory. During this time he availed himself of every op-
portunity to hear concerts and visit the theater. He reveled especially
in Wolfgang Amadeus Mozart’s operas. Contemporary music from
outside of Germany, however, was unavailable. He was conscripted
into the Nazi army, and later interned in a British war camp, where
his opposition to fascist values grew as he gained knowledge of the
world beyond Germany.
Since his father had died on the eastern front, Henze began provid-
ing for his family, while continuing to compose avidly. Fortuitously,
HENZE, HANS WERNER • 193
he was given the opportunity to enroll at the Heidelberg Institute of
Protestant Church Music, where he received a thorough grounding
in composition, orchestration, and music history (including an in-
troduction to the music of Paul Hindemith, Béla Bartók, and Igor
Stravinsky). In 1946 he took in the first Darmstadt summer courses
for new music. Increasingly, he moved in the direction of more mod-
ern composers such as Stravinsky. While he embraced dodecaphony
early on, he opposed rigid adherence to the system. His fame grew
and he was soon receiving many commissions. During the rest of the
1940s and early 1950s he focused especially on theatrical works and
ballet.
In 1953 Henze escaped to Italy for rejuvenation. Reassessing his
work, he turned to a simpler musical language and style. With Aus-
trian poet Ingeborg Bachmann, who joined him in the summer of
1953, he developed views about the interactions between music and
words. He distanced himself from the rigidity of the Darmstadt avant
garde, exploring a wider range of musical idioms, including jazz. By
the mid-1960s his operas and symphonies were acclaimed in Europe
and America.
During the late 1960s and the 1970s Henze became a political
activist, embracing socialist causes and concerns, which were re-
flected in his compositions. He dedicated the oratorio Das Floss der
“Medusa” to Che Guevara. Unfortunately the 1968 premiere was
halted by a riot. In 1976 in the Tuscan town of Montepulciano, Henze
founded a music festival named the Cantiere Internazionale d’Arte.
Increasingly famous, and receiving ever more professional honors
and invitations, he began revising and consolidating his life’s work.
Although he is most famous for his operas, ballets, symphonies,
and concertos, Henze also wrote numerous choral works. They in-
clude Fünf Madrigäle, for small chorus and 11 insts. (1947); Chor
gefangener Trojer, for chorus and orch. (1948, rev. 1964); Wiegen-
lied der Mutter Gottes, for solo boy’s v./unison boys’ chorus, and 9
insts. (1948); Szenen und Arien, for S, T, chorus, and orch. (1956)
[from opera König Hirsch]; Jüdische Chronik, for 2 spkr., A, B, chbr.
chorus, and chbr. orch. (1960); Novae de infinito laudes, for S, A,
T, Bar., chorus, and ens. (1962); Cantata della fiaba estrema, for S,
chbr. chorus, and 13 insts. (1963); Lieder von einer Insel, for chbr.
chorus, trbn., 2 vc., db., chbr. org., perc., and timp. (1964); Muzen
Siziliens, for chorus, 2 pf., winds, and timp. (1966); Das Floss der
194 • HENZE, HANS WERNER
“Medusa,” for S, Bar., spkr., chorus, 9 boys’ vv., and orch. (1968,
rev. 1990); Mad People’s Madrigal, for 12-pt. chorus (1974–76,
from the stage work We Come to the River); Orpheus behind the
Wire, for 8-/12-pt. chorus (1983); Hirtenlieder, for S, S, Mez.,
T, Bar., and B) or chbr. chorus (1995, from the opera Venus and
Adonis); and the Ninth Symphony (1997), which calls for a chorus in
the seventh movement.
HERBST, JOHANN ANDREAS (BAPTIZED 9 JUNE 1588; DIED
24 JANUARY 1666). German theorist and composer. After growing
up in Nuremberg, where he was probably influenced if not taught
by Hans Leo Hassler, he held Kapellmeister positions in Butzbach
(1614–19), Darmstadt (1619–23), Frankfurt (1623–36), his home-
town of Nuremberg (1636–44), and again in Frankfurt (from 1644 to
his death). His historical importance rests primarily on two treatises:
Musica practica, a practical guide to singing in the Italian style with
emphasis on ornamentation, published in 1642, which contains infor-
mation also found in Michael Praetorius’s Syntagma musicum, vol.
3; and Musica poetica, which has the distinction of being the first
book in German on composition, and contains instructions regarding
the use of musical-rhetorical figures. A third treatise, Compendium
musices, on the rudiments of music, is lost.
Herbst’s music introduced the concertato style and the basso con-
tinuo to Germany—but apparently neither the solo vocal concerto
nor recitative. Several of his published collections are lost. Extant
works include Theatrum amoris, a collection of madrigal-like works
for five and six voices (1613); Meletemata sacra, a volume of motets
for three to seven voices (1619); and individually preserved canta-
tas, chorales, chorale concertos, and motets.
HERFORD [GOLDSTEIN], JULIUS (21 FEBRUARY 1901–17
SEPTEMBER 1981). American choral conductor, choral pedagogue,
and pianist of German birth. Born Julius Goldstein, he studied piano
and composition at the Stern Conservatory, Berlin (1917–23). In 1939
he immigrated to the United States. Taking the name Herford, he
taught at various institutions including the Teachers College of Co-
lumbia University, the Juilliard School of Music, the Berkshire Music
Center, Union Theological Seminary, Manhattan School of Music, and
Westminster Choir College. In 1964 he received an appointment at
Indiana University, where he taught until retirement in 1971.
HERFORD, JULIUS • 195
He was one of the most influential choral pedagogues in American
choral history, best remembered for courses he taught on the history
and analysis of choral works. His students included Elaine Brown,
Margaret Hillis, Robert Shaw, and Roger Wagner.
HESELTINE, PHILIP. See WARLOCK, PETER.
HÉTU, JACQUES (8 AUGUST 1938– ). Canadian composer. He
studied at the University of Ottawa (1955–56), the Conservatoire
de Musique et d’Art Dramatique de Montréal (1956–61), the École
Normale de Musique de Paris (1961–63), and the Conservatoire
National Supérieur de Musique de Paris, where his teachers included
Olivier Messiaen (1962–63). He has taught at the Université Laval
in Québec City (1963–77), the Université de Montréal (1972–73,
1978–79) and the Université du Québec in Montreal (1979–2000).
His choral works include Les Djinns, op. 22, for small mixed chorus,
large mixed chorus, pf., and 6 perc. (1975); Missa pro trecentesimo
anno, op. 38, for mixed chorus, org., and orch. (1985); Les illusions
fanées, op. 46 (1988); Passage, op. 65 (1999); and Hear My prayer,
O Lord (from Psalm 102), op. 66 (2000).
HILL, JACKSON (23 MAY 1941– ). American composer and musi-
cologist. He completed his music education at the University of North
Carolina, Chapel Hill (BA 1963, MA 1966, Ph.D. 1970). From 1968
he taught at Bucknell University (Lewisburg, Pennsylvania), where
he conducted the orchestra and served as chair of the music depart-
ment. He has made a specialty of Japanese traditional music, which
(along with Renaissance polyphony) has influenced his own works.
His choral pieces are simpler and more traditional than his instru-
mental compositions. They include Magnificat and Nunc Dimittis,
for chorus and org. (1972); The New Age (Festival Ode), for chorus
and concert band (1972); O salutaris Hostia (1973); In Mystery Hid
(1974); Tantum ergo (1974); O God, Beneath Thy Guiding Hand, for
chorus and org. (bicentennial anthem, 1976); Three Motets for Holy
Week (1977); Missa brevis (1977); Song of the Sea (1977); Arise,
Shine, for chorus and org. (1977); Three Tennyson Lyrics (1981–89);
Voices of Autumn (Aki no ko-e) (1982); Medieval Lyrics, for chorus
and brass qt. (1985); Love Is Life (1985/87); God’s Grandeur, for
chorus and org. (1986); Surge, et illuminare, Jerusalem, for chorus
and opt. brass (1987); Carol of the Manger, for chorus and org.
(1988); Home of My Soul (1992); O Light Invisible (1994); Gifts of
196 • HESELTINE, PHILIP
the Spirit, for chorus and org. (1996); Remembered Love, Unforgot-
ten Dreams, for AATBBB (2004); and When Spring Is Born at Last
(2004); among some two dozen others.
HILLIER, PAUL (9 FEBRUARY 1949– ). English singer, conduc-
tor, and writer. Interested in a wide range of musical expression, he
studied at the Guildhall School of Music and Drama, then in 1973,
founded the Hilliard Ensemble, a small vocal ensemble devoted
largely to early music. He directed the group until the late 1991,
when he became active in the United States. In 1990 he founded the
Theatre of Voices, a small ensemble dedicated to the performance of
modern music. From 1996 to 2003 he was director of the Early Music
Institute at Indiana University, and from 2001 to 2007 he conducted
the Estonian Philharmonic Chamber Choir. He became chief con-
ductor of Ars Nova Copenhagen in 2003 and artistic director of the
National Chamber Choir of Ireland in 2008.
HILLIS, MARGARET (1 OCTOBER 1921–5 FEBRUARY 1998).
American conductor, founder of the Chicago Symphony Chorus.
Although hoping to become an orchestra conductor, she was advised
to pursue a career in choral music because the orchestral field was
dominated by men. Accordingly, after graduating from Indiana Uni-
versity, she studied choral conducting at the Juilliard School, and
independently with Robert Shaw. She subsequently taught choral
conducting at the Juilliard School (1951–53) and Union Theologi-
cal Seminary (1950–60). In 1954 she formed the American Choral
Foundation. In 1957 she was recruited by Fritz Reiner, conductor of
the Chicago Symphony Orchestra, to organize a symphony chorus.
Under her meticulous leadership, the Chicago Symphony Chorus
won nine Grammy awards. As her reputation grew, Hillis received
invitations to conduct various American orchestras, including the St.
Paul Chamber Orchestra, the Milwaukee Symphony, the National
Symphony, and the Baltimore Symphony. In 1977 she conducted
Gustav Mahler’s Eighth Symphony in Carnegie Hall, when Georg
Solti fell ill.
HILTON, JOHN (BORN 1599; BURIED 21 MARCH 1657). Eng-
lish church musician and composer. His extant choral works include
a published volume of secular works for three voices entitled Ayres
or Fa La’s (1627) and a popular collection of catches, rounds, and
canons for three and four voices entitled Catch That Catch Can
HILTON, JOHN • 197
(1652, reprinted several times), which includes 42 of his own pieces
and some by others. Some sacred music attributed to him may be by
his father (also named John Hilton). Included are several whole or
partial services, 5 full anthems for three, four, and seven voices, and
12 verse anthems (8 of them incomplete), among a few other works.
HINDEMITH, PAUL (16 NOVEMBER 1895–28 DECEMBER
1963). German composer, theorist, educator, violin and viola player,
and conductor. He grew up in a home where rigid musical discipline
was enforced by his father. His initial lessons were on the violin, and
he entered the Hoch Conservatory in Frankfurt as a violin student;
later he added composition to his studies. In 1914 he began playing
violin in the Frankfurt Opera Orchestra; in this capacity he became
acquainted with many of the conductors of his day. After military
service in World War I, he returned to the orchestra, but (at his own
request) as a violist. He now saw himself primarily as a composer. A
successful concert of his works in 1919 led to an offer from the music
publisher, Schott, who remained his publisher from that point on. In
the 1920s, his musical style began to evolve. Abandoning the idioms
of late Romanticism, he embraced Expressionism, writing highly
dissonant and agitated works. These were followed by compositions
that took up the aesthetic values of the “New Objectivity” (Neue
Sachlichkeit)—musically motivated, straightforward, functionally
minded works in which polyphonic textures are common. Even in
the vocal works, meaning was expressed primarily through musical
process and structure.
In 1927 Hindemith began teaching at the Berlin Conservatory,
where he demonstrated an open-minded and inquisitive nature by
exploring music for radio and film. He taught himself Latin and
mathematics so that he could read old theory treatises, and learned
how to play old instruments. During the late 1920s, when he felt
increasingly alienated due to prevailing political trends in Germany,
he collaborated with librettist, Gottfried Benn, to write the oratorio,
Das Unaufhörliche [The Perpetual] (1931), in which the transfor-
mative (“perpetual”) principle in the creative process is exalted.
Gradually, as he became increasingly interested in providing music
for young people and amateurs, he adopted a more accessible style.
He called this music “Sing- und Spielmusik”—rejecting the term
Gebrauchsmusik, which was often used by others.
198 • HINDEMITH, PAUL
In 1933, after the National Socialists had come to power, much of
his music was banned. In response, Hindemith composed his operatic
masterpiece, Mathis der Maler, which probes the relationship be-
tween the artist and his world, concluding that the artist’s chief social
responsibility is to remain faithful to his gift. In 1938 Hindemith emi-
grated to Switzerland. Before that, however, while his compositional
activity was restricted, he worked out a theoretical system governing
the melodic and harmonic relationships of pitches, based on prin-
ciples of acoustical principles. The first part of the resulting work,
Unterweisung im Tonsatz, appeared in 1937. One practical result was
a reengagement with harmony as a means of expression.
In 1940 Hindemith emigrated to the United States. A series of
invited lectures at Yale University led to a visiting appointment
there in 1940. The following year, the university made his position
permanent, and gave him considerable freedom in designing his
courses. He founded the Yale Collegium Musicum, whose perfor-
mances gave impetus to the development of historically oriented
performance in the U.S. Continuing to compose prolifically (often on
commission), he was soon famous, not only in the U.S., but abroad.
In 1946 (the year that he became an American citizen) he wrote
When Lilacs Last in the Door-yard Bloom’d, a requiem employing
Walt Whitman’s poem (written in memory of Abraham Lincoln).
Commissioned by Robert Shaw, the work pays tribute to President
Franklin D. Roosevelt (who had died in 1945) and those who had
fallen in World War II.
During the following years, Hindemith found himself increas-
ingly at odds with modernist trends, which he believed emphasized
technique over artistic expression. In 1953 he moved back to Swit-
zerland. Although he had accepted a position at the University of
Zurich already some years earlier, his interest in teaching waned, and
he became increasingly active as a conductor. In his compositions
he began to embrace a wider spectrum of idioms and techniques.
He paid ever greater homage to old genres, especially the motet
and madrigal, and incorporated ancient techniques: for example,
the Mass for unaccompanied chorus (1963) uses fauxbourdon, iso-
rhythm, and rhetorical musical figures. At the same time, he mixed
early and modern music in his own performances to show aspects
of unity that overarched differences of style, genre, and historical
origin. Contrapuntal procedures and chord structures based on open
HINDEMITH, PAUL • 199
fourths and fifths remained constant elements. While Hindemith was
considered to be out of touch with prevailing musical trends during
the second half of the 20th century, his work attracted renewed inter-
est after his death.
Hindemith’s choral works with orchestra include Das Unaufhör-
liche, an oratorio for S, T, Bar., B, mixed chorus, children’s chorus,
orch., and org. (1931); When Lilacs Last in the Door-yard Bloom’d,
a requiem for Mez., Bar., mixed chorus, orch., and org. (1946); Ap-
parebit repentina dies, for mixed chorus and brass (1947); Ite angeli
veloces, three smaller cantatas for A, T, mixed chorus, audience,
and orch. (1953–55); Mainzer Umzug, for S, T, Bar., mixed chorus,
and orch. (1962); and Credo (fragment, 1963). Works for unaccom-
panied chorus include Lieder nach alten Texten (1923); Spruch eines
Fahrenden, for female/children’s vv. (1928); Five Choruses (Ger-
man), for male vv. (1930); Chorlieder für Knaben (1930); Der Tod,
for TTBB (1931); Wahre Liebe, for SSATB (1936); Five Songs on
Old Texts, for SSATB (1938); Six Chansons (French) (1939); Three
German Choruses, for male vv. (1939); Erster Schnee, for male vv.
(1939); Variationen über ein altes Tanzlied, for male vv. (1939);
Das Galgenritt, for male vv. (1949); Twelve German Madrigals, for
SSATB (1958); and a Mass for mixed chorus (1963).
HOCKET. A medieval polyphonic vocal texture or piece in which
a melody is passed rapidly from one part to another. The voices
perform in alternation, one voice performing a single note or small
group of notes, then resting while another sounds. The result is a kind
of hiccupping delivery.
HODDINOTT, ALUN (11 AUGUST 1929– ). Welsh composer and
teacher. He learned to play the violin as a child, and in 1946 was
one of the original viola players in the National Youth Orchestra of
Wales. He studied at University College, Cardiff, before teaching at
the Welsh College of Music and Drama in Cardiff and later at the
University College, eventually rising to the rank of professor (from
1967). In 1967 he cofounded the Cardiff Festival of Twentieth-
Century Music, which brought leading composers, including Ben-
jamin Britten and Olivier Messiaen, to south Wales. In 1987 he
retired from the university to focus on composing.
Hoddinott composed prolifically, working in most genres (often on
commission). His musical language, which was apparently initially
200 • HOCKET
influenced by Béla Bartók, evolved into a distinctive and wide-
ranging style. His music is generally chromatic and often broodingly
expressive, while structurally controlled. Serial techniques are some-
times employed but within a generally tonal framework. His choral
compositions are characterized by sensitive text setting, ostinato
motives, and large climaxes. Of some 70 works, only a dozen are
unaccompanied; 20-plus are for choir and organ, while more than a
dozen include orchestra. Examples include The Bells of Paradise, op.
117, a cantata for Bar., chorus, and orch. (1984); The Legend of St.
Julian, op. 129, a cantata for nar., SATB, and orch. (1987); Emynau
Pantycelyn [Hymns of Pantycelyn], op. 138, for Bar., SATB, and
orch. (1990); Vespers Canticle, for SATB and org. (1992); Gloria,
op. 143/2, for SATB and org. (1992); The Gates of Heaven, op.
143/3, for SATB and org. (1992); Missa Sancti David, op. 148, for
SATB, org., pf. duet, and perc. (1994); Mass of the Pilgrims, op. 158,
for Bar., SATB, pf. duet, and org. (1996); and Magnificat and Nunc
Dimittis, for SATB and org. (1996).
HOFHAIMER, PAUL (25 JANUARY 1459–1537). Austrian organ-
ist and composer. From 1478 he worked in Innsbruck at the court of
Duke Sigmund of Tyrol. From 1489 he simultaneously served Em-
peror Maximilian I, which necessitated a move in 1507 to Augsburg.
In 1515 he was knighted, allowing self-references of “first organist”
to the emperor. When Maximilian died in 1519, he became organist
at Salzburg Cathedral and organist to the Archbishop of Salzburg.
His extant choral compositions are found primarily in a collection en-
titled Harmoniae poeticae (1539), which consists of 35 homophonic
settings of odes by Horace.
HOGAN, MOSES (13 MARCH 1957–11 FEBRUARY 2003). Amer-
ican pianist, choral conductor, composer, and arranger, remembered
for his settings of African American spirituals. He studied at the
Oberlin Conservatory (Ohio), the Juilliard School (New York), and
Louisiana State University (Baton Rouge). Until his untimely death
from a stroke, he served as artist-in-residence at Dillard University
in New Orleans. An accomplished pianist (he took first place in the
prestigious 28th annual Kosciuszko Foundation Chopin Competition
in New York), he was also in great demand as arranger, conductor,
and clinician. His choir, the Moses Hogan Chorale, performed inter-
nationally to critical acclaim.
HOGAN, MOSES • 201