Unger M.P. Historical Dictionary of Choral Music

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HOLLIER, DONALD RUSSEL (7 MAY 1934– ). Australian com-

poser and conductor. After graduating in 1955 from the New South

Wales State Conservatorium of Music, he studied intermittently at

the University of London, graduating with a doctorate in 1974. From

1967 to 1984 he was the head of academic studies at the Canberra

School of Music. He also served as music director of the Canberra

Choral Society and Canberra Opera. His numerous choral works

include Magnificat and Nunc Dimittis, for solo vv. and double

SATB (1965); And Musick Shall Untune the Sky, a cantata for solo

vv., SATB, and orch. (1965, rev. 1990); The Revelation of St. John

the Divine, an oratorio for Bar., double SATB, boys’ chorus, brass,

perc., str. orch., 3 org., and tape (1974); Canticle in Memory of Ben-

jamin Britten, for chorus and pf. (1978); Seven Psalms and Lamen-

tations of David, for SATB, handbells, 2 semi-choruses, soloists, 7

fl., pic., a. fl., 2 pf., and 2 perc. (1979); and Seven New Psalms, for

2 S, Tr. chorus, double SATB, 7 cl., 7 sax., org., 2 perc., 2 pf., and 4

elec. gui. (1986).

HOLLIGER, HEINZ (21 MAY 1939– ). Swiss composer, oboist, and

conductor. As an internationally recognized virtuoso on the oboe,

he has had pieces written for him by leading composers of the 20th

century. The earliest of his own compositions were influenced by

the Second Viennese School. Later works explore psychological

and musical extremes, often bringing into question basic preconcep-

tions about musical expression. His vocal ensemble works include

Advent, for S, A, and chorus (1959); Siebengesang, for female vv.,

ob., orch., and electronics (1967); Dona nobis pacem, for 12 solo vv.

(1969); Psalm (1971); Die Jahreszeiten (1979); Scardanelli-Zyklus,

for chorus, fl., chbr. ens., and tape (1975–91); Gesänge der Frühe,

for chorus, orch., and tape (1987); Jisei I, for 4 solo vv. and Japa-

nese temple bells (1988); Variazioni su nulla, for 4 solo vv. (1988);

Jisei II, for 4 solo vv. and Japanese temple bells (1989); Alb-Cher,

for spkr., 8 vv., and chbr. ens. (1991); Jisei III, for 4–8 solo vv. and

4 Japanese temple bells (1992); Dunkle Spiegel, for Bar., 5 vv., and

5 inst. groups (1996); and Vier Epigramme, for 4 solo vv. and opt.

mixed chorus (1999).

HOLLOWAY, ROBIN (19 OCTOBER 1943– ). English composer.

He studied at the University of Cambridge, where he was appointed

lecturer in 1975. The book Debussy and Wagner (1978) grew out of

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his doctoral dissertation. His compositional style, which style evolved

from strict serialism to a more romantic approach, is hard to classify

because it draws on a wide range of historical influences and idioms.

Choral works include The Consolation of Music, op. 38/1 (1966–77);

Cantata on the Death of God, op. 20, for chorus and orch. (1973);

Five Madrigals, op. 22 (1973); Sea-Surface Full of Clouds, op. 28,

for S, A, Ct., T, chorus, and chbr. orch. (1975); Hymn for Voices,

op. 36 (1977); He-She-Together, op. 38/2 (1978); Brand, for soloists,

chorus, org., and orch. (1981); Since I Believe (1984); Peer Gynt,

op. 84, for solo vv., chorus, orch., actors, mimes, dance, and film

(1984–97); Hymn to the Senses, op. 72 (1990); The Spacious Firma-

ment, op. 69, for chorus and orch. (1990); Lord, What Is Man, op. 77

(1991); Missa caiensis, op. 93, for chorus and org. (1993–2001); The

Food of Love (1996); and Woefully Arrayed (1999).

HOLM, PEDER (30 SEPTEMBER 1926– ). Danish composer,

teacher, and conductor. He taught at the conservatory in Esbjerg

from 1949 to 1989, and served as the conductor of the West Jut-

land Symphony Orchestra from 1951 to 1981. In his work he has

sought to bridge the gap between amateur and professional music-

making. Among his choral works are Tre sange (1961); Fem sange

for kor (1971); Den bagvendte vise, for equal vv., recs. vns., and guis.

(1984); Hedebys genganger [The Specter of Hedeby], for 1 v., cho-

rus, and orch. (1985); Ode til aaret [Ode for the Year] (1988); and

Fynske stemmer [Voices of Funen], for chorus and ens. (1995).

HOLMBOE, VAGN (20 DECEMBER 1909–1 SEPTEMBER 1996).

Danish composer and teacher. After studies at the Royal Conserva-

tory in Copenhagen and the Berlin Conservatory, he studied folk mu-

sic in Romania (his wife was a Romanian pianist). He later taught in

Copenhagen at the Institute for the Blind (1940–49) and at the Royal

Conservatory (1950–65). From 1947 until 1955 he also worked as

a newspaper critic. He was a prolific composer who worked in all

standard genres. His music was influenced by the folk music he

had studied and by Béla Bartók, Carl Nielsen, Jean Sibelius, and

Igor Stravinsky. His music is generally contrapuntal with modal

harmonies. Many of his works were influenced by the principle of

metamorphosis, which he understood as a process by which con-

trasting elements develop in complementary fashion. His choral

compositions number more than 100 individual pieces. Among the

HOLMBOE, VAGN • 203

many unaccompanied ones, are 7 collections of Latin settings of

Old Testament texts entitled Liber canticorum: op. 54 (1951), op. 59

(1953), op. 60 (1953), op. 61 (1953), op. 96a (1967), op. 158a (1984),

and op. 158b (1984); 2 cantatas, and 2 sets of canons. Among the

accompanied works are 12 cantatas and Requiem for Nietzsche, op.

84, for T, Bar., chorus, and orch. (1964).

HOLST, GUSTAV (21 SEPTEMBER 1874–25 MAY 1934). English

composer and teacher. As a child, he took piano lessons from his

father. In 1893 he enrolled at the Royal College of Music, where

his teachers included Charles Villiers Stanford and Hubert Parry.

In 1895 he met Ralph Vaughan Williams, who became a lifelong

friend and an important musical influence, especially in stimulating

an interest in English folksongs. For a few years, he supported him-

self by playing trombone, first in the Carl Rosa Opera (1898–1900)

and then in the Scottish Orchestra (1900–3). He taught himself ele-

mentary Sanskrit so that he could translate hymns from the Rig Veda

which he then set to music. He began teaching in 1903, succeeding

Ralph Vaughan Williams at a girls’ school in Dulwich. From 1905

until his death he served as director of music at St. Paul’s Girls’

School in Hammersmith. In 1907 he was appointed music director

at Morley College, where he remained until 1924. His first major

success came with The Planets, an orchestral suite with wordless

women’s chorus—the work for which he is still most famous (1916,

first public performance 1920).

Holst wrote original, unpredictable music. His early works incor-

porated Wagnerian chromaticism; later influences included not only

English folksongs but apparently also the counterpoint of English

madrigalists. Strong bass ostinatos are evident, as are exotic ele-

ments stemming from his interest in Eastern religions. Apparently

determined not to repeat himself, he kept reinventing his style, syn-

thesizing disparate idioms into highly individual, concise, even aus-

tere expressions, which were often motivated by visionary idealism.

Holst’s choral works number among his finest creations. Among

more than 20 works with instruments are four sets of Choral Hymns

from the Rig Veda, op. 26, for chorus and orch. (1908–12); Christmas

Day, a fantasy on carols for Mez., chorus, and orch. (1910); A Dirge

for Two Veterans, for male chorus, brass, and perc. (1914); The Hymn

of Jesus, op. 37, an ecstatic, gnostic work for 2 choruses, female

semi-chorus, and orch. (1917); Ode to Death, op. 38, for chorus and

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orch. (1919); Short Festival Te Deum, for chorus and orch. (1919);

First Choral Symphony, op. 41, for S, chorus, and orch. (1924); and

A Choral Fantasia, op. 51, for S, chorus, org., str., brass, and perc.

(1930). His more than 30 smaller-scale works (often unaccompanied,

and several for female chorus) include numerous sets of folksongs, as

well as sets of partsongs, canons, and anthems. Examples include

Two Psalms, for T, chorus, str., and org. (1912); and Six Choral Folk

Songs, op. 36b (1916).

HOLTEN, BO (22 OCTOBER 1948– ). Danish composer and con-

ductor. He studied musicology at Copenhagen University, and bas-

soon at the Royal Danish Conservatory. In 1979 he founded Ars

Nova, a vocal ensemble specializing in Renaissance vocal works and

new music, which earned critical acclaim with hundreds of concerts,

many world premieres, and 20 recordings. In 1991 he was appointed

permanent guest conductor of the BBC Singers. In 1996 he left Ars

Nova and organized a new ensemble called Musica Ficta, with whom

he performed and recorded extensively, while continuing to conduct

the BBC choir. In December 2007, he was appointed conductor of

the Flemish Radio Choir. He has also been active as an orchestral

conductor, often conducting premieres of new works.

Holten is a prolific composer; his choral compositions include

Tallis variationer, for 7-pt. chorus and 9 solo str. (1976); Symphony,

for S, Bar., SATB, tpt., vc., and large orch. (1982); The Clod and the

Pebble, for 2 mixed choruses, 3 cl., and perc. (1982); Fem motetter,

for SATB and org. (1983); Nordisk suite, for 5-pt. chorus (1989); Alt

har sin tid [A Time for Everything], for 8-pt. chorus (1990); Regn,

rusk og rosenbusk [Rain, Rush and Rosy Bush], for 4 solo vv. and

8-pt. chorus (1991); The Marriage of Heaven and Hell, for 12-pt.

chorus (1995); Sønderjysk sommer symfoni [Southern Jutlandic Sum-

mer Symphony], for S, Bar., chorus, and orch. (1993); Visdom og

galskab [Wisdom and Folly], for S and 6-pt. chorus (1993); Triumf

att finnas till . . . [The Triumph of Living], for 8-pt. chorus (1995);

and Imperia, for S, B-Bar., double chorus, and orch. (1997).

HOMILIUS, GOTTFRIED AUGUST (2 FEBRUARY 1714–2 JUNE

1785). German composer, organist, and Kantor. After completing

schooling in Dresden, he enrolled as a law student in Leipzig. He was

an avid composer from early on; during his time in Leipzig, he took

composition and keyboard lessons with Johann Sebastian Bach. In

HOMILIUS, GOTTFRIED AUGUST • 205

1742 he was appointed organist at Dresden’s Frauenkirche; in 1755

he was appointed Kantor at the Kreuzkirche (with oversight of the

city’s three main churches and teaching duties at the Kreuzschule).

When the Kreuzkirche was destroyed in 1760 as a result of the Seven

Year’s War, he focused his efforts on the Frauenkirche. His works

demonstrate the pre-Classical aesthetic values of naturalness, clarity,

simplicity, and symmetry, with the related preference for primacy of

melody and homophonic textures. An outstanding music director,

he raised the artistry of the 100-member choir of the Kreuzkirche to

new heights. Homilius was a tireless composer. Among his extant

choral works are some 60 motets, 215 cantatas, 8 Magnificats, a

Christmas oratorio, and Passion music.

HOMOPHONY (ADJ. HOMOPHONIC). A musical texture in which

one part (often the highest line) carries the melody while the others

move together in the same rhythm, providing chordal accompaniment.

HOMORHYTHM (ADJ. HOMORHYTHMIC). A term for music in

which all the voices or instrumental lines move in the same rhythm,

that is, note against note.

HONEGGER, ARTHUR (10 MARCH 1892–27 NOVEMBER

1955). Swiss composer. He was born in France to Swiss parents. In

1911, after studies at the Zurich Conservatory, he enrolled at the Paris

Conservatoire, where his teachers included Charles-Marie Widor.

When his family returned to Switzerland in 1913 he remained be-

hind, settling in Montmartre. He was one of Les Six, a group of

composers so identified in 1920 by the critic Henri Collet (which in-

cluded Francis Poulenc and Darius Milhaud), but he never shared

the others’ aesthetic values, in particular, their idolization of Erik

Satie. Sudden international success came with the “dramatic psalm,”

Le Roi David (1921). It was originally conceived as incidental music

for a biblical drama, which was so successful that Honegger and the

librettist, René Morax, revised it as a concert piece, with expanded

orchestration.

A disciplined craftsman, Honegger continually sought to reinterpret

traditional techniques and forms. He was a skilled contrapuntist,

drawing inspiration from Johann Sebastian Bach’s models. His es-

sentially tonal language, enriched with added notes, does not preclude

chromatic angularity in the melodies. A natural affinity for dramatic

music is reflected in his many operas, operettas, ballets, and scores for

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radio and film. It is also evident in his choral works, which include

Cantique de Pâques, for solo vv. and female chorus (1918, orchd.

1922); Le roi David, for solo vv., chorus, and chbr. orch. (1921, con-

cert version, 1922; rev. 1923—see above); Chanson de Fagus, for S,

SATB, and pf. (1924); Judith, an oratorio for solo vv., chorus, and

orch. (1927 from earlier incidental music); Cris du monde, an oratorio

for solo vv., children’s chorus, mixed chorus, and orch. (1931); Radio-

panoramique (performed 1935 but not published); the oratorio Jeanne

d’Arc au bûcher (1935, prologue added 1944); Les milles et une nuits,

a cantata for S, T, 4 ondes martenot, and orch. (1937); La danse des

morts, a cantata for spkr., solo vv., chorus, and orch. (1938); Nicolas

de Flue, for chorus and band/orch. (1939); and Une cantate de Noël, a

cantata for Bar., children’s chorus, mixed chorus, and org. (1953, after

sketches for unfinished Passion de Selzach).

HOPKINS, SARAH (13 AUGUST 1958– ). Australian composer and

cellist. Born in New Zealand, she emigrated to Australia in 1963. She

has been strongly influenced by Australian aboriginal art and music,

and strives to produce a holistic union of physical and spiritual re-

alities in her compositions and performances. She is active interna-

tionally as a clinician and performer, especially at multicultural arts

festivals. Her performances often involve audience participation to

create a sense of unity in which cultural differences are no longer felt.

Her most famous piece is Past Life Melodies, for choir and optional

orchestra (1991), which features two melodies sung over drones and

the ancient art of harmonic-overtone singing. Other works include

Honour the Earth as Your Mother, for chorus and orch. (2000); and

Childers Shining: Nine Songs, for chorus and orch. (2003).

HORNE, DAVID (12 DECEMBER 1970– ). Scottish composer

and pianist. In 1988 he won the British Broadcasting Corporation’s

Young Musician of the Year competition (keyboard division). He

studied with Ned Rorem at the Curtis Institute (1989–93), then at

Harvard University, earning the doctorate there in 1999. He has

worked with abstract, instrumental genres as well as with vocal

and theatrical ones. Choral works include The Burning Babe, for

children’s vv. (SSA) and ens. (1992); Northscape, a textless piece for

opt. children’s chorus, vn., hp., and chbr. orch. (1992); The Lie, for

S, T, children’s chorus, and ens. (1993); Magnificat and Nunc Dim-

ittis, for SATB and org. (1993); Mass, for chorus and org. (1995);

HORNE, DAVID • 207

Praise Ye, for children’s chorus and org. (1995); Pensive, for Mez.,

vv., and chbr. orch. (1998); and The Year’s Midnight, for T, chorus,

and orch. (2000).

HORVAT, STANKO (12 MARCH 1930–30 OCTOBER 2006).

Croatian composer. He studied at the Zagreb Academy of Music and

then in Paris. From 1961 he taught at the Zagreb Academy, serving

as dean from 1977. He has worked in most genres. His choral works

include Jama [The Pit], a cantata for B, chorus, and orch. (1971);

Kolo bola (1977); Proslov [Prologue] (1980); Zapis o o ima (1980);

S podignutom rukom [With Raised Hand], a cantata for male chorus

and orch. (1982); and Deux poèmes de G. Apollinaire, for 12 vv.

(1991)

HOVHANESS, ALAN (8 MARCH 1911–21 JUNE 2000). American

composer and conductor, born to an Armenian father and a Scot-

tish mother. He began composing avidly while still a youth, and

he also developed an early interest in meditation and mysticism.

Studies at the New England Conservatory were followed in 1942

by a disappointing summer at Tanglewood, when Aaron Copland

and Leonard Bernstein dismissed his work. A period of reevalua-

tion followed, after which he began studying Armenian music and

destroyed many of his works. From 1948 until the early 1950s, he

taught at the Boston Conservatory. As his style evolved, he began

incorporating non-Western elements including Armenian modality,

Eastern rhythms and instruments, and aleatoric procedures. Although

he was innovative and ever-changing in his formal and motivic tech-

niques, he employed counterpoint throughout his stylistic evolution.

His harmonies are often consonant, but added tones sometimes create

dissonances, and chords do not proceed in traditional tonal ways. His

orchestration, too, seldom follows traditional Western models.

Hovhaness was one of the most prolific American composers in

the 20th century, continuing to produce new works into his old age.

Of approximately 75 individual choral pieces, most are sacred—

many of them functional pieces for church use. Some 55 pieces are

accompanied; about half of these call for organ, while more than a

dozen are with orchestra. Among approximately 35 unaccompanied

pieces are several sets of motets.

HOVLAND, EGIL (18 OCTOBER 1924– ). Norwegian organist

and composer. He studied organ and composition at Oslo Univer-

208 • HORVAT, STANKO

sity (1946–49), then privately with Vagn Holmboe in Copenhagen,

Aaron Copland at Tanglewood, and Luigi Dallapiccola in Italy.

Since 1949 he has been organist and choirmaster at the church og

Glemmen in Fredrikstad. While he has experimented with aleatoric,

dodecaphonic, and electronic techniques, he has always retained a

certain lyricism. Many of his works can be classified as neo-Classical

or neo-Romantic. Some of them demonstrate an interest in Grego-

rian chant. He is one of the leading church composers in Norway.

Among his choral works are more than 100 hymns, 50 introits, and

60 motets. Examples include Missa vigilate, op. 59, for soloists,

chorus, org., tape, and 2 female dancers (1967); and Saul, for nar.

chorus and org. (1972), which uses avant-garde techniques in an ac-

cessible manner.

HOWELLS, HERBERT (17 OCTOBER 1892–23 FEBRUARY

1983). English composer. Having studied at the Royal College of Mu-

sic under Charles Villiers Stanford and Charles Wood (1912–17),

he later taught there (1920–79). He was diagnosed with Graves Dis-

ease in 1915, and became severely ill in 1917. During the years of

recovery (1917–20), he edited Tudor manuscripts as an employee of

the Carnegie Trust. From 1936 until 1962 he served as director of

music at St. Paul’s Girls’ School in Hammersmith, succeeding Gustav

Holst. From 1954 to 1964 he taught at the University of London. His

life had more than its share of suffering: he lost a close friend in World

War I, and his son died from polio in 1935. This evidently affected his

music, which is characterized by a pervasive tone of sorrow and loss. A

particularly personal work was Hymnus Paradisi, in which he poured

out his grief over the death of his son, using material from his earlier

Requiem. Not until 1950 was it performed publicly at the urging of

others, among them, Ralph Vaughan Williams and Gerald Finzi.

Although Howells became famous already early in his career, it

was only after reaching mid-life that he composed most of the An-

glican choral works for which he later became known. Among more

than 200 choral compositions are some 14 works with orchestra;

they include the large-scale Hymnus Paradisi, for S, T, SATB, and

orch. (1938, rev. 1950); Missa Sabrinensis, for S, A, T, B, SATB,

and orch. (1954); the lengthy Stabat mater, for T, SATB, and orch.

(1963–65); the smaller-scale An English Mass, for SATB and orch.

(1955); and a Te Deum (Collegium Regale), for SATB and orch.

(1977; reworked version of 1944 work). Among the approximately

HOWELLS, HERBERT • 209

80 other sacred works (almost all accompanied by organ) are 19

Magnificat and Nunc Dimittis settings (including ones written for

King’s College, Cambridge [Collegium Regale, 1945], Gloucester

[1946], and St. Paul’s Cathedral [1951]); 9 Te Deum settings; as

well as the unaccompanied Requiem (1932). He also wrote more

than two dozen hymn tunes. His most famous motet is perhaps Take

Him, Earth, for Cherishing, written in memory of John F. Kennedy.

There are about 90 secular works, several of which comprise sets of

2–5 individual pieces.

With a sensitive ear to the acoustical properties of the cathedrals

for which he was writing and a fondness for the polyphony of the

Tudor era, Howells was the ideal composer to reinvigorate Anglican

church music in the 20th century. Though employing a challenging

post-Romantic chromaticism, his works clearly acknowledge a long

tradition of English cathedral music.

HRISTOV, DOBRI. See KHRISTOV, DOBRI.

HRUŠOVSKÝ, IVAN (23 FEBRUARY 1927– ). Slovak composer

and musicologist. He earned a doctorate from Bratislava University,

and studied composition at the Academy of Music and Dramatic Art

in Bratislava. As a musicologist, he has written scholarly articles

about Slovak music. His early musical works employ extended to-

nality with modal elements. Those from the 1960s focus on timbre,

and experiment with serial and aleatoric techniques. His later works

explore traditional genres, among them, the madrigal. His choral

works include several cantatas, among them, Hiroshima, for 2 spkrs.,

S, chorus, and orch. (1961, rev. 1965) and Sen o c

loveku [A Dream

about a Man], for spkr., S, chorus, and orch. (1964). Examples of his

many other works include Tri madrigalové impresie [Three Mad-

rigalian Impressions] (1966); Canticum pro pace, an oratorio for

spkr., Mez., B, chorus, and orch. (1985); Missa pro iuventute (1994);

and Rekviem na koniec tisíroc

ia [Requiem for the End of the Millen-

nium], for spkr., S, T, chorus, brass, perc., and org. (1997).

HSU, TSANG-HOUEI (6 SEPTEMBER 1929–1 JANUARY 2001).

Taiwanese composer and ethnomusicologist. Having studied the vio-

lin in Japan as a youth, he enrolled at the National Taiwan Normal

University in 1949. After graduation he studied in Paris at the École

César Franck; he also studied with Olivier Messiaen at the Conser-

vatoire (1954–59). Upon his return to Taiwan, he promoted avant-

210 • HRISTOV, DOBRI

garde styles. He later became an expert on Taiwanese folk music, and

in 1967 he cofounded the Center for Chinese Folk Music Research.

His choral works include the 12-tone cantata Bingche xing [Bal-

lad of the Army Carts], op. 8 (1958–91); Bai Qiu shi wushou [Five

Songs on Poetry by Bai Qiu], op. 12 (1961); Zanghua yin [Song of

Burying Flowers], op. 13 (1962); Guofu song [Ode to the Father of

the Nation], op. 15 (1965); Xibei minyao ji [Collection of Folksongs

from the Northwest] (1965); Senlin de shi [Poem of the Forest], op.

25, a cantata for children (1970–81); Shitou shan de haizi [The Chil-

dren of Lion’s Mountain], op. 37, a cantata for children (1983); and

Wushou Zhongguo minyao [Five Chinese Folksongs].”

HUBER, HANS (28 JUNE 1852–25 DECEMBER 1921). Swiss

composer, pianist, and teacher. He studied at the Leipzig Con-

servatory (1870–74), during which time some of his works were

published. For three years, he worked as a private music tutor in

Alsace. In 1877 he settled in Basle. Continually active as a com-

poser and pianist, he began teaching at the music school in 1889,

becoming its director in 1896. From 1899 to 1902 he directed the

singing society in Basle. In his compositional style, he followed the

German Romantics. Among his choral works are the oratorios Der

heilige Hain (1910) and Weissagung und Erfüllung (1913); several

masses and cantatas; and pieces for male, female, or mixed voices.

Pandora, a work for orchestra and chorus, became renowned

throughout Switzerland.

HUBER, KLAUS (30 NOVEMBER 1924– ). Swiss composer. He

studied at the Zurich Conservatory, and from 1961 taught at the Basle

Conservatory. His music proceeds from ideological premises, and is

characterized by the integration of diverse stylistic elements and a

mystical introspection. Examples of his works for chorus and orchestra

include the cantata psalm setting Antiphonische Kantate (1956, rev.

for chorus, brass, perc., and org., 1957); and the oratorios Soliloquia,

for S, A, T, Bar., B, 2 choruses, and orch. (1959–64), . . . inwendig vol-

ler figur . . . (1971), and Erniedrigt-Geknechtet-Verlassen-Verachtet

(also with video/slide projections, 1975–78, rev. 1982). Unaccompa-

nied works include a German Te Deum (1956) and Kleines Requiem

für Heinrich Böll, for B-Bar. and SATB (1994), among others. A

German mass (1969) can be performed unaccompanied, with organ,

or with instruments.

HUBER, KLAUS • 211