Unger M.P. Historical Dictionary of Choral Music

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HUFSCHMIDT, WOLFGANG (15 MARCH 1934– ). German

composer. He worked as a church organist in Essen and also taught

theory at the Folkwang Hochschule there, advancing to director of

composition in 1971 and rector in 1988. Among his choral works

are a Mass, for S, T, and SATB (1961); Pfingstgeschichte, for 4–16

vv. (1964); Meissner Te Deum, for S, Bar., four-voice vocal ens.,

12-voice chorus, wind qnt., pf., perc., orch., and org. (1968); Texte

über Frieden, for male chorus, 2 pf., and perc. (1969); Stephanus, for

mixed media (1972); Agende, for 4 choruses, 3 priests, org., slides,

and electronics (1973); and We Shall Overcome, for spkr./1 v., cho-

rus, and 9 insts. (1984).

HUMFREY, PELHAM (1647/8–14 JULY 1674). An English com-

poser who spent his entire short career at the Chapel Royal, after the

Restoration. Recruited as a boy chorister by Captain Henry Cooke,

he so impressed Charles II that the king sent him to France and Italy

for study. In 1667 he returned to take up appointments as a lutenist in

the court, and a Gentleman of the Chapel Royal. Upon Cooke’s death

in 1672, he was appointed Master of the Children.

Humfrey’s extant choral works include a few court odes, one ser-

vice, and some 17 verse anthems. Almost all of his anthems are of the

orchestral type, and contain movements for instruments alone. Where

voices and strings perform together, the instruments usually simply

double the vocal lines. Among the more expressive anthems are the

mournful ones (e.g., By the Waters of Babylon). Pelham’s music

shows both Italian and French influence, and effectively portrays the

words through angular lines and intense, often chromatic, harmonies.

HUMMEL, JOHANN NEPOMUK (14 NOVEMBER 1778–17

OCTOBER 1837). Austrian pianist, composer, teacher, and conduc-

tor. A child prodigy, he studied the piano with Wolfgang Amadeus

Mozart, living in the Mozart home. In 1788, upon Mozart’s advice,

Hummel embarked on a four-year grand tour with his father, visit-

ing Bohemia, Germany, Denmark, and Great Britain. In London he

studied with Clementi. Upon his return to Vienna in 1793, he stud-

ied with Johann Albrechtsberger, Antonio Salieri, and Joseph

Haydn. For a decade, he worked feverishly at his studies, teaching,

and composing.

From 1804 until 1811 he acted as Kapellmeister to Prince Ester-

házy. Evidently his sacred compositions were all written during this

212 • HUFSCHMIDT, WOLFGANG

time, though some of them were intended for performance in Vienna.

In 1811 he returned to Vienna, where he continued to compose and

have contact with Ludwig van Beethoven, though the relationship

was strained.

Hummel resumed concertizing as a pianist to great success. From

1816 until 1818 he served as court Kapellmeister in Stuttgart, but

found the situation frustrating. From 1819 to 1837 he worked in

Weimar as Kapellmeister at the court, where his duties were primar-

ily concerned with the theater. During his tenure there, he toured

internationally but also found time to compose a great deal of music.

As a Catholic at a Protestant court, he was not responsible for the

chapel music. For this reason he evidently wrote no choral works

other than a few cantatas for the court and the Masonic lodge during

this time.

As a composer, Hummel worked in all standard genres except

the symphony. His style is that of late-Classicism, characterized by

harmonically-designed structures and clear, self-contained melodies,

which tended to impede an organic, motivic cohesiveness. With the

onslaught of Romanticism, his popularity waned rather quickly.

Nevertheless, in his day, he was one of the most famous pianists in

Europe, and one of the most sought-after teachers in Germany. His

choral works include more than 30 compositions for soloists, choir,

and orchestra, among them, 4 masses, 11 cantatas (most of them

composed for specific occasions such as birthdays), and many other

liturgical works. An additional 20 secular works are mostly unac-

companied.

HUMPERDINCK, ENGELBERT (1 SEPTEMBER 1854–27 SEP-

TEMBER 1921). German composer. He studied at the Cologne

Conservatory and at the Munich Conservatory, where one of his

teachers was Joseph Rheinberger. In 1879 he met Richard Wagner

in Italy, which led to an invitation to assist Wagner with a Bayreuth

production of Parsifal. He traveled considerably throughout his life,

composing, and holding various teaching appointments, including

one at Frankfurt’s Hoch Conservatory (1890–97). He also worked as

a music critic for the Frankfurter Zeitung. He is primarily remem-

bered for his opera Hänsel und Gretel (1893), which received wide

acclaim. His musical style (not to mention his career) was influenced

by Wagner, Richard Strauss, and Gustav Mahler. Although he

HUMPERDINCK, ENGELBERT • 213

wrote many more songs than choral works, the latter still number

about 30. All except a handful are to secular texts; seven call for

orchestra, eight are for unaccompanied male chorus.

His name was adopted by a British pop singer of the 1960s and

1970s, whose real name was Arnold George Dorsey.

HUNTER, RALPH (18 JANUARY 1921–3 JUNE 2002). American

choral conductor and arranger. He served as an arranger for Harry

Belafonte and as conductor of the Collegiate Chorale York (an ama-

teur choir in New York, which became known for performances of

polychoral music), the Ralph Hunter Choir, and the Radio City Mu-

sic Hall Chorus. From 1969 1987 he taught at Hunter College in New

York. He was an early associate of Robert Shaw, and is remembered

for his many choral arrangements.

HURD, DAVID (27 January 1950– ). American organist, composer,

and church musician. He studied at the Oberlin Conservatory (Ohio),

the University of North Carolina, Chapel Hill, and the Manhattan

School of Music. He has held a number of church music positions

in New York City as well as one at Duke University. In 1976 he

was appointed to the faculty of the General Theological Seminary in

New York City. His published works include a substantial number of

hymns and anthems, many of which were commissioned.

HUSA, KAREL (7 AUGUST 1921– ). American composer and

conductor of Czech birth. After attending the Prague Conservatory

(1941–45), he studied with Nadia Boulanger and Arthur Honegger

in Paris (1946–51). In 1954 he began teaching at Cornell University,

where he remained until his retirement in 1992. His music, which can

be either highly demanding or directed toward more modest, practi-

cal ends, is marked by rhythmic vitality and colorful orchestration.

Early works are indebted to the neo-Classical style of Honegger and

Béla Bartók; later ones explore Viennese serialism. While he has

composed in all major genres except opera, his large-scale works

for orchestra or symphonic band are the best known. Choral works

include Festive Ode, for mixed/male chorus and orch./band (1955);

There Are from Time to Time Mornings, for Bar. and chorus (1976);

Apotheosis of This Earth, for chorus and orch. (1972, original version

for concert band, 1970); An American Te Deum, for Bar., chorus,

and band (1976, arr. for chorus and orch., 1978); Every Day, for

SATB (1981); Three Moravian Songs, for SATB (1981); Cantata,

214 • HUNTER, RALPH

for TTBB and brass qnt. (1983); and Song (Good Night), for SATB

(2000).

HYMN. Most commonly, a song of Christian worship, often strophic,

employing nonbiblical, metrical poetry. In the Medieval era, it was

a Latin, monophonic, strophic composition, usually associated with

the divine office, employing metrical poetry and mostly syllabic text

distribution.

During the Protestant Reformation, the emphasis on congrega-

tional participation resulted in many new vernacular hymns. In

Germany, Lutheran composers often used chorales as the basis for

musically sophisticated works, both vocal and instrumental. Calvin-

ists in France, the Netherlands, Germany, Scandinavia, and Scotland

cultivated the singing of psalms in metrical paraphrase, while Prot-

estants in England, under the leadership of Isaac Watts (1674–1748),

ultimately broke away from this tradition, establishing a unique

English hymnody.

During the 18th century, John and Charles Wesley (who had been

influenced by Moravian hymn singing) established a more heart-

felt English hymnody for the lower classes. Sung with great fervor

to tunes that adopted the lighter style of contemporary taste, these

Methodist hymns became widely popular, eventually encouraging

hymn singing in the Anglican liturgy as well, despite the circum-

scriptions implied by the Act of Uniformity. By the Victorian era

(1837–1901), hymnody was flourishing in the established Church,

with one hymnal preferred over all others: Hymns Ancient and Mod-

ern (1861). Many Victorian hymns became staples in England as

well as in the United Sates.

Trends unique to America were the influence of singing schools

and shape-note singing. While folk hymnody flourished in the South,

reformers such as Lowell Mason and Thomas Hastings advocated a

more cultivated style based on European models in the North. Under

the influence of the evangelistic revival movement led by Dwight L.

Moody, “gospel songs,” which were written for his meetings, were

transferred to worship settings, where they remained popular until the

middle of the 20th century.

In the 1960s, populist trends had a significant impact on hymnody.

In the Roman Catholic Church, the authorization by the Second

Vatican Council of congregational singing in the vernacular led to

the composition of many new hymns, which strove for simplicity

HYMN • 215

and accessibility. In Protestant churches, the influence of evangelistic

campaigns had a similar effect. The charismatic renewal movement

led to attempts to popularize congregational singing, especially

in light of declining church attendance in traditional (“mainline”)

denominations. These trends produced a general decline in artistic,

literary, and theological merit. In reaction, a new flowering of hym-

nody has occurred, especially in Great Britain. Meanwhile, attempts

to modernize old hymns by the use of inclusive language have met

with opposition. On the other hand, an increased multicultural aware-

ness has led to ever greater use of non-Western hymns.

– I –

IL VERSO, ANTONIO (?C. 1560–C. 23 AUGUST 1621). Italian

composer, poet, and historian. With the exception of a few years in

Venice, he evidently spent all of his life in Sicily. He was a prolific

composer of madrigals, balancing the traditional contrapuntal

style with the more extravagant, mannered idiom of the early Ba-

roque. Many of his works are parodies of compositions by earlier

composers, in particular, works by his teacher, Pietro Vinci. His

sacred works appear to have been influenced by Giovanni Ga-

brieli. Many of his publications are lost; of the volumes that have

survived, many are incomplete. Among the extant works are 10

books of madrigals (two volumes for three voices and the rest for

five or six voices), 1 book of villanellas for three voices, and 3

books of motets and sacred concertos for three to 12 voices with

continuo.

INDIA, SIGISMONDO D’ (BORN C. 1582; DIED BEFORE 19

APRIL 1629). Italian composer and singer. Little is known about

his life. He apparently traveled extensively throughout Italy. Al-

though he was most famous for his monodies, he also wrote eight

books of polyphonic madrigals (all for five voices except a vol-

ume entitled Le musiche e balli, which calls for four voices and

continuo), three books of motets (for two to six voices), and two

volumes of villanellas (for three to five voices). His compositions

blend stylistic elements appearing in the works of contemporaries

such as Luca Marenzio, Giaches de Wert, Carlo Gesualdo, and

Claudio Monteverdi.

216 • IL VERSO, ANTONIO

INGEGNERI, MARC ANTONIO (BORN 1535–36; DIED 1 JULY

1592). Italian composer and organist. Much of his career was spent

in Cremona, where he became maestro di cappella around 1579 and

where he taught Claudio Monteverdi. His surviving secular works

include seven volumes of madrigals for five or six voices. Published

between 1572 and 1606 (the last book issued posthumously), these

pieces are somewhat conservative, with only occasional chromati-

cism. Surviving sacred works appear in eight volumes for 4 to 12

voices. Two books are devoted to masses, and one contains poly-

choral motets for 7 to 12 (or 16) voices with optional instruments.

Most of Ingegneri’s motets are contrapuntal; many are chant-based.

In the later masses, syllabic text-setting and homophonic textures

suggest the influence of the Tridentine reforms. For some time, his

responsories for Holy Week (Responsoria, 1588) were attributed to

Giovanni Pierluigi da Palestrina.

INTABULATION [INTAVOLATURA, INTABULIERUNG]. An ar-

rangement for keyboard or plucked string instrument of an existing

polyphonic vocal piece, written in tablature, a system of notation us-

ing letters, figures, or other symbols in place of notes on staves. The

term usually applies to such arrangements during the Renaissance

era (1450–1600). Intabulation provides valuable information about

conventions of ornamentation and the chromatic inflection of pitches

(musica ficta), which are not specified in the vocal originals.

INTERMEDIO. A musical, dramatic, and/or danced event occurring

between acts of a theatrical performance but not necessarily related to it:

an entr’act. Intermedi were popular in the 16th and 17th centuries.

INTERNATIONAL FEDERATION FOR CHORAL MUSIC

(IFCM). An organization founded in 1982 to facilitate communica-

tion and exchange among choral organizations and individual choral

musicians worldwide. Committed to fostering intercultural under-

standing, it sponsors international choral festivals and competitions,

conducting master classes, collaborative choral projects (such as the

annual World Youth Choir), and MUSICA, a choral music database.

IFCM serves as the official representative of choral music on the

International Music Council of the United Nations Educational Sci-

entific and Cultural Organization (UNESCO). Its primary publication

is The International Choral Bulletin, issued quarterly in English,

French, German, and Spanish.

INTERNATIONAL FEDERATION FOR CHORAL MUSIC • 217

INTROIT. See MASS.

IRELAND, JOHN GROVE (13 AUGUST 1879–12 JUNE 1962).

English composer and pianist. He studied with Charles Villiers

Stanford at the Royal College of Music, where he later taught. His

mature style, which was influenced by Claude Debussy, Maurice

Ravel, and Igor Stravinsky, is characterized by (often) introspective

lyricism, chromatically embellished harmonies, and careful crafts-

manship. Choral works include Vexilla regis, for S, A, T, B, SATB,

brass, and org. (1898); Te Deum, for SATB and org. (1907); the

Greater Love Hath No Man, for Tr., Bar., SATB, and org. (1911)—a

motet often sung in services commemorating the victims of war;

An Island Hymn, for male voices (1915); These Things Shall Be,

for Bar./T, SATB, and orch. (1937, commissioned by the British

Broadcasting Corporation for the coronation of George VI); and Ex

ore innocentium, for Tr. and pf./org. (1944); in addition to services,

hymns, and partsongs.

ISAAC, HEINRICH (BORN 1450–55; DIED 26 MARCH 1517).

Flemish composer, contemporary of Josquin des Prez, Jacob Obre-

cht, Alexander Agricola, Pierre de la Rue [La Rue], and Gaspar

van Weerbeke. His influence was extensive, extending to Franco-

Flemish, Italian, and German traditions. From 1485 to 1493 he

served the Medici court in Florence. From 1500 to 1502 he served

as court composer to the chapel of Maximilian I at Vienna, traveling

with the emperor’s entourage on several occasions. By 1502 he was

in Ferrara, where he was considered for a position at the Este court,

but Josquin des Prez was chosen instead. Isaac was again in the

emperor’s retinue in the early 1500s. From 1505 until 1508 he was

in Konstanz, where the cathedral chapter commissioned him to write

Choralis Constantinus, a cycle of liturgical propers. Later the work

was expanded to three volumes. Most of the individual pieces are for

four voices. Together they provide polyphonic propers for about 100

days of the year.

In 1510 Maximilian gave him a benefice near Verona. In 1514 the

pope gave him an honorary appointment at the Florence Cathedral,

and from 1515 he lived permanently in Florence.

Isaac’s most significant contribution was his works for the Ordi-

nary of the Mass. Extant are 36 mass cycles (for four to six voices),

of which 16 are based on borrowed material (but seldom his own),

218 • INTROIT

the other 20 on the corresponding chants of the Ordinary—almost all

of the cycles intended for alternatim performance; and 13 additional

Credo settings. Since few composers of the time still wrote complete

masses based on the chants of the Ordinary, Isaac’s contribution of

20 such works is noteworthy. In his Missa carminum (a so-called

quodlibet mass) he used various popular German songs as cantus

firmi. In addition to the proper settings, more than 50 motets in

varied styles survive. Most are chant-based; almost all are for four

voices. Also extant are more than 100 (mostly secular) pieces to

French, Dutch, and German texts (some are textless). Almost all are

for three or four voices. The most famous are two settings of “Inns-

bruck, ich muss dich lassen.”

ISELER, ELMER (14 OCTOBER 1927–3 APRIL 1998). Cana-

dian choral conductor and editor. He studied at Waterloo Lutheran

University (now Wilfred Laurier University) and the University of

Toronto, where he graduated with a Bachelor of Music degree in

1950. From 1952 until 1964 he taught orchestral and choral music

in Toronto high schools. In 1955 he founded the Festival Singers of

Canada, a group that became known for its rhythmic accuracy, pre-

cise intonation, balance, and tonal clarity—qualities that particularly

suited Renaissance polyphony and 20th-century repertoire. In 1963

he was appointed conductor of the Toronto Mendelssohn Choir. In

1978 he left the Festival Singers and formed the Elmer Iseler Sing-

ers, a professional ensemble with whom he performed extensively.

He was a champion of 20th-century works—in particular, new works

by Canadian composers (many of which he commissioned). His

polished performances on tours and in broadcasts, as well as his pro-

motion of these pieces in a choral series published under his name,

helped establish some of them in the standard choral repertoire.

ISORHYTHM (ADJ. ISORHYTHMIC). A modern term for the

medieval technique of repeating a rhythmic pattern (talea), while si-

multaneously repeating a melodic pattern (color) of a different (often

longer) length, used especially in motets. The nonsynchronization of

talea and color obscures the repetitions to the ear, while providing

formal cohesion. Isorhythm was most typically applied to the tenor

part (which carried the chant), but was applied later to other voices

as well. Additional complexities could include the rhythmic diminu-

tion of later statements of the talea. Composers of isorhythmic motets

ISORHYTHM • 219

in the 14th century included Philippe de Vitry and Guillaume de

Machaut; later composers using the technique included Johannes

Ciconia, John Dunstable, and Guillaume Dufay.

ITALIAN TRECENTO. The 14th century in Italy—a period of vigor-

ous artistic activity. Important musical genres of the time included the

madrigal (no relation to the Italian madrigal of the 1500s), the caccia,

and the ballata. Leading composers during the early Trecento were

associated with the courts at Milan, Verona, and Padua; the most im-

portant figure among them was Jacopo da Bologna (fl. 1340–c. 1386).

They wrote mainly two-voice madrigals and three-voice cacce. Flor-

ence then became a primary center. Composers included Gherardello

da Firenze (b. c. 1320–25; d. 1362/63), Lorenzo da Firenze (d. De-

cember 1372/January 1373), and Donato da Cascia (fl. 1350–1400).

Though evidently clergy, they wrote a significant number of secular

works. Lorenzo and Donato are remembered for their florid madrigals.

The next generation of Florentine composers was led by Francesco

Landini, the most significant composer of the era.

IVES, CHARLES (20 OCTOBER 1874–19 MAY 1954). Ameri-

can composer. Having studied the piano and organ as a child, he

received his first paid church organ position at the age of 14. From

1894 until 1898he attended Yale University, where he studied organ

with Dudley Buck and composition with Horatio Parker. During

these years he composed some works in the traditional neo-Romantic

style, which Parker advocated, while experimenting with innovative

techniques on his own. Upon graduation, he embarked on a career

in the insurance business, an industry he considered indispensable

to ensuring personal freedom in the face of life’s uncertainties. This

career choice also guaranteed his artistic freedom. Though not able

to devote himself fully to music, he continued to work as a church

organist until 1902, composing in his spare time. As a democratic

idealist, he was drawn to the music of the American people—the

marching bands and hymn-singing he recalled from childhood, and

the music of Stephen Foster, to which his father had introduced him.

His subsequent musical explorations anticipated many techniques of

the avant garde, including the use of polytonality, tone clusters, quar-

ter tones, and systems of intonation adjusted on the basis of acousti-

cal phenomena (which resulted in the apparent inconsistent spelling

of notes in his music).

220 • ITALIAN TRECENTO

By 1927 Ives had stopped composing. Although some of his

works were published in the 1920s at his own expense, many others

were not performed for decades. He continued to revise his pieces,

however, and interest in his work began to grow gradually. By the

end of his life, he was recognized as a significant, if highly original,

American composer. Respect and appreciation for his work has only

increased since his death.

Of Ives’s extant choral works, many from his years as a church

musician are apparently lost. Surviving sacred compositions include

The Celestial Country, a cantata for T, Bar., 2 vocal qts. SATB,

tpt., euphonium, timp., org., and str. qt./str. orch. (1902, additions

c. 1913); Communion Service, for SATB and org. (c. 1894); Three

Harvest Home Chorales, for SATB divisi, 4 tpt., 3 trbn., tuba, and

org. (c. 1902); 10 psalm settings, most of them for eight-voice choir,

either unaccompanied, with organ, or with miscellaneous accom-

paniments; and other anthems (mostly with organ). The psalm set-

tings demonstrate his exploration of new procedures about 1900. In

particular, Psalm 67, a bitonal work for SSAATTBB (c. 1899), and

Psalm 90, for SSAATTBB, bells (4 players), and org. (1923), have

entered the standard choral repertoire.

Extant secular works include some eight partsongs and a dozen

pieces with instrumental accompaniment, including General William

Booth Enters Into Heaven, for unison vv. divisi and chbr. orch. (arr.

1934); He Is There!, for unison vv. and orch. (c. 1918–21); and Lin-

coln, the Great Commoner, for unison vv. divisi and orch. (c. 1923).

Symphonies nos. 4 and 5, also include optional choral parts.

– J –

JACQUET OF MANTUA (1483–2 OCTOBER 1559). French com-

poser of sacred polyphony, active in Italy. The last three decades of

his life were spent in Mantua, where he held the title of maestro di

cappella at the Cathedral, although he was responsible solely to Car-

dinal Ercole Gonzaga, bishop of the city and papal representative to

Emperor Charles V and the Council of Trent. His music, which was

widely disseminated, was influential long after his death. It demon-

strates a stylistic evolution from four-voice, sectional construction

(with some homophonic passages) to pervading imitation in five

JACQUET OF MANTUA • 221