Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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Holoman, D(allas) Kern

(b Raleigh, NC, 8 Sept 1947). American musicologist. He took the BA at Duke University (1969), and began graduate work at Princeton University, where he received the MFA (1971), and the doctorate (1974) with a dissertation on the autograph musical documents of Berlioz. He also studied the bassoon and conducting at the North Carolina School of the Arts and the Accademia Musicale Chigiana, Siena (1967–8). He joined the faculty of the University of California at Davis in 1973, and chaired the music department from 1980 to 1988. His research focusses on French music of the 19th century, particularly the works of Berlioz, of whose works he was the first to compile a thematic catalogue (1987). He is also interested in musical education for the general listener: his publication Masterworks (1998) combines book, score anthology and computer program into an introductory package. He was one of the founders of the journal 19th Century Music, and in 1989 he became general editor of the series Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries.


Autograph Musical Documents of Hector Berlioz c.1818–1840 (diss., Princeton U., 1974; Ann Arbor, 1980, as The Creative Process in the Autograph Musical Documents of Hector Berlioz, c.1818-1840)

‘The Present State of Berlioz Research’, AcM, xlvii (1975), 31–67

‘Les fragments de l’opéra “perdu” de Berlioz: Les francs-juges’, RdM, lxiii (1977), 78–88

ed., with C.V. Palisca: Musicology in the 1980s: Boston 1981 [incl. ‘Publishing and/or Perishing’, 119–29]

‘The Emergence of the Orchestral Conductor in Paris in the 1830s’, Music in Paris in the Eighteen-Thirties: Northampton, MA, 1982, 387–430

‘Orchestral Material from the Library of the Société des Concerts’, ‘The Berlioz Sketchbook Discovered’, 19CM, vii (1983–4), 106–18, 282–317

Catalogue of the Works of Hector Berlioz, New Edition of the Complete Works, xxv (Kassel, 1987)

Writing about Music: a Style Sheet from the Editors of 19th-Century Music (Berkeley, 1988)

Berlioz (Cambridge, MA, 1989)

‘The Nineteenth Century: Introduction’, Performance Practice: Music after 1600, ed. H.M. Brown and S. Sadie (London, 1989), 323–45

‘The Berlioz Catalogue: History, Structure, Problems, Lessons’, SMH, xxxiv (1992), 295–306

Evenings with the Orchestra (New York, 1992)

ed.: The Nineteenth-Century Symphony (New York, 1997)

Masterworks: a Musical Discovery (Upper Saddle River, NJ, 1998)

The Société des Concerts du Conservatoire, 1828–1967 (Berkeley, forthcoming)


H. Berlioz: Roméo et Juliette, New Edition of the Complete Works, xviii (Kassel, 1990)


Holoubek, Ladislav

(b Prague, 13 Aug 1913; d Bratislava, 4 Sept 1994). Slovak composer and conductor. He studied conducting with Josef Vincourek and composition with Alexander Moyzes at the Academy of Music and Drama in Bratislava (1927–33); at this time he was also greatly influenced by Alexander Albrecht. He completed his studies in composition in Novák’s masterclasses at the Prague Conservatory (1934–6). He was répétiteur and conductor at the Slovak National Theatre (1933–52, 1958–66) and conductor of the Military Artistic Ensemble (1952–5) and at the Košice Opera (1955–8 and 1966–81); he was also artistic director of the latter until 1975. In 1968 he was awarded the title of National Artist.

Holoubek was one of the greatest Slovak postwar conductors. He contributed greatly to the growth of professional opera in Bratislava and Košice and to the success of operas by Suchoň and Cikker. As a composer he was mainly affected by late Romantic and Impressionist Czech composers and by Moyzes, while some works reveal also the influences of Mahler and Richard Strauss. His early pieces oscillate between a spirit of enlightenment (e.g. the Piano Sonata in G, 1931) and a sensualism evoking the atmosphere of the fin-du-siècle (e.g. Písně milostné ‘Love Songs’, or the opera Stella). His music combined chromatically and modally extended tonality with skilful orchestration. After World War II his musical vocabulary became simpler and more melodious, absorbing stronger ties with folklore, as in Dcérenka moja (‘O my Little Daughter’). His stage works – occupying a significant position in the history of Slovak opera – use dense orchestral texture as a means of conveying dramatic tension. However the weak librettos and highly declamatory solo vocal parts (principally in Rodina, ‘The Family’, and Professor Mamlock) have prevented these operas from retaining a permanent place in the repertory.


(selective list)


Stella (3, A. Páričková, after H.R. Haggard), op.18, 1937–8, rev. 1949, 1955, Bratislava, 18 March 1939

Svitanie [Dawn] (3, J. Elen-Kaiser, after S. Hurban-Vajanský), op.24, 1939–40, Bratislava, 12 March 1941

Túžba [Aspiration] (3, epilogue, F. Gabaj), op.28, 1943–4, rev. 1963, 1969, Bratislava, 12 Feb 1944

Rodina [The Family] (3, Holoubek, after I. Prachař), op.46, 1956–9, Bratislava, 12 Nov 1960

Professor Mamlock (2, Holoubek, after F. Wolf), op.50, 1964, Bratislava, 21 May 1966

Bačovské žarty [Shepherds’ Games] (1, Holoubek, after J. Rob-Poničan), op.62, 1975, Košice, 16 Jan 1981

other works

Vocal: Spleen (A. Pogorielov), song cycle, op.8, T/Bar, pf, 1931, orchd; Písně milostné [Love Songs] (J. Elen-Kaiser], op.11, S/T, pf, 1933, orchd, rev. 1957; Spevy o žene [Songs about a Woman] (Slovak poetry), song cycle, op.14, S/T, pf, 1933, orchd; Benedictus, op.7a, S, Bar, chorus, org, 1935; Mladosť [Youth] (L. Novomeský), song cycle, op.19, S, pf, 1935, orchd, rev. 1946; K Ǐudu! [To the People] (P. Országh Hviezdoslav), song cycle, op.42, S, orch, 1947; Mesačná noc [Moonlit Night] (cant., C. Štítnický), op.31, S, male chorus, orch, 1951; Dcérenka moja [O my Little Daughter] (V. Mihálik), song cycle, op.34 Mez, pf, 1952, orchd; Spevy jesene [Autumn Songs] (Országh Hviezdoslav), song cycle, op.51 B, pf, 1967, orchd; Vyznania [Confessions] (song cycle, Vidal de Nicola, Holoubek), op.52, S/Mez, orch, 1971; O mladosti, o matke [About Youth, about Mother] (Ľ. Podjavorinská), song cycle, op.44, A/Bar, pf, 1971, orchd; Hviezdy na vodách [Stars on the Water] (V. Sládek), song cycle, op.55, Mez, pf, 1974, orchd; Panpulóni (M. Válek), song cycle, op.63, B, pf, 1978, orchd; Genesis (cant., M. Rúfus), op.70 B-Bar, chorus, orch, 1982

Inst: Pf Sonata, G, op.5, 1931; Ov., op.16, orch, 1932; Sonata, e, op.9, vn, pf, 1932; Romanza, op.10, vn, pf, 1936; Sym. no.1, op.26, 1938; Wind Qnt, op.17, 1938; Trio, op.13, fl, vn, hp, c1936, rev. 1985; Pf Sonata no.2, op.33, 1947, arr. as Symfonietta, op.33a, orch; Str Qnt no.2, op.32, 1948; 10 Desať variácií na vlastnú temu [Variations on an Original Theme], op.41, orch, 1950; Str Qt no.3, op. 1962; Hn Conc., op.66, 1980; Concertino, op.67, ob, orch, 1981; Vtáčiky [Little Birds], op.69, suite, 3 fl, 1983; Romantické variácie na dve ľudové piesne z okolia Piešťan [Romantic Variations on 2 Folksongs from Piešťany], 2 cycles, op.72, orch, 1983–4; Sym. no.2, op.74, 1987

Principal publishers: Opus, Slovenský hudobný fond, Slovenské hudobné vydavateľstvo


I. Hrušovský: Slovenská hudba v profiloch a rozboroch [Slovak music in profiles and analyses] (Bratislava, 1964), 275–85

L. Burlas: Slovenská hudobná moderna [The Slovak musical avant garde] (Bratislava, 1983), 141–8

I. Vajda: Slovenská opera (Bratislava, 1988), 32–4, 119–25, 208–9


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