Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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See Whip. See also Clappers.

Holzknecht, Václav

(b Prague, 2 May 1904; d Prague, 13 Aug 1988). Czech pianist, administrator and writer on music. He studied law at Prague University (JUDR 1928) and concurrently the piano at the Prague Conservatory under Albín Šíma (graduated 1928). Throughout his career as a concert pianist (before the war) he was an assiduous performer of modern Czech and foreign (particularly French) piano music, giving many premières, including those of piano concertos by Ježek (1927), Toch (1928) and Bořkovec (1932), Hába’s Symphonic Fantasy for Piano and Orchestra (1929) and Ježek’s sonatas. He also played at festivals of contemporary music at Liège (1930), Vienna (1932), Amsterdam (1933), Florence and Zürich (1934), Riga and Tallinn (1937). During the same period he earned his living as a lawyer and government financial adviser, before becoming professor of piano (from 1942), administrator (1942–5) and a distinguished director (1946–70) of the Prague Conservatory. Subsequently he was head of opera (1970–72) and Dramaturg (1972–3) at the National Theatre. He was active as an organizer of Czech modern music societies (including the Mánes Music Group), and after the war he was on the committee of the Prague Spring Festival, chairman of the Prague 1956 Mozart celebrations, a long-standing member of many advisory bodies and organizations and on many juries for piano competitions both in Czechoslovakia and abroad.

Holzknecht was friendly with many composers of his generation, especially those of the Mánes Group, whose music he played, edited and later wrote about. Other writings deal with modern French music and the history of Czech musical institutions. He published a critical edition of Smetana’s piano works in 1944, and a well-received short biography of the composer in 1979.


‘Pianistická krize’ [Pianistic crisis], Klíč, i (1930–31), 268–73

‘Problém atonality v klavírní technice: na okraj Hábovy symfonické fantazie pro klavír a orchestr’ [The problem of atonality in piano technique: some remarks on Hába’s Symphonic Fantasy for piano and orchestra], Klíč, i (1930–31), 9–14

Klavír v moderní hudbě [The piano in modern music] (Prague, 1938)

Mladá Francie a česká hudba [Young France and Czech music] (Prague, 1938)

Národní umělec Vítězslav Novák [National Artist Vítězslav Novák] (Prague, 1948)

‘Klavírní dílo: listy z mého deníku’ [The piano works: pages from my diary], J.B. Foerster: jeho životní pouť a tvorba, 1859–1949 (Prague, 1949), 85–94

Tak žil Jaroslav Ježek [How Ježek lived] (Prague, 1949)

ed.: Musikologicke dílo Romana Rollanda [Rolland’s musicological works] (Prague, 1954–68) [incl. introductory studies]

Antonín Dvořák (Prague, 1955, enlarged 2/1971; Eng., Fr. and Ger. transs., 1959)

Jaroslav Ježek a Osvobozené divadlo [Ježek and the Emancipated Theatre] (Prague, 1957)

Claude Debussy (Prague, 1958)

ed.: 150 let pražské konzervatoře [150 years of the Prague Conservatory] (Prague, 1961)

Česká filharmonie: příběh orchestru [The Czech Philharmonic: story of the orchestra] (Prague, 1963)

Beethovenovy klavírní sonáty [Beethoven’s piano sonatas] (Prague, 1964)

‘Orchestrální tvorba’ [The orchestral works], Pavel Bořkovec: osobnost a dílo, ed. J. Kasan (Prague, 1964), 17–44

Articles on Berg, Honegger and Milhaud, Osobnosti hudby 20. století, ed. J. Pilka (Prague, 1966)

Maurice Ravel (Prague, 1967)

Hudební skupina Mánesa [The Mánes Music Group] (Prague, 1968)

J.S. Bach a synové [Bach and his sons] (Prague, 1968)

ed., with V. Pos: Člověk potřebuje hudbu [Man needs music] (Prague, 1969)

Běh na slávou, čili O soutěžích aneb co s tím [The race for glory, or About competitions and what to do with them] (Prague, 1971)

Tschechoslowakisch-österreichische Musikspaziergänge (Prague, 1971)

Ema Destinnová (Prague, 1972, 2/1974)

Franz Schubert (Prague, 1972)

Introduction to and studies of Dvořák, Janáček and Martinů, Rok české hudby, ed. P. Zapletal (Prague, 1974), 7–53

Iša Krejčí (Prague, 1976)

Bedřich Smetana: život o dílo [Smetana: life and works] (Prague, 1979, 2/1984)

‘Případ Bohuslava Martinů’ [The case of Bohuslav Martinů], Literární měsíčník, ix/6 (1980), 94–9

‘Drei Dirigenten – ein Profil: Chalabala, Vogel, Krombholc’, Oper heute, viii (1985), 144–8


F. Bartoš: ‘O autoru knihy’ [About the author], in V. Holzknecht: Hudební skupina Mánesa (Prague, 1968), 239–60

R. Smetana, ed.: Dějiny české hudební kultury 1890–1945, ii (Prague, 1981)

J. Šeda: ‘Za Václavem Holzknechtem’, HRo, xli (1988), 490–91


Holzmair, Wolfgang

(b Vöcklabruch, 24 April 1952). Austrian baritone. He studied with Rössl-Majdan and Werba at the Vienna Music Academy. In 1981 he won the singing competition at 's-Hertogenbosch and in 1982 first prize at the second international Lied competition in Vienna, organized by the Musikverein. From 1983 to 1986 he was engaged at the Berne Opera and then from 1986 to 1989 at Gelsenkirchen. His roles included Guglielmo, Papageno, Rossini's Figaro, Valentin, Harlequin, (Ariadne auf Naxos), Eisenstein (Die Fledermaus) and Danilo (Die lustige Witwe). At the same time he was developing his career on the concert platform. He gained international attention when he sang the role of Hans Scholl in Udo Zimmermann's Die weisse Rose at the Zürich Opera (1987). He has won praise for his Papageno in London, Paris and Los Angeles, and for his Pelléas in Vienna and Paris, both roles suiting his high, light baritone. But he has been most admired for his skills as a lieder interpreter, where his warm, appealing, typically Viennese tone, forthright manner and attention to word-painting enhance his readings of a wide variety of songs by Schubert, Schumann and Wolf. Holzmair has been particularly praised as the protagonist of Die schöne Müllerin, which he has recorded twice, in 1983 with Demus and in 1997 with Imogen Cooper. He and Cooper, who have formed a close artistic rapport, have also recorded the other Schubert cycles and Schumann's Heine Liederkreis and Dichterliebe. In 1992 he gave the first performance of Berio's orchestrations of early songs by Mahler. Holzmair is also an intelligent interpreter of mélodies.


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