Haack [Haacke, Haak, Haake], Friedrich Wilhelm



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Holzmann, Abe [Abraham]


(b New York, 19 Aug 1874; d East Orange, NJ, 16 Jan 1939). American ragtime composer and arranger. He was a professional staff composer and arranger for music publishers, and made his mark in the history of ragtime with three notable early cakewalks, Smoky Mokes (1899), Bunch o’ Blackberries (1900) and Hunky Dory (1901), though he also wrote marches and other popular characteristic pieces. His three cakewalks were widely played by military bands, including that of John Philip Sousa, and were also popular in piano scores.

Holzmann’s writing is spirited and lively in the late 19th-century quick march tradition, and shows a good grasp of melodic invention and the idiomatic syncopation typical of early ragtime. His sympathy with the march form gave him an advantage in writing (and scoring) march-like cakewalk and ‘patrol’ numbers. By popularizing the cakewalk through his band arrangements, Holzmann broadened the scope of early ragtime at a time when the major piano ragtime scores were being published and distributed. His music unites the most popular elements of band music with the new African-American stylistic traits that were beginning to be understood by a broad audience at the turn of the century.


BIBLIOGRAPHY


R. Blesh and H. Janis: They All Played Ragtime (New York, 1950, 4/1971)

D.A. Jasen and T.J. Tichenor: Rags and Ragtime: a Musical History (New York, 1978)

E.A. Berlin: Ragtime: a Musical and Cultural History (Berkeley, 1980/R1984 with addenda)

WILLIAM J. SCHAFER


Holzmann, Rudolf [Rodolfo]


(b Breslau (now Wrocław), 27 Nov 1910; d Lima, 4 April 1992). Peruvian composer and ethnomusicologist of German origin. He studied with Vogel in Berlin (1931), Scherchen in Strasbourg (1933) and Rathaus in Paris (1934). In 1938 he accepted a position as oboe teacher at the Alzedo Academy, Lima, and as a violinist in the Peruvian National SO, of which he was made assistant artistic director in 1945. Also in that year he took appointments at the Lima Conservatory as librarian, a post he held for five years, and as professor of composition; that position he retained until he was invited to teach at the University of Texas, Austin (1957–8). In 1963 he went to Zürich, returning to Lima in 1964 as an ethnomusicologist for the National School of Folk Music and Dance. In 1972 he moved to Huánuco, where he continued his work in ethnomusicology, also teaching at the newly opened university.

Holzmann’s folk melody collection Panorama de la música tradicional del Perú was the most important publication of its type since the work of the d’Harcourts. His wide-ranging scholarly work also included the preparation of systematic catalogues of the works of six 20th-century Peruvian composers, published in the Boletín bibliográfico of the San Marcos University Library and elsewhere. As a composer he kept abreast of European trends: the suites of the 1940s embedded Spanish or Peruvian melodies in orchestral eiderdown, but later works, such as the powerful Dodedicata, are stark, serial pieces. His many composition pupils include Iturriaga, Garrido Lecca and Pinilla.


WORKS


(selective list)

Orch: Suite radiofónica, 1932; 2 movimientos, 1934; Divertimento concertante, pf, 10 wind, 1941; 5 fragmentos sinfónicos, after G. Baty: Dulcinea, 1943; Las danzas de la reina de las hadas, 1943; Cantigas de la edad de oro, 1944; Suite arequipeña, 1945; Sym., 1946; Concertino, 2 pf, orch, 1947; Pequeña suite peruana, 1948; Pf Conc., 1949; Partita, str, 1951; Suite sinfónica, 1954; Dodedicata, 1966

Choral: La pasión del que mora en la tierra, cantata, chorus, orch, 1959; Villancicos [after folksongs], 1965

Inst: Suite, b cl, a sax, tpt, pf, 1933; Sarabanda and Toccata, a sax, pf, 1934; Suite, a sax, pf, 1934; Passage perpétuel, wind, perc, 1935; Divertimento, 5 ww, 1936; 4 pf suites, 1941–2; Niñerías, pf, 1947; Remembranzas, pf, 1949; Str Qnt, 1956

Many songs

WRITINGS


with C. Arróspide de la Flor: ‘Catálogo de los manuscritos de música existentes en el Archivo Arzobispal de Lima’, Cuaderno de estudio, iii/2 (1949), 36

ed.: Panorama de la música tradicional del Perú (Lima, 1966)



De la trifonIía a la heptafonía en la música tradicional (Lima, 1968)

Q'ero, pueblo y música (Lima, 1986)

BIBLIOGRAPHY


E. Pinilla: ‘Rodolfo Holzmann y su Panorama de la música tradicional del Perú’, Revista peruana de cultura (1966), no.7–8, p.274

L.A. Meza: ‘Rodolfo Holzmann on his 75th Birthday’, Inter-American Music Review, vii/2 (1985–6), 1–2

R. Romero: ‘Rodolfo Holzmann: ‘Q'ero, pueblo y música’, Revista de música latinoamericana/LAMR, viii/1 (1987), 112–6 [contains bibliography and discography]

R. Stevenson: ‘Rodolfo Holzmann (1910–1992)’, Inter-American Music Review, xiii/1 (1992–3), 123–5

ROBERT STEVENSON


Holzner [Holtzner], Anton


(b ?Mainburg, Lower Bavaria, c1599; d Munich, 1635). German composer and organist. He was a boy singer at the Munich court in 1607 and travelled in Italy from 1615 to 1619, when he became organist at the Bavarian court chapel in Munich. His output of sacred music shows that for motets he favoured the up-to-date textures of the concertato style, while for masses and vesper music he preferred more conservative scorings. The five- and six-part Magnificat settings (1625), unusually presented in a huge choirbook rather than in partbooks, are largely in the stile antico, although one piece is written non-modally in E minor. The masses of 1622 represent a syllabic approach to the text. The most interesting is the eight-part Missa concertata (no.7), in which various duet or trio combinations, often drawn freely from both choirs, are contrasted with emphatic tutti effects; there is a modest degree of word-painting in the central section of the Credo.

WORKS


all except anthologies published in Munich

Viretum pierium, 1–3, 5vv, bc (1621) [24 works]

Missae, 5, 6, 8vv, bc (org) (1622)

Canticum virginis seu Magnificat et antiphonae … 5, 6vv, some with bc (org) (1625)

Nemus aonium seu fructus musicarum, 1–3vv (1631)

7 motets in 16241, 16271, 16272

2 Kyries, 5, 6vv, PL-LEtpn, WRu, Wn

Alma redemptoris, Ave regina, Regina coeli, Salve regina, 6vv; Mag, 5vv: D-Rp

5 organ canzonas, Bsb, Mbs; 1 ed. A.G. Ritter as no.74 in Geschichte des Orgelspiels (Leipzig, 1884); 3 ed. S. Gmeinwieser in Drei Kanzonen für Orgel (Wilhelmshaven, 1971)

BIBLIOGRAPHY


ApelG

EitnerQ

S. Gmeinwieser: ‘Anton Holzner, Organist und Komponist am Hofe des Kurfürsten Maximilian in München’, KJb, liii (1969), 133–44

JEROME ROCHE/SIEGFRIED GMEINWIESER


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