Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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Honauer, Leontzi

(b Strasbourg, 2 June 1737; d ?Strasbourg, ?1790). Alsatian keyboard teacher and composer. The son of Léon Honauer, a musician at Strasbourg Cathedral, and Anne-Marie Zimmermann, Honauer probably received his initial musical education from his father and his brother François Xavier Léon (1731–88). Leontzi was resident in Paris by 1761, probably in the retinue of Prince Louis de Rohan, the coadjutor of the diocese of Strasbourg. Leopold Mozart’s letter of February 1764 confirms Honauer’s growing importance in Paris and the young Wolfgang used his sonatas op.1 no.1 (1, 3), op.2 no.1 (1) and op.3 (1) in his pasticcio piano concertos, kv41, 37 and 40 respectively. In 1770, probably encouraged by Valentin Roeser, Honauer completed two suites for piano and wind accompaniment. The four quartets and other works became widely available, including in Vienna, where Honauer probably resided from 1771 to 1775. Between 1775 and 1785, the year that the Prince de Rohan was incarcerated, Honauer is documented as a composer and master of the clavecin and pianoforte in Paris. Bemetzrieder and the Almanach musical hailed him as one of the two best teachers of the clavecin, and a ‘privilège général’ of 1778 may have been for a fourth volume of clavier sonatas, now lost. A passage in the Almanach d’Alsace mentions that ‘Léonce Honauer’ was on a pension from the city of Strasbourg ‘until around 1790’.

Honauer’s sonatas, usually in three movements of fast–slow–fast tempos, have more contrasts of register, texture and rhythm to clarify their periodic structures than other contemporary works. The marking ‘dolce’ appears with lyrical melodies in the secondary key area in certain movements as early as the 1761 collection. With chromatic chords and melodies in inner parts rather than the upper voice, Honauer showed how the high Baroque heritage could be incorporated into the tensional structure of the sonata. He expanded keyboard figuration and made more demands on the violinist as accompanist by requiring the fourth position, three-note fingered double stops and initial melodic presentation (see op.3 no.6 (1), for example). In his suites and piano quartets Honauer replaced the technique of accompanied sonata with ensembles in which all instruments were involved in a dialogue. To obtain a richer sonority in the middle register for his op.4 quartets, he introduced two horn parts ad libitum, a practice continued by J.-F. Edelmann, Charles Roeser, and C.-B. Balbastre. The copying, publication and frequent reprinting of his works into the early 19th century suggest that his innovative approaches in writing for keyboard with other instruments had considerable influence.


6 sonatas, kbd, op.1 (1761)

6 sonatas, kbd, op.2 (1764)

6 sonatas, kbd, acc. vn ad lib, op.3 (1769)

2 suites, kbd, 2 cl, 2 hn, 2 bn, 1770, F-Pn

4 qts, kbd, 2 vn, db, 2 hn ad lib, op.4 (1771)


Other works attributed to Honauer are listed in Keillor.



Almanach musical (Paris, 1775–83)

A. Bemetzrieder: Méthode et réflexions sur les leçons de musique (Paris, 1781)

E. Reeser: De Klaviersonate met vioolbegeleiding in het Parijsche muziekleven ten tijde van Mozart (Rotterdam, 1939)

E. Keillor: Leontzi Honauer, 1737–ca. 1790, and the Development of Solo and Ensemble Keyboard Music (diss., U. of Toronto, 1976)


Honcharenko, Viktor Viktorovich

(b Dnepropetrovsk, 29 April 1959). Ukrainian composer. He graduated in 1983 from Kiev Conservatory, where he studied composition with V.D. Kireyko and the organ with A.N. Kotlyarevsky. He was an editor for the publishers Muzychna Ukraïna (1983–95) before working at the Ukrainian Music Information Centre and the Centre for Ukrainian Cultural Research. Of an introspective and philosophical frame of mind, he frequently alludes to Baroque music in his numerous chamber works, which express his contemplation of eternity and the tragedy of his age. He has written a quantity of organ music; following a period of neglect by composers and performers, the 1970s witnessed a renaissance in organ building and playing in the Ukraine. His use of classical genres coupled with an abundance of slow tempos results in a certain introspective quality in his work, although an exception can be found in Mï stroili kommunizm (‘We were Building Communism’), a chaconne employing serial techniques, which with its echoes of mass songs of the Soviet era is notable for its malicious irony.


Vocal: Ïkhav kozak dorogoyu [A Cossack Rode Along the Road], folksong arr., chorus, 1981; Oy u poli l'on [There’s Flax Growing on the Field], folksong arr., chorus, 1981; Cherez goru vysokoyu [Across the High Mountain], folksong arr., chorus, 1986; Na ozere [On the Lake] (Bo Tsiu I), diptych, chorus, 1986; Yak tsvila u sadochku [When there was Flowering in the Garden], folksong arr., female vv, 1986; Letila zozulya [A Cuckoo was Flying], folksong arr., male vv, 1987; Mïslenno stranstvuya [Wandering in my Thoughts] (after W. Whitman), monologue, Ct, 4 trbn, tuba, org, 1987; Zymove [Wintry] (V. Semenko), chorus, 1987; Rechitativ (A. Blok, P. Vyazemsky), Mez, male chorus, 1988; Vesna [Spring] (B. Pasternak), chorus, 1988; Malen'kaya kantata [Small Cant.] (medieval poets), Mez, org, synth, 1989; Pisnya [Song] (L. Ukrainka), chorus, 1989; Pokinutaya tserkov' [The Abandoned Church] (cant., F. García Lorca), Mez, chbr orch, 1989; Psalom Davydov [A Psalm of David] (T. Shevchenko), chorus, 1989; V podrazhanii Bortnyanskomu [In Imitation of Bortnyansky], fugue, chorus, 1989; Shyol sneg [It was Snowing] (M. Markaryan), chorus, 1990; Molitva [Prayer], chorus, 1990

Chbr and solo inst: Osennyaya muzïka [Autumn Music], 2 vn, vc, 1979; Dialog, hpd, org, 1987; Sonata, vn, pf, 1987; V starinnom stile [In the Old Style], fl, org, 1987; Zapozdavshiye priznaniya [Belated Confessions], fl, str 1987; Bez nazvaniya [Untitled], pf, str, 1988; Monologi [Monologues] (Whitman), 2 rec, chbr orch, 1988; Post scriptum, vc, chbr orch, 1988; Otrïvok iz poėmï [Extract from a Poem], pf, chbr orch, 1989; Pokloneniye Bakhu [Homage to Bach], chbr orch, 1989; Tema [Theme], ob, pf, 1989; Dessins sur la vitre, hp, 1990; Elegiya, vn, pf, 1990; Prelude, hp, 1990; Moye oshchushcheniye vselennoy [My Sense of the Universe], 2 tpt, pf, chbr orch, 1992; Mï stroili kommunizm [We were Building Communism], 2 tpt, pf, chbr orch, 1993; Kamernaya muzïka [Chbr Music], fl, ob, str, 1996; Sonatina, fl, hpd, 1996

Pf: Scherzo, 1977; Legenda, 1978; Ėskiz [Sketch], 1981 [left hand]; Prelude, 1981; Sonata, 1981

Org: Khoral [Chorale], 1978; Adagio-Allegro-Adagio, 1979; Partita, 1979; Fuga, 1980; Pastoral', 1980; Chakona [Chaconne], 1982, Antifonï [Antiphons], 1983; Fantaziya, 1983; 4 narodnïye pesni [4 Folksongs], 1983; Fantaziya, 1986; Khromaticheskiye variatsii [Chromatic Variations], org, 1989; Prelude and Fugue, 1990

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