Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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Honegger, Marc

(b Paris, 17 May 1926). French musicologist. He studied musicology with Masson at the Sorbonne (1947–50), where he took an arts degree; he also studied the piano with Santiago Riera (1942–9), composition with Georges Migot (from 1946) and orchestral conducting with Ion Constantinesco and later Eugène Bigot at the Ecole Supérieure de Musique (1947–8). In 1970 he took the doctorat ès lettres with two dissertations, on the origins of Reformation music in France, and on accidentals in Renaissance music. After working as an assistant at the Paris University Institute of Musicology (1954–8) he became director of studies at the University of Strasbourg, where he invigorated and developed the teaching of musicology and in 1972 became titular professor; he continued working there until his retirement in 1991.

Honegger’s research has been concerned mainly with 16th-century music; he has edited secular and sacred songs and psalms by Sermisy, Certon, Didier Lupi Second, Goudimel, L’Estocart and Claude Le Jeune. He has also prompted a better understanding and wider dissemination of Migot’s works. The excellent four-volume Dictionnaire de la musique, of which he was editor-in-chief, contains contributions from numerous specialists on French, European and American musicology. His rigorous scholarship is complemented by his involvement in practical music: he has been maître de chapelle of the Eglise du Foyer de l’Ame (1947–52) and the church of the St Esprit (1952–4), director of the choir Chanteurs Traditionnels de Paris (1952–9) and founder of the Strasbourg University choirs Journées de Chant Choral (1961). He was in addition secretary-general (1973–7) and president (1977–80) of the Société Française de Musicologie. He has also contributed extensively to concert life and to radio and recordings.


‘Le choral protestant’, Protestantisme et musique, ed. G. Marchal (Paris, 1950), 70–111

‘Georges Migot’, SMz, xciv (1954), 329–31

‘Georges Migot et la musique religieuse’, Revue d’histoire et de philosophie religieuses, xxxix (1959), 361–9

‘La réforme et l’essor de la musique en Allemagne’, Histoire de la musique, ed. Roland-Manuel, i (Paris, 1960), 1152–67

‘Lied’, §C, 4, MGG1

‘Georges Migot’, Réforme (25 Feb 1961)

‘La musique sacrée de 1830 à 1914’, GfMKB: Kassel 1962, 66–74

‘La chanson spirituelle populaire huguenote’, JbLH, viii (1963), 129–36

‘Introduction à Georges Migot’, Profils, iii (1963), 42–7; repr. in SMz, cv (1965), 348–56

Les chansons spirituelles de Didier Lupi et les débuts de la musique protestante en France au XVIe siècle (diss., U. of Paris, 1970; Lille, 1971)

ed.: Dictionnaire de la musique, i–ii: Les hommes et leurs oeuvres (Paris, 1970, 2/1986); iii–iv: Science de la musique: formes, techniques, instruments (Paris, 1976)

Les messes de Josquin des Prés dans la tablature de Diego Pisador (Salamanque, 1552): contribution à l’étude des altérations au XVIe siècle (diss., U. of Paris, 1970; pt.i, with added exx., in RdM, lix (1973), 38–59, 191–230; lx (1974), 3–32)

‘Georges Migot et le chant choral’, Chef de choeur, xxxi (1971), 21–31; repr. in Revue musicale de Suisse romande, xxv/4 (1972), 3–7

Catalogue des oeuvres musicales de Georges Migot (Strasbourg, 1977)

ed., with G. Massenkeil: Das Grosse Lexikon der Musik (Freiburg, 1978–83) [part trans. of HoneggerD]

ed., with C. Meyer and P. Prévost: IMSCR XIII: Strasbourg 1982

‘La place de Strasbourg dans la musique au XIVe siècle’, IRASM, xiii (1982), 5–19

‘Georges Migot’, Zodiaque, no.167 (1991), 2–8

ed., with P. Prévost: Dictionnaire des oeuvres de l’art vocal (Paris, 1991–2)

with others: ‘Actes du colloque “Musicologie historique et musicologie théorique: une coexistence est-elle possible?”’, Canadian University Music Review, xiv (1994), 161–82

ed.: Dictionnaire usuel de la musique (Paris, 1995)

Connaissance de la musique (Paris, 1996)

ed., with P. Prévost: Dictionnaire de la musique vocale: lyrique, religieuse et profane (Paris, 1998)


with J. Chailley: Pascal de l‘Estocart: Second livre des Octonaires de la vanité du monde, MMFTR, xi (1959)

with C. Meyer: S. Dietrich: Magnificat octo tonorum: Strasbourg, 1535, Convivium musicum, i (Strasbourg-Stuttgart, 1992)


Höngen, Elisabeth

(b Gevelsberg, Westphalia, 7 Dec 1906). German mezzo-soprano. She studied in Berlin with Ludwig Horth and made her début at Wuppertal in 1933, singing Lady Macbeth during her first season; after engagements at Düsseldorf and Dresden, in 1943 she became a member of the Vienna Staatsoper. She appeared at Salzburg (1948–50) as Orpheus, Britten’s Lucretia and Clairon (Capriccio) and in 1959 as Bebett in the première of Erbse’s Julietta. She sang at Covent Garden in 1947 with the Vienna company as Dorabella, Herodias and Marcellina, returning in 1960 as Clytemnestra. In 1951 she sang Fricka and Waltraute at Bayreuth, in 1952 she appeared at the Metropolitan Opera, making her début as Herodias. Her repertory also included Eboli, Amneris, Carmen, Venus, Baba the Turk, the Nurse and Barak’s Wife, and Adriano (Rienzi). She retired in 1971. Her expressive voice was always used most musically, and her dramatic gifts were remarkable. Her recordings include the Nurse in Böhm’s first version of Die Frau ohne Schatten and Waltraute in Furtwängler’s Ring from La Scala. (GV; R. Celletti and L. Riemens; L. Riemens)


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