Haack [Haacke, Haak, Haake], Friedrich Wilhelm



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Hopf, Hans


(b Nuremberg, 2 Aug 1916; d Munich, 25 June 1993). German tenor. He studied in Munich with Paul Bender and in Oslo with Ragnvald Bjärne. In 1936 he made his début as Pinkerton with the Bayerische Landesbühnen, a touring ensemble; engagements followed in Augsburg (1939–42), Dresden (1942–3) and Oslo (1943–4). He joined the Berlin Staatsoper in 1946 and in 1949 was engaged by the Staatsoper in Munich. Hopf sang the tenor part in the performance of Beethoven’s Ninth Symphony under Furtwängler that reopened Bayreuth in 1951, and also sang Walther; between 1961 and 1966 he returned as Siegfried, Tannhäuser and Parsifal. At the 1954 Salzburg Festival he sang Max (Der Freischütz). He appeared at Covent Garden (1951–3) as Radames and Walther and at the Metropolitan, where he made his début in 1952 as Walther and sang mostly in the Wagner repertory. He made his La Scala début in 1963 as Siegfried and first appeared at the Teatro Colón in 1958 as Walther. His repertory also included Otello and the Emperor (Die Frau ohne Schatten), which he recorded under Böhm. His strong, reliable voice can also be heard as Walther on Karajan’s recording of Die Meistersinger from Bayreuth.

HAROLD ROSENTHAL/R


Höpken, Arvid Niclas, Freiherr von


(b Stockholm, 7 July 1710; d Stralsund, 28 July 1778). Swedish officer and composer. The eldest son of the politician Daniel Niclas von Höpken, he possibly had composition lessons from the Kassel Kapellmeister Fortunato Chelleri during his military service in Hesse (1730–35). There are uncertainties over the authenticity of some compositions attributed to him, and his output appears to have survived only in part (S-Skma). The apparently genuine items show a thorough technical competence, though they sometimes tend to monotony in both harmony and melody. His music often has a tender melodic sweetness but can also express great dramatic intensity. His most important works are the two serious operas Il re pastore (1752) and Catone in Utica (1753), both to librettos by Metastasio, and the comic intermezzo Il bevitore (1755): they were possibly intended for Mingiotti’s troupe, which periodically visited Stockholm. Höpken adhered to the style of Italian opera – the influence of Pergolesi is obvious – but he had also learnt from contemporary German composers, especially C.H. Graun and Hasse. His pastoral oratorio Försök af en pastoral på Wår Herres ock Frålsares Jesu Christi nådericka födelse (1751), based on a text by his wife Helena Hummerhielm, takes Handel as its model, as is particularly evident in the final choral fugue. His other works include O! rene Guds lamb for two solo voices and orchestra, several arias and a symphony, as well as a solo cantata Teseo and two other symphonies, possibly spurious.

Despite his long period of military service in Finland (1739–41; in Russian captivity 1741–3) and in Swedish Pomerania (1749–55, 1756–78), through his brother, the State Councillor, he maintained close connections with Stockholm, where some of his compositions were performed. Apart from Ferdinand Zellbell the younger, Höpken is the only native composer in the history of Swedish music to have composed operas in the Italian style.


BIBLIOGRAPHY


GroveO (B.H. van Boer)

E. Sunderström: ‘Arvid Niklas von Höpken och hans komiska opera Il bevitore’, STMf, xviii (1936), 24–42

S. Walin: Beiträge zur Geschichte der schwedischen Sinfonik (Stockholm, 1941)

B.H. von Boer: ‘Joseph Martin Kraus and Sacred Music in Sweden’, Geistliches Leben und geistliche Musik im fränkischen Raum am Ende des alten Reiches, ed. F.W. Reidel (Munich, 1990), 166–77

EVA HELENIUS/R


Hopkins, Antony


(b London, 21 March 1921). English composer, broadcaster and writer on music. He studied with Cyril Smith (piano) and Gordon Jacob at the RCM (1939–42). After a brief spell lecturing at Morley College, he began to compose music for the theatre, radio and films, and quickly achieved success with in 1944 his incidental music for MacNeice's productions of The Golden Ass and Cupid and Psyche. He subsequently earned himself a reputation as one of the most brilliant composers in this field. His radio work has included scores for The Oresteia and The Song of Roland, and he contributed music to the BBC programmes that won the Italia Prize in 1951 and 1957. He has written music for 15 of Shakespeare's plays and for the Old Vic production of Oedipus rex, while his numerous film scores include those for The Pickwick Papers, Decameron Night, Cast a Dark Shadow and Billy Budd. At the same time he has been particularly active in composing for children. His works of this type include A Time for Growing (1967), which traces the story of the evolution of the world and the growth of mankind, Rich Man, Poor Man, Beggar Man, Saint, an operatic life of St Francis, and John and the Magic Music Man, of which a film version was made (1976). These may be seen as extensions of his work with Intimate Opera, for which he wrote, among other one-act operas, Hands Across the Sky and Three's Company: the latter has been performed in the USA, Canada and Argentina. A more ambitious opera, Lady Rohesia, was produced at Sadler's Wells in 1948. Impelled, above all, by a desire to communicate, he is a master of pastiche, used aptly to create atmosphere or colour.

However, it is as a broadcaster and lecturer on music that Hopkins is best known. His weekly radio programme ‘Talking about Music’, in which he engagingly discussed the history, content and structure of a major work, ran for 36 years. He has also written a number of books and has introduced and conducted concerts, for children especially, in Britain, Australia and East Asia. As a tribute to his manifold activities the city of Tokyo in 1973 made him a special award. He was made CBE in 1976 and a Fellow of Robinson College, Cambridge, in 1980.


WORKS


(selective list)

stage


Ops: Lady Rohesia (1, Hopkins, after E.H. Barham), 1946; The Man from Tuscany (op for choirboys, 1, C. Hassell), 1951; Scena (radio op, 1, P. Dickinson), 1953; Three's Company (1, M. Flanders), 1953; Ten O'Clock Call (1, W. Radford), 1956; Hands Across the Sky (1, G. Snell), 1959; A Time for Growing (pageant op, 3, N. Pain), 1967; Rich Man, Poor Man, Beggar Man, Saint (op for young people, 2, D. Nixon), 1968; Dr Musikus (1, Hopkins), 1969

Ballet: Etude, 1947; Café des sports, 1954

other works


Orch: John and the Magic Music Man, nar, orch, 1974

Choral: The Just Vengeance (D.L. Sayers), acc., 1946; Carillon, unacc., 1948; Studies, 1952; Ps xlii, SATB, org, 1954; Mag and Nunc, female vv, org, 1961; 5 Studies, chorus, pf (1979), Early One Morning, spkr, Mez, female vv, orch, 1980; The Lord's Prayer, unison vv, org, 1983

Solo vocal: A Humble Song to the Birds (F. Harris, after C. Rosencrantz), cant., S/T, pf, 1945; 2 French Folksongs, Mez/Bar, pf, 1947; A Melancholy Song, 1v, pf, 1949; Recueillement, 1v, pf, 1952

Chbr: Fantasy, cl, pf, 1952; Partita, vn, 1947

Piano: Toccata, 1943; Sonata, d, 1945; 5 Short Preludes, 1948; Tango, 1949; Sonata no.3, 1949

Music for radio and films

 

Principal publishers: Chester, Josef Weinberger

WRITINGS


Talking about Symphonies (London, 1961); repr. in Talking about Music (London, 1977)

Talking about Concertos (London, 1964); repr. in Talking about Music (London, 1977)

Music all around me (London, 1968)

with A. Previn: Music Face to Face (London, 1971)

Talking about Sonatas (London, 1971); repr. in Talking about Music (London, 1977)

Understanding Music (London, 1979/R)

The Nine Symphonies of Beethoven (London, 1981/R)

Beating Time (London, 1982) [autobiography]

Sounds of Music: a Study of Orchestral Texture (London, 1982/R)

Pathway to Music (London, 1983)

The Concertgoer's Companion (London, 1984–6)

The Seven Concertos of Beethoven (Aldershot, 1996)

RICHARD COOKE/R


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