See Hoepner, Stephan.
(b Graz, 18 May 1819; d Vienna, 28 Aug 1885). Austrian composer and translator. He was the son of the actor and dramatist Friedrich Hopp (1789–1869). He first appeared as a composer in 1836 at the Theater an der Wien with music to his father’s play Die Bekanntschaft im Paradeisgartel. He wrote three more scores for the Theater an der Wien in 1837–8, but there followed a long gap before other scores by him were heard in Vienna. In 1858 he established a regular connection with the Theater in der Josefstadt, furnishing some two dozen scores in six or seven years; he composed regularly for the Theater an der Wien from 1863 to 1868, and occasionally in the mid- and late 1870s. In the mid-1860s he wrote for the Carl, Strampfer and Fürst theatres, and in 1879–80 produced a final flurry of scores for the Josefstadt.
The most important of Hopp’s achievements is the series of 16 Offenbach translations and adaptations he made, mostly for the Theater an der Wien but some for the Carltheater, between 1865 and his death (one, Tulipatan – after L’île de Tulipatan – was not staged until 1888). These Offenbach versions include, in descending order of their success, La belle Hélène (as Die schöne Helena, 1865), Barbe-bleue (as Blaubart, 1866), La Grande-Duchesse de Gérolstein (as Die Grossherzogin von Gerolstein, 1867), Le voyage dans la lune (as Die Reise in den Mond, 1876) and Madame l’archiduc (as Madame Herzog, 1875).
Among Hopp’s successful original works (for a number of which he wrote both words and music) are the operettas Ein Deutschmeister (1, K. Elmar; Vienna, Fürst’s Singspiel-Halle, 1864) and Das Donauweibchen und der Ritter vom Kahlenberg (3, Hopp and P. Krone; Vienna, An der Wien, 14 April 1866), and a series of burlesques and parodies including Fäustling und Margarethl (1864), Der Freischütz (1867) and Hammlet (1874), for all of which he wrote both words and music. He provided Suppé with the libretto for Der Teufel auf Erden (1878), and he also arranged and published potpourris, quadrilles, etc.
F. Hadamowsky: Das Theater in der Wiener Leopoldstadt 1781–1860 (Vienna, 1934)
F. Hadamowsky and H. Otte: Die Wiener Operette (Vienna, 1947)
A. Bauer: 150 Jahre Theater an der Wien (Zürich, 1952)
A. Bauer: Opern und Operetten in Wien (Graz, 1955)
A. Bauer: Das Theater in der Josefstadt zu Wien (Vienna, 1957)
Hopper [grasshopper, jack flyer, fly lever, flyer].
Part of the action of a piano. It consists of a pivoted or hinged jack that permits a hammer to ‘escape’ and fall back from the string while the key remains depressed. See Pianoforte, §I, esp. fig.12.
Hoppin, Richard H(allowell)
(b Northfield, MN, 22 Feb 1913; d Columbus, OH, 1 Nov 1991). American musicologist. He received the BA from Carleton College in 1936, interrupting his undergraduate education with two years at the Ecole Normale de Musique in Paris. His graduate studies at Harvard University were particularly influenced by Archibald T. Davison; he took the MA in 1938, then taught for four years at Mount Union College. Following military service he resumed graduate work at Harvard in 1945, taking the doctorate in 1952. He was on the faculty at the University of Texas from 1949 to 1961, when he was appointed professor of music history at Ohio State University. His main area of study was the music of the 14th and early 15th centuries, particularly the Cypriot repertory. His articles, facsimile edition and transcriptions from the manuscript J.II.9 in the Biblioteca Nazionale of Turin provide a clear picture of musical life at the Cypriot court in the early 15th century and its relation to contemporary musical activity in western Europe. His book Medieval Music (1978) has become a standard reference work.
The Motets of the Early Fifteenth-Century Manuscript J.II.9. in the Biblioteca Nazionale of Turin (diss., Harvard U., 1952)
‘Partial Signatures and Musica Ficta in some Early 15th-Century Sources’, JAMS, vi (1953), 197–215
‘A Musical Rotulus of the Fourteenth Century’, RBM, ix (1955), 131–42
with S. Clercx: ‘Notes biographiques sur quelques musiciens français du XIVe siècle’, L’Ars Nova: Wégimont II 1955, 63–92
‘Conflicting Signatures Reviewed’, JAMS, ix (1956), 97–117
‘Some Remarks à propos of PIC’, RBM, x (1956), 105–11
‘The Cypriot-French Repertory of the Manuscript Torino, Biblioteca Nazionale, J.II.9’, MD, xi (1957), 79–125
‘A Fifteenth-Century “Christmas Oratorio”’, Essays on Music in Honor of Archibald Thompson Davison (Cambridge, MA, 1957), 41–9
‘The Manuscript J.II.9 in the Biblioteca Nazionale of Torino’, L'Ars Nova italiana del Trecento I: Certaldo 1959, 75–82
‘Notational Licenses of Guillaume de Machaut’, MD, xiv (1960), 13–27
‘Reflections on the Origin of the Cyclic Mass’, Liber amicorum Charles van den Borren (Antwerp, 1964), 85–92
‘Exultantes collaudemus: a Sequence for Saint Hylarion’, Aspects of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese, ed. J. LaRue and others (New York, 1966/R), 392–405
‘Tonal Organization in Music before the Renaissance’, Paul A. Pisk: Essays in his Honor, ed. J. Glowacki (Austin, 1966), 25–37
Medieval Music (New York, 1978; Fr. trans., 1991) [with accompanying anthology]
‘More Pairs of Mass Movements in the Old Hall Manuscript’, RBM, xxxii–xxxiii (1978–9), 23–34
The Cypriot-French Repertory of the Manuscript Torino, Biblioteca Nazionale J.II.9, CMM, xxi (1960–63)
Cypriot Plainchant: of the Manuscript Torino, Biblioteca Nazionale J.II.9, MSD, xix (1968) [facs. with commentary]