Haack [Haacke, Haak, Haake], Friedrich Wilhelm



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Hora nona


(Lat.).

See None.

Hora prima


(Lat.).

See Prime (i).

Hora sexta


(Lat.).

See Sext.

Hora tertia


(Lat.).

See Terce.

Horbowski, Mieczysław Apolinary


(b Doleck, 23 July 1849; d Vienna, 26 Jan 1937). Polish baritone and teacher. He studied in Warsaw with Francesco Ciaffei, in Florence with Vanucini, in Milan with Nava, Alba and Lamperti, and in Paris with Roger. In 1872 he appeared in Italy under the stage name Francesco Ranieri, and in the following year made his Warsaw début in Il barbiere di Siviglia; subsequently he sang in Warsaw, Poznań, Lemberg, Kraków and at La Scala. His repertory centred on lyrical roles in operas by Moniuszko, Gounod, Meyerbeer, Donizetti, Verdi and Flotow. In 1886 he took over the singing class of the Warsaw Institute of Music, which he expanded to 29 pupils, including Smirnov; he was also professor of singing at the Moscow Conservatory (1895–1906). From 1906 he taught at the Kraków Conservatory and from 1912 at the Vienna Conservatory. He contributed articles to Echo muzyczne i teatralne (1884) and Słowo, and edited collections of 18th-century Italian vocal music: Fleurs mélodiques and Perły i kwiaty (‘Pearls and flowers’). He also published the two-volume Szkoła śpiewu teoretyczno-praktycznego (‘Theoretical and practical teaching methods in singing’, Warsaw, n.d.) and composed the song Dziewczę z buzią jak malina (‘The girl with lips like raspberries’).

BIBLIOGRAPHY


PSB (S. Dąbrowski)

SMP

W. Bregy: ‘Mieczysław Horbowski’, Encyklopedia muzyczna PWM, ed. E. Dziębowska, iv (Kraków, 1993)

IRENA PONIATOWSKA


Hordisch, Lucas


(b Radeberg, c1503; d after 1538). German composer. After matriculating at the University of Leipzig in 1524, he received the baccalaureate in 1526. He became a doctor of jurisprudence in 1534 and joined the faculty of the university in the following year. His contribution to music consists of 14 compositions in Melodiae prudentiana (RISM 15333), a collection of sacred and secular hymns for four voices on poems by Prudentius, Sedulius and Virgil. The music, which observes the poetic metres and is set in strictly chordal style, follows the model established by Tritonius's humanistic odes (1507). This type of composition was very popular among Catholic and Protestant musicians for daily use in schools.

BIBLIOGRAPHY


BlumeEK

EitnerQ

G. Pietzsch: Zur Pflege der Musik an den deutschen Universitäten bis zur Mitte des 16. Jahrhunderts (Hildesheim, 1971), 82 [repr. of articles pubd in AMf (1936–43)]

CLEMENT A. MILLER


Horecki [Horetzky, Janowski, Yanowski], Feliks


(b Horyszów Ruski, nr Lublin, 1 Jan 1796; d Edinburgh, 6 Oct 1870). Polish guitarist and composer. In about 1815 he worked as a clerk in the Treasury in Warsaw. He travelled to Vienna about 1818 to further his studies with Mauro Giuliani, and in a short time he acquired a considerable reputation in Austria as a virtuoso and teacher of the guitar; among his pupils was the archduchess in the imperial court. In about 1823 he lived in Frankfurt, where he published a series of his own compositions. During the next two years he gave concerts with great success in German towns and in the courts of the aristocracy; he also appeared in Belgium, Paris, and then London, where his fortune dramatically changed. As a consequence of an injury to the fingers of his right hand he was forced to cease his activities as an artist. He changed his name to Janowski (Yanowski) and moved to Edinburgh, where he taught guitar (his pupils there included S. Szczepanowski) as well as composing studies for the instrument. After treatment his hand recovered, and he reinstated his former name, but by this stage it was already impossible to resurrect his virtuoso career. After some time he moved to Glasgow and married his pupil Sofie Roberton. From 1834 he resided in Dublin, later returning to Edinburgh, where he died.

Horecki's playing was characterized by its captivating tone, his precision and good artistic taste. In England he occasionally performed duets with the Austrian guitarist L. Schulz, which gave rise to his compositions for two guitars. He composed about 150 works for guitar, which comprise original works (polonaises, mazurkas, waltzes, rondos, études, marches, quadrilles) and transcriptions and fashionable arrangements of songs, of popular and opera themes. Written in a simple classical style, many were reprinted in collections, often under altered titles. About 20 of his original compositions and transcriptions are in the British Library, London.


WORKS


Gui solo: 10 Valses brillantes, op.10 (Milan, 1825); Rondeau, op.11 (Milan, c1825); Sérénade et variations, op.12 (Paris, c1825); Grande fantaisie, op.14 (Milan and Bonn, 1826); Quatre variations avec l'introduction et finale, op.22 (London, c1830); Amusements, op.18 (Frankfurt, 1833); Taschenbuch für Guitarre solo (Hanover, 1835); 24 Studies or Exercises, op.30 (London, c1840)

2 gui: Polonaise nationale, op.1 (Vienna, c1820); Variations brillantes sur un thème du ballet Nina, op.2 (Vienna, c1821); Variations brillantes, op.9 (Frankfurt, 1825); 6 valses, op.13 (Frankfurt, c1826)

Songs, incl. romances for 1v, pf

BIBLIOGRAPHY


FétisB

Allgemeiner Musikalischer Anzeiger, xxxiv (1833), 134 [review of Amusements, op.18]

Kurier Warszawski [Warsaw Courier], xxv (1859), 122

J. Luth: Handbuch der Laute und Guitarre (Vienna, 1926)

P.J. Bone: The Guitar and Mandolin (London, 1954)

J. Powroźniak: Leksykon gitary [Lexicon of the guitar] (Kraków, 1979; enlarged Ger. trans., 1979)

BARBARA CHMARA-ŻACZKIEWICZ


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