Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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See Benedictus, Mass and Sanctus.

Hoschna [Hoschner], Karl [Carl] L.

(b Kuschwarda [now Kunžvart, Czech Republic], 16 Aug 1876; d New York, 23 Dec 1911). American composer, arranger and oboist of Bohemian birth. He studied the piano, harmony and composition at the Vienna Conservatory, and played oboe in the Austrian army band. In 1896 he went to the USA. For two years he was an oboist in the orchestra led by Victor Herbert and then became a music copyist and arranger for Witmark, producing sheet-music editions of musical-comedy and other popular tunes. In 1902 he began to write his own operettas, mostly with the lyricist Otto A. Harbach. He wrote 13 stage works, all ‘number’ operettas with some dialogue and published by Witmark. His first success was the ‘musical farce’ Three Twins (1908), in which the singer and dancer Bessie McCoy established her reputation. Later popular works included Madame Sherry (1910), The Fascinating Widow (1911), Jumping Jupiter (1911), Dr. Deluxe (1911) and The Wall Street Girl (1908), first performed in 1912, after Hoschna’s death, with Blanche Ring and Will Rogers.

Hoschna’s works have lively opening and closing choruses, and he frequently used ragtime and popular dance rhythms even in the vocal numbers. His music typifies that of Tin Pan Alley in the first two decades of the 20th century, with relatively simple harmonies and melodies built up of short phrases and sequential repetitions.


all operettas; dates are those of first performance

The Belle of the West (H.B. Smith), Chicago, 29 Oct 1905

The Girl from Broadway (C.N. Douglas), Philadelphia, 3 Dec 1906

Three Twins (O. Harbach), New York, 15 June 1908 [incl. Cuddle up a little closer, Yama-Yama Man]

Prince Humbug (M. Swan), Boston, 3/7 Sept 1908

The Photo Shop (E. Clark, Harbach), 1910

Bright Eyes (Harbach), New York, 28 Feb 1910 [incl. For You, Bright Eyes, Cheer up, my honey, Good Old Days of Yore, The Mood You’re In]

Madame Sherry (Harbach), New York, 30 Aug 1910 [incl. Every Little Movement, We are only poor weak mortals, The Birth of Passion, The Smile She Means for Me]

Katie Did (W.C. Duncan and F. Smithson), Chicago, 18 Feb 1911

Jumping Jupiter (R. Carle and S. Rosenfeld), New York, 6 March 1911 [incl. It all goes up in smoke, I’m awfully afraid of girls, Meet me tonight at nine, Pet of the Family, Thank you kind sir]

Dr. Deluxe (Harbach), New York, 17 April 1911 [incl. For every boy that’s lonely there’s a girl that’s lonely too, The accent makes no difference in the language of love]

The Girl of my Dreams (Harbach), New York, 7 Aug 1911 [incl. The Girl who Wouldn’t Spoon, Every girlie loves me but the girlie I love, The Girl of my Dreams]

The Fascinating Widow (Harbach), New York, 11 Sept 1911 [incl. Don’t take your beau to the seashore, You built a fire down in my heart, The Ragtime College Girl, The Fascinating Widow]

The Wall Street Girl (B.H. Burt), New York, 15 April 1912 [incl. The Deedle Dum Dee, I want a regular man, On the Quiet]


W. McSpadden: Light Opera and Musical Comedy (New York, 1936)

S. Spaeth: A History of Popular Music in America (New York, 1948)

D. Ewen: Popular American Composers (New York, 1962; suppl. 1972)

N. Lincke: Singspiel – Operette – Musical: die heitere Muse in Böhmen/Mähren/Schlesien’, Die musikalischen Wechselbeziehungen Schleisen-Österreich (Dülmen, 1977), 77–105




See Breeches part.



Litanies for the Feast of Tabernacles in the Jewish Liturgy; see Litany, §1.

Hosier, Richard

(bap. ?Gainsborough, 4 March 1593/Gloucester, 8 Feb 1624; d Dublin, early 1677). English composer and cathedral musician. Hosier was associated with Christ Church Cathedral, Dublin, from 1660 until 1677, and also with St Patrick’s Cathedral there. At Christ Church he sang tenor, was paid for transcribing music, and was Master of the Choristers in all but name. It is possible that he was the Hosier who was associated with the cathedrals of Bristol (1622), Norwich (1625–7) and Dublin (1634), and with New College, Oxford, in either 1637–8 or 1638–9. Equally he may have been the son of Philip Hosier, organist of Gloucester Cathedral from 1620 to 1638. He matriculated from King’s College, Cambridge, on 1 September 1637, and was in its choir in 1638. Either could have been a Gentleman of the Chapel Royal in 1641, briefly at Bristol in 1660, and received travelling expenses when applying (unsuccessfully) for a petty canon’s place at Peterborough Cathedral in March 1662 (GB-PB 52).

Six verse anthems by Hosier survive in a manuscript (DRc B1) primarily in his hand. The presence of his anthem Now that the Lord hath readvanced the crown suggests a date for the manuscript of 1660 or shortly afterwards. The anthems contain relatively few instrumental interludes, and four of them conclude with imitative ‘Hallelujahs’.



B. Crosby: ‘An Early Post-Restoration Liturgical Music Manuscript’, ML, cv (1974), 458–64

H. Watkins Shaw: The Succession of Organists (Oxford, 1991)

I. Spink: Restoration Cathedral Music, 1660–1714 (Oxford, 1995)

B. Boydell: Music at Christ Church before 1800: Documents and Selected Athems (forthcoming)


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