Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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Howet [Howett], Gregorio.

See Huet, Gregorio.


See under Meinl.

Hoyland, Vic(tor)

(b Wombwell, Yorkshire, 11 Dec 1945). English composer. He studied music at the University of Hull and then composition with Rands at the University of York (DPhil 1974). Since 1981 he has been associated with the University of Birmingham, first as Haywood Research Fellow, later as lecturer and now as reader in the department of music. Throughout the 1970s Hoyland worked chiefly for Universal Edition, editing and preparing scores by Birtwistle, Rands and others. During this decade he composed a number of striking semi-theatrical and instrumental works which brought him to public attention, including EM for 24 voices (1970) and Jeux-thème for mezzo soprano and ensemble (1972). In 1980 he co-founded and directed the Northern Music Theatre company (along with the composer David Sawer and the conductor Graham Treacher), which gave a series of influential performances in London, Huddersfield and Bath, including UK premières of works by Kagel and Hoyland's extended monodrama Michelagnolio (1981). Hoyland's innovations in music theatre have been one of the most important aspects of his work. Dumbshow (1984) requires a male and female performer in Edwardian costume to execute minutely detailed actions on giant chessboards in exact synchronzation with a meticulously notated score for drum kit. The influence of Beckett and Kagel on his work of this period is as important as that of Stravinsky and Berio, but increasingly he has moved away from gestural preoccupations towards a more fluent and abstract musical language in which line and harmony play a greater part. Ensemble works such as Fox (1983) and the String Quartet (1985) began a series of instrumental pieces including In Transit for orchestra (1987), the Chamber Concerto (1993) and Vixen (A-Vixen-A) (1996) composed for the Cheltenham Festival, which achieve a powerful and emotional expression within a highly personal, modernist idiom. Vixen, inspired in part by the rhythmic theories of the medieval Arab scholar Ibn Sīnā (Avicenna), and the Bagatelles (String Quartet no.3) (1995) suggest a growing interest in non-Western music.


Music theatre: ES (E. Satie: marche du grand escalier), 12vv, 10 insts, 1971; Piaf (various song lyrics), female v, 2 perc, 1972; Xingu (trad. S. Amer. texts), 75 children's vv in 3 groups, large orch, 1979; Michelagnolio (Michelangelo, J.W.v. Goethe, Savonarolo), Bar, 6 male vv, 23 insts, 1981; A Head and Two Tails, 1984: Bitch (Middle Eng. comic verse), 1 male v Dumbshow (Exeter Book), 2 pfmrs, drum kit; Foxed (Middle Eng. comic verse), 8 vv, 4 perc, 2 pf amp; Crazy Rosa, La madre (D. Fo. trans. D. Hirst), Mez, ens, 1988Vocal: EM (Exeter Book), 24vv, 1970; Jeux-thème (P. Verlaine), Mez, 24 insts, 1972; Ariel (S. Plath), v, fl, 2 mar, 2 vib, 10 insts, 1974–5; Seneca/Medea (Seneca), S,A,T,B, a fl, cl, pf, vib, perc, mar, vn, vc, 1985; November 2nd (In memoriam Pier Paolo Pasolini) (Hirst), v, 2 cl, va, vc, db, 1992Inst: ESEM, db, 8 insts, 1975; Seranade, 14 insts, 1979; Reel, 3 ob, 3 eng hn, 2 bn, dbn, 1980; Andacht zum Kleinen, 9 players, 1980; Qt Movt, str qt, 1982; Fox, chbr ens, 1983; Qnt of Brass, 1985; Str Qt, 1985; Hoquetus David, ens, 1987; In Transit, orch, 1987; Work-Out, tbn, 1987; Work-Out, mar, 1988; Of Fantasy, of Dreams and Ceremonies, 13 str, 1989; Pf Trio, 1990; Pf Qnt, 1990; The Other Side of the Air, pf, 1992; Chbr Conc., pf, wind, brass, perc, 1993; Bagatelles (Str Qt no.3), 1995; Vixen (A-Vixen-A), orch, 1996

Principal publishers: Universal Edition, U. of York Music Press


M. Dreyer: ‘Gesture and the European Connection’, MT, cxxiii (1982), 329–331

A. Clements: ‘Vic Hoyland: a Report on Progress’, MT, cxviii (1987), 427–31

D. Osmond-Smith: ‘Beyond Fox-Hunting’, MT, cxxxviii/July (1997), 5–9

R. Marsh: ‘Foxes and Vixens: an Update on the Music of Vic Hoyland’, Tempo, no.207 (1998), 22–7


Hoyle, John.

See Binns, John.

Hoyoul [Hoyou, Hoyu, Hoyol, Hoyul, Hoyeux, Huiol, Huioul, Hujus], Balduin

(b Liège, 1547–8; d Stuttgart, 26 Nov 1594). Flemish composer, active in Germany. Although Fétis stated that he was born at Braine-le-Comte, Hainaut, incorrectly citing as the source of this information the dedication of his Sacrae cantiones (1587), Hoyoul is referred to as being from Liège both in the registration of his first marriage and in a letter of 13 February 1580 from Lassus to Duke August of Saxony. He was a choirboy in the Württemberg Hofkapelle at Stuttgart, and records there show that his voice broke in the summer of 1563, when he was 15. He evidently showed considerable musical promise, for the Kapellmeister, Philipp Weber, arranged with Duke Christoph for him to study with Lassus at Munich in 1564–5. After his return he worked as a composer and alto singer; court records include frequent payments to him. During his middle years at the court he also taught composition to younger musicians, and he compiled a complete inventory of the musical instruments and the music library. In 1589 he was appointed Kapellmeister at the court, after the death of Ludwig Daser, whose daughter he had married. In 1593 he applied unsuccessfully for the position of Kapellmeister at the Saxon electoral court at Dresden. He was clearly a well-trained and competent composer, though his output is uneven and there are occasional awkward contrapuntal passages. His most impressive works are the German motets, which are based on chorale melodies and include his freshest inspirations, and the parody Magnificat settings, which are mostly based on works by Lassus and are important contributions to a genre that was comparatively little cultivated. Some of the Latin motets show considerable imagination, but in general they tend to be conservative in ideas and technique.


Edition: B. Hoyoul: Chorale Motets, ed. D.T. Politoske, RRMR, xxiii (1976) [16 motets]

Sacrae cantiones, 5–10vv (Nuremberg, 1587)

Geistliche Lieder und Psalmen, 3vv (Nuremberg, 1589); 3 ed. in Osthoff with missing voice reconstructed; 2 ed. in Handbuch der deutschen evangelischen Kirchenmusik, iii/2 (Göttingen, 1935/R)


Missa ‘Anchor che col partire’, 4vv, D-Rp

Missa super ‘Rossignoles qui chantes au vert’, 4vv, Sl

8 Magnificat, Sl

19 German hymns (3 inc.), Sl

Latin motets, Dl, ERu, Hs, Kl, Rp, Sl, W

2 motets, Mbs (org transcrs.)





G. Bossert: ‘Die Hofkantorei unter Herzog Christoph’, Württembergische Vierteljahrshefte für Landesgeschichte, new ser., vii (1898), 124–67

G. Bossert: ‘Die Hofkantorei unter Herzog Christoph von Württemberg’, MMg, xxxi (1899), 1–25

G. Bossert: ‘Die Hofkantorei unter Herzog Ludwig’, Württembergische Vierteljahrshefte für Landesgeschichte, new ser., ix (1900), 253–91

G. Bossert: ‘Die Hofkantorei unter Herzog Friedrich’, ibid., xix (1910), 317–74

W. Boetticher: Aus Orlando di Lassos Wirkungskreis (Kassel, 1963)

W. Boetticher: ‘New Lasso Studies’, Aspects of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese, ed. J. LaRue and others (New York, 1966/R), 17–26

D.T. Politoske: Balduin Hoyoul: a Netherlander at a German Court Chapel (diss., U. of Michigan, 1967)


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