(b Olomouc, 10 Dec 1929). Czech musicologist. He studied musicology and music education under Robert Smetana at Olomouc University, where he took the doctorate in 1953 with a dissertation on Czech music and the works of Dvořák. After his studies he became Smetana's assistant, worked as a music critic and undertook regional research based on the musical life of Olomouc and northern Moravia. His work on the biography of Fibich, with which he obtained the CSc in 1969 and his lectureship in 1973, led to a systematic study of 19th-century Czech music with special emphasis on the historical and aesthetic aspects of musical neo-romanticism. On Smetana's retirement (1973) he took over the administration of the musicology department and also became vice-dean of the arts faculty of Olomouc University. Later he moved to Brno to become rector of the Janáček Academy (1987) and professor there (1990). He has also held a teaching post at the musicology department of Olomouc University since 1990.
Česká hudba a tvorba A. Dvořáka [Czech music and the works of Dvořák] (diss., U. of Olomouc, 1953)
‘Úloha písně v českém hudebním vývoji’ [The role of songs in the evolution of Czech music], HRo, viii (1955), 926–8
‘Smyčcový kvartet d moll Iši Krejčího’ [Krejčí’s String Quartet in D minor], HRo, ix (1956), 652–5
‘Symfonie in D Iši Krejčího’ [Krejčí’s Symphony in D], HRo, x (1957), 708–11
‘Zum Problem des “Lisztartigen” in Smetanas symphonischen Dichtungen’, Liszt – Bartók: Budapest 1961, 131–7
‘Nejedlý a Fibich’, Václavkova Olomouc 1963 (1965), 229–38
Fibichovo skladatelské mládí: doba příprav [Fibich's artistic youth: a time of preparation] (diss., U. of Olomouc, 1969; Prague, 1966)
Zdeněk Fibich (Prague, 1971)
‘Zum Stil von Z. Fibichs kammermusikalischem Schaffen’, Musica cameralis: Brno VI 1971, 171–6
‘Olomoucká operní dramaturgie Isa Krejcího’ [The dramaturgical activity of Isa Krejcí at the opera in Olomouc], O divadle na Moravě, ed. E. Petrů (Prague, 1974), 137–50
‘Einige Bemerkungen zur Ästhetik des romantischen Melodramas’, Vztah hudby a slova z teoretického hlediska: Brno 1976, 189–94
‘Česká modifikace novoromantismu’ [Czech modification of neo-romanticism], Hudba slovanských národů a její vliv na evropskou hudební kulturu: Brno 1978, 107–12
‘Fibichs Hippodamie: ein tschechischer Beitrag zur Ästhetik des szenischen Melodramas’, The Musical Theatre: Brno 1980, 292–8
‘České hudební divaldo na Moravě 1860–1918’ [Czech music theatre in Moravia], Hudební věda a výchova, iii (Prague, 1984), 15–33 [with Ger. summary]
(b Rožmitál, 7 June 1952). Czech violinist. He studied with Bohumil Kotmel and Václav Snítil at the Prague Academy of Musical Arts and in 1966 he won second prize in the ‘Concertino Praga’ radio competition. The following year he made his British début with the RPO in London, when he was heard by David Oistrakh, with whom he studied in Moscow from 1971 to 1974. From this time he toured as a soloist in Europe, Japan and the USA. His 1992 recording of Vivaldi's Four Seasons under Pavel Kogan and the Virtuosi di Praga remains the best-selling classical recording made in the Czech Republic. His other recordings include the violin concertos of Bach, Haydn, Mendelssohn, Dvořák, Tchaikovsky and Sibelius. Hudeček is also very supportive of the younger generation of Czech musicians through his activities in the Foundation Musica Noster Amor. His playing is distinguished by perfect control of the bow, powerful tone and a wide dynamic range. His violin is an Antonio Stradivari dated 1729. (CampbellGV)
(fl 1679–99). English music publisher and bookseller. He was one of the London music publishers to employ the printer John Heptinstall, who printed the five books of his Thesaurus musicus, a series of song anthologies (1693–6), and A Collection of New Ayres: Composed for Two Flutes … in 1695. He is generally taken to be the author of a work printed for him by Nathaniel Thompson in 1679, A Vade Mecum for the Lovers of Musick Shewing the Excellency of the Rechorder, and he also published John Banister’s The Most Pleasant Companion or Choice New Lessons for the Recorder or Flute (1681) and some of the songs from Henry Purcell’s The Indian Queen (1695; neither Hudgebut nor his publishing partner, John May, appears to have asked the composer’s permission in this venture). Hudgebut had several addresses during his career: he was first at the Golden Harp and Hoboy in Chancery Lane, then at St Paul’s Churchyard and lastly in the Strand, near Charing Cross. (Humphries-SmithMP)
Hudson [Hudgson], Mrs.
See Hodgson, Mary.
(b Manchester, 23 April 1877; d London, 18 Jan 1919). English flautist. His tragically short career was of unusual interest because of his versatility and for the respect he gained from colleagues in differing fields. Trained at the RCM, London, he became principal flute with the LSO and for a period professor of the flute and the piano at the Royal Military School of Music. He later formed the musical trio act Olga, Elgar and Eli Hudson, popular on the variety stage before World War I. In 1914–15 he toured the battle areas entertaining the troops, and his health was damaged. Hudson used the Radcliff model flute, while his sister, Elgar, also flautist in the trio, played a standard Boehm system instrument. On phonograph cylinders and acoustic discs Hudson made over 120 recordings, which are still regarded as models of style.
(d London, 10 Dec 1672). English viol player, violinist and composer. Anthony Wood thought he was originally a dancing-master, but he is first heard of on 3 December 1641, when he was sworn in as an extraordinary member of the court ‘lutes and voices’. He was listed in Playford's Musicall Banquet (RISM 16516) as one of the ‘excellent and able Masters’ available in London for teaching ‘Voyce or Viole’, and in 1656 he composed instrumental music for two of Davenant's musical productions. In 1660 he inherited Stephen Nau's place for ‘the composition and practice’ of the royal violin band, though his position as one of the directors of the group, now enlarged as the Twenty-Four Violins, was usurped by John Banister after 1662. He was an active member of the Corporation of Musick, and served as its warden several times. He made his will on 10 December 1672, and died the same day. A portrait of him is in the Oxford Music Faculty.
Wood wrote that Hudson was ‘Excellent at the lyra-viol and hath improved it by his excellent inventions’. The manuscript containing his suite for violin, lyra viol, bass and keyboard seems to be partly autograph, and was probably brought to Sweden in 1653 by musicians attending Bulstrode Whitelocke's embassy to Queen Christina's court. The three songs in Playford's Catch that Catch Can and The Musical Companion are by ‘G.H.’, and one of them, Credo non poco, is entitled ‘Mr George Hudsons Waytes’ in a manuscript copy (GB-Eu DC.I.69). He was a competent if unadventurous composer who seems to have confined himself to the lighter genres. None of the music he must have written for the Twenty-Four Violins survives, at least not in its orchestral form.
The violinist Richard Hudson (b 1617/18; bur. London, 17 Feb 1668) was probably George's brother. He was one of the musicians in Cromwell's household (c1656–8) and was among those who petitioned the Council for the Advancement of Musick on 19 February 1657 for the establishment of a music college. At the Restoration he joined the Twenty-Four Violins and was made keeper of the court lutes and viols; in March 1666 he was paid for ‘mending and altering’ instruments ‘broken upon removes’. He died from ‘a fall in a ditch’.
23 pieces, lyra viol, 16516, 16527, 16696, D-Kl, IRL-Dm, F-Pc, GB-Lbl, Mp, Ob
30 pieces, tr, b, 16555, Lbl, Mch, Ob, Och
3 songs, 3vv, 16676, 16734
22 pieces, 2 tr, b, Ob, Och
Suite, g, vn, lyra viol, b, kbd, S-Su, ed. I.H. Stoltzfus (Ottawa, 1981)
3 songs, 3vv, 16676, 16734
3 suites, c, d, F, a 3, GB-Och
Instrumental music for: The First Dayes Entertainment (W. Davenant), 1656; The Siege of Rhodes (op, Davenant), 1656, all music lost
AshbeeR , i, iii, v, viii
J.D. Shute: Anthony à Wood and his Manuscript Wood D 19(4) at the Bodleian (diss., International Institute of Advanced Studies, Clayton, MO, 1979), i, 175
I.H. Stoltzfus: ‘The Lyra Viol in Consort: An Example from Uppsala, Universitetsbiblioteket IMhs 4:3’, JVdGSA, xvii (1980), 47–59
A. Ashbee: ‘A Not Unapt Scholar: Bulstrode Whitelocke (1605–1675)’, Chelys, xi (1982), 24–31
L. Hulse: ‘John Hingeston’, Chelys, xii (1983), 23–42
P. Holman: Four and Twenty Fiddlers: the Violin at the English Court 1540–1690 (Oxford, 1993, 2/1995)