Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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Huguenet, Jacques-Christophe

(b ?Versailles, 1680; d Versailles, 29 June 1729). French violinist and composer. He studied with Jean-Noël Marchand and followed his father and uncle into royal service as a violinist when he entered the chapelle in 1704. It was probably he, designated ‘fils’, who was among the musicians attending the festivities for the marriage of Philip V in Spain, 1701–2. He was made an ordinaire of the royal chamber in 1710 and was in the petits violons. His Premier oeuvre de sonates (six for violin and continuo, six for two violins and continuo), dedicated to the king, was published in Paris in 1713. According to HoneggerD some trios for trumpets and timpani, dances, and fanfares attributed to ‘Huguenet’ in the Bibliothèque Nationale and the Bibliothèque de l'Opéra are probably by Jacques-Christophe; the opera cited in EitnerQ, La mort d'Orphée, is not referred to elsewhere.

His father Pierre (c1640–after 1721) and his uncle Sébastien (c1650–1721) were violinists who held various appointments in royal service from about 1659; a passepied in the Bibliothèque Nationale may be by Pierre. The Charles-Robert Huguenet cited as trompette ordinaire in 1740 and 1747 may be Jacques-Christophe's son.


La LaurencieEF

N. Dufourcq and M. Benoit: ‘Les musiciens de Versailles à travers les minutes notariales de Lamy versées aux Archives départementales de Seine-et-Oise’, RMFC, iii (1963), 189–206

N. Dufourcq and M. Benoit: ‘Documents des musiciens de Versailles à travers les minutes du Baillage de Versailles conservées aux Archives départementales de Seine-et-Oise’, RMFC, vi (1966), 197–226

M. Benoit: Versailles et les musiciens du roi, 1661–1733 (Paris, 1971)


Hugues de Berzé [Bregi]

(b ?1150–55; d before Aug 1220). French trouvère. Ruins of the castle once occupied by the poet still stand at Berzé-le-Châtel, northwest of Mâcon, in Burgundy. The family, a powerful one, is traceable to the early 1100s; Hugues’ uncle was archdeacon of the abbey of St Vincent. According to Villehardouin, Hugues IV and his father were among those who announced their taking of the cross at Cîteaux on 14 September 1201. Hugues spent several years in the Near East and returned to France sometime before 1216. Only Gautier, one of his two known sons, is named as the family head in a document of 1220.

Hugues is known as the author of eight chansons and a lengthy moralizing poem, La bible au seigneur de Berzé. The latter was probably modelled upon a similar work by the trouvère Guiot de Provins, who was for some time in the service of the Count of Mâcon. The work relates some of the brutal experiences of the poet and censures the conduct of both clergy and laity. Of the chansons, five are entirely decasyllabic, one primarily so. Hugues’ most famous work, the chanson de croisade S’onques nus hom, which survives in 16 sources including two troubadour manuscripts, displays the structure ABCDEB'C'D', while Encor ferai is AA'BB'CDED'. The remaining melodies are cast in normal bar form. There is a tendency for Hugues to begin on the final and expand the melody upward, but Nus hon begins on the upper 7th and descends. Ausi con cil is in the third rhythmic mode in one source; no other melody survives in mensural notation.

Sources, MS


Edition: Trouvère Lyrics with Melodies: Complete Comparative Edition, ed. H. Tischler, CMM, cvii (1997)

(R) indicates a MS (using Schwan sigla: see Sources, ms) containing a late setting of a poem

Ausi con cil qui cuevre sa pesance, R.238

Bernart, di moi Fouquet qu’on tient a sage, R.37a (no music) (?1220)

Encor ferai une chancon perdue, R.2071 (R)

Lonc tens ai servi en balance, R.207

Nus hon ne set d’ami qu’il puet valoir, R.1821 = 1608 (R)

Quant voi le tens felon rassoagier, R.1297

S’onques nus hom por dure departie, R.1126 [model for: Richart de Fournival, ‘Oiés seigneur, pereceus, par oiseuse’, R.1020a = 1022] (R)

En aventure ai chanté, R.408, doubtful


K. Engelcke: Die Lieder des Hugues de Bregi (Rostock, 1885); repr. in Archiv für das Studium der neueren Sprachen und Literaturen, lxxv (1886), 147–76

J. Bédier and P. Aubry: Les chansons de croisade (Paris, 1909/R)

F. Gennrich: ‘Das Frankfurter Fragment einer altfranzösischen Liederhandschrift’, Zeitschrift für romanische Philologie, xlii (1922), 726–40

F. Gennrich: Grundriss einer Formenlehre des mittelalterlichen Liedes (Halle, 1932/R)

F. Lecoy: ‘Pour la chronologie de Hugues de Berzé’, Romania, lxvii (1942–3), 243–54

F. Gennrich: Introduction to Troubadours, Trouvères, Minne- und Meistergesang, Mw, ii (1951; Eng. trans., 1960)

For further bibliography see Troubadours, trouvères.


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