(b Paderborn, 9 Oct 1940). German composer. He took German studies at Cologne University and also attended the Musikhochschule, studying composition with Petzold, electronic music with Eimert and percussion with Caskel, and in 1963 and 1965 he attended the Darmstadt courses, where he was greatly influenced by Boulez, Ligeti and Brün. In 1969, with Dimov, Kröll, Lonquich, Niehaus, Riehm and York Höller, he was a co-founder of the composers’ association Gruppe 8, which aimed to promote collective composition and group improvisation; he also played percussion and synthesizer in its ensemble. In the same year he was appointed lecturer at the Cologne Musikhochschule, and in 1972 became director of its electronic studio and professor of electronic composition, succeeding Eimert. In 1971 he received the Förderpreis of the Annette von Droste-Hülshoff prize. As a composer his reputation rests chiefly with music for tape, live electronic works and compositions combining electronic and instrumental music. One of the main emphases in his recent work is on radiophonic compositions and musical environments. With Dani Karavan, he was commissioned by the German government to develop the KunstKlangRaum project for the 1997 national garden show of in Gelsenkirchen.
Erscheinungen eines Bachchorals, 2 pf, vib, vc, 1969; 4 notturni, elektronische Stücke, 1969; Konzert für Klarinette und elektronische Klänge, 1969, rev. 1980; Der Frieden (F. Hölderlin), S, elec, 1969, rev. 1984; Waves and Forms, elec, jazz ens/inst ens/orch/vv, 1969–71; Elektronische Musik für EXPO, 1970; Synesis, synth, elec org, 1971; Das Ohr auf der Strasse, solo insts, solo insts on water, 2 wind orchs, mand orch, accdn orch, synth, 1972, collab. M. Niehaus and G. Kröll; Electronic Maniac, elec vc, elec org, synth, elec, 1973; Assonanzen, elec, elec vc, synth, elec org, 1977; Klavierstück IV mit Obligati, pf, tape, 1977; Apparizioni di Don Francesco, Miniaturen für Ensemble, 1981; Approcci a Petrarca, chbr orch, elec, 1985
Annäherung an Francesco Petrarca (radio play), 1986; Vom Enden einer Liebe, einer Frau – Aus dem Leben der Susette Gontard (radio play), 1987; Andromache (radio play), 1990; Die Ehe der Andromache, tape, 1991 [after incid music to Andromache, 1990]; Die Chöre der Andromache, tape, 1992 [after incid music to Andromache, 1990]; Einmal sein statt gelten – Aus dem Leben der Annette von Droste-Hülshoff (radio play), 1992; Construction in MicroPolyGons, 4 perc, elec, 1994; Candide: unterwegs – en chemin – en el camino – away, ein pikareskes Hörkaleidoskop, radio play, 1995; Assonanze nuove, orch, elec, 1995; KunstKlangRaum, music in 5 pts [with installations by Dani Karavan], 1996–7; In dem Trichtern des Kohlenbunkers, tape, 1997 [after KunstKlangRaum, 1996–7]; Die Bandbrücke spricht, tape, 1997 [after KunstKlangRaum, 1996–7]; Strophen, flugelhn, perc, elec, 1998
(bc1698; d Canonbury, London, 11 Jan 1738). English author. He had a reputation as a translator (Peruvian Tales, London, 1734, ‘from the French’, was reprinted into the 19th century), in which capacity he worked for Handel, providing the translations printed in the wordbooks of his operas Poro, Rinaldo (1731 version), Ezio, Sosarme and Orlando, and of two produced under his management, the pasticcio Venceslao and Leo's Catone in Utica. Handel also commissioned him to provide (at short notice) additional text for the extended version (1732) of his oratorio Esther and the librettos of his two subsequent oratorios, Deborah and Athalia (both 1733). Humphreys's most substantial work was his three-volume The Sacred Books of the Old and New Testament, Recited at Large (London, 1735), compiled from the major commentaries ‘and a variety of other eminent authors, ancient and modern’, but with considerable comment from Humphreys himself, which yields interesting glosses on many of the subjects of biblical oratorio. He tended often to choose politically sensitive subjects for his works, for example he wrote a life of the ‘Tory martyr’ poet Matthew Prior, which prefaced an edition of his poems (London, 1733). Awareness of their political implications lends sense and interest to his librettos for Handel, his poems praising the Duke of Chandos (1728) and Sir Robert Walpole (in the 1733 edition of Prior), and his libretto for J.C. Smith's opera Ulysses (1733). His own political views remain opaque.
W.Dean: Handel's Dramatic Oratorios and Masques (London, 1959)
A.H.Shapiro: ‘“Drama of an Infinitely Superior Nature”: Handel's Early English Oratorios and the Religious Sublime’, ML, lxxiv (1993), 215–45
K.Nott: ‘Sacred and Profane: the Ambitious Minister and the Unsearchable Ways of God's Wisdom’, MT, cxxxvi (1995), 87–90
R.Smith: Handel's Oratorios and Eighteenth-Century Thought (Cambridge, 1995)