(b Pécs, 3 April 1891; d Munich, 26 March 1976). Hungarian soprano. She studied in Vienna with Rosa Papier, making her début there at the Staatsoper in 1919 as the First Lady (Die Zauberflöte). She remained a member of the Vienna company until 1926, when she joined the Staatsoper in Munich, singing there regularly until 1944 with occasional postwar appearances until 1953. Originally a lyric soprano, taking such roles as the Queen of Night, Fiordiligi and Mařenka, she gradually assumed more dramatic roles, including Donna Anna, Elisabeth, Antonia, the Marschallin, Eva and Elsa. Hüni-Mihacsek, who was also an accomplished concert artist, was generally considered one of the outstanding Mozart sopranos of the inter-war period.
Hunnis [Ennis, Honnys, Hunys, Hynnis etc.], William
(d London, 6 June 1597). English poet, dramatist and composer. By 1552 he was a Gentleman of the Chapel Royal under Edward VI. He was a zealous Protestant; he had an eventful career that included alchemical practices and a liaison with the wife of an Exchequer official. In 1556 he was implicated in plots against the Catholic regime and imprisoned; he mysteriously escaped execution and was restored to his position by Elizabeth I, who gave him various additional appointments. In 1566 he became Master of the Children of the Chapel Royal in succession to Richard Edwards and held the post until his death. He probably wrote some of the plays performed by the Children during this period, and was certainly one of the authors of The Lady of the Lake, an entertainment for Elizabeth produced at Kenilworth in 1575. He published Certain Psalms Drawen into English Meter (1550; without music) and several later devotional volumes, including a verse translation of Genesis (A Hyve Full of Hunnye, 1578). For music his most important work is the compilation Seven Sobs of a Sorrowfull Soule for Sinne (London, 1583 – a possible earlier edition has not survived; 14 later editions appeared, the last in 1636); it includes A Handfull of Honisuckles, The Poore Widowes Mite (both perhaps originally published in or before 1578) and Comfortable Dialogs betwene Christ and a Sinner. The volume contains devotional verses, among them a series of prayers (O Iesu sweet etc.), and some single-line tunes (in Frost). Hunnis was the author of several poems in Edwards's The Paradyse of Daynty Devises (1576), and it is possible that he composed some songs, for example a setting of his own poem In terrors trapp'd, for solo voice and four viols (in GB-Och, Mus.984–8; lute arrangement in AB Brogyntyn 27; ed. in MB, xxii (1967)). His work is not of great merit but it illustrates a kind of devotionalism characteristic of the late 16th and early 17th centuries. Poems by Hunnis were set by Morley, Weelkes, William Mundy, Ravenscroft, and Byrd, whose verse anthem Alack when I look back uses Hunnis's tune as well.
C.C. Stopes: William Hunnis and the Revels of the Chapel Royal (Leuven, 1910/R)
B. Pattison: Music and Poetry of the English Renaissance (London, 1948/R, 2/1970)
M. Frost: English & Scottish Psalm & Hymn Tunes c. 1543–1677 (London, 1953)
F.Ll. Harrison: ‘Church Music in England’, NOHM, iv (1968), 465–519
T.W. Craik: ‘The Companies and the Repertory’, The ‘Revels’ History of Drama in England, ii: 1500–1576, ed. N. Sanders and others (London, 1980), 101–39
Y. Kawachi: Calendar of English Renaissance Drama, 1558–1642 (New York, 1986)
R. Zim: English Metrical Psalms: Poetry as Praise and Prayer, 1535–1601 (Cambridge, 1987)
P. Phillips: English Sacred Music 1549–1649 (Oxford, 1991)
Hunold, Christian Friedrich [‘Menantes’]
(b Wandersleben, nr Arnstadt, 29 Sept 1681; d Halle, 6 Aug 1721). German writer, poet and librettist. After the death of his parents in 1691, he was sent to school in neighbouring Arnstadt, and in 1697 first to the Lateinschule and then the Gymnasium in Weissenfels. In 1698 he entered the University of Jena as a law student; but a rather extravagant student life left him in dire financial circumstances and he was forced to abandon his studies. He moved to Hamburg in February 1700, where he worked for a while in a law office and also began to establish himself as a critic and writer. His first novel, Die verliebte und galante Welt (1700), brought him considerable success. In 1703 he was commissioned by Reinhard Keiser to adapt the libretto to Salomon, which earlier had been performed in Brunswick with music by Schürmann. He received greater acclaim for the libretto to Der gestürzte und wieder erhöhte Nebucadnezar (1704), also with music by Keiser, and in 1705 he wrote the text for Keiser's oratorio Der blutige und sterbende Jesus. In 1706 Hunold published Satyrischer Roman, a roman à clef, that recounted the scandalous affairs of singers and others connected with the Hamburg opera, not the least of whom was the famous soprano Mme Conradine. The resulting uproar, as members of Hamburg society recognized themselves in the novel, grew so large, and Hunold was threatened with so many legal processes and even assassination, that he fled the city and returned home to Wandersleben. From 1708 he taught poetry and rhetoric at the University of Halle, and, after completing the doctor's degree in 1714, law as well.
In addition to his librettos for Keiser's operas and an oratorio, Hunold published a number of cantata texts in Auserlesene und theils noch nie gedruckte Gedichte (1718–20), some of which were used by J.S. Bach while serving as Kapellmeister at Cöthen (see Smend); altogether he is known to have written for Bach the texts of bwv66a, 134a, 204 and Anh.5–7. Beyond these associations with music history, his main importance lies in his extensive comments regarding poetic theories governing opera librettos, texts to oratorios, cantatas and other musical forms, especially in Theatralische, galante und geistliche Gedichte (1706). His ideas were largely based on those of Erdmann Neumeister, which for the most part are preserved only by Hunold. Neumeister's lecture-notes on poetry and opera were handed on by his brother-in-law, Meister, to Hunold, who published them in his Die allerneueste Art, zur reinen und galanten Poesie zu gelangen (1707). Also of some importance to an understanding of the rhetorical orientation of some music treatises is Hunold's Einleitung zur teutschen Oratorie (1715), which is particularly useful in clarifying literary and rhetorical terminology of the late German Baroque.
only those on music
Satyrischer Roman, oder Allerhand wahrhaffte lustige, lächerlichen und galante Liebes-Begebenheiten (Hamburg, 1706)
Theatralische, galante und geistliche Gedichte (Hamburg, 1706) [incl. librettos of Salomon, Nebucadnezar, Der blutige und sterbende Jesus]
Die allerneueste Art, zur reinen und galanten Poesie zu gelangen (Hamburg, 1707)
Einleitung zur teutschen Oratorie (Halle and Leipzig, 1715)
Auserlesene und theils noch nie gedruckte Gedichte unterschiedener berühmten und geschickten Männer zusammen getragen und nebst seinen eigenen an das Licht gestellet von Menantes (Halle, 1718–20/R)
B. Wedel: Geheime Nachrichten und Briefe von Herrn Menantes Leben und Schrifften (Cologne, 1731)
H. Vogel: Christian Friedrich Hunold (Menantes) (1681–1721): sein Leben und seine Werke (Leipzig, 1898)
F. Smend: Bach in Köthen (Berlin, 1951; Eng. trans., rev. 1985)
H.C. Wolff: Die Barockoper in Hamburg (Wolfenbüttel, 1957)
D.I. Lindberg: Literary Aspects of German Baroque Opera: History, Theory, and Practice (diss., UCLA, 1964)
G. Flaherty: Opera in the Development of German Critical Thought (Princeton, NJ, 1978)
GEORGE J. BUELOW