Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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Huré, Jean

(b Gien, 17 Sept 1877; d Paris, 27 Jan 1930). French composer, organist, pianist and teacher. He studied music in Angers before moving to Paris in 1895. He was on the founding committee of the Société Musicale Indépendante in 1910 with Ravel, Koechlin, Fauré and Vuillermoz. A supporter of Debussy, his Dogmes musicaux (1904–07) reflected the aesthetic divide between the SMI and the Société Nationale. In 1910 he founded the Ecole Normale de Musique and the following year he started a Société Mozart (1911). He travelled widely as a pianist and organist throughout Europe. In Défense et illustration de la musique française (1915) he argued for a French music free from foreign influence and revealed an interest in Celtic French identity, also reflected in his Chansons et danses bretonnes and 7 chants de Bretagne.

As an organist, Huré succeeded Gigout at St Augustin in 1925 and founded the periodical Orgue et les organistes (1924), although he published very little for organ. However, there are many works for chamber ensemble, including the Sonata for piano and violin and two string quartets. Whereas the harmonic language of La cathédrale extends to the use of a 12-note chord, the Sonata reveals his attachment to triadic harmony, virtuoso piano writing and cyclic construction. The First String Quartet is also cyclic; the outer movements share homophonic textures and ostinato patterns. By contrast, the middle movement is chromatic and contrapuntal. The Second String Quartet is overtly modal and folk-like in character. The rhythmic incisiveness, repetition, narrow range and ubiquitous perfect 4ths are reminiscent of early Stravinsky. Huré was a teacher and examiner at the Conservatoire; he taught Manuel Rosenthal and Fred Barlow. He suffered from poor health, spending much of his last 15 years in a sanatorium.


(selective list)

Stage: La cathédrale (élégie théâtrale), 1910, unpubd; Au bois sacré (ballet, Huré), Paris, Opéra-Comique, 1921

Orch: Sym. no.1, 1896, unpubd; Sym. no.2, 1897, unpubd; Air, vc/vn, orch/pf/org (1902); Nocturne, pf, orch, 1903; Sym. no.3, 1903; Vn. Conc. unpubd

Sacred vocal: Te Deum, S, vv, org (1907); Ave Maria, 2 female vv (1924); masses and motets, unpubd

Secular vocal: 7 chants de Bretagne, 1v, pf (1910), 3 nos. orchd; L'âme en peine, 4 solo vv (1925); 3 mélodies, 1v, pf (1925); 4 lettres de femmes, 1v, pf (1929); 4 poèmes (A. Grénuilly), 1v, pf (1929); 3 chansons monodiques (A. Spire) 1v (1930)

Chbr: Sonata, vn, pf, 1900–01; 3 sonatas, vc, pf (1907, 1913, 1920); Sonatine, vn, pf (1909); 2 str qts, 1913–17 (1921); Suite sur des chants bretons, pf trio (1913); Pf Qnt (1914); Sonata, f, vc, pf (1914); Serenade, pf trio (1920); Sonata, vn, pf (1920); Petites Chansons, vc/vn/va, pf (1923)

Pf: Poèmes enfantins (1906); Sonata (1920); Sonata, pf/hp (1920)

Org: Communion sur un noël (1914)

Principal publishers: Mathot, Senart


Chansons et danses bretonnes précédées d'une étude sur la monodie populaire (Angers, 1902)

Dogmes musicaux (Paris, 1909)

Technique du piano (Paris, 1909)

Introduction à la technique du piano (Paris, 1910)

‘La musique religieuse et la musique chorale’, Rapport sur la musique française contemporaine, ed. P.-M. Masson (Rome, 1913)

Défense et illustration de la musique française (Angers, 1915)

La technique de l'orgue (Paris, 1918)

Esthétique de l'orgue (Paris, 1923)

‘Maurice Ravel’, Conference at the Salle Pleyel, Paris, 28 Nov 1923, MS, F-Pn

Saint Augustin musicien (Paris, 1924)


G. Migot: Jean Huré (Paris, 1926)

G. Samazeuilh: Musiciens de mon temps (Paris, 1947)

J. Fulcher: French Cultural Politics and Music (New York, 1999)


Hurel, Charles

(fl c1665–1692). French lutenist, theorbo player and composer. He came from a family of master craftsmen, which included some of the principal instrument makers in Paris in the 17th century. A document of 7 April 1676, which gives his signature and those of several other members of the family, describes him as joueur de luth. From at least the 1660s he was known as a composer of airs, and in 1680 Le Gallois, academician and founder and editor of the Journal des Savants, ranked him among the most famous theorbists. In 1684 he was officier ordinaire de l'Académie de musique, and in 1690 he composed music for Florent Carton Dancourt's comedy L'été des coquettes. He is last mentioned in 1692, as maître pour le théorbe with an address in Paris. He described his Meslanges d'airs as having diminutions for the second verses, but these amount to no more than occasional ornaments in repeated phrases. The main source of his theorbo works is a manuscript dating from about 1685 (US-NYpm), which contains 34 pieces divided into five key groups. Apart from the dances usual in the solo suite and three settings of pieces by Lully, the most interesting items are seven semi-measured preludes and a richly harmonized chaconne in rondeau form.


Meslanges d'airs sérieux et à boire à 2, 3, bc (Paris, 1687)

Airs in 16731, 16793, 16794, 16932, Mercure de France (Paris, 1678, 1691)

Airs de cour, 1v, bc, c1665, F-Pn

34 pieces, theorbo, US-NYpm E.34.B (facs. (Geneva, 1996)); concordances, A-ETgoëss, F-B, J-Tma, S-Uu


M. Brenet: ‘Notes sur l'histoire du luth en France’, RMI, vi (1899), 1–44

J.B. Holland: ‘The Pierpont Morgan Lute Manuscript: A Stylistic Survey’, AcM, xxxvi (1964), 1–18

H. Radke: ‘Wodurch unterscheiden sich Laute und Theorbe’, AcM, xxxvii (1965), 73–4

M. Jurgens: Documents du minutier central concernant l'histoire de la musique, 1600–1650 (Paris, 1967–74)

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

J.N. Hunt: ‘The Blanchets’, RMFC, xxvii (1991–2), 113–29


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