Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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Husmannus, Valentin.

See Haussmann, Valentin.

Husnī, Da’ūd

(b Cairo, Aug 1870; d Cairo, 10 Dec 1937). Egyptian composer. Attracted to classical Arabic music, he left his family at the age of 11 to join musical troupes. The 1890s saw his first attempts at composition; he wrote over 500 songs, all in the ‘Āmmiyya dialect. He wrote songs for some of the most famous singers of his time, including Umm Kulthum, and it is for these that he is now chiefly remembered. In 1917, when Salāma al-Hijāzī (1852–1917), a pioneer of musical drama in Egypt, became ill, Husnī completed two of his operettas, Romeo and Juliet and Aida. Thereafter he largely abandoned song in favour of the new medium; he wrote over 25 operettas.

In 1922 he was commissioned to compose the first full-length opera written in Egypt, Shamshoun wa Dalīla (‘Samson and Delilah’). Its overwhelming success was more sociological and patriotic than artistic, reflecting Egypt’s longing for liberation from Western influence, but it marked a turning-point in Arabic music. Its success led to the commission of his second opera, Laylat Kilubātra (‘The Night of Cleopatra’), influenced by the biblical dialogues of King Solomon and the Shulamite, written in verse and in the ‘Āmmiyya dialect. In 1923 he revised Huda, an operetta by Sayyid Darwish, as an opera, as a tribute on Darwish’s untimely death. His fourth opera, Semiramis, was a joint venture, initiated by the singer and actress Munīra al-Mahdīyya, who commissioned three composers to write a three-act opera (c1935); Husnī completed the second act.


(selective list)


Shamshoun wa Dalīla [Samson and Delilah], Cairo, Azbekiyya, 1922

Laylat Kilubātra [The Night of Cleopatra] (H. Fawzī, after A. Shawqī: Antūniu waKilubātra), mid-1920s

Huda, 1923 [completion of operetta by S. Darwīsh]

Semiramis (3), mid-1930s [Act 2; Acts 1 and 3 by Kāmil al-Khūlī and Riyād al-Sunbātī]


Recueil des traveaux du Congrès de musique arabe (Cairo, 1932)

‘Dawāra Da’ūd Husnī’, Al-Gumhouriyya (14, 21, 28 June, 5 July 1973)


Huss, Henry Holden

(b Newark, NJ, 21 June 1862; d New York, 17 Sept 1953). American composer, pianist and teacher. He studied the piano and harmony with his father, George John Huss (1828–1904), then with Otis B. Boise, before studying with Joseph Rheinberger and Josef Giehrl at the Munich Musikschule (1882–5). After his return to the USA he maintained a career as a concert pianist, and later gave recitals with the soprano Hildegard Hoffmann, whom he married in 1904. He taught at Hunter College, New York, and at the Masters School, Dobbs Ferry. A founder of the American Guild of Organists, he also published numerous articles on piano pedagogy; a full account of his life is given in G.A. Greene: Henry Holden Huss: an American Composer’s Life (Metuchen, NJ, 1995).


(selective list)

Vocal: Ave Maria, op.4, S, A, female chorus, org, orch (1890); Crossing the Bar, chorus, kbd (1901); 4 Songs, op.22, 1v, pf (1907), 2 Songs, op.28, 1v, pf (1917); Shed No Tear, 1v, pf (1949)

Orch and chbr: Pf Trio, op.8, 1887; Pf Conc., B, op.10 (1898, rev. 1910); Sonata, op.19, vn, pf (1903); Romance, vn/vc, pf (1907); Str Qt, b, op.31 (1921); Pf Trio no.2, op.34, 1926

Pf: Etude mélodique (1889); Prelude Appassionata (1891); 3 Intermezzi (1894); 4 préludes en forme d’études, op.17 (1901); Menuet et gavotte capricieuse, op.18 (1901); 3 Pieces, op.20 (1904); La Nuit, op.21 (1904); Condensed Piano Technics (1904), collab. G.J. Huss; Polanaise brillante (1912); Lake Como by Moonlight (1923)


Hüssler, Johann.

See Weck, Johann.

Huston, (Thomas) Scott

(b Tacoma, WA, 10 Oct 1916; d Cincinnati, 2 March 1991). American composer and teacher. After a brief period of study at the University of Puget Sound (1934–5), he attended the Eastman School of Music (BM 1941, MM 1942, PhD 1952), where his principal teachers were Burrill Phillips, Bernard Rogers, Howard Hanson (analysis) and Gustave Soderlund (counterpoint). After periods of teaching at the universities of Puget Sound and Redlands, and at the Kearney State Teachers' College, he joined the staff of the Cincinnati Conservatory in 1952. When the conservatory was merged with the Cincinnati College of Music, he served for a year as dean (1955–6) and then continued to teach at the College-Conservatory until his retirement in 1987. In his early career his music was influenced by the harmony of Chopin, the polyphony of Bach and the formal integration of Brahms. Huston's later music is more eclectic: some works are tonal while others are atonal, and his approach to timbre is suggestive of both Schoenberg and Debussy. His later style is characterized by an increasing formal freedom, a terseness of expression and a controlled warmth and lyricism that is enhanced by attention to subtleties of timbre and nuance. His opera Blind Girl was commissioned by the New York City Opera in 1980, and the Fifth Symphony was commissioned by the St Louis SO.


(selective list)

Stage: Blind Girl (op, 1, D. Bredemann), 1982

Orch: Toccata, pf, orch, 1952; Tpt Conc., 1963; 2 Images, str, 1964; Sym. no.3 ‘4 Phantasms’, 1964; Sym. no.4, str, 1972; Fanfare for the 200th, 1975; Sym. no.5, 1975; Sym. no.6 ‘The Human Condition’, 1981; several other works, some withdrawn

Vocal: Ante mortem (R. Jeffers), TTB, brass, org, perc, 1965; The Song of Deborah (Bible: Judges v), orat, nar, SATB, 1969; American Trilogy (C. Sandburg, Wolf, W. Whitman), 1v, ob, hpd, 1970; Devinely Superfluous Beauty and Natural Music (R. Jeffers), S, chbr ens, 1971; Tamar (monodrama, Jeffers), S, prepared pf, 1974; Vocal Supremacy (Huston), S, A, 1975; Ecstasies of Janus (J. Lloyd), Ct, chbr ens, 1978; Time/Reflections (B. Thomas), chorus, chbr orch, 1978; Songs of Innocence (W. Blake), T, pf, 1979; Songs of Experience (Blake), Mez, pf, 1981; No More War (Bible: Isaiah), SATB, 1983; Pss xxv/xxxiv, SATB, org, 1990; liturgical and other choral works

Chbr and inst: 3 sonatas: fl, pf, 1959, va, pf, 1960, org, 1960; Intensity I, wind ens, 1962; Suite, timp, 1963; Suite of 3, hp, 1963; Pro vita, pf, brass qnt, 1965; Penta-tholoi, pf, 1966; Phenomena, fl, ob, hp, db, 1967; Mercury and Venus, sonata, vn, pf, 1968; Diorama, org, 1968; Life-Styles I–IV, pf trio/cl, vc, pf, 1972; 3 Temperaments, org, 1972; Cool to Hot, jazz qt, 1973; For our Times, suite, 6 brass, 1974; Eealtron, va, pf, 1975; Intensity II, wind ens, 1975; Quiet Movt, Kanon, Fantasy, 2 mar, 1975; Impressions from Life, chbr ens, 1976; Fragments, Disputes, Mirrors, 2 ob, 1977; Shadowy Waters, cl, vc, pf, 1977; Trichroma, t sax, 1977; Vc suite, 1977; Variables, 4 sax, 1979; Phonenix, tpt, pf, 1980; Brevity is the Soul, pf, suite, 1982; In memoriam, pf, ens, 1983; Time in Mind, gui, 1983; Tribune, hn, org, 1983; 5 Notes for Ada, 2 pf, 1984; Optimism: a Way of Life, brass qt, 1986; 5 Pieces, org, 1988; many others

Principal publishers: Canyon, General, Marks, Willis



A.M. Koukios: ‘In Memoriam, Thomas Scott Huston: 1916–91’, Music Research Forum, vi (1991), 1–14

D.Z. Kushner: ‘A Profile of Scott Huston’, Music Journal, xxx/7 (1972), 26–7, 52


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