Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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Hutt, Robert

(b Karlsruhe, 8 Aug 1878; d Berlin, 5 Feb 1942). German tenor. He studied in Karlsruhe, where he made his début in 1903. Düsseldorf and Frankfurt claimed him from 1910 to 1917, and he then began a ten-year engagement with the Berlin Staatsoper. Though he sang a wide range of heroic parts, such as Manrico in Il trovatore, he became principally associated with Wagner and Strauss. At Covent Garden in 1913 and 1914 he sang Walther in Die Meistersinger and Parsifal (at the British stage première), and at Drury Lane appeared as Bacchus in the last four of the performances in which Beecham introduced Ariadne auf Naxos to English audiences. In 1920 he sang the Emperor in the Berlin première of Die Frau ohne Schatten. He was also a member of the German opera company led by Leo Blech which played at the Manhattan Opera House, New York, in 1923, and the following year he sang there in the New York première of d’Albert’s Die toten Augen. His recordings include songs by Richard Strauss in which he is accompanied by the composer, and excerpts from a performance of Die Meistersinger showing his style assured and his voice still sturdy at the age of 50.


Hüttel, Josef

(b Mělník, 18 July 1893; d Plzeň, 6 July 1951). Czech conductor and composer. He studied at the Prague Conservatory (1908–12) with Rudolf Černý (piano), Štěpán Suchý (violin) and Novák (composition), and in Moscow (1912–13) with Taneyev for composition. Remaining in Russia, he worked as choirmaster in a Moscow theatre (1912–17) and conductor of the Voronezh State Opera (1918–20). In 1921 he moved to Egypt, where he stayed until 1946, apart from a gap of three years. He taught music in Alexandria (1921–3, 1926–9) and directed the Alexandria Philharmonia (1929–34), his repertory including Czech and Russian music of the 19th century, as well as works by contemporary composers (Stravinsky, Hindemith and himself). From 1929 he was also a member of the Institute for Oriental Music, Cairo, and of the Commission for the Study of Arabic Music at the Ministry of Culture. Between 1934 and 1944 he headed the European music department of Egyptian State Radio in Cairo, conducted the radio orchestra and was co-founder of the first Egyptian string quartet. After the liberation of Czechoslovakia he returned there and worked in Plzeň as an editor and archivist for the music department of Czech radio (1946–50).

Most of Hüttel’s works are for chamber or orchestral forces. He was at first influenced by Skryabin, whom he came to know during his stay in Moscow, but in his later works, while retaining certain Romantic features, he tended more towards Stravinsky (e.g. the orchestral Arlequinade), jazz (e.g. Ragtime for violin and piano) or stylized elements of Arab music (e.g. the Images égyptiennes for orchestra). Hüttel received several prizes, including the award of the Prague Society for Chamber Music (1927, for the String Quartet), the Coolidge Prize (1929, for the Divertissement grotesque) and the Smetana jubilee foundation prize (1935, for the Symphony in G minor). (ČSHS)


(selective list)

Orch: Sinfonietta, 1923; Images égyptiennes, 1928; Arlequinade, 1930; Amon Raa, sym. poem, 1931; Sym., g, 1935; Egyptská rhapsodie, 1937; Malá suita [Little Suite], chbr orch, 1940; Divertimento, 1943

Chbr and solo inst: Str Qt, 1927; Danse lente, pf, 1929; Chant nostalgique, vc, pf, 1929; Divertissement grotesque, wind qnt, pf, 1929; Ragtime, vn, pf, 1929; Fantasia, pf left hand, 1948

Principal publishers: Edition Orientale, Kotrba, Sénart


Hüttenbrenner, Anselm

(b Graz, 13 Oct 1794; d Ober-Andritz, nr Graz, 5 June 1868). Austrian composer. He was educated at the Graz Lyzeum and studied law at the University of Graz. An accomplished pianist and by that time already a composer, he went to Vienna in April 1815 on the advice of Count Moritz von Fries to study with Salieri. Almost immediately he began to publish songs and piano pieces; his first string quartet op.3 appeared in 1816. As a recognized pupil of Salieri, he took part in the Salieri 50th Jubilee Celebration (June 1816) and with his brother Josef (1796–1882) became friendly with Beethoven and Schubert. After completing his studies in 1818 he returned to Graz, then worked in Vienna as a civil servant from 1819 to 1821. In 1821 he inherited the family estate in Styria and married Elise von Pichler. The same year he published a set of waltzes on melodies from Schubert’s Erlkönig, a song which he often accompanied in public during the 1820s; he also composed his own setting of the poem. He was appointed director of the Steiermärkischer Musikverein in 1825, but was unsuccessful in his application for the post of assistant Kapellmeister at the Imperial Court in 1826. In March 1827 he visited the dying Beethoven, and later in the year helped to make Schubert's stay in Graz a happy one. He relinquished his post at the Musikverein in 1829, but served a second term as its director from 1831 to 1839. After his wife's death in 1848, he gradually sank into the habits of a recluse. His memoirs of Schubert, set down for Liszt in 1854 but not published until 1906, are unreliable as source material.

His reputation as a friend of Schubert has suffered severely from the assertions surrounding his role in the history of the ‘Unfinished’ Symphony. A grandson of Josef, Felix Hüttenbrenner, attempted to bring a fairer judgment to bear on Anselm, but his defence has never been fully accepted. Schubert in fact gave the manuscript of the symphony to Josef, probably in 1823, to pass on to Anselm as a token of thanks for securing for him honorary membership of the Steiermärkischer Musikverein. Josef kept the score for many years before it was taken to Graz, where Anselm arranged it for piano duet. As Anselm was not appointed Kapellmeister of the Musikverein until 1825, he could not himself have mounted a performance in 1823; nor did Schubert apparently envisage that possibility. It was not until 1865 that Johann Herbeck, in a visit to Ober-Andritz (described in the biography by his son Ludwig), took the score of the symphony from Anselm and conducted the first performance of the work in Vienna in December of that year.

The son of a wealthy landowner, and with influential friends, Hüttenbrenner was able to avoid the struggles of an impoverished composer. His compositions include operas, sacred and secular vocal music, symphonies, overtures, chamber music, keyboard music and solo songs; few of his works were published, though most survive in manuscript. Many of his songs are melodious and have accompaniments that reflect the text; they appear to have been modelled on Beethoven's songs, rather than those of Schubert. His first requiem, in C minor, was performed on a number of occasions in tribute to Schubert, including the memorial service on 23 December 1828.


(selective list)

most MSS in Felix Hüttenbrenner's private collection, Graz

MS catalogue of works in Hüttenbrenner collection and A-Wst


Die französische Einquartierung (comic op, K. Schütz), 1819, lost

Armella oder Die beiden Viceköniginnen (op, I. Kollmann), Graz, Franzenstheater, 6 Feb 1827, lost except for ov., 1 aria and lib

Genovefa (incid music, J.B. Frey), 1828

Lenore (op, 2, K.G. von Leitner and Kollmann, after G.A. Bürger), Graz, Franzenstheater, 22 April 1835

Oedip zu Colonos (op, N.F. Guillard, trans. C. Herklots), 1836, ?unperf.

Der Rekrut (op, 3, Schütz), lost, mentioned in Grazer Tagespost (7 Aug 1863)

Die Drachenhöhle zu Röthelstein (comic operetta, Kollmann), lost

Claudine von Villa Bella (op, J.W. von Goethe), inc., lost except for ov. arr. pf 4 hands

other vocal

10 masses (4 lost); 4 requiems (1 lost); 7 grads, 3 offs, other sacred works

Grosser patriotischer Chor (Kollmann), 1825; Das Rolandslied, solo v, chorus, orch, 1830; Fest-Cantate zur Feier der Enthüllung der Franzens-Statue in Graz, vs (Graz, 1841); Oesterreichische Friedenshymne, 1850; c250 choruses, male vv, 1846–57 (some lost); choruses, qts, trios, duos (some lost); c220 solo songs to texts by Goethe, L. Uhland, Bürger, C.G. von Leitner, J.N. Vogl etc. (some lost)


Orch: 8 syms. (4 lost); numerous ovs. (some lost); vn concertino, 1846

Chbr music: qnt, c, 2 vn, 2 va, vc; str qt no.1, E, op.3 (Vienna, ?1816); str qt no.2, c, 1847; 2 caprices, vc, pf, op.6 (Vienna, 1822); Impromptu, vc, pf, 1852; Ungarisches Rondo, vn, pf, 1849; Elegie, vn, pf; Duett, 2 vn

Pf 4 hands: Rondo pastoral, op.8 (Vienna, c1825); Grande sonate, 1826; other works

Pf solo: 2 sonatas; preludes; fugues; variations; fantasias; character pieces; dances, incl. écossaises, polonaises and allemands; other works

Org: MSS in A-Wgm, Wn


C.G. von Leitner: Anselm Hüttenbrenner (Graz, 1868)

L. Herbeck: Johann Herbeck: ein Lebensbild (Vienna, 1885), 162–71

K. Kurth: Anselm Hüttenbrenner als Liederkomponist (diss., U. of Cologne, 1932)

O.E. Deutsche: ‘The Riddle of Schubert's Unfinished Symphony’, MR, i (1940), 36–53

H. Kundigraber: ‘Anselm Hüttenbrenner: ein steirischer Tondichter’, Grazer Tagespost (30 July 1942, 13 Oct 1944)

O.E. Deutsch: Schubert: die Erinnerungen seiner Freunde (Leipzig, 1957, 3/1974; Eng. trans., 1958)

F. Hüttenbrenner: ‘Anselm Hüttenbrenner und Schuberts H-moll Symphonie’, Zeitschrift des Historischen Vereines für Steiermark, lii (1961), 122–37

K. Steckl: ‘Zur Geschichte der Gedenktafel am Sterbehaus Anselm Hüttenbrenners’, Mitteilungen des Steirischen Tonkünstlerbundes, xxxv–xxxvi (1968), 4–11

D. Glawischnig: Anselm Hüttenbrenner, 1794–1868 (Graz, 1969)

W. Litschauer, ed.: Neue Dokumente zum Schubert-Kreis: aus Briefen und Tagebüchern seiner Freunde (Vienna, 1986)

T.G. Waidelich, ed.: Franz Schubert: Dokumente 1817–1830 (Tutzing, 1993)

P. Clive: Schubert and his World: a Biographical Dictionary (Oxford, 1997)

E. Hilmar and M. Jestremski, eds.: Schubert-Lexikon (Graz, 1997)


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