(b Beaune, bap. 19 Jan 1613; d Beaune, bur. 27 May 1652). French composer. He was a priest and worked at Notre Dame, Beaune, from at least May 1631 until his death. He is recorded first as a singer and then as sous-maître, and in 1650, when he refused a post at Autun Cathedral, he became director of the choir school; he had also turned down the offer of a similar position at Châlon seven years earlier. His only known music is the six-part Missa ad imitationem moduli ‘Tota pulchra es’ (Paris, 1648), which survives only in copies of the second edition (1676). It is a conventional work whose textures vary between quite complex polyphony for the shorter texts and homophony for the longer.
(fl Nisbis, c530). According to tradition, the inventor of Syriac Ekphonetic notation.
Town on the eponymous island in southern Croatia. Being on an important trade route between Venice and Dalmatia, its cultural significance increased in the 15th century, becoming an important literary and musical centre by the 17th century. Mystery plays flourished there: the earliest surviving text dates from the 15th century, and performances are documented as late as 1837. Gregorian and original melodies were included, and annotations in two plays by Marin Gazarović, who brought the form to its apogee in the 17th century, indicate that some plays were sung throughout. They can therefore be regarded as the earliest Croatian oratorios. The first public theatre, still intact, opened in 1612, probably to present an operatic repertory comparable with those in Dubrovnik and Venice. During this period the most important local musician was the choirmaster, organist and teacher Tomaso Cecchino (c1580–1644), who was associated with the cathedral from 1614. In the early 19th century a music society and town band, the Gradska Muzika, were formed, of which the latter remains active.
D. Fisković: ‘Glazba, kazališne i ostale zabavne priredbe u Hvaru u XVIII stoljeću’ [Music, theatre and other entertainments in Hvar in the 18th century], Dani hvarskog kazališta: XVIII. stoljeće (Split, 1978), 36–80
(b Krasnoyarsk, Siberia, 16 Oct 1962). Russian baritone. He studied in Krasnoyarsk, making his début there in 1986. After appearing at the Kirov the following year he made a concert tour of the USA with a group of Russian singers, then, in 1989, won the Singer of the World Competition at Cardiff and made his west European début at Nice as Yeletsky (The Queen of Spades). Subsequently he sang Yevgeny Onegin in Venice, Yeletsky in Amsterdam and Silvio (Pagliacci) in Barcelona, then in 1992 made his Covent Garden début as Riccardo (I puritani), returning as Onegin. He made his stage début in the USA as Germont in Chicago (1993) and his Metropolitan début as Yeletsky (1995). His other roles include Rossini’s Figaro, Alphonse XI (La favorite), Don Giovanni and Count Almaviva, both of which he has sung at Salzburg, and the Marquis of Posa, the role in which he made his La Scala début (1992). Hvorostovsky has made notable recordings of Onegin, Yeletsky and Germont, and is also a distinguished recitalist, as can be heard in several recordings of Russian songs. His beautiful, cultivated voice is of moderate size but strongly projected, while his dramatic involvement has grown steadily with experience.
Hvoslef, Ketil (Saeverud)
(b Bergen, 19 July 1939). Norwegian composer. He studied the viola and the organ at Bergen Conservatory, continuing his composition studies at Stockholm Conservatory, where his teachers included Blomdahl and Lidholm. He received additional tuition from Thomas Rayna and Lazarof in London. He taught theory at Bergen Conservatory until 1979, and during that time he both inspired and composed for various Bergen-based groups that performed contemporary music. His music frequently incorporates elements from rock and jazz music and using unusual instruments in unusual combinations. The larger part of his output is instrumental music, and in his later works he often uses modified traditional forms, applying a subtle form of motivic interplay in the creation of larger-scale connections. His unconventional music has won great acclaim, and he has four times been awarded the prize for Norwegian work of the year.
Dramatic: Medmenneske (TV score, O. Dunn), 1980; The Revelation of St John, Chap.12, nar, dancer, org, 1984; Dead Sardines (mimic criminal op), slides, 1986, rev. 1987; Peer Gynt (TV score, H. Ibsen), 1993
Orch: Concertino, pf, orch, 1964; Tpt Conc., 1969; Mi-Fi-Li, sym. poem, 1971; Db Conc., 1973; Variations for Chbr Orch, 1976; Double Conc., fl, gui, str 1977; Vc Conc., 1977; Concertino for Orch, 1979; Conc., bn, str, 1979; Antigone, sym. variations, 1981–2; Air, 1983; Vind, conc., fl, wind, perc, 1983; Il compleanno, sym. orch, 2 sextets, 1985; Vn Conc., 1988–9; Vc Conc. no.2, 1990, rev. 1991; Concertino, tpt, 1991; Serenata, str, 1991; Pf Conc., 1992, rev. 1993; Conc., vn, vc, pf, orch, 1995; Conc., sax qt, orch, 1996
Chbr: Wind Qnt, 1964; 6 Pieces for 6 Strings, gui, 1966; Str Qt no.1, 1969; Flauto solo, 1970; Rondo con variazioni, pf, 1970; Tromba solo, 1971, rev. 1989; Str Qt no.2, str qt, Hardanger fiddle, 1973; Kvartoni, S, rec, gui, pf, 1974; Organo solo, 1974; KIM, 4 crumhorn/rec, viols, 1975; Vc Conc. no.1, 1976, rev. 1987; Brass, 9 brass, 1978; Fl Octet, 1978; Conc., vn, pop band, 1979; Miniboogietriowoogie, pic, fl, pf, 1981; Qnt, cl, str qt, 1982; Duodu, vn, va, 1982; Chitarra solo, 1983; Dano tiore, qnt, S, 3 str, hpd, 1985; Easter Variations, org, 1986; Scheherazade Continues her Stories, vn, hp, 1986; Sextet, fl, perc, 1986, rev. 1989; Framenti di Roma, ob, cl, bn, 1988; Church Duo, gui, org, 1988; Toccata – Fontana dell'organo, Villa d'Este, 1988; Duo due – Duo Two, vn, vc, 1993, rev. 1995; Chbr Play, wind qnt, str qnt, pf, 2 perc, 1995; Passacaglia, org, 1997, rev. 1998; Str Qt no.3, 1998; Quartetto percussivo, 2 pf, perc, 1998
Vocal: So einsam ist der Mensch (N. Sachs), 1971; Or Håvasmål (cant.), 1971; From ‘Håvamål’ (Old Norse poem), chorus, orch, 1974; Conc., chorus, chbr orch, 1977
Principal publishers: Norsk musikforlag, Norwegian Music Information Centre
ARVID O. VOLLSNES