Haack [Haacke, Haak, Haake], Friedrich Wilhelm

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Hyllary, Thomas

(fl c1520). English composer. He is known only from a motet, Tota pulchra es, of which only the medius part survives (GB-Lbl Harl.1709, dated c1525–30). A chanson by ‘Hyllayre’ in GB-Cmc Pepys 1760 (attributed to Thomas Hyllary by Eitner, and to Hilaire Penet in MGG1) is probably by Hilaire Daleo alias Turleron.


S.R. Charles: ‘Hillary–Hyllayre: How Many Composers?’, ML, lv (1974), 61–9


Hylton, Jack

(b Great Lever, nr Bolton, 2 July 1892; d London, 29 Jan 1965). English bandleader, pianist and impresario. He worked as the director of a touring pantomime company (1909), as a cinema organist in London (1913) and as a freelance musician in various clubs. After military service he was appointed relief pianist for the dance band of the Queen’s Hall Roof; later he became this group’s arranger and director. Hylton made a number of recordings for HMV (from 1921), of which the early example Wang-Wang Blues (1921) is representative. He performed at various venues, including the Grafton Galleries, Piccadilly Hotel (1922–3), before enlarging his band to full orchestra size for a highly successful residency at the Alhambra Theatre (1924). In 1925 he set up a booking agency. During the late 1920s his orchestra became the English equivalent of Paul Whiteman’s show band and achieved huge commercial success. Between 1927 and 1938 it completed 16 European tours and numerous substantial engagements in the UK; it was also the earliest British band to broadcast direct to the USA (1931).

In 1935–6 Hylton led a band briefly in the USA. He was responsible for the negotiation of the first British visits of Duke Ellington (1933) and Coleman Hawkins (1934) and made two recordings with Hawkins, including The Darktown Strutters Ball (1939). After his orchestra disbanded in 1940, he became involved in the production of various London stage shows, starting with Lady Behave (1941). He was successful with The Love Racket (1943) and its sequel Bet your Life (1951), and especially with Salad Days, which he took over three weeks after its initial opening in 1954, and presided over until its run ended in 1960. He also produced revivals including The Merry Widow (1943), revues, such as Take It from Us (1950), and British productions of US musicals, notably Camelot (1964). From 1933 to 1937 Mrs Jack Hylton led a variety band which toured in the UK and Europe.


A. Fenton: ‘Jazz Research’, Jazz Monthly, no.173 (1969), 13

A. McCarthy: The Dance Band Era: the Dancing Decades from Ragtime to Swing, 1910-1950 (London, 1971/R)

P.W. Logan: Jack Hylton Presents (London, 1995)


Hymaturgus, Johann.

See Wircker, Johann.

Hymbert [Hubertus, Hubertys, Humbertus, Ubertus] de Salinis [Psalinis]

(b ?Salins[-les-Bains], nr Besançon, 1378–84; fl 1403–9). French composer. He was born the illegitimate son of a priest; his toponymic probably refers to the town of Salins, south of Besançon. Two papal letters of response, discovered by John Nádas and Giuliano Di Bacco, trace his ecclesiastical career. A letter of 29 May 1403, from Boniface IX in Rome, names him as a deacon and grants him a canonicate and prebend in Braga Cathedral. His residence in Portugal seems to have been well established, since he exchanged a prior benefice in the Braga diocese for one at ‘Sancti Salvatoris de Taaghilde’. A letter from Alexander V, dated 10 July 1409, three days after his inauguration at the Council of Pisa, names Hymbert as a familiar of the pope and singer in the papal chapel. The composer no doubt attended the large embassy from the King of Portugal at the council. He was granted an additional canonicate and prebend in absencia at Lisbon Cathedral, worth the considerable sum of 80 pounds per year. The letter implies that Hymbert was by this time ordained as a priest and was at least 25 years of age, which places his birth date between 1378 and 1384. The length of his service in the papal chapel is unknown, but ended it prior to January 1413.

Nearly all the music, with the exception of the ballade En la saison (F-CH 564), can be traced to Hymbert’s service at the Council of Pisa and in the papal chapel, to judge from the style, texts and source distribution (all the Latin music is transmitted in I-Bc Q15). He seems to have travelled provided with ready-made texts, which explains the re-use of 13th-century French motet or conductus texts in Psallat chorus/Eximie pater and Si nichil/In precio. The troped Salve regina ‘Virgo mater ecclesia’ is otherwise set only by English composers; it reflects the international milieu at the Council of Pisa, and was probably composed in the divisi notation current in papal circles. Hymbert’s three other motets show an uneasy appropriation of Italian 14th-century motet style. The Gloria Iubilacio celebrates the hoped-for end of the Great Schism at Pisa, rather than at Konstanz, as previously suggested.


Edition: Early Fifteenth-Century Music, ed. G. Reaney, CMM, xi/7 (1983) [complete edn]

Gloria ‘Iubilacio’, 3vv

Gloria, 3vv

Credo, 3vv

Credo, 3vv

Salve regina ‘Virgo mater ecclesia’, 3vv

Ihesu salvator seculi/Quo vulneratus scelere, 3vv

Si nichil actuleris/In precio precium, 3vv

Psallat chorus in novo carmine/Eximie pater et regie, 3vv

En la saison que toute riens (ballade, J. Cuvelier), 3vv [facs. in Günther]


U. Günther: ‘Zwei Balladen auf Bertrand und Olivier Guesclin’, MD, xxii (1968), 15–45

J. Nádas: ‘Manuscript San Lorenzo 2211: Some Further Observations’, L’Europa e la musica del Trecento: Congresso IV: Certaldo 1984 [L’Ars Nova italiana del Trecento, vi (Certaldo, 1992)], 145–68

R. Nosow: The Florid and Equal-Discantus Motet Styles of Fifteenth-Century Italy (diss., U. of North Carolina, 1992)

G. Di Bacco and J. Nádas: ‘The Papal Chapels and Italian Sources of Polyphony during the Great Schism’, Papal Music and Musicians in Late Medieval and Renaissance Rome, ed. R. Sherr (Oxford, 1998), 44–92


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