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nl:Henri Hamal[edit]

This page is about the musician who lived 1744-1820. For his grandfather (1685-1752), see Henri-Guillaume Hamal.

Henri Hamal (20 July 1744, Liège, in modern Belgium – 17 September 1820, Liège) was a Walloon (i.e. a French-speaking native of the Low Countries) composer, music director and writer.[1][2][3]: 12–20 

When Hamal was born, Liège was the seat of the Prince-Bishopric of Liège, an ecclesiastical principality of the Holy Roman Empire, within (but not part of) the Austrian Netherlands. The Prince-Bishop was a man of consequence: he was a member of the Imperial Diet. In 1789, the Liège Revolution broke out, the Prince-Bishop was deposed, and the Republic of Liège established. The Kingdom of Prussia (a constituent state of the Empire) intervened in an attempt to mediate, and garrisoned troops in Liège and other important towns. In 1791, Austrian Imperial forces invaded, overthrew the Republic, and reinstated the Prince-Bishop. In 1794, the French Republic attacked the Low Countries (in the Flanders campaign), drove out the Imperials, and the Prince-Bishop was expelled for a second and final time. The Low Countries were annexed into the French Republic; and later, after Napoleon had proclaimed himself Emperor, into the French Empire. In 1814, Prussian, Russian and Dutch troops (part of the Sixth Coalition against Napoleon) drove the French out. In 1815, after Napoleon's final downfall, the former Prince-Bishopric was awarded to the United Kingdom of the Netherlands, a new state.

Hamal was the son of Dieudonné-Lambert Hamal, the youngest child of Henri-Guillaume Hamal (1685-1752). Henri-Guillause and his eldest child, Jean-Noël (1709-1778), were also musicians in Liège. He received his early musical training from his uncle Jean-Noël, who was maitre de chapelle at Saint Lambert's Cathedral, Liège. From 1763 to 1769, he studied in Rome, with help from the Stichting Lambert Darchis [nl], a charitable fund of Liège whose purpose it is to finance students of theology and the arts in that Italian city. In 1770, he took over his uncle's duties; although the latter held onto their titles until his death in 1778. He was an original member of the Société Libre d'Émulation [fr] of Liège, founded by the Prince-Bishop in 1779. (A Société d'émulation was a local learned society for the cultural elite.) In 1794-95, the cathedral was torn down with anticlerical revolutionary zeal, and Hamal lost his job. He was appointed secretary of the Public Education Council of the Ourthe département, a new administrative division of the French Republic, whose seat was in Liège. In 1801,[citation needed] he was appointed maitre de chapelle of St. Paul's Cathedral, Liège, the new cathedral of the diocese. Barthélemy disagrees.

He wrote much church music (eighteen masses (including two requiems),[citation needed] hymns, litanies, vespers, motets and psalms), but also secular works such as cantatas and songs in the Walloon language. He wrote an [three act] opera, Le Triomphe du sentiment, to a libretto by one Joseph Bertrand, which was premiered [on 28 January] 1775 at the Grand-Théâtre, Liège.[4]

Barthélemy liégois cantata to welcome new PB.

Pygmalion 1 akte zonder datum, Luik Jean Jacques Rousseau

Monologue Pygmalion, 1 akte, zonder datum, Luik, Jean Jacques Rousseau

Particularly influenced by the Neapolitan School operas of Paisiello, Cimarosa and Traetta, he himself composed some comic operas which he proposed to the opera houses in Belgium and Paris, without particular success.

Like his grandfather and his uncle, he organized concerts in the hall of the Emulation building in Liège. Also at Redoute & Comédie (Quitin 1997).


  • 1784, Le cri de la Patrie - cantata
  • 1777 Le Fat ou les preuves d'amour - text: Raynier

As of 2021, only one of his compositions seems to have been recorded: a Concerto for Trumpet and String Orchestra in D Major.[5]

He was a collector of works of art and manuscripts. In particular, he made a collection of some 800 sketches and drawings by Liégois artist Lambert Lombard (c. 1505 – 1566), and it has survived.[6]

He gathers, archives and annotates hundreds of pieces produced by his contemporaries: Joseph Dreppe [fr], Carlo Maratta, Guido Reni, Laurent Pécheux ... Mémoire pour serve à l'histoire des artistes of the province de Liège

In his later years, he wrote two memoirs which remained in manuscript until rediscovered in the 20th Century.

He wrote a memoir, Annales des progrès du théâtre, de l'art musical et de la composition dans l'ancienne principauté de Liège depuis l'année 1738 jusq'en 1806: essay historique sur les concerts et le théâtre de Liège, which survived only in a manuscript copy until it was edited for publication in 1989 by Maurice Barthélemy.[3]

Barthélemy thought he liked a quiet life.

Returning to Liège in 1772, he was commissioned by Prince-Bishop François-Charles de Velbrück to help his uncle Jean-Noël in the post of choirmaster at the cathedral, succeeding him in 1778.

As co-founder of the Société d'Emulation he fell out of favor with Prince-Bishop César-Constantin-François de Hoensbroeck and was unable to work in the cathedral at the requiem in 1792. He was replaced on this occasion by Simon Leclercq.

Footnotes[edit]

References[edit]

  1. ^ Eitner, Robert (1901). Biographisch-Biblographisches Quellen-Lexikon der Musiker und Musikgelehrten der christlichen Zeitrechnung bis zur Mitte des neunzehnten Jahrhunderts (in French). Vol. 5. Leipzig: Breitkopf und Haertel. p. 5. {{cite book}}: |website= ignored (help)
  2. ^ Quitin, José (n.d.). "Un âge musical nouveau: XVIIe et XVIIIe, début de XIXe" (PDF) (in French). p. 336. By José Quitin [fr].
  3. ^ a b Hamal, Henri (1989). Barthélemy, Maurice (ed.). Annales de la musique et du théâtre à Liège de 1738 à 1806 (in French). Liège: Mardaga [fr]. ISBN 978-2-87009-420-4. Retrieved 17 December 2020. Edited by Maurice Barthélemy.
  4. ^ "Le triomphe du sentiment". Stanford Libraries.
  5. ^ "Henri Hamal". Muziekweb. Retrieved 23 January 2021.
  6. ^ Oger, Cécile; Allart, Dominique (2006). "La copie chez Lambert Lombard: Procédés et fonctions". In Verougstraete, Hélène; Couvert, Jacqueline; Schoute, Roger Van; Dubois, Anne (eds.). La peinture ancienne et ses procédés: copies, répliques, pastiches (in French). Peeters. p. 249. ISBN 978-9-042-91776-7.


Further reading[edit]

External links[edit]



nl:Jean-Noël Hamal[edit]

Jean-Noël Hamal (23 December 1709, Liège, in modern Belgium – 26 November 1778, Liège) was a Walloon composer, conductor and organist.

He was the son of Henri-Guillaume Hamal (1685-1753) and the uncle of Henri-Guillaume's grandson Henri Hamal (1744-1820), who followed the same profession as him.

Rue Hamal [fr] in Liège is named in his honour. Orchestre Jean-Noël Hamal (founded 1980 as Ensemble Jean-Noël Hamal), based in Liège, bears his name.[1]

[2][3][4]: 7–12, 18–19 [5][6][7][8]: 199–200 [9]: 80–82 [10]

Pic[4]: 9 

Compositions[edit]

  • revue has librettists

Werken voor orkest[edit]

  • 1743 Zes symfonieën - Sei sinfonie da camera a quattro, op. 2 - waaronder:
    1. Symphonie en Fa Majeur, for strings (2 violins, viola) and harpsichord

Oratoria, Missen en andere kerkmuziek[edit]

  • 34 missen
  • 5 Requiem
  • 92 motetten
  • 24 psalmcantates
  • 5 Lamentos
  • 6 Litanieën

Kamermuziek[edit]

  • Zes sonates voor viool, dwarsfluit en basso continuo
  • Recueil, voor viool en klavecimbel

Hamal lebte in der Übergangszeit vom Barock zum Klassizismus. Er machte sich, vom italienischen Stil beeinflusst, zum musikalischen Vorreiter in verschiedenen Bereichen, wie seine Sinfonien, aber auch seine Opern im Lütticher Dialekt es verdeutlichen.

  • 92 Motetten, 34 Messen, 24 Psalmkantaten, 5 Lamentos, 6 Litaneien, 4 Oratorien, 5 Requien
  • 3 Opus Sammlungen Sinfonien
  • 3 Sammlungen mit sinfonischen Fragmenten und Ouverturen

References[edit]

  1. ^ "Orchestre Jean-Noël Hamal" (in French).
  2. ^ Eitner, Robert (1901). Biographisch-Biblographisches Quellen-Lexikon der Musiker und Musikgelehrten der christlichen Zeitrechnung bis zur Mitte des neunzehnten Jahrhunderts (in French). Vol. 5. Leipzig: Breitkopf und Haertel. p. 5. {{cite book}}: |website= ignored (help)
  3. ^ Fétis, François-Joseph (1866). Biographie Universelle des Musiciens et Bibliographie Générale de la Musique (in French). Vol. 4 (2nd ed.). Paris: Firmin-Didot et Cie. p. 210. {{cite book}}: |website= ignored (help)
  4. ^ a b c d Hamal, Henri (1989). Barthélemy, Maurice (ed.). Annales de la musique et du théâtre à Liège de 1738 à 1806 (in French). Liège: Mardaga [fr]. ISBN 978-2-87009-420-4. Retrieved 17 December 2020. Edited by Maurice Barthélemy.
  5. ^ Delforge, Paul (September 2012). "Jean-Noël Hamal". Wallonia (in French).
  6. ^ Schwickerath, Pierre (10 October 2008). "Jean-Noël Hamal (1709-1778)". Collegium Musicum Luxemburgense (in French). Archived from the original on 4 March 2016.
  7. ^ de Becdelièvre-Hamal, comte Antoine Gabriel (1837). Biographie liégeoise (in French). Vol. 2. Liège: Jeunehomme Frères. pp. 407–409. {{cite book}}: |website= ignored (help)
  8. ^ Revue Belge (in French). Vol. 2. Liège: Jeunehomme Frères. 1835. {{cite book}}: |website= ignored (help)
  9. ^ Fétis, Édouard (1849). Les musiciens belges (in French). Vol. 2. (n.d. (c. 1850)). Brussels: A. Jamar. Retrieved 17 December 2020. By. Édouard Fétis [fr].
  10. ^ H. baron de Villenfagne (1788). "Discours sur les artistes liégois". Mélanges de littérature et d'histoire (in French). Liège: F. J. Desoer. pp. 142–145. By Hilarion-Noël de Villenfagne d'Ingihoul [fr].
  11. ^ Anonymous (1832). Théate Ligeoi, ki contin li voege di Chôfontaine, li Ligeoi egagi, li Fiesse di Houte-sip-lou, é lés Hypocontes (in Walloon). Liège: H. Rongi. ISBN 978-1279395721. {{cite book}}: |website= ignored (help)

Further reading[edit]

External links[edit]

Warning: Default sort key "Hamal, Jean-Noel" overrides earlier default sort key "Hamal, Henri".


</nowiki>, if there could be any doubt; mainly for the benefit of other DABfixers.

Is Windows on ARM enough of a topic to justify a {{bca}}? It wouldn't need to be very big, and a paragraph or two could be much more helpful to readers than a DAB page pointing to two massive articles about OSs. As you'll have gathered, the term means nothing to me.


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