German family of composers, organists, copper merchants, instrument makers and writers. They were patricians, qualified for senatorship, who enjoyed great esteem in 16th- and 17th-century Nuremberg. The brewer Hans Haiden (d 1532) settled in Nuremberg shortly after 1500. The first musician in the family was his son (1) Sebald Heyden, who in turn was the father of (2) Hans. Of Hans’s seven sons two – (3) Hans Christoph and (4) David – became musicians, and another, Hans Georg, helped his father build his Geigenwerk. The Hans Philipp Haiden (b Nuremberg, baptized 10 Nov 1639) who is credited with the composition of a four-part song written for a wedding on 25 February 1645 (in D-Nst), was not a musician and cannot, on grounds of age alone, have written it; it must be by some other member of the family.
EitnerQ
G. Zeltner: Kurtze Erläuterung der Nürnbergischen Schul- und Reformations-Geschichte aus dem Leben und Schrifften des berühmten Sebald Heyden, Rectoris bey S. Sebald (Nuremberg, 1732)
H. Bellermann: Die Mensuralnoten und Taktzeichen des XV. und XVI. Jahrhunderts (Berlin, 1858/R)
P. Wackernagel: Das deutsche Kirchenlied von der ältesten Zeit bis zum Anfang des XVII. Jahrhunderts (Leipzig, 1864–77)
J. Zahn: Die Melodien der deutschen evangelischen Kirchenlieder (Gütersloh, 1889–93/R), v, 103; vi, 19, 25, 27–8
A. Sandberger: ‘Bemerkungen zur Biographie H.L. Hasslers und seiner Brüder, sowie zur Musikgeschichte der Städte Nürnberg und Augsburg’: introduction to DTB, viii, Jg.v/1 (1904/R)
H. Riemann: Geschichte der Musiktheorie im IX.–XIX. Jahrhundert (Berlin, 2/1921/R; Eng. trans. of pts i–ii, 1962/R, and pt iii, 1977)
G. Kinsky: ‘Hans Haiden, der Erfinder des Nürnbergischen Geigenwerks’, ZMw, vi (1923–4), 193–214
W. Vetter: Das frühdeutsche Lied (Münster, 1928)
A. Kosel: Sebald Heyden (1499–1561): ein Beitrag zur Geschichte der Nürnberger Schulmusik in der Reformationszeit (Würzburg, 1940)
L. Hübsch-Pfleger: Das Nürnberger Lied im deutschen Stilwandel um 1600 (diss., U. of Heidelberg, 1942)
E.-M. Matthes: H. Chr. Haiden: a Nuremberg Composer’s Contribution to German Part-Song (diss., U. of California, San Francisco, 1970)
C.A. Miller: ‘Sebald Heyden's “De arte canendi”: Background and Contents’, MD, xxiv (1970), 79–99
B.A. Bellingham: The Bicinium in the Lutheran Latin Schools during the Reformation (diss., U. of Toronto, 1971)
G.G. Allaire: ‘Peculiar Signatures in 14th, 15th, and 16th-Century Sources’, Journal of the Canadian Association of University Schools of Music, vii (1977), 52–91
E. Weber: ‘Contribution à l'hymnologie comparée: la mélodie du Psaume LXVIII “Que Dieu se montre seulement” et du choral “O Mensch bewein dein Sünde gross” au XVIe siècle’, EG, xviii (1979), 225–46
M. Holl: ‘Der Musika Triumph: ein Bilddokument von 1607 zur Musikauffassung des Humanismus in Deutschland’, Imago musicae, iii (1986), 9–30
VICTOR H. MATTFELD (1), HOWARD MAYER BROWN (2), LINI HÜBSCH-PFLEGER (3–4)
(b Bruck, nr Erlangen, 8 Dec 1499; d Nuremberg, 9 July 1561). Writer, teacher, music theorist and ?composer. He moved with his parents to Nuremberg early in life and entered the school of St Lorenz in 1505: he was a pupil there when Cochlaeus became rector of the school in 1509 and recognized Heyden as an outstanding student. In 1513 he entered the university at Ingolstadt, where he gained the master’s degree in 1519. The same year, after short periods teaching at Knittelfeld, Bruck an der Mur and Leoben, he returned to Nuremberg where he spent the rest of his life. He was appointed Kantor at the Spitalkirche and rector of its school from 1521, and in 1525 he became rector of the school of St Sebaldus. He appears to have first turned towards Lutheranism while rector at the Spital school. In 1523 he provided a contrafactum text for a Salve regina antiphon, to be sung at the Nuremberg Reichstag. This angered the Roman Church and led to bitter attacks by Kaspar Schatzgeyer of the Nuremberg Barfüsser monastery: the Salve regina was proscribed both at St Sebaldus and in the following year at St Lorenz. The Nuremberg city council appointed Heyden to organize the meetings about the Reformation held there in 1525. Later his Calvinist leanings regarding the Eucharist for long placed him in a controversial position.
Heyden’s enthusiasm for the new church led him to produce numerous theological and educational essays and to attempt to supply an appropriate repertory of hymn texts for use in church services. He encouraged hymn writing, and frequently included in his publications hymns of his own and by others, such as Senfl. Eight extant hymn texts can be attributed to him (another has been suggested by Kosel, but this is questionable). He may have been the composer of melodies for two of these hymns – Gott, du Hirt Israels, merck auff and Herr Gott, dein Namen rueff wir an; this is suggested by the fact that the melodies appear only with his texts.
Heyden was recognized widely as a teacher, highly learned man and musician, but he was most important for his contributions to music theory. He wrote three treatises, all dedicated to Hieronymus Baumgartner, a Nuremberg patrician and city council member, whom he admired for his remarkable learning and for his support of the fine arts. All three are primarily concerned with the teaching of performing skills; as such they are within the German tradition of school tutors and deal with notation and solmization in a clear and simplified manner. They were used extensively and brought him widespread acclaim from his contemporaries, including several distinguished theorists; his definitions, discussions of mensuration and music examples were drawn upon by his contemporaries and by theorists well into the 17th century.
Heyden’s earliest extant treatise is Musicae stoicheiōsis (1532); an earlier edition – Rudimenta (1529) – cited by Zeltner and other early writers, is lost. The treatise was designed to present the essential aspects of polyphony and mensural notation, dealing with the staff, clefs, solmization, notes, intervals, perfect and imperfect values, mensuration, augmentation and diminution. It contains no practical examples and bypasses all discussion of plainchant and monophony. His second book, Musica (Ars canendi) (1537), is more comprehensive, though he limited himself to matters of musical composition without discussion of the purely theoretical concerns. This publication was outstanding for its many examples, drawn, according to the author’s prefatory statement, from the works of the best and most renowned composers – Josquin, Obrecht, La Rue, Isaac, Brumel, Ghiselin – not only as the most useful examples but also as demonstrations of great music. The examples are presented mostly without texts or with incipits only. The treatise De arte canendi, effectively a second edition of Musica (Ars canendi), appeared in 1540; though considerably enlarged it covers similar subjects. There are also more music examples, particularly of the works of Ghiselin and Obrecht, and Senfl is referred to as ‘the chief of all Germany at this time for Music’. Some of the anonymous polyphonic examples may be by Heyden himself.
only those on music
Rudimenta [Institutiones musices] (Nuremberg, 1529 [lost], 2/1532 as Musica stoicheiōsis)
Musica, id est Artis canendi, libri duo (Nuremberg, 1537)
De arte canendi, ac vero signorum in cantibus usu, libri duo (Nuremberg, 1540/R; Eng. trans., MSD, xxvi, 1972)
(b Nuremberg, bap. 19 Jan 1536; d Nuremberg, bur. 2 Oct 1613). Copper merchant, instrument maker, organist and writer, son of (1) Sebald Heyden. He invented the Geigenwerk, a keyboard instrument shaped like a harpsichord but sounded by parchment-covered wheels instead of jacks. When a key was depressed a string came into contact with a revolving wheel producing a sound like a bow being drawn across the string. He chose not to follow his father’s example but to enter the world of business, and as a successful merchant had spare time in which to pursue various learned interests. He studied problems of perspective and perpetual motion, built model war-machines and learnt music. He was accomplished enough as a performer to take the position of organist at St Sebald between 1567 and 1571. During that time he directed some of the music performed when Emperor Maximilian II visited the city in 1570.
His first Geigenwerk, finished by 1575, was built for August, Elector of Saxony, who lived in Dresden. The instrument was moved to Munich the next year, however, when August presented it to Duke Albrecht V of Bavaria, Lassus’s patron. Haiden continued to improve his invention, which probably did not take its final form until the very end of the century. He published a small book in German praising the Geigenwerk, Musicale instrumentum reformatum (Nuremberg, 2/1610), translated into Latin as Commentatio de musicale instrumento (Nuremberg, 1605). Besides describing the Geigenwerk, the pamphlet quotes a variety of ancient and modern authors in praise of music and its effects on man and beast, and comments on musical practices of the time and on the characteristics of various instruments. Haiden extolled, among other things, the capability of the Geigenwerk to sustain notes indefinitely, to produce vibrato and, most important, dynamic shadings impossible on other keyboard instruments. The best-known description of the Geigenwerk, in Praetorius’s De organographia (2/1619), chapter 44, mostly quotes from Haiden’s pamphlet.
(b Nuremberg, bap. 14 Feb 1572; d Nuremberg, bur. 9 Feb 1617). Composer, organist and poet, son of (2) Hans Haiden. He first went to ‘the office of Philipp von Ortl’, but thereafter made music his profession. After Isaak Hassler’s death on 14 July 1591, he became organist of the Spitalkirche, Nuremberg. In 1596 he obtained a similar position at St Sebaldus, the most important church in Nuremberg. At the end of December 1600 he petitioned the town council for an increase in pay and for living quarters. In January 1601 his first daughter was born, a few days before ‘by command of the authorities’ he married Anna Maria Petz, daughter of a ‘respectable’ and thus highly regarded family. He and his wife atoned for this untimely birth by being arrested and put on a diet of bread and water, Anna Maria having also to suffer ‘bench and irons’ and the decree that for four years she should wear only ‘workday clothes’. Late in 1603 Haiden again came into conflict with the town council when he applied for a higher fee for playing the organ; when his request was refused, he sent a pupil to deputize for him, and for this the council again punished him with imprisonment. He nevertheless enjoyed great esteem as a musician, and his professional judgment was sought on a number of occasions. In about 1606 the Margrave of Ansbach also called on his services. In 1608 he procured two English dogs for the Bishop of Eichstätt and Bamberg, thereby establishing a contact that was to be useful to him in the final weeks of his life. In the same year he visited Kassel, where he demonstrated his father’s Geigenwerk before Moritz, Landgrave of Hesse, and Frankfurt, where he delivered the instrument, for which an order had been placed. In 1615 he became involved in a lawsuit, which he lost, with Pastor Erhard Pantzer of Eltersdorff. In addition, he brought an action together with his brothers against the son of a Stadtpfeifer who after Hans Haiden’s death had unlawfully built a copy of his patented Geigenwerk. His relationships with other women had a disastrous outcome. In the autumn of 1616 he was charged and convicted of adultery, and on 11 November he was summarily dismissed as organist of St Sebaldus. He was succeeded by his brother-in-law Kaspar Hassler. In the last weeks of his life he worked as treasurer for the Bishop of Eichstätt and Bamberg. He died barely three months after the disgrace of his expulsion from St Sebaldus, leaving his widow a burden of debts which she had to pay from the sale of a house and of her husband’s printed works.
This talented musician and composer, who was so little able to adapt himself to Nuremberg’s strictly ordered way of life, made an important contribution to German song in the transitional period between the Renaissance and Baroque eras in two publications: Gantz neue lustige Täntz und Liedlein, deren Text mehrer-theils auff Namen gerichtet mit vier Stimmen (Nuremberg, 1601; 9 in Vetter, ii) and Postiglion der Lieb’, darinnen gantz neue lustige Tantz, dern Text mehrtheils auff Namen gerichtet neben ettlichen Intraden und … schlaftruncksliedlein mit vier Stimmen (Nuremberg, 1614). These songs, whose texts he himself ‘had written according to his own fancy’, do not aim at being great art but are simple songs for singing and dancing. They are generally homophonic, with an emphasis on the melody in the top part. They were intended for practical use and are well suited to this purpose by virtue of their charming, carefree freshness and their truly songlike character; they are largely uninfluenced by the Italian manner in vogue at the time. The 1614 collection can be seen as an early attempt, in both text and music, at a unified song cycle.
(b Nuremberg, bap. 9 Nov 1580; d Nuremberg, bur. 6 Dec 1660). ?Composer, instrumentalist, poet and copper merchant, youngest son of (2) Hans Haiden. He was a pupil of his father and of Kaspar Hassler. His father wished to send him to Augsburg for further study with Hans Leo Hassler. The arrangements had been made, but were thwarted by Kaspar Hassler, who was concerned ‘that David might one day harm him’, i.e. be a rival to him. An agreement reached with Giovanni Gabrieli in Venice also came to nothing when the opportunity arose to find a place for the 18-year-old David in the same ‘copper business in which his father too had served’. To the publicity for his father’s Geigenwerk, to which H.L. Hassler contributed a eulogistic poem, he added a long poem written in the rhyming manner of the Meistersinger in which all the advantages of the instrument are enumerated. He himself possessed a Geigenwerk, on which he played for the Weimar court Kapellmeister Adam Drese as late as 1653: ‘he played on it for almost an hour, performing many kinds of music regardless of the fact that it has no stops’. It seems very likely that the 12 ballettos in RISM 161021 (inc.) signed ‘DHN’ (‘David Haiden Norimbergensis’) – nos.28–31 with text, nos.32–9 without – can be attributed to him. They are written in the homophonic dance style of the time, to which the lost cantus part possibly contributed an individual touch. A four-part wedding song of 1644, Man sagt und klagt, die Ehe bringt Wehe (in D-Nst), is signed ‘DH’ and is also probably by him.