Hellendaal, Pieter (EN)

Hellendaal, Helendale, Hellendael, Hellendahl, Holdandael, Hollandall, Hollendale, Pieter, Pietro, Petrus, Peter, baptized on 1 June 1721 Rotterdam, †19 April 1799 Cambridge, Dutch violinist, organist, and composer.

Around 1732, he lived with his family in Utrecht, and from 1737 in Amsterdam. Thanks to his patron, M. Lestevenon, he travelled to Padua, where he studied violin and composition under G. Tartini; in 1743, he returned to Amsterdam and began his career as a concert violinist. Between 1749 and 1751, he studied at the Leiden University, whilst continuing to perform in The Hague and Leiden. He then moved to England: between 1752 and 1760 he was active in London, where he quickly gained a reputation as one of the finest violinists; it was here that he encountered Handel’s music (in 1754 he took part in a performance of Acis and Galatea, and in 1763 in a performance of Messiah). Following unsuccessful attempts in 1759 to secure the post of conductor of the Music Room orchestra in Oxford, in 1760 he succeeded Ch. Burney as organist at St Margaret’s Church in King’s Lynn (Norfolk). In 1762, he settled in Cambridge, where he was initially organist at Pembroke Hall Chapel, and from 1777 at Peterhouse Chapel. He continued to give concerts in various towns across England, often performing his own compositions. Hellendaal also taught violin and music theory. His son, Peter Hellendaal, was also a violinist active in England.

Hellendaal was one of the most outstanding Dutch composers of the late Baroque period. Italian influences are evident in Hellendaal’s work, but there is also a distinct local flavour that gives his compositions their individual character. Among Hellendaal’s most valuable works are the concerti grossi – Six grand concerto’s, Op. 3; these are unconventional works, combining various musical styles and forms, though traditional polyphonic technique predominates. In the violin works that make up Hellendaal’s concert repertoire, the violin part is treated with virtuosity. The sonatas are in three-movement form with slow outer movements (as in Tartini’s works) and feature showpiece cadenzas, written out separately.

Literature: Ch. Van den Borren P. Hellendaal, “De Muziek” VIII, 1928; Ch. Van den Borren “Les Concerti” op. 3 de P. Hellendaal, “Tijdschrift van de Vereniging voor Nederlandse Muzieksechiedenis” XIII, 1932; G.A.C. de Graaf P. Hellendaal-Musiquant (1721–1799), “Mens en Melodie” VIII, 1950; J.A. Parkinson P. Hellendaal, “The Monthly Musical Record” LXXXII, 1952.