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William Brooks and Christopher E. Mehrens

(b Buckland, MA, 14 March 1826; d Dorchester, MA, 14 April 1888). American composer and music educator. He learned music in singing-schools and assemblies conducted by Lowell Mason, george james Webb, and others. He taught briefly in Massachusetts before moving to Hudson, New York, to teach in public schools and at the Claverack Seminary. By ...

Article

William Berz

(b Cincinnati, OH, 26 Nov 1889; d Cincinnati, OH, 28 Jan 1967). American conductor and cornet virtuoso. Simon began cornet studies at age 11, and continued, in 1905, with herman Bellstedt, the famous cornetist. By 1909 Simon was cornet soloist with several professional bands and a member of the Cincinnati SO under Leopold Stokowski. In ...

Article

William McClellan and Karen M. Bryan

(b Haskell County, TX, 2 Sept 1919; d New York, NY, 19 May 2000). American music educator and composer. He attended Baylor University (BM 1940) and the Eastman School of Music (MM 1941, PhD 1952). Waldrop taught at Baylor University (...

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Edmond T. Johnson

(b Memphis, TN, 17 June 1957). American artist, composer, performer, and instrument inventor best known for inventing the Long String Instrument. Originally interested in visual and performance art, Fullman attended the Kansas City Art Institute where she began to incorporate sound into her works, at first through the manipulation of magnetic tape. Her first major work was the ...

Article

(b Hamburg, 14 Nov 1805; d Berlin, 14 May 1847). German composer, pianist, and salon hostess. Fanny Hensel was one of the most prolific female composers of the 19th century, among the first women to write a string quartet, and a life-long proponent of the music of Johann Sebastian Bach, Ludwig van Beethoven, and her brother, Felix Mendelssohn Bartholdy. Hensel was a pianist of rare talent and prodigious memory who dazzled private audiences at her concert series in her Berlin home. She struggled her entire life with the conflicting impulses of authorship versus the social expectations for her high-class status, finally deciding to publish her music only one year before her early death at the age of 41; her hesitation was variously a result of her dutiful attitude towards her father, her intense relationship with her brother, and her awareness of contemporary social thought on women in the public sphere. Hensel’s music reflects her deep reverence for Bach especially, as well as for Beethoven, but also exhibits the fine craftsmanship and lyricism typical of the post-Classical Mendelssohnian style, and her own experimental and inventive approach to form and content. During her lifetime, Hensel’s career, conducted mostly in the private sphere, was overshadowed by the more public exploits of her brother. The true extent of her compositions (over 450 completed compositions and drafts) and her contributions to the Mendelssohnian style have been rediscovered and appreciated in the late 20th and early 21st centuries....