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Nancy B. Reich

work became known to the musical world. Almost without exception, Clara played at the première of each work he wrote for or with piano; and almost all his orchestral works were introduced in concerts in which she was the solo artist. In 1878 Clara Schumann became principal teacher of piano at the Hoch Conservatory in Frankfurt, but did not relinquish her performing career. Her presence attracted students from all over the world and especially from England, where she was an immensely popular performer. She made her last public appearance as a pianist in 1891

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Bryan Gilliam and Charles Youmans

were hardly cheerful times. During work on the new opera, Die Liebe der Danae ( 1938–40 ), Strauss's daughter-in-law was placed under house arrest in Garmisch, and Strauss appealed to Heinz Tietjen, the Berlin Intendant, who had high political connections, to help ensure her and his grandsons' safety. Danae was scheduled for a 1944 première in Salzburg, but cancelled after a dress rehearsal by an order from Goebbels to close all theatres in preparation for total war. In the meantime Strauss composed his final opera, Capriccio ( 1940–41 ), which had its première

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Kornel Michałowski and Jim Samson

life of the capital, not only by the Opéra, naturally, but also by the ‘swarm’ of pianists who were launching the new season of concerts just as Chopin arrived. He even considered a course of lessons with one of the most famous of them, Frédéric Kalkbrenner. It was partly through Kaklbrenner’s offices that Chopin arranged his first Parisian concert, which took place in the Salle Pleyel on 26 February 1832 ( fig.1 ), and included the E minor Concerto. A supportive and perceptive review by Fétis clearly did Chopin no harm at all. Nor did his growing acceptance by other

Article

Isabelle Henrion-Dourcy

was apparently so amazing that people preferred not to be near him when he sang. He was an expert in all the repertory and modified the style by adding ornamental mgrin-khug at the beginning of the operatic songs. He also devised a teaching method for this art of singing. He is said to have lacked humility; his behaviour attracted both fame and trouble to the troupe, which was fined for his eccentricities. He married in southern Tibet and founded a famous local opera troupe there, in which the father of Nor-bu Tshe-ring was trained and identified as a future sKyor-mo-lung

Article

Suzanne Clercx-Lejeune

Pierre continued his itinerant career in the prince's entourage, accompanying him on all his travels, in Austria and to Paris, Mariemont and Tervuren. He also continued to compose numerous symphonies. As peace approached, however, he began to think of settling, and in 1762 he obtained a seven-year contract as director of the Brussels Grand Théâtre; there he conducted, and was in charge of choosing the repertory: tragedies and comedies of the French theatre, as well as opéras comiques which he had composed ( La bagarre ), arranged ( Les soeurs rivales ) or written

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least 25 boleros or seguidillas boleras for 1–3vv, acc. gui/pf, some pubd; 33 ariettas, lv, pf, all pubd London; Sp., It., Eng. songs and duets, acc. pf, all pubd London or Paris; cant.; O crux, ave spes unica, motet; mass, lost Instrumental waltzes, quadrilles, other pieces, pf 2–4 hands, all pubd; March for military band, arr. pf, pf 4 hands (St Petersburg, c 1826) 3 pieces for harpolyre (Paris, c 1830) 2 syms., 3 str qts, Concertante, gui, str trio, all lost Bibliography MGG1 ( H. Radke ) ‘Sor’, Encyclopédie pittoresque

Article

Isabelle Henrion-Dourcy

for the reconstitution of lha-mo in India, where he has taught the song texts for six plays from memory and has performed in all the lha-mo recordings made in exile. His brother, Tseten Dorje, remained in the Lhasa official troupe and became a stage director. Bibliography D. Schuh : ‘Der Schauspieler des tibetischen Lha-mo Theaters’, Zentralasiatische Studien , 10 (1976), 339–84 ‘Profile: Norbu Tsering, Opera Master’, Tibetan Institute of the Performing Arts Newsletter (1995), 12–13 N. Tsering : Ache Lhamo is my Life (Turin, 1999)

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three small children’. Nothing further is known of Grabu's activities until April 1683 , when he competed unsuccessfully for a post in the French royal chapel. That autumn Thomas Betterton recruited him ‘to represent something at least like an Opera in England for his Majestyes diversion’. His setting of Dryden's allegorical opera Albion and Albanius was put into rehearsal during winter 1684 , only to be interrupted by Charles II's death on 6 February 1685 . It was finally produced on 3 June, but ran for only six nights before being interrupted by Monmouth's rebellion

Article

Friderica Derra De Moroda and Elisabeth Cook

(pastorale en ariettes et vaudevilles, 3, Desfontaines or P.-T Gondot), Fontainebleau, 1773 Apelles et Campaspe (ballet, choreog. Noverre), Paris, Opéra, 1 Oct 1776 Spurious La mort d’Hercule (ballet, choreog. Noverre), 1762 [by Deller] Other works Ariette en simphonie (Paris, 1764) Lauda Jerusalem, motet a grand choeur, perf. Paris, Concert Spirituel, 13 May 1779, lost Other inst (all pubd Paris, n.d.) 1er concerto, hn ( c 1779) 2me concerto, hn; 24 fanfares, 3 hn; easy fanfares, 2 hn; vn duos, 3 vols.; vn études, 2 vols.

Article

Susan Pratt Walton

established a music and dance school called Penyuarga (Penyuara Gamelan) with the help of two prominent musicians in Surakarta, Sutarman and Prawotosaputro. The leading singer and dancer in the Mangkunegaran palace, she was particularly acclaimed in the genres of langen driyan (all-female dance-opera), temembangan (classical sung poetry) and wayang kulit (shadow puppet theatre); she also composed her own vocal cèngkok (melodic patterns) and wangsalan (two-line vocal texts). Her vocal style was marked by intelligence, deep feeling and elegant simplicity. She made

Article

Lionel Salter

first rank; he later made five world tours. Almost entirely self-taught as a composer, Manén had begun to write at 13, and in 1900 he conducted a concert of his own works in Barcelona. His first opera, Juana de Nápoles (produced when he was 19), was well received at the Barcelona Liceu, and he immediately followed this with Acté , for which (as for all his later operas) he wrote his own libretto. He then spent time in Germany, where he acquired an admiration for Wagner and Richard Strauss, which can be observed in his orchestral writing. Strauss’s influence on his

Article

Peter Holman and Robert Rawson

where according to Walther he composed ‘more German operas’. During this period a number of his instrumental collections were published by Roger of Amsterdam. By 1706 he was in Breslau in the service of Duke Karl Philipp of Neuberg, the younger brother of the Elector Palatine. He remained in Karl Philipp's service for the rest of his life; in October 1707 he was a Kammermusiker in the Innsbruck Hofkapelle and rose to the position of Konzertmeister in 1708 . In that same year Finger was back in Berlin, where his operas Der Sieg der Schönheit über die Helden and

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interest of his chamber works. His brother Joseph(-Antoine) Godecharle ( b Brussels, bap. 17 Jan 1746 ; d Brussels, 21 March 1829 ) was first oboist at the royal chapel from 1766 until the chapel was disbanded in 1794 , and in 1768 oboist in the orchestra at the Brussels Opéra. Another brother, Louis-Joseph-Melchior ( b Brussels, bap. 5 Jan 1749 ; d Brussels, 8 June 1807 ), was attached to the church of St Michel et Ste Gudule as a singer, and was a baritone at the royal chapel until 1794 . Works 6 sinfonie a 4 o 8 partite

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choir in Gregorian chant, and in 1909 visited the Benedictine monastery at Maria Laach, Germany, where he studied chant practice. He remained active in the musical life of Boston, retaining unofficial ties with the Boston SO; he was a member of the board of directors of the Boston Opera Company, and served as an adviser on various competition juries. Loeffler also had interests in New York, serving as an adviser on the foundation of the Juilliard Graduate School ( 1924 ). Loeffler's major occupation was composition. He was a skilled and careful, even fastidious,

Article

Ann M. Pescatello, Dave Laing, Judith Rosen and Gregory F. Barz

critic and musical philosopher . His initial interest was in composition and conducting, and he joined numerous young American composers in Europe in the years immediately following his graduation from Harvard ( 1908 ). He spent a season ( 1910–11 ) as a conductor at the Cologne Opera before returning to the USA as a composer and chairman of the department of music at the University of California, Berkeley ( 1912–19 ), where he gave the first American courses in musicology in 1916 . Several of his compositions were destroyed in the Berkeley fire ( 1923 ). Subsequently

Article

Herbert C. Turrentine

made possible by his position with the Prince de Conti, which shielded him from the exploitation of publishers. Soon after his arrival in Paris Schobert married a Frenchwoman by whom he had at least two children. In 1765 he made a single, and thoroughly unsuccessful, venture into opéra comique , with La garde-chasse et le braconnier (he had earlier contributed to a pasticcio). The only remaining information concerning his life is Baron Grimm’s account of his gruesome death, along with his wife and one child, as a result of eating poisonous mushrooms. Grimm’s eulogy

Article

Elizabeth Forbes

Shore, Andrew ( b Oldham , Sept 30, 1952 ). English baritone . He studied at the RNCM and the London Opera Centre, then sang with Opera For All and various university groups. With Kent Opera ( 1981–7 ) he gave notable performances as Antonio ( Le nozze di Figaro ) and Rossini's Bartolo, while for Opera North he has sung such roles as King Dodon ( The Golden Cockerel ), Mr Flint ( Billy Budd ), Gianni Schicchi, Leander ( The Love for Three Oranges ), Varlaam, Don Pasquale, Don Jerome (in the first British staging of Gerhard's Duenna , 1992

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repertory included many leading tenor parts from operas by Verdi, Wagner, Gounod, Mascagni and above all by Russian composers, and a large number of Bulgarian folksongs. He staged several operas in Sofia and wrote many articles in Bulgarian and Russian as well as a book, Po vaprosa za osnovavaneto na Balgarskata narodna opera (‘On the foundation of the Bulgarian National Opera’, Sofia, 1907 ).

Article

Rodolfo Celletti and Valeria Pregliasco Gualerzi

exceptional beauty. Encouraged by the tenor Francesco Marconi to devote herself to opera, she studied with Maddelena Mariani-Masi and made her début in 1900 at the S Carlos, Lisbon, in Pagliacci , immediately afterwards singing in La bohème at the S Carlo, Naples. Although mostly engaged in Paris, Monte Carlo and, above all, St Petersburg, she also sang in New York (Metropolitan and Manhattan Opera House) between 1907 and 1910 , and in London in 1908 (Covent Garden) and 1911 (London Opera House). With an agreeable though limited voice, she was an elegant, natural

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chief conductor of the Kiev Opera and Ballet Theatre from 1961 until 1967 , when he moved to the Leningrad Opera and Ballet Theatre; in 1974 he returned to the Kiev post. He won the 1964 All-Union Conductors’ Competition in Moscow, and the same year was one of the conductors with the Bol′shoy Opera company in its autumn season at La Scala, Milan. He conducted Tchaikovsky’s The Queen of Spades during this visit and was highly praised for the balance of voices and orchestra, and for his evocation of dramatic atmosphere. His opera performances in the USSR were