(b Dallas, TX, Jan 26, 1922; d Suffern, NY, Nov 4, 1999). American recorder player, editor, teacher, and conductor. His early musical experience included playing the trumpet in small jazz bands and in Broadway pit bands and arranging music for shows in New York. While studying with erich Katz at the New York College of Music he developed an interest in early music. He learned to play the recorder, crumhorn, sackbut, and viola da gamba and arranged and directed medieval and Renaissance music. He edited music for the American Recorder Society, which published several of his compositions, and later was general editor of the series Music for Recorders (Associated Music Publishers). He took part in the debut of the New York Pro Musica Antiqua under Noah Greenberg in 1953 and rejoined them from 1960 until 1970; during this time he became director of the instrumental consort and assistant director of the Renaissance band. He toured internationally with them and played on many recordings. In ...
Member of Farrenc family
(b Marseilles, April 9, 1794; d Paris, Jan 31, 1865). French music publisher, flautist, bibliophile and scholar. Determined on a career in music despite his family’s tradition in commerce, he arrived in Paris in 1815; soon an appointment as second flautist at the Théâtre Italien propelled him directly into Parisian musical life. When the Conservatoire was reorganized in the following year, he undertook further studies on the flute and began to learn the oboe. By the early 1820s he had established himself as a teacher and begun to compose flute music, some of which – a book of sonatas and a concerto, among other works – he issued from his own newly formed publishing concern. In 1821 he married Louise Dumont (see §(2) below). He remained active as a publisher during the 1830s, specializing in editions of Hummel and Beethoven. His firm also brought out his wife’s first piano works....
(b Brunswick, MO, Feb 7, 1882; d New York, NY, March 9, 1961). American clarinetist, bandleader, composer, and music publisher. His first professional engagement (c1897–8) was with a “pickaninny” band led by Nathaniel Clark Smith. In 1902 he was assistant leader of P.G. Lowery’s band with Forepaugh and Sells Circus and later that year joined Mahara’s Minstrels band under the leadership of W.C. Handy. In 1903 he formed his own band in Minneapolis, where he made the first recordings by an African American band. Sweatman moved to Chicago in 1908, where he led trios at the Grand and Monogram theaters. In 1911 he made his first vaudeville appearance, and in late 1916 made the first records recognizable as jazz performances. In 1918 Sweatman’s band was signed to an exclusive recording contract with Columbia, their records rivalling those by the Original Dixieland Jazz Band. He continued to work through the 1920s and early 1930s in vaudeville, and in ...