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Barbara Owen

(b Elgin, Scotland, Sept 6, 1838; d Bloomfield, NJ, 21 June, 1925). American organ designer, architect, author and art expert of Scottish birth. After working as an architect in England, he immigrated to New York City in 1892, where he worked for a short time with his brother William in the architectural firm of W. & G. Audsley. His interests were widespread, and he wrote several books on architecture, oriental art, and religious symbolism. One of his major interests, however, was the organ. He consulted on various church organ projects, had an organ in his home built to his own design, and was instrumental in the design of the five-manual organ built in 1904 by the Los Angeles Art Organ Company for Festival Hall at the World’s Fair in St. Louis, upon which the noted French organist Alexandre Guilmant performed 40 recitals. This organ was later purchased by John Wanamaker, and became the foundation of the large organ in Wanamaker’s Philadelphia department store. Audsley was the author of four influential works on organ design: ...


( b Sparneck, Upper Franconia, Oct 1, 1730; d Hof, Jan 8, 1782). German critic and writer on organ building . He was a postal clerk in Hof and, after 1764, accountant at the Vierling bookshop. He was a member of several scientific and economic societies and his contact with distinguished organ builders (such as J.A. Silbermann) enabled him to acquire a thorough knowledge of organ building. Ludwig was a friend and business partner of G.A. Sorge (whom he supported in his polemical arguments, interspersed with personal insults, with F.W. Marpurg), and probably wrote the pamphlet Eine helle Brille für die blöden Augen eines Albern Haberechts zu Niemandsburg, which was published anonymously during these polemics. His writings contain valuable information about J.J. Graichen (1701–60) and J.N. Ritter (1702–82), pupils of Gottfried Silbermann working in Franconia.

Versuch von den Eigenschaften eines rechtschaffenen Orgelbauers (Hof, 1759) Gedanken über die grossen Orgeln, die aber deswegen keine Wunderwerke sind...


George J. Grella

[Robert ]

(b Albuquerque, NM, April 19, 1957). American composer, performer, instrument builder, and journalist. In high school he learned to play guitar, flute, violin, and percussion. In 1976 he enrolled at the Oberlin Conservatory, where he built a Serge modular synthesizer. He also formed the Fall Mountain ensemble with the reed player Ned Rothenberg and the violinist Jim Katzin. After leaving Oberlin in 1979 without a degree, he toured with Anthony Braxton’s Creative Music Orchestra then settled in New York. There he began playing with John Zorn, Eugene Chadbourne, Wayne Horvitz, and Fred Frith and embarked on an idiosyncratic and individualistic career.

Ostertag’s work is holistic; he has developed his compositions inseparably from the instruments he has designed, the musicians with whom he has collaborated and improvised, and the explicit and passionate political opinions he has sought to express. In 1980 he released his first solo album, Getting a Head...


Hanspeter Krellmann

(b Winterthur, March 14, 1931). Swiss music journalist and film maker . He studied music at the Winterthur Conservatory (1953) and musical analysis under Hans Keller in London. His career as a musicologist, journalist and film maker began in 1956 when he wrote his first music reviews for Swiss newspapers. From 1960 to 1965 he was editor-in-chief at Radio Zürich's department of new music. Subsequently he directed the music department of the North German television network in Hamburg (1965–8), but resigned to live as a freelance author and film-script writer at Bergamo. In 1969 he took up a lecturing post in audio-visual drama at the Munich Hochschule für Film und Fernsehen.

Pauli belongs to the generation of German-speaking music journalists who base their work on the prevailing social contexts and conditions of composition and performance; he draws largely on the doctrines of Marx and Adorno and aims in his combination of a visual medium with music at the fusion of the various media into an integrated whole. These principles were applied in Mauricio Kagel's first films under Pauli's editorial supervision in Hamburg, and later in his work on contemporary music. The films he has written and directed himself include ...