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Member of Corfe family

(b Salisbury, bap. Feb 26, 1713). English tenor and organist. He was a chorister at Salisbury Cathedral from 1722 to 1729. He sang in Rosamond at Lincoln’s Inn Fields in 1733, in Handel’s operas and oratorios from c1733 to 1744 and in Messiah...

Member of Corfe family

(b Salisbury, bap. Feb 9, 1741; d Salisbury, July 29, 1820). English organist and tenor, son of Joseph Corfe (b 1705). He was a chorister at Salisbury Cathedral, 1752–3, lay vicar, 1759–60, and was apprenticed to the cathedral organist John Stephens. He was made a Gentleman of the Chapel Royal in 1783 and in 1784 sang at the Handel Commemoration. He was also organist of Salisbury Cathedral from 1792 to 1804. Joseph was a respected singing teacher with Nancy Storace and Mrs Second among his pupils. He married Mary Bernard on 14 April 1766 and they probably had three sons. His published works include A Treatise on Singing (1799), Sacred Music (1800), The Beauties of Handel (1803), Beauties of Purcell (c1805), Thorough Bass Simplified (1805) and Church Music (c1810...

Member of Corri family

(b Edinburgh, ?1784; d Baltimore, Feb 19, 1832). Italian composer, tenor, pianist, and teacher, son of Domenico Corri, and possibly twin brother of Montague Philip Corri. As P. Antony Corri he was well established as a composer in London from about 1802 to 1816, when many of his piano pieces and songs were published. His L’anima di musica (1810) is the most extensive piano tutor of its period, and ran to several editions. He was a founder of the London Philharmonic Society and the Royal Academy of Music in 1813, and was director of the Professional Society in 1816. He was expelled from the Philharmonic in December 1816 (due to a scandal probably involving his wife) and emigrated to the USA, where he settled in Baltimore by autumn 1817. There he was christened Arthur Clifton on 31 December 1817 and remarried the following day. He served as organist of the First Presbyterian Church (...

Member of Hemmerlein family

(b Bamberg, 1766; d Bamberg, 1838). German violinist and tenor, grandson (through Georg Ludwig) of Johann Nikolaus Hemmerlein. He was ordained in 1793 but the same year embarked on unauthorized freelance travels as a violinist and tenor which were to last for 25 years. The assumed name under which he travelled is still unknown. From ...

German family of musicians.

Lebrun [Brün, Le], Ludwig August (b Mannheim, bap. May 2, 1752; d Berlin, Dec 12/15/16, 1790)

Lebrun [née Danzi], Franziska [Francesca] (Dorothea) (b Mannheim, March 24, 1756; d Berlin, May 14, 1791)

Lebrun [Dülken], Sophie (b London, June 20, 1781; d Munich, July 23, 1863)

Lebrun [Stentzsch], Rosine (b Munich, April 29, 1783; d Munich, June 5, 1855)

English family of musicians.

Linley, Thomas (i) (b Badminton, Gloucs., Jan 17, 1733; d London, Nov 19, 1795)

Linley, Elizabeth Ann (b Bath, Sept 7, 1754; d Bristol, June 28, 1792)

Linley, Thomas (ii) (b Bath, May 7, 1756; d Grimsthorpe, Lincs., Aug 5, 1778)

Linley, Mary [Polly] (b Bath, Jan 4, 1758; d Clifton, Bristol, July 27, 1787)

Linley, Ozias Thurston (b Bath, bap. Aug 22, 1765; d London, March 6, 1831)

Linley, William (b Bath, Jan 27, 1771; d London, May 6, 1835)

(b Boskovice, 19 Jan 1984).Czech composer and performer (voice, accordion, and tap dance). She studied the accordion (2004–10) and composition (2007–8) at the Brno Conservatory, and composition at the Janáček Academy of Music and Performing Arts (with martin smolka and Peter Graham[1]). She also studied as an exchange student at the Royal Conservatory in The Hague, the California Institute of the Arts (with michael pisaro), the Universität der Künste Berlin (with Marc Sabat), and Columbia University (with george e. lewis).

While she often works with elements outside of music, there is almost always an intense engagement with direct listening, often arrived at through intense focus on very limited material. Sources for her work include Morse code, maps of garments which she turns into scores (Shirt for Harp, Oboe, and Accordion; Jacket for Ensemble), field recordings which she notates descriptively and then asks musicians to interpret the notation (...