(b Dobrova, nr Ljubljana, Slovenia; Dec 25, 1877; d Ljubljana, Dec 6, 1936). Slovenian music educator, conductor, and writer on music. Uncle of composer Bojan Adamič. He received his first musical education at the Ljubljana Glasbena Matica society music school, from 1911 to 1912 he studied at the Conservatory in Trieste, and in 1912 he passed the national examination at the Ljubljana Conservatory. During World War I he joined the Austrian Army, and from 1915 to 1920 was a prisoner of war at Tashkent. In 1920 he returned to Ljubljana, where he taught music at the teacher’s college and at the classical gymnasium until his retirement in 1932. From 1925 to 1928 he was conductor of the Orchestral Society at the Glasbena Matica music society, and from January 1928 to December 1929 editor of the Nova muzika (‘New Music’) magazine. He was also active as a music critic and reviewer for the magazines ...
revised by Ruxandra Arzoiu
(b Bucharest, 2/Aug 14, 1893; d Bucharest, Feb 18, 1959). Romanian composer, pianist, conductor, teacher, music critic, and director of music programmes. A leading figure of the first half of the 20th century, he laid the foundation of the Romanian school in music, concert life, and musical journalism. He studied with A. Castaldi, D. Dinicu, D.G. Kiriac, and E. Saegiu at the Bucharest Conservatory (1903–11), completing his education with two periods of study in Paris (1913–14, 1923–4), where he studied with d’Indy at the Schola Cantorum and with Paul Vidal at the Conservatoire. A remarkable accompanist, he worked with Enescu, Thibaud, Mainardi, Moodie, and others during the period 1919–45. As a conductor he always achieved a soberly balanced performance; he conducted more than 1500 performances at the Romanian Opera in Bucharest (1921–59), where he specialized in the French repertory (Bizet, Massenet, and Gounod). In his capacities as conductor of the Romanian Philharmonic Society, and as conductor and artistic manager of the Romanian RSO, he did much to encourage Romanian composers. He was also active as a music critic for Romanian and French reviews. Much of his compositional work was done during his youth, including ...
Hans Åstrand and Bo Wallner
(b Göteborg, Dec 12, 1887; d Stockholm, Feb 15, 1974). Swedish composer, administrator, conductor and critic. He studied the cello at school in Göteborg and then entered the Stockholm College of Technology. Having passed the examination in civil engineering in 1911, he spent his working life (1912–68) in the patent office. He was largely self-taught although he studied composition and instrumentation with Hallén at the Swedish Royal Academy of Music (1910–11), and partly used the state composer’s scholarships he received between 1911 and 1915 to study in Germany (1911 and 1913). He made his début as a conductor at Göteborg in 1912, when the programme included his First Symphony; thereafter (particularly during the 1920s) he often conducted his own music and that of contemporaries, both at home and abroad (where he promoted Swedish music). From 1916 to 1922 he was kapellmästare at the Royal Dramatic Theatre, Stockholm; he also worked enthusiastically as co-founder and president (...
[Cecil Valentine ]
(b Kingston, Jamaica, March 28, 1926; d Romford, Oct 10, 2009). Jamaican trumpeter, flugelhorn player, conductor, arranger, bandleader, journalist, and broadcaster. Self-taught on clarinet, he changed to trumpet to play with the big bands of the drummer Redver Cooke and the saxophonist Eric Deans, then formed the Beboppers with Ernest Ranglin and Dizzy Reece. He performed annually with the Jamaica All-Stars, and in 1950 he formed a septet which included Joe Harriott. From 1954 he promoted concerts and festivals, organizing the annual Big Band, which featured the island’s leading talents, notably Wilton “Bogey” Gaynair, Don Drummond, and the pianist (later politician) Seymour “Foggy” Mullings. Ranglin, Roland Alphonso, and the trombonist Emanuel “Rico” Rodriguez joined this ensemble to accompany such visiting artists as Sarah Vaughan, Donald Byrd, and Jimmy Owens. Bradshaw, who played in a raw, direct style influenced by Dizzy Gillespie, was a tireless promoter of Jamaican music. For 25 years he served as president of the Jamaican Federation of Musicians, and he arranged the island’s national anthem. Although he recorded extensively and toured throughout the Americas playing reggae, jazz was his preferred mode of expression. Among the guests who appeared with his poll-winning small group are Roy Haynes, Reece, Coleridge Goode, and Byard Lancaster. In the 1990s he travelled to England annually, playing in Birmingham with Andy Hamilton’s band....
(b Uppsala, March 25, 1902; d Lund, Oct 29, 1983). Swedish composer, conductor, violist and critic. After private studies in Lund he was accepted by Henri Marteau for the latter’s violin masterclass at the German Conservatory in Prague, where he also studied composition with Finke and conducting with Zemlinsky for two years. He then studied musicology with Norlind in Stockholm, with Peter Wagner in Fribourg, Switzerland, and with Sachs in Berlin, taking a licentiate in philosophy at Lund in 1926. He was chief critic of the Sydsvenska dagbladet of Malmö (1930–66, having contributed from Lund from 1923) and co-founder of the Swedish section of the ISCM, serving as its president (1930–62) and as second chairman of the ISCM presidium (1956–9); he was appointed to honorary membership of the ISCM in 1963. He was founder-violist of the Skånekvartetten (1937–48) and the Pianokvartetten av ...
(b Sydney, Feb 1, 1931). Australian musicologist, music critic and conductor. He graduated from the University of Queensland with the BA in 1964 and founded the department of music at the University of New South Wales, Sydney, in 1966 (the university first offered music as an interdisciplinary study before it established an institute of practical studies and music education). He took the doctorate at New South Wales in 1976 and was appointed Chair in 1984. His work covers a broad spectrum and includes writings on 17th-century Italian and 19th-century German and French opera, but his major contribution has been in Australian music. His Australia's Music: Themes of a New Society (1967) is regarded as the classic study on this topic, and his insights into the Australian repertory (and beyond) have been sharpened through his work as chief music critic at the Sydney Morning Herald (from 1960...
John C.G. Waterhouse
(b Monaco, Jan 14, 1889; d Rome, Dec 8, 1969). Italian composer, conductor and critic. He studied at Turin and with Reger at the Leipzig Conservatory, gaining a diploma there in 1911. In his early 20s he made his début as a conductor in Rome. From 1918 until 1940 he was resident mainly in Paris: Debussian tendencies, already present in his previous works, were reinforced, though he did much to promote modern Italian music. He subsequently returned to Rome, where he worked for Italian radio. Davico’s very uneven output includes several large-scale compositions, some of which achieved success. Yet even in the colourful La tentation de St Antoine and the Requiem per la morte di un povero, which are notable for many refinements and personal touches in detail, there is a certain self-consciousness in overall conception. For Davico was by nature a miniaturist, at his best in his songs. Often conceived on a tiny scale, these have aptly been compared to the Japanese ...
(b Jackson, MS, Sept 14, 1910; d New York, NY, Aug 29, 1982). American conductor, composer, arranger, educator, and writer on music. After studying composition at the Cincinnati Conservatory, Engel moved to New York, where he had lessons in composition at the Juilliard School with rubin Goldmark and then privately with roger Sessions . During the late 1930s Engel provided incidental music for plays and dance groups and conducted his own Madrigal Singers under the auspices of the WPA. He conducted the premieres of Kurt Weill’s Johnny Johnson and Aaron Copland’s The Second Hurricane, and he also led the chorus in the audience at the improvised premiere of Marc Blitzstein’s The Cradle Will Rock.
Engel is best known for his work in commercial venues. He supplied vocal and choral arrangements and other forms of incidental music for theatrical and broadcast productions. As a conductor, his most successful shows on Broadway included Gian Carlo Menotti’s ...
(b Brooklyn, NY, Feb 22, 1921; d Baltimore, May 24, 1990). American music critic and conductor. He attended Brooklyn College (BA 1943), took conducting diplomas in Paris at the Conservatoire and the Ecole Normale de Musique (1946–9) and studied musicology at Cornell University (MA 1950), where he took the doctorate in 1960 with a dissertation on orchestral conducting which he later revised and published as A History of Orchestral Conducting in Theory and Practice (New York, 1988). As a Fulbright Fellow he attended the university and the music academy of Vienna and became apprentice conductor at the Staatsoper (1955–6). He then worked at Goucher College (from 1956; from 1964 as professor), and in 1957 was appointed to the staff of the Peabody Conservatory, where he was conductor from 1957, and chairman of the department of music history and literature from 1964...
Zygmunt M. Szweykowski
(b Warsaw, April 6, 1892; d Welland, ON, Jan 3, 1976). Polish music journalist, conductor and composer. While a law student at Warsaw University, he studied music with Stanisław Barcewicz (violin), Roman Statkowski (composition) and Mieczysław Surzyński (theory) at the Institute of Music in Warsaw (1909–13). He continued his musical education under Max Reger (composition), Arthur Nikisch and Hans Sitt (conducting) at the Leipzig Conservatory, at the same time studying musicology at the university with Hugo Riemann and Arnold Schering (1913–14). He completed his study of conducting and composition with Nikolay Tcherepnin, Aleksandr Glazunov and Maximilian Steinberg at the Petrograd Conservatory (1914–15) and stayed in Russia (Petrograd, Kiev) as conductor and music critic until 1918, when he returned to Poland. He lived in Warsaw until 1939, dividing his time between his profession as a lawyer and his work as a music journalist and critic. In ...
(b Shenandoah, IA, June 2, 1898; d Memphis, TN, Feb 4, 1990). American music critic, conductor, and pianist. He studied at the University of Nebraska (1915–16), Chicago Music College (1920–22, subsequently incorporated into Roosevelt University), and the Gunn School in Chicago (MM 1923). He worked as a music critic for the Chicago Herald and Examiner between 1925 and 1936 and for the Chicago Tribune from 1943 to 1947. Between 1935 and 1943 he served as the Illinois state director of the Works Progress Administration’s Federal Music Project and as a co-conductor of the Illinois SO. In 1947 he became the first full-time music critic for the Los Angeles Times, a position from which he officially retired in 1965. He subsequently contributed to the LA Times as a staff writer and, from 1966 until shortly before his death, as Critic Emeritus. Goldberg was known for his emphatic support of conductors Zubin Mehta and Georg Solti and also for his recollections of such figures as Percy Grainger, Josef Hofmann, Vladimir Horowitz, Lauritz Melchior, and Artur Rubinstein. Trained as a pianist, he was especially knowledgeable about pianists and piano repertory....
John C.G. Waterhouse
(b Faenza, Sept 12, 1890; d Rome, June 14, 1965). Italian composer, conductor and critic. He studied at the Bologna Liceo Musicale with Torchi and Busoni. After teaching in Bologna (1920–24) and Parma (1925–8), he became the director of the Florence Conservatory (1928–47), the Bologna Conservatory (1947–9) and the Conservatorio di S Cecilia (1950–60). His earlier music combines high seriousness, at times somewhat academic, with luxuriant chromatic harmony reminiscent of Bax or, more significantly, Alfano. The textures and orchestration sometimes suggest Strauss, as does Guerrini’s interest, around 1920, in the symphonic poem; and there are indications, too, of Ravel's influence. The most substantial and imaginative of his early works is his second published work in the genre, L’ultimo viaggio d’Odisseo, which shows his harmony and orchestration at their most evocative. Also notable, in this early period, are the chamber compositions: the Violin Sonata is typical, combining succulent chromaticism with reiterative thematic developments. In time Guerrini’s academicism grew more pronounced, while his tendency to romantic indulgence was tempered by a new, architectonic sobriety. His best work after ...
(b Topeka, KS, Oct 2, 1874; d Washington, DC, Nov 22, 1963). American music critic, conductor, and pianist. In 1893 he entered the Leipzig Conservatory, where he studied piano with Carl Reinecke. From 1901 to 1905 he taught piano at the Chicago Musical College and studied theory privately with Ziehn. He gave a number of recitals in Chicago that included works by Debussy, Ravel, MacDowell, and Ferruccio Busoni; his playing was described in the Music News as that of a “thinker and experimenter.” From 1910 to 1915, as music critic of the Chicago Tribune, he reviewed works by such composers as De Lamarter, Freer, Clarence Loomis, and Adolph Weidig. Between 1914 and 1916 he taught Ernst Bacon, on whom he exerted a profound influence. He left the Tribune to form the American SO, and became its conductor; the orchestra’s inaugural program (14 November 1915) included works by De Lamarter, Loomis, MacDowell, and Cecil Burleigh. He founded the Glenn Dillard Gunn School of Music and Dramatic Art in ...
Anne-Marie Forbes and Rob Barnett
(b Croydon, England, July 5, 1878; d London, England, Aug 5, 1958). English composer, critic, conductor, and pianist. A prominent figure in British musical life in the early decades of the 20th century, he was a great publicist and advocate for the cause of the British composer and for his own works. Throughout his life he railed against public and institutional apathy towards native composition, becoming progressively disillusioned.
After studying at the RAM, Holbrooke’s career was launched with the first performance of his dramatic musical representation of Edgar Allan Poe’s The Raven at the Crystal Palace in 1900. Commissions of large-scale choral works for provincial festivals further established him as a young composer of great promise. Henry Wood, Thomas Beecham, and Dan Godfrey conducted premières of a number of his early orchestral and choral works, although later in life he became estranged from many of his earlier supporters. It was Lord Howard de Walden (T.E. Ellis) who was the most influential figure in Holbrooke’s career. Present at the ...
Israel J. Katz
(b Orense, Oct 1, 1918). Spanish pianist, composer, conductor, administrator, critic and writer on music. He studied piano and composition with José Cubiles and Conrado del Campo at the Madrid Conservatory, taking diplomas in piano (1935) and composition (1944); later he was a pupil of Marguerite Long, Lazare Lévy and Yves Nat in Paris and of Isidore Philipp in New York, and studied conducting with Luís de Freitas Branco and Louis Fourestier. He has made concert tours of Europe, North Africa and the USA. His professional activities have included the founding (1957) and directing of the Orense Conservatory of Music, giving piano masterclasses and teaching the interpretation of Spanish music at Música en Compostela (from 1958) and organizing the Manuel de Falla seminars and courses at Granada. He created (1962) the Semanas de Música Religiosa at Cuenca and as music adviser to the Instituto de Cultura Hispánica planned music festivals in Spain and the USA in collaboration with the Organization of American States; he has served as secretary-general of the Spanish section of ISCM (whose festivals he organized in ...
(b Budapest, Aug 9, 1890; d Balaton Földvár, Aug 8, 1963). Hungarian composer, critic and conductor . He studied composition with Koessler at the Budapest Academy of Music (1906–8) and then went to the Leipzig Conservatory, where he was a pupil of Reger (composition), Nikisch (conducting), Straube (organ) and Sitt (violin). Between 1911 and 1913 he was active in several smaller opera companies: as répétiteur at Bremen and as conductor at Czernowitz (now Černovice), Jihlava and Scheveningen. He lived in Berlin from 1913 and there took further composition lessons from Schoenberg and began to write studies on music, publishing several articles in Die Musik in 1914–15. In 1916 he returned to Hungary. He wrote for various newspapers and periodicals before becoming regular music critic of the daily paper Népszava (1924–50), in which post he established himself as one of the most respected Hungarian critics of the period. He was a propagandist for modern music but also helped to make the Classics more widely known; at the same time he reported on Hungarian musical life for the foreign press. From ...
(b Paris, April 19, 1928; d London, Jan 1, 1984). British guitarist, bandleader, journalist and broadcaster. In the late 1940s and 50s he played traditional jazz and skiffle, but his musical sympathies lay with the country blues of artists such as Leadbelly, Robert Johnson and Big Bill Broonzy. He befriended the jazz musician Chris Barber, who had similar musical interests and had brought several blues artists over to England; Korner met many of these artists and promoted them in articles for journals including Melody Maker and Jazz on Record, and from 1958 through broadcasts on the BBC. With Cyril Davies, he formed the first British blues club, the London Blues and Barrelhouse Club. He had played acoustic guitar in the armed forces in Germany (1947–9), but took up electric guitar only after hearing Muddy Waters in 1958. With Davies he formed the electric band Blues Incorporated (...
Cecelia H. Porter
(b Breslau [now Wrocław, Poland], July 27, 1812; d Stettin [now Szczecin, Poland], Dec 1, 1893). German conductor, music critic and composer. Kossmaly’s writings reveal much about 19th-century German musical life and intellectual history. He studied in Berlin (1828–30) with Mendelssohn’s teachers Ludwig Berger and C.F. Zelter, and also with Bernhard Klein. From 1838 to 1849 he was music director at opera houses in Wiesbaden, Mainz, Amsterdam, Bremen, Detmold, and Stettin, where he settled and became a highly respected teacher and orchestra conductor. In 1837 Schumann invited Kossmaly to report on music in Frankfurt and Holland for the Neue Zeitschrift für Musik; in 1839 he moved to Leipzig, continuing to contribute profusely to the journal. Schumann, who published some of his lieder there, commended his reviews for their practical musicianship and philosophical depth. Kossmaly’s review of Schumann’s piano works (AMZ, xlvi (1844), 1–5, 17–21, 33–7; trans. in R.L. Todd, ed.: ...
(b Brusque, Santa Catarina, March 17, 1928). Brazilian composer, conductor and critic. He began violin studies at an early age with his father, a composer, conductor and founder of the local conservatory. A state scholarship took him in 1943 to Rio de Janeiro, where he studied the violin with Edith Reis at the conservatory and took lessons in harmony, counterpoint, fugue and composition with Koellreutter (1944–8). He became an active member of Koellreutter's Música Viva group, winning their prize in 1945 for the Woodwind Trio. In 1948 he won first prize at the Berkshire Music Center competition for Latin American composers. He then studied orchestration and composition with Copland, composition with Mennin at the Juilliard School (1948–9) and the violin with Nowinsky at the Henry Street Settlement School. While in New York he had several of his works performed, and he conducted the New York PO on ...