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(b Dobitschen, Saxe-Altenburg, Jan 4, 1720; d Berlin, Dec 2, 1774). German musicographer, composer, organist, singing master and conductor. His father occupied an important post as government agent and jurist in Dobitschen. Burney, who visited the Agricolas in 1772, reported that Johann Friedrich’s mother, born Maria Magdalena Manke, ‘was a near relation of the late Mr Handel, and in correspondence with him till the time of his death’; but later Handel research has failed to substantiate this claim.

Agricola began his study of music as a young child. In 1738 he entered the University of Leipzig, where he studied law; during this time he was a pupil of J.S. Bach and visited Dresden, where he heard performances of Passion oratorios and Easter music by Hasse. In 1741 he moved to Berlin, became a pupil of Quantz, made the acquaintance of C.P.E. Bach, C.H. Graun and other musicians, and embarked on a career that touched many aspects of Berlin’s musical life. He became keenly interested in music criticism and theoretical speculation in Berlin, and his work as a musicographer has proved to be his most lasting accomplishment. In ...

(b Visby, June 5, 1805; d Stockholm, May 4, 1857). Swedish composer, conductor and organist. He studied music at the University of Uppsala and became the musical director of E.V. Djurstrms theatre company in 1828. From 1832 to 1842 he was a teacher at the Gymnasium in Vsterå and the city’s cathedral organist. He then moved to Stockholm, where he was a conductor of various theatre orchestras, for which he composed the music for about 100 productions, often in collaboration with August Blanche. His only full-length opera, Alfred den store (Alfred the Great), based on a text of Theodor Krner, was written in 1848 but never performed; another opera, Abu Hassan, was not finished. His other compositions include about 300 entractes, a vocal symphony, some orchestral works, a piano concerto and solo piano pieces. He also edited collections of Swedish and Nordic folksongs and folkdances and compiled a pocket dictionary of music (...

(b Fredrikstad, April 29, 1872; d Oslo, Dec 24, 1932). Norwegian composer, conductor and organist. He studied with Peter Lindeman (organ) and Iver Holter (harmony, counterpoint and composition) at the Christiania Music and Organ School (1888–92), and was then a pupil of Reinecke (composition) and Ruthard (piano) at the Leipzig Conservatory (1892–4). Appointments as organist followed in Drammen (1895–1907) and Oslo (1907–32), where he served at the cathedral from 1916; his First Symphony was completed during a course of study in Berlin in 1897. He was one of those responsible for the foundation of the Norsk Komponistforening, of which he was president from 1921 to 1923. As a member of the Koralbokkomiteen (1922–6) he harmonized most of the melodies in the chorale book of the Norwegian Church, and he edited preludes to all of the chorales. He was active as a choir-conductor, leading the Håndverksangforening (...

(Eugene)

(b West Hempstead, NY, April 26, 1956). American music educator, choral arranger, editor, and conductor. He was a member of the American Boychoir (1969–71), and received degrees from St Olaf College (BM 1978), the University of Illinois at Urbana–Champaign (MM 1980), and Michigan State University (DMA 1987). He was on the summer faculty of the American Boychoir School and now serves on the Board of Trustees. He taught at Calvin College (1980–90) before becoming the fourth conductor of the St Olaf Choir and the Harry R. and Thora H. Tosdal Endowed Professor of Music (1990–). Armstrong is the editor for Earthsongs publications and co-editor of the St. Olaf Choir Series. He chronicled the history of the St Olaf Choir in his doctoral dissertation. He is featured on an instructional video for adolescent singers, Body, Mind, Spirit, Voice (2002...

(b London, Aug 10, 1740; d London, Oct 22, 1802). English composer, conductor, organist, and editor. He was the son of Thomas Arnold, a commoner, and, according to some sources, the Princess Amelia (she was certainly his patron). Arnold received his education as a Child of the Chapel Royal (December 1, 1748 to August 31, 1758), where he was occasionally noticed by Handel (something he ‘remember’d with delight & spoke of with a starting tear’), and on leaving became known as an organist, conductor, and teacher, and composed prolifically. In autumn 1764 he was engaged by John Beard as harpsichordist and composer to Covent Garden; there he compiled several pastiche operas, including the popular The Maid of the Mill (1765), which is among the supreme examples of the form. In 1769 Arnold bought Marylebone Gardens, and during the next six summers produced several short all-sung burlettas, composing or at least contributing to four new examples (now lost). These productions were simply written (from the literary point of view at least) and would have appealed to an audience with no previous experience of operatic music....

(b Berlin, ?June 12, 1838; d New York, April 28, 1881). Prussian critic, editor, conductor, and writer, active in the USA. Carlberg started piano under the instruction of organist Louis Thiele at the age of four. He later studied violin with Gruenwald and harmony with A.B. Marx. Though his father wanted him to pursue medicine, Carlberg decided to enter a career in music. He traveled to New York in 1857, where he continued his musical studies with Carl Anschütz and served as music editor of the New York Staats-Zeitung from 1858 to 1860. Because he was still a Prussian citizen, Carlberg was conscripted in 1861 and served in the Prussian military for eight months. He also became editor of the Neue Berliner Musikzeitung. During the next decade he gave concerts in London, Vienna, Paris, Warsaw, and Berlin. While conducting in Russia in 1871, Carlberg was persuaded by Prince George Galitzin to return to America to conduct some Russian concerts. Though the concerts were a failure, he was engaged as music director for the Pauline Lucca opera season, also writing reviews for the ...

(fl 1568–76). French choirmaster and music editor. In 1568 he was maître de musique at the collegiate church of St André in Grenoble. By 1576 he had moved to Paris, where he worked for his friend Nicolas Du Chemin as an editor and as tutor to his three children. He appears as an editor in only one surviving print, Sonetz de P. de Ronsard, set for four voices by Guillaume Boni and published by Du Chemin in 1576. Evidently Boni was not satisfied with Chandor's work, since he obtained a privilege for a revised edition which was subsequently issued by the rival press of Le Roy & Ballard.

(Carlo Zanobi Salvadore Maria)

(b Florence, Sept 8/14, 1760; d Paris, March 15, 1842). Italian, composer, conductor, teacher, administrator, theorist, and music publisher, active in France. He took French citizenship, probably in 1794, and was a dominant figure in Parisian musical life for half a century. He was a successful opera composer during the Revolutionary period, and had comparable success with religious music from the beginning of the Restoration. He was made director of the Paris Conservatoire and consolidated its pre-eminent position in music education in Europe.

In the biographical preface to his work catalogue, compiled in 1831, Cherubini gave 8 and 14 September as his dates of birth, but the records of the baptistery of S Giovanni state that he was born on 14 September (and baptized the following day). He was the tenth of 12 children. It has been claimed that his mother died when he was four years old (Pougin, ...

[Albert R. ]

(b Honolulu, HI, Oct 1, 1879; d Honolulu, HI, Jan 23, 1933). Composer, arranger, publisher, pianist, and bandleader, active in Hawaii. Cunha’s compositions early in the 20th century spearheaded the development of the hapa haole song, featuring predominantly English lyrics with some references to Hawaii and the Hawaiian language, earning him the title of “Father of Hapa Haole Songs.” His innovation is credited with making Hawaii’s music accessible to a much wider audience, which rapidly grew to global proportions over the next few decades.

Cunha left Hawaii to attend Yale University, where he excelled in sports, the Yale Glee Club, and composed Yale’s “Boola, Boola.” Rather than practice law after graduation, he toured the mainland United States performing a new kind of Hawaiian song, combining the popular ragtime rhythm of American music with Hawaiian songs. Cunha returned to Hawaii and composed his first hapa haole song, “Waikiki Mermaid,” in ...

(b Port Huron, MI, April 17, 1943). American composer, conductor, educator, and publisher. He received some of his earliest training in the Salvation Army Instrumental Music program, a debt he later repaid as editor of their music publications. He undertook undergraduate studies at Wayne State University (BM 1966) and graduate studies at Michigan State (MM 1970), studying euphonium with Leonard Falcone and conducting with Harry Begian. His composition teachers were F. Maxwell Wood, James Gibb, Jere Hutchinson, and Irwin Fischer. He has over 400 works in his catalog, mostly tonal, many of which take their inspiration from literature. He is widely known for his symphonic band and brass band works, several of which have won major awards: Symphonic Triptych, Collage for Band (ASBDA/Volkwein, 1977, 1979), Mutanza, Symphonic Variants for Euphonium and Band (ABA/Ostwald, 1980, 1984), and Lochinvar (Coup de Vents, France, 1994). His prolific output for young musicians reflects his many years teaching at public school and college levels. He founded and presides over Curnow Music Press, Inc....

(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 ...

(b Antwerp, Belgium, Nov 23, 1897; d Philadelphia, PA, June 12, 1980). Music publisher and conductor of Belgian birth. He was trained at the Antwerp and Amsterdam conservatories and played violin in the Concertgebouw Orchestra of Amsterdam before coming to the United States in 1920. He joined the Philadelphia Orchestra as a viola player and was appointed chorus master and assistant conductor of the Philadelphia Grand Opera Company in 1927. In 1926 he opened a music shop in Philadelphia and two years later was joined by Adolph Vogel (a cellist in the Philadelphia Orchestra) in the establishment of the music publishing firm Elkan–vogel . Elkan became first conductor of the Trenton Civic Orchestra in 1933 and conductor and music director of the Philadelphia Ballet Company in 1935; he founded the Dra-Mu Opera Company in 1945. He left Elkan-Vogel in 1952 but opened his own publishing house, Henri Elkan Music Publisher, Inc., in ...

(b Parsonfield, ME, Aug 3, 1820; d Hyde Park, MA, Sept 29, 1915). American composer, editor, music educator, and conductor. He attended Parsonfield Academy and Effingham Union Academy (NH) as a boy, then matriculated at Dracut Academy (MA), intending to become a physician. His father, a prosperous farmer, had taught him to play the cello, and that sparked an abiding interest in music. He moved to the Boston area in 1841, where he attended singing schools under Benjamin F. Baker and George F. Root. In 1844 he began more formal musical training with Isaac B. Woodbury in Boston, studying voice, piano, organ, and music theory. Emerson moved to Salem, Massachusetts, afterwards, where he taught music privately, was involved in local school matters, and directed a choir. He was later the organist and music director at Bullfinch Street Church, Boston, for four years, then at Second Congregational Church, Greenfield, MA for eight years, while teaching concurrently at Powers’ Institute in Bernardstown. By the 1870s he was devoting himself full time to editing, composing, compiling, and conducting (some 350 festivals and musical conventions); he also sang and was known widely as a lecturer....

(b Woburn, MA, May 28, 1737; d ?Boston, Dec 30, 1794). American conductor, bandmaster, engraver and tune-book compiler. He became an important figure in the musical life of Boston during the decade beginning in 1764, and was active in both sacred and secular music-making. He organized and performed in at least six concerts in Boston between 1769 and 1773, and also claimed to have founded and trained a regimental band in the city. No music-making by Flagg has been traced after 1773.

Flagg’s two sacred tune books are devoted to the compositions of English psalmodists. A Collection of the Best Psalm Tunes (Boston, 1764), engraved by Paul Revere, was the largest collection of sacred music published in America to that time and the first to be printed on American-made paper. Sixteen Anthems (Boston, n.d. [1766]), intended not for beginners but for ‘those who have made some proficiency in the art of singing’, was engraved and printed by Flagg himself, and he may also have been the engraver of Billings’s ...

(b Plzeň, Sept 29, 1882; d Iriški Venac, March 27, 1938). Yugoslav music publisher, conductor, composer, violinist of Czech origin. After working as a freelance musician in Sofia, Bulgaria (1897–1903), he settled in Belgrade in 1903 where he took the post of concertmaster in the National Theater (1904–09) and temporarily in the Orchestra of ‘Kraljeva garda’ [King’s guards]. He was also the conductor and director of several singing societies (‘Lira’ [Lyre], ‘Harmonija’ [Harmony], etc.) as well as of his own salon orchestra which performed regularly in the hotel ‘Moskva’ [Moscow] (1908–14). He was a founder and owner of the publishing house ‘Edition Frajt’, (1921–41), which was dedicated solely to music publishing. It released more than 800 volumes consisting mostly of the works of Austrian, Yugoslav, German, Russian, Czech, and Hungarian composers. The largest part of the collection comprised arias from operettas and operas, arrangements of folk songs and folk dances, salon lyrical character pieces, and popular songs and dances. In addition to the works of established Serbian composers from the 19th century (Davorin Jenko, Stevan Mokranjac, Josip Marinković), Frajt`s catalogue included the works of many Yugoslav composers of his time (Petar Krstić, Stevan Hristić, Mihovil Logar, Marko Tajčević, etc.). Among them were the numerous popular songs based mostly on the rhythm of popular social dances of that period and arrangements of folk songs and dances composed by Frajt himself. Frajt was also the author of several pieces for orchestra (‘Srpska igra’ br. 1 i 2 [Serbian dance no.1 and 2]), vocal-instrumental ensemble (‘Misa u B-duru’ [Mass in B Major]), solo songs, and works for violin solo and violin and piano....

(b Frauental, Styria, May 5, 1842; d Vöslau, nr Vienna, Oct 5, 1899). Austrian conductor, teacher, editor and composer, brother of Robert Fuchs. He studied theory with Simon Sechter in Vienna and was appointed Kapellmeister of the Bratislava Opera in 1864. He then worked as an opera conductor in Brno (where his only opera, Zingara, was first produced in 1872), Kassel, Cologne, Hamburg, Leipzig and finally, from 1880, at the Vienna Hofoper. In 1873 he married the singer Anthonie Exner in Kassel. Fuchs became a professor of composition at the Vienna Conservatory in 1888 and succeeded Hellmesberger as its director in 1893; the next year he received the title of assistant Hofkapellmeister for his work at the court opera. He played an important part in preparing the Schubert Gesamtausgabe, editing the dramatic works and some of the orchestral music. He also edited operas by Handel, Gluck and Mozart and wrote songs and piano pieces....

(b Vienna, Austria, Nov 15, 1894; d Manhasset, NY, April 26, 1982). Music editor, conductor, and teacher of Austrian birth. After initially studying cello, Greissle attended the University of Vienna where he studied musicology with Guido Adler. In 1920 he became a private student of arnold Schoenberg and a rehearsal coach in Schoenberg’s Society for Private Musical Performances. In 1921 he married Schoenberg’s oldest daughter Gertrud. As conductor of the Vienna State Opera’s Cantata Society (1924–37) Greissle premiered Schoenberg’s Woodwind Quintet in 1924 and arranged several of his works, including Five Pieces for Orchestra, op.16 for chamber ensemble. After the Anschluss he fled with his family to the United States and settled in New York. There he worked as music editor for G. Schirmer (1938–46) and thereafter for Edward B. Marks. Greissle taught music theory and rehearsal techniques both privately and at Columbia University, the Philadelphia Academy of Music, the 92nd Street Y, and the New School for Social Research....

(b ?Dartmoor, June 4, 1770; d Boston, Aug 2, 1827). American conductor, composer and publisher of English birth, father of John Hill Hewitt. Apart from family records giving his place and date of birth, the first documented information about him is that he occupied 12 Hyde Street, Bloomsbury, London, during 1791–2. He arrived in New York on 5 September 1792. Although he advertised himself there as having had concert experience in London under ‘Haydn, Pleyel, etc.’, no evidence of this has been found. He lived in New York until 1811, his longest period of residence at one address being from 1801 to 1810 at 59 Maiden Lane. From 1792 until the end of March 1808, he was conductor of the orchestra at the Park Street Theatre, where his duties included arranging and composing music for many ballad operas and other musical productions. He also operated his own ‘musical repository’, where he gave lessons and sold musical instruments and music composed by himself and others....

(Marc)

(b Cleveland, Aug 28, 1959). American composer, conductor, baritone, and editor. The child of Holocaust survivors, Hoffman studied at the Boston Conservatory, where he received the BM, magna cum laude, in 1981. He earned the MM from the New England Conservatory of Music in 1984, and he received the PhD from Brandeis University in 1993. His teachers included Arthur Berger, Martin Boykan, Hugo Norden, Chris Roze, Harold Shapero, Larry Alan Smith, and Yehudi Wyner. From 1990 to 1998, Hoffman worked as an editor at the music engraving company Scores International in Boston, and he was hired as an editor at ECS Publishing immediately thereafter.

Since the mid-1980s, Hoffman has composed a substantial body of choral music. Many of these pieces reflect his Jewish heritage, and his sacred works can be used in temple services. This music is also sung widely in churches, high schools, universities, and by professional choral ensembles. In addition, he has composed choral works using secular texts along with pieces for keyboard solo, solo voice, chamber ensembles, and full orchestra. Hoffman’s work has been commissioned by ensembles such as the Carolina Brass and ALEA III (a contemporary music ensemble). His piece ...