(b Bitonto, nr Bari; d after 1651). Italian composer and guitarist. He is known by four books of pieces for five-course Baroque guitar. They consist mainly of simple battute accompaniments to popular songs and dances of the early 17th century such as the passacaglia, ciaccona, folia, Ruggiero and aria di Fiorenza. The accompaniments are set down in the alphabet system of chord notation (alfabeto) devised by Girolamo Montesardo, in which letters of the alphabet designate fingering positions for various major and minor chords. Each of Abatessa’s books contains instructions concerning the interpretation of the alphabet tablature, the fingering of the chords and the tuning of the guitar; the 1652 book also explains how to tune the guitar with the harp, presumably for the simultaneous playing of continuo parts. The 1627 collection gives instructions regarding the execution of certain kinds of strum such as the trillo and ...
revised by Gary R. Boye
Giovanni Carli Ballola
revised by Roberta Montemorra Marvin
(b Alessandria, March 20, 1851; d Alessandria, May 2, 1894). Italian organist and composer. He began his musical studies with his stepfather, Pietro Cornaglia. From 1868 to 1871 he attended the Milan Conservatory, studying the piano with Antonio Angeleri and composition with Lauro Rossi and Mazzucato. His graduation exercise, the cantata Caino e Abele, won the first prize and a medal of honour. He toured abroad as a concert pianist, but from 1880 until his death was organist at the cathedral in Alessandria, where he also founded a school of composition, singing and piano, and conducted concerts for the Associazione filarmonica alessandrina. He composed three operas, Isabella Spinola (1877, Milan), Maria di Warden (1884, Venice) and Una partita a scacchi (1892, Pavia), the latter based on Giuseppe Giacosa's popular comedy. In these works, which did not have much success, Abbà Cornaglia remained uninfluenced by the innovatory tendencies of the ‘Scapigliatura’ and of Catalani and by the new ...
(b Città di Castello, Jan 26, 1595; d Città di Castello, ? after March 15, 1679). Italian composer and teacher. He travelled to Rome with his brother Guidobaldo, an artist, in 1623 and 1625 (Andrae, 17–19), and was employed at S Giovanni in Laterano from January 1627 to May 1629. According to his verse autobiography (in I-Rvat ) he served there ‘seven years and some months’, or from 1622, but neither this nor his statement that he held earlier positions in Città di Castello and at the Gesù in Rome have been confirmed. He subsequently served as maestro di cappella at the cathedrals of Città di Castello (June 1629 to May 1632, December 1635 to November 1640 and May 1677 to March 1679) and Orvieto (December 1632 to 1635). In Rome his principal tenures were at S Maria Maggiore, where he trained boy sopranos (...
(b Cairo, Nov 25, 1924; d Königstein, Nov 23, 1988). Egyptian composer. His father performed classical Arab music with his own ensemble. After learning the piano and developing an interest in Western music, Gamal studied history at Cairo University (BA 1945), at the same time continuing his musical studies with Hans Hickmann and others. A government bursary enabled him to study musicology in Heidelberg with Georgiadis (1950–52) and composition at the Freiburg Hochschule with Harald Genzmer (1952–7). After graduation he returned to Egypt, where he taught at the newly founded Cairo Conservatory. In 1971 he was appointed professor of composition there, and he proceeded to establish the first composition department in the Arab world, teaching several Egyptian and Arab composers (including Daoud, Ghoneim, Salama and Al-Saedi) until his retirement in 1986. In 1987 he left for the University of South Florida, in Tampa, Florida, where he lived and taught until his death during a visit to Germany....
Lucrecia R. Kasilag
(b Santa Cruz, Manila, May 14, 1876; d Manila, April 23, 1944). Filipino composer, conductor and violin teacher. At an early age he studied solfège, composition, conducting and the violin with Ladislao Bonus. He played the violin in the Rizal Orchestra in his youth, and in 1910 he founded the Oriental Orchestra; in the early 1920s he conducted many zarzuelas and operas. He was the moving spirit behind the Manila Chamber Music Society, of which he became director in 1921. A well-known violin teacher, he also excelled as a nationalist composer. Among his works are the zarzuelas Ang sampaguita (‘The Sampaguita Flower’), Anak ng dagat (‘Son of the Sea’), Luha’t dugo (‘Tears and Blood’), Ang masamang kaugalian (‘The Bad Traits’), Delinquente and Declaracion de amor. Other compositions include a cantata, O! dios sa kalangitan (‘O God in Heaven’), Ibong adarna (‘The Adarna Bird’), a coloratura song, and Kundiman...
Lucrecia R. Kasilag
(b Tagoloan, Oriental Misamis, July 13, 1922; d Fresno, CA, June 5, 1991). Filipina composer and conductor. She studied music at Lourdes College, the piano at St Scholastica’s College and composition at the Philippine Women’s University (MM 1957). Later she attended the Labunski School of Composition in Ohio, the Eastman School and the Catholic University of America, Washington, DC. A nun of the Order of the Virgin Mary, she taught music theory and composition, conducted fund-raising concerts, and travelled widely to take part in international music conferences. In 1977 she moved to the USA, teaching at Kansas University and St Pius Seminary in Kentucky before moving to Fremont, California; in 1980 she was elected president of the Philippine Foundation of Performing Arts in America. Among the honours she received were the Republic Culture Heritage Award (1967) and the Philippines’ Independence Day Award (1973). She produced over 300 compositions and some published music textbooks. Her style is marked by neo-classical and Impressionist features, with quartal harmonies, added-note chords, pentatonic and modal scales....
(b Le Pallet, nr Nantes, 1079; d Saint-Marcel, nr Chalon-sur-Saône, April 21, 1142). French philosopher, poet and musician of Breton origin. After studying philosophy in Paris, he taught dialectic at the cathedral school. His love affair with Heloise, the young niece of Canon Fulbert, brought him fame as a musician. However, after they had secretly married in 1118 Fulbert had Abelard castrated. Heloise became a nun and he became a monk at St Denis. His highly original scholastic method and his restless and blunt nature aroused opposition to his teaching; principal among his opponents was Bernard of Clairvaux. After condemnation by the Council of Sens in 1140, Abelard found support from Peter the Venerable, Benedictine Abbot of Cluny.
Abelard’s songs are few beside his numerous theological and philosophical writings. Heloise’s testimony suggests that his love songs must have been important from both a literary and a musical point of view. In a later letter (probably revised by Abelard) she declared that he had ‘the gift of poetry and the gift of song’; he ‘composed quite a number of metrical and rhythmic love songs. The great charm and sweetness in language and music, and a soft attractiveness of the melody obliged even the unlettered’. These songs, presumably in Latin, have all been lost: they have not been identified among the anonymous repertory....
Lucrecia R. Kasilag
(b San Miguel, Bulacan, Feb 7, 1893; d Manila, March 21, 1934). Filipino composer, conductor and teacher. As a child he had violin lessons from his father, and in 1901 he wrote his first composition, Ang unang buko (‘The First Fruit’), a waltz. He was sent to study at the Liceo de Manila and he learnt to play the piano, but at the same time he had to take various jobs to support himself and his family. In 1916 he entered the Conservatory of the University of the Philippines, and in the next year he composed a march, U. P. Beloved, which won first prize in an open competition. He studied with Victoriano Carreon (singing), José Silos (bandurria), Bonifacio Abdon (violin) and José Estella (piano); he received a teacher’s certificate at the conservatory in 1921, and in 1923 he pursued postgraduate studies there.
The piano concerto, which he wrote for these later courses, was the first concerto written by a Filipino. From the same period are ...
Hanns-Bertold Dietz and Joseph Vella Bondin
(b Valetta, Nov 16, 1715; d Naples, Oct 1760). Maltese composer and teacher. His grandfather, who was French, settled in Malta in 1661. Abos's cousin Carol Farrugia paid for him to go to Naples as a child and receive his musical training at the Conservatorio dei Poveri di Gesù. An entry in the 1729 account book of the institution lists a payment to a ‘Maltese maggiore’ for copying a ‘new work by Sig Francesco Durante, Dixit’. Abos's principal teachers at the conservatory would have been first Gaetano Greco, then Durante and Gerolimo Ferrara (not Leonardo Leo). His first opera for Naples was Le due zingare simili, an opera buffa staged at the Teatro Nuovo in 1742. In the same year he took teaching posts at two Neapolitan conservatories: the Poveri di Gesù Cristi, where he succeeded Alfonso Caggi as secondo maestro and assisted Francesco Feo until the institution was dissolved in ...
(b c1420; d 1497). English church musician. He was noted as a fine singer and skilful organist. After service in the household of Humphrey, Duke of Gloucester (until 1447), and as a lay clerk of Eton College (1447–51), where he was one of the four clerks specially responsible for singing polyphony in the college chapel, he became a clerk of the Chapel Royal in 1451, and Master of the Choristers there from 1455 to 1478. His duties included teaching the boys to play the organ and to sing plainsong and improvised polyphony; also it seems probable that he was instrumental in the introduction about this time of the use of boys’ voices in composed polyphony. The award to him in 1464 of a Cambridge MusB reflects his eminence in the musical profession – he is the earliest known recipient of this degree – while the patronage of Bishop Bekynton brought him valuable sinecures in the diocese of Bath and Wells. His last years were spent as a resident of Sanctuary Yard, Westminster Abbey....
Enrique Cordero Rodríguez
(b San José, Aug 24, 1943). Costa Rican composer, ethnomusicologist and baritone. He obtained a teaching diploma and the BA at the University of Costa Rica Conservatory, with singing as his special subject. During 1975–6 he lived in Paris, where he studied singing at the Ecole Normale Supérieure de Musique, Gregorian chant and choral conducting at the Catholic University and ethnomusicology at the Sorbonne. He taught at the Escuela de Artes Musicales of the University of Costa Rica (1976–90; director of the Escuela, 1983–7; dean of the fine arts faculty of the university, 1987–91). In 1994, with the painter Ronald Mills, he co-founded the Centro de Investigaciones y Documentación de Musica y de Artes Plásticas, researching the traditional music of Guanacaste and Limón provinces and of the Costa Rican indigenous people, conducting field studies in Costa Rica, Guatemala and Mexico, making recordings, publishing books and articles, and holding lectures and seminars....
(b Sibiu, Nov 3, 1940; d Munich, May 27, 2006). German composer of Romanian birth. He studied the piano, the organ and theory privately with Franz Xaver Dressler in Sibiu (1950–58). From 1959 to 1964 he studied composition with Toduta at the Cluj Academy of Music where, after receiving his diploma, he remained to teach composition and music theory. In 1969 he moved to the Federal Republic of Germany to teach at the Robert Schumann Conservatory, Düsseldorf (1969–72) and attend the Darmstadt summer course (1969). He was appointed to teach theory and composition at the Munich Musikhochschule in 1972, becoming professor of composition there in 1976. His awards included the composition prize of the Prague Spring Festival (1966), the Stuttgart Stamitz prize (1970), the city of Stuttgart composition prize (1971), the Stroud Festival composition prize, the Hitzacker prize (...
Ferenc Bónis and Anna Dalos
(b Szigetszentmiklós, Dec 12, 1896; d Budapest, May 15, 1982). Hungarian composer, conductor and teacher. From 1911 until 1915 he received instruction in organ playing and theory at the Budapest teacher-training college. Then, as a prisoner of war (1916–20), he organized and conducted a men’s choir and an orchestra in Russia. He studied composition at the Budapest Academy of Music under Kodály (1921–25) and conducting in Weingartner’s masterclass in Basle (1933–5). He conducted the orchestra (1929–39) and the choir (1929–54) of the Budapest Academy where he also taught Hungarian folk music, choral conducting and methodology from 1939 to 1959, and where he directed the singing department from 1942 to 1957.
Ádám began his career as a conductor in Budapest in 1929 with a performance of Haydn’s The Seasons. From 1929 until 1933 he was deputy conductor of the Budapest Choral and Orchestral Society. With the male choir Budai Dalárda, which he directed from ...
(b Algemesí, province of Valencia; fl 1775–87). Spanish composer and teacher. According to early biographers, he was organist at the Madrid royal chapel and the Convento de los Desamparados. He is best known for a small treatise, Documentos para instrucción de músicos y aficionados que intentan saber el arte de la composición (Madrid, 1786), whose stated purpose was to compensate for the lack of teaching materials on secular music in Spain. Quite elementary, it consists mostly of examples of counterpoint and free composition, and also gives the instrumental ranges. It was attacked in a satirical Carta laudatoria a don Vicente Adán (Madrid, 1786), to which Adán replied in Respuesta gratulatoria de la carta laudatoria (Madrid, 1787). Various 18th-century publishers’ lists and bibliographies indicate that many volumes of his compositions were printed in Madrid in the 1780s. Most of these were for the psaltery, which experienced a strong revival in the 18th century, although it had been known in Spain since the Moorish occupation. Adán’s compositions for this instrument include preludes, sonatas, divertimentos and fandangos as well as an instruction book; there is also evidence that he published organ works and vocal music, both sacred and secular. None of these other publications are extant, although one untitled piece of his for psaltery survives (in ...
(b Mannheim, March 4, 1928). American composer and conductor of German birth. Both of his parents were musical, his father being a cantor and composer of Jewish liturgical music. The family came to the USA in 1939 and Adler attended Boston University (BM 1948) and Harvard University (MA 1950). He studied composition with Aaron Copland, Paul Fromm, Paul Hindemith, Hugo Norden, Walter Piston and Randall Thompson; musicology with Karl Geiringer, A.T. Davison and Paul A. Pisk; and conducting with Sergey Koussevitzky at the Berkshire Music Center. In 1950 he joined the US Army and organized the Seventh Army SO, which he conducted in more than 75 concerts in Germany and Austria; he was awarded the Army Medal of Honor for his musical services. Subsequently he conducted concerts and operas, and lectured extensively throughout Europe and the USA. In 1957 he was appointed professor of composition at North Texas State University, and in ...
(b Antwerp, c1554; d Antwerp, bur. Feb 27, 1604). Flemish lutenist, teacher and composer. He went to Rome to study in 1574, a visit that probably accounts for the Italian elements in his publications. He was a Protestant, but after the fall of Antwerp in 1585 he was compelled for political reasons to embrace the Catholic faith. With his brother Gysbrecht he opened a school for lutenists at Antwerp, but in 1587 they came into conflict with the musicians’ guild because neither of them was a member; later, however, Emanuel must have qualified as a freeman of the guild, for he occasionally assumed the title of master. He was appointed captain of the citizens’ watch, which brought him a regular income, and in 1595 he took part in the relief of the nearby town of Lier, which had been occupied by the Dutch. He moved in the highest circles in Antwerp, and the principal families doubtless admired his virtuosity as a lutenist and engaged him to perform. His publications brought him wider fame, and they were to be found in the libraries of many prominent people, among them Constantijn Huygens, King João IV of Portugal and Cardinal Mazarin. He was mentioned by Adrian Denss (...
Marie Louise Pereyra
revised by George Biddlecombe
(b Liège, May 26, 1767; d Paris, Nov 19, 1822). Flemish bass, teacher and composer. He learnt music as a chorister at St Lambert’s Cathedral, Liège, and later at the Ecole Royal de Chant in Paris. He appeared as a singer at the Concert Spirituel in 1781, and in 1783 sang the role of Calchas in Gluck’s Iphigénie en Aulide at the Opéra. His last known appearance at the Opéra was as Rosmor in Le Sueur’s Ossian in 1804. In 1806 he was appointed chef de chant, a post he held until his death. In March 1822 he succeeded Laîné as professor of lyric declamation at the Ecole Royale de Musique, but died eight months later. An advocate of the old French system of declamation, he was said to have had a harsh voice and a bad vocal method, but some ability as an actor.
Adrien composed choral settings of Revolutionary texts, including ...
Sven Hansell and Robert L. Kendrick
(b Milan, Oct 17, 1720; d Milan, Jan 19, 1795). Italian composer. As a girl she performed in her home while her elder sister Maria Gaetana (1718–99; she became a distinguished mathematician) lectured and debated in Latin. Charles de Brosses, who heard them on July 16, 1739 and was highly impressed, reported that Maria Teresa performed harpsichord pieces by Rameau and sang and played compositions of her own invention. Her first cantata, Il restauro d’Arcadia, was written in honour of the Austrian governor Gian-Luca Pallavicini in Milan in 1747. About 1750 she was in correspondence with the acoustician and music theorist Giordano Riccati, who cited passages from her works in a 1762 treatise. At about this time, she sent her tragic opera seria La Sofonisba to Vienna for possible performance on the nameday of Empress Maria Theresa, who reportedly sang other arias that Agnesi had sent her. After marrying Pier Antonio Pinottini on ...
(b Puerto Príncipe, Cuba, ?Nov 28, 1844; d Havana, ?Dec 31, 1918). Pianist, music teacher, arranger, conductor, composer, and lawyer of Cuban birth, naturalized American. Born into a prominent family in Puerto Príncipe, Cuba (present-day Camagüey), Agramonte strongly supported the movement for independence from Spain. He studied music and the law in Cuba, Spain, and France. After vocal studies with Enrico Delle Sedie (1822–1907) and François Delsarte (1811–71) at the Paris Conservatory, he immigrated to the United States, settling in New York in 1869, where he remained until after Cuban independence in 1898. He became a US citizen in 1886.
In the 1870s and 1880s, Agramonte taught music at the Academy of Mount Saint Vincent in the Bronx. In the 1890s he taught with Dudley Buck and William Mason at the Metropolitan College of Music and ran his own School of Opera and Oratorio at his home, teaching singers such as ...
revised by Peter Wollny
(b Grossfurra, Thuringia, Oct 25, 1643; d Gotha, Feb 20, 1676). German composer and writer. After initially going to school in his native town he was sent in 1656 to Eisenach for three years. There he attended the town school, the staff of which included Theodor Schuchardt, a highly respected teacher of music and Latin. From 1659 to 1662 Agricola studied for his school-leaving examination at the Gymnasium of Gotha; the headmaster there was Andreas Reyher, who was the co-author of the Gothaer Schulmethodus, an educational work which set an example for the teaching of music too. In 1662–3 Agricola studied philosophy at Leipzig University and from 1663 to 1668 theology and philosophy at Wittenberg, where he was awarded a master's degree by the faculty of philosophy. His four recorded scholarly essays dating from this period are lost. He had begun to learn the fundamentals of music during his school years, and he may also have been a pupil of the Kantor of the Thomaskirche, Leipzig, Sebastian Knüpfer. He continued his musical training at Wittenberg, completing the study of composition under the guidance of Italian musicians resident there. Returning to his native Thuringia he was able to turn his musical abilities to good use in the Kapelle of the Schwarzburg-Sondershausen court until in ...