(b Woodstock, VT, June 4, 1842; d Brattleboro, VT, d Aug 3, 1914). American organist. After studying organ with local teachers he became a student of John Knowles Paine in Boston and later taught organ at the New England Conservatory. In 1871 he became organist/choirmaster at the Church of the Advent in Boston, working for 26 years as one of the early advocates of the choral excellence and liturgical propriety exemplified by the growing Oxford Movement in England. He also led one of the first boy choirs in the United States and established one of the first English Cathedral Services in this country. With J. C. D. Parker and others he founded and directed the Massachusetts Choir Festival Association and led many choral festivals throughout New England. Along with Dudley Buck and Paine he was among the first organists to introduce the organ works of Bach to American audiences. He was also a founder of the American Guild of Organists....
N. Lee Orr
(b Litochoro, Pieria, Greece [then, Ottoman Empire], 1854; d Athens, Greece, 15 December 1938).Greek cantor, choral conductor, arranger of church music, music teacher, and composer. He studied philology at the University of Athens and was instructed in both Byzantine and Western music. He taught music in schools and in private lessons. From 1904 to 1907 he taught H.J.W. Tillyard the New Method of Byzantine notation.
In the controversy called ‘The Music Question’ (whether church music should preserve its monophonic texture and neumatic notation or become homophonic notated in stave notation), Sakellarides was an enthusiastic exponent of the second option. Gifted with a flexible tenor voice, he attracted large congregations in central Athenian churches, including the cathedral, performing his own versions of liturgical chant, the product of his elementary knowledge of harmony. He attracted also wrathful criticism from purists.
Collaborating with Athens University professor Georgios Mistriotis, founder in ...
revised by Axel Helmer
(b Stockholm, Jan 19, 1860; d Stockholm, Jan 20, 1938). Swedish composer, organist and conductor. He attended the Swedish Royal Academy of Music (1882–6), studying counterpoint and composition with J. Dente, and was a pupil of Franck in Paris (1887–8). In Stockholm he was coach at the Royal Opera (1888–90), organist at the synagogue (1890–1928), music teacher at Norrmalm’s grammar school (1895–1923) and teacher at Richard Anderssons Musikskola (1897–1909). From 1886 he conducted several choirs, including the Bellman Choir (1895–1926), which he also founded, and the Philharmonic Society (1900–03). Åkerberg’s compositions often approach the style of Swedish folk music, especially the ballads Kung Svegder and Prinsessan och Svennen. They are technically sound but conventional.
MSS in S-Skma, Svenska Tonsättares Internationella Musikbyrå
revised by Thomas J. Mathiesen
As the trainer of a choir of girls who sang and danced at Spartan religious festivals, Alcman wrote maiden-songs (see Partheneia), which brought him particular fame. Extensive portions of one of these have survived (PLouvre E3320); the lines recreate with great immediacy the half-humorous, half-impassioned rivalry of his young choristers. For solo performance he composed proöimia, preludes to the recitation of Homeric poetry (see Terpander...
revised by Tess Knighton
(fl 1506–9). Iberian composer. A native of Barcelona, he became maestro de capilla at the cathedral there on 19 January 1506. By 1 March 1508 he was appointed singer in the Aragonese royal chapel of Ferdinand V. He appears to have stayed there less than six months and in summer 1509 he succeeded the theorist Juan de Espinosa as ‘master of music’ at Toledo Cathedral; he held this position for only about a year, after which his name disappears from the records. Three villancicos by him appear in the Cancionero Musical de Palacio. It is interesting that these songs are copied in close proximity to two pieces by Pedro de Lagarto, another composer active at Toledo Cathedral. At least one of Aldomar's songs, ¡Ha Pelayo, qué desmayo!, enjoyed considerable popularity: a four-voice version is found in a collection printed in Venice in 1556. His song style is typical of that of the villancico in about ...
(b Évora, Dec 27, 1917). Portuguese musicologist. He studied music at the Évora Seminary and in Rome at the Pontificio Istituto di Musica Sacra, where he obtained the licentiate in 1951. From 1940 he taught music and conducted the choir at the Évora Seminary; he also taught at the Centro de Estudios Gregorianos, Lisbon, where in 1966 he succeeded Mario Sampayo as conductor of the Polyphonia, a choir devoted to the interpretation of early music (particularly Portuguese). In 1974 he resigned from both posts. He was made canon of the Évora Cathedral Chapter, where he was active as mestre da capela, in 1957 and was granted the honorary doctorate by the University of Évora in 1988. He has contributed to the encyclopedia Verbo and to various national journals, and has taken part in many conferences, both national and international. His publications may be divided into three fields: transcriptions of Portuguese polyphonic music, catalogues of Portuguese musical archives, and diverse writings on the history of Portuguese music, particularly in the cathedrals. His transcriptions are always extremely accurate and faithful to the originals and, at the same time, practical for choral use. His catalogues, though seldom including musical incipits, are complete, detailed and clear, and form the greatest list of musical sources in Portugal....
Peter Andreas Kjeldsberg
revised by Martin Anderson
(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 (...
Paolo Emilio Carapezza and Giuseppe Collisani
(b Ciminna, nr Palermo, Jan 5, 1629; d Palermo, July 29, 1670). Italian composer. His family were connected with the princely houses of Ventimiglia and Gambacurta. His younger brother Paolo, author of Teatro marmoreo della marina (Palermo, 1682), was one of the greatest Italian architects. His sister or cousin Eleonora was the mother of Alessandro Scarlatti; deputizing for the parish priest of S Antonio Abate, Palermo, Amato personally baptized her daughters. He spent his life at Palermo. Entering the Seminario dei Chierici in adolescence, he obtained a degree in theology and took holy orders. From 1652 he directed music at the church of S Maria del Carmine and from 1665 until his death he was maestro di cappella at the cathedral. He was commissioned by S Maria del Carmine to compose two Passions (one according to St Matthew, the other according to St John). These are not oratorio Passions but liturgical works; recitatives and ...
revised by James R. Anthony
(b Burgundy, late 16th century; d Rouen, July 6, 1637). French composer. All that is known of his life is that in 1626 he was procureur of the Compagnie de Jésus at Rouen. He left only musical works, from which we may infer that he was director of music of one of the colleges of his order. His Octonarium sacrum (1634) is a set of five-part verses for the Magnificat, using all eight tones; they are fugal and closely resemble similar pieces by Formé. Two years later he published his Harmonia sacra in two complementary volumes for four and six voices respectively. It includes works for double choir in a distinctly modern style originating in Italy that had already been adopted in France by several composers, Du Caurroy and Le Jeune notable among them; each volume also contains several masses and motets for a single choir. The double-choir works are for liturgical use and comprise psalms, motets and hymns. In his preface d'Ambleville states that they may be performed according to the forces available, for example by two groups – one of four soloists, the other a six-part chorus – by a soprano and bass duet from each choir or by a solo soprano, the missing voices being replaced by instruments or, failing them, by organ alone. He normally wrote either in fauxbourdon style (which he also called ‘musica simplex’) or contrapuntally, including fugal textures (‘musica figurata’), which he handled skilfully. Apart from these Latin works he was also, according to Gastoué (p.264), the composer of the music published in ...
(b Peterborough, June 15, 1898; d ? Olney, Bucks, June 26, 1994). English organist, conductor, composer and educationist. He was trained by Haydn Keeton, organist of Peterborough Cathedral, where he was assistant organist, 1915–16. He then studied at the Royal College of Music and Keble College, Oxford. He became successively assistant organist of Manchester Cathedral (1921–2) and organist of St Peter's, Eaton Square, London (1922–8); during the later period he studied at the RCM with Holst and Vaughan Williams. He took the Oxford DMus in 1929. From 1928 to 1933 he was organist of Exeter Cathedral. In 1933 he was appointed organist of Christ Church, Oxford, and remained there until he was appointed principal of the Royal Academy of Music in 1955, a post from which he retired in 1968. He was knighted in 1958. While organist of Exeter Cathedral he was also director of music to the University College of the Southwest and this experience stood him in good stead at Oxford, where he achieved success as a tutor and lecturer and – in succession to Hugh Allen – as conductor of the Bach Choir and the Orchestral Society....