1-10 of 1,966 results  for:

  • Composer or Arranger x
Clear all


Matthew Oltman


(b Pursruck [Oberfalz], Sept 1, 1906; d Munich, Oct 2, 2001). German composer, conductor, and recording engineer. At the Munich Hochschule, Biebl studied composition with Joseph Haas and Siegmund von Hausegger, conducting with Heinrich Knappe, and Catholic church music with Ludwig Berberich. He taught at the Mozarteum before being drafted into military service in 1943 and spent two years as an American prisoner of war at Fort Custer (1944–6) where he developed an appreciation for American folk songs and spirituals. After the war, Biebl directed a church choir and worked as a recording engineer for Bavarian Broadcasting where he helped facilitate choral programming. He was an advocate of amateur choral singing and composed over 2000 arrangements and original songs, many of which remain popular among German singing societies.

Biebl is best known for his Ave Maria (Angelus Domini). Originally written for double male chorus, it received its première in Munich on ...


James Chute

(b Denver, 7 Dec 1947; d Green Valley, CA, 5 Dec 2005). Composer and conductor. He studied conducting with Antonia Brico, whose tutelage and encouragement was a decisive influence. While still in high school in Denver, where he was a jazz drummer, he played timpani in her community orchestra and she introduced him to the music of the great composers of the 18th and 19th centuries. He attended Yale University (BA 1969), where he encountered the work of Anton Webern, whose influence was also significant. At Yale, he co-founded the experimental ensemble Not Morton Baby with his brother Martin Mosko and Burr Van Nostrand and studied conducting with Gustave Meier and composition with Donald Martino and Mel Powell. When Powell left Yale to become founding dean of the department of music at the California Institute of the Arts in 1970, Mosko followed him to CalArts, where he studied with Powell, ...


Warren M. Sherk

(b Pittsburgh, 29 June 1870; d Los Angeles, 23 Jan 1926). American composer, conductor, arranger, and singer. Largely self-taught, his fondness for the theater as a teenager led him to compose an operetta and to a career composing dramatic music. Educated at Pittsburgh Catholic College, he spent two years in Leipzig studying music theory with Reinecke and vocal music with Ewald. Returning to Pittsburgh in 1891, he began teaching voice, singing at St. Paul’s Cathedral, and writing vocal music. He founded the East End Musical Club, a vocal ensemble he also conducted. By 1900 he was settled in New York writing sacred music and art songs, and from 1903 to 1909 employed as an editor and arranger at major music publishers. He gained nationwide exposure as a composer in 1909 with his incidental music for a play, The Climax, which included the expressive “Song of the Soul.” Concert performances of his vocal music ensued....


Daniel Goldmark

(b Minneapolis, MN, 28 March, 1941). Composer for television, conductor, arranger, and orchestrator. Clausen grew up in Jamestown, ND, where he took up French horn and piano, as well as singing in school choirs. He attended North Dakota State University studying mechanical engineering before a summer in New York City, before being exposed to first-run Broadway musicals and other professional musical settings convinced him he should pursue music instead. He took up string bass and baritone sax and graduated with a degree in music in 1963, followed by a masters degree at Berklee College of Music.

After moving to southern California, his first high-profile professional gig was as an arranger for the second season of The Donny and Marie Show, and eventually conductor and music director for the show’s third season. He moved away from variety and into scripted drama with his work on Moonlighting; during this time he also scored the comedy series ...


Claire Levy

(b Sofia, 8 Dec 1934; d Sofia, 12 July 2008). Bulgarian conductor, composer, pianist, and arranger, of Armenian origins, remembered for his prominent role as a musician and public figure in the development of popular music in Bulgaria. He graduated from the Technical University in Sofia (1957) and studied in the Faculty of Theory at the Bulgarian State Conservatory. In 1953 he joined the band Jazz of the Young. By the end of the 1950s he played the piano also at the Satiric Theatre Orchestra and founded Studio 5, a band famous for its supportive role in promoting young singers. Following a similar purpose, later on he initiated Trombata na Vili (‘The Horn of Vili’), a radio contest for discovering new talented pop singers. Since 1960 Kazassian’s music activities have been closely associated with the newly created Big Band of the Bulgarian National Radio where he took successively the positions of pianist (...


Claire Levy

(b Plovdiv, 19 Dec 1937). Bulgarian composer, pianist, conductor, arranger, and bandleader. He was internationally acknowledged for his innovative ideas, cross-cultural experiments, and contribution to the concept of fusion and free improvisation. Classically trained at the Bulgarian State Conservatory (1955–60) under Pancho Vladigerov (composition) and Andrey Stoyanov (piano), he is the author of numerous compositions in styles and genres including jazz, pop, symphony, chamber, film, and theatrical music. He conducted the Radio and Television Big Band in Sofia (1962–6) and led his own avant-garde quartet, Jazz Focus’65 (1965–8), which won the Critic’s Prize at the Montreux Jazz Festival in 1967. In 1970 he left Bulgaria for political reasons and moved to the USA where he joined the Don Ellis Orchestra (1971–8), and later collaborated with the classical/jazz quartet Free Flight. He also played with outstanding jazz musicians including Art Pepper, Billy Cobham, and Dave Holland, among many others....


Marta Ottlová, Milan Pospíšil, John Tyrrell and Kelly St Pierre


(b Leitomischl, Bohemia [now Litomyšl, Czech Republic], 2 March 1824; d Prague, 12 May 1884). Czech composer, conductor, teacher, and music critic often described as the ‘father’ or ‘inventor’ of Czech national music. While his first language was German and his first nationalist compositions were based on Swedish narratives, Smetana asserted himself as composer of specifically Czech music from the 1860s, and his music posthumously became synonymous with a Czech national musical style. Today, Smetana’s eight operas, including Prodaná nevěsta (‘The Bartered Bride’), as well as his cycle of symphonic poems Má vlast (‘My Fatherland’) form the foundation of the Czech classical musical canon. His opera Libuše is also frequently cited as an ‘apotheosis’ of Czech music, especially in conjunction with the first movement of Má vlast, entitled ‘Vyšehrad’.

After his death, Smetana was transformed in the minds of his audiences and advocates from a composer of nationalistic music to a national symbol himself; he and his works became enduring points of reference for Czechs’ ever-shifting borders, politics, administrations, ethnicities, and imagined futures through the 20th century. For this reason, the actual Smetana in many ways has become inseparable from the myth of ‘Smetana’, as later critics and historians molded his life and work to match their needs. The composer’s supposed greatness, genius, Czechness, tragic deafness, and heroism all give voice to the shifting needs, anxieties, and interests of his audiences as much as to the composer himself....


Amra Bosnić

(b Kuršumlija, Serbia, 1966). Bosnian and Herzegovinian composer. She graduated with a degree in composition from the Academy of Music in Sarajevo (1991), in the class of josip magdić, after which she gained the Master of Composition (2004) under the mentorship of composer dejan despić. Her first position was at the Srednja muzička škola (‘music high school’) in Valjevo, Serbia (1992–2000). She returned to Eastern Sarajevo, Bosnia and Herzegovina, to work as an Associate Professor of Harmony and Harmonic Analysis.

Dutina’s compositions reflect her interest in Balkan folklore, mostly of a rural-vocal type, and in the formal and harmonic devices associated with neoclassicism. She has composed solo songs, chamber music, symphonic works, vocal-instrumental music, choral music, music for children, and film music.

Dutina also cherishes folkloric vocal traditions through her engagement as founder and artistic director of the female vocal ensembles Rusalke (...


William Berz

(b Cincinnati, OH, 26 Nov 1889; d Cincinnati, OH, 28 Jan 1967). American conductor and cornet virtuoso. Simon began cornet studies at age 11, and continued, in 1905, with herman Bellstedt, the famous cornetist. By 1909 Simon was cornet soloist with several professional bands and a member of the Cincinnati SO under Leopold Stokowski. In 1914, he was invited to join the Sousa Band without an audition, becoming solo cornetist and assistant conductor in 1917 when Herbert L. Clarke retired. In 1920–21 Simon formed the ARMCO Band; it evolved from an amateur group to an elite professional ensemble that presented weekly national broadcasts on NBC radio. In 1930, Simon began serving as band director and cornet instructor at the Cincinnati Conservatory. He retired in 1954 and moved to Arizona for health reasons and began teaching part-time at the University of Arizona. He returned to Cincinnati in 1965 and again taught at the Conservatory....


Ivan Čavlović

(b Zvornik, Dec 17, 1906; d Sarajevo, 1990). Bosnian-Herzegovinian composer, conductor, and concert singer. He started his musical career as a choirboy in the choir Sveta Cecilija at Sarajevo Cathedral. He studied solo-singing in the class of Nina Mastergazi and Leo Pešek at the Music School in Sarajevo. In 1927 he studied solo-singing in the class of Milan Reizer at the Academy of Music in Zagreb. He was a self-taught conductor and composer. From 1928 he conducted amateur choirs in Sarajevo, with which he performed most of his own compositions. He attained great success with the Croatian choir Trebević. After World War II he was an employee of Zavod za zaštitu malih autorskih prava (the ‘Institute for Protection of Authors’ Rights’) and a conductor of the choir Vaso Miskin Crni.

Demetar set harmonizations of folk tunes and based compositions on Bosnian folklore. His harmonic language is traditional but with a certain freedom in the elaboration of extended tonal harmony. He particularly enriched Bosnian-Herzegovinian choral literature....