1-10 of 850 results  for:

  • Composer or Arranger x
  • Music Educator x
Clear all


Gregorio Maria Paone

(b Capua, nr Naples, 1803; d Naples, 1860). Neapolitan clarinettist and composer. Ferdinando Sebastiani studied clarinet with Michele Rupp and composition with Fedele Fenaroli at the Real Collegio di Musica di San Sebastiano in Naples, where he eventually became a clarinet teacher himself. He also became principal clarinet of the Orchestra of Teatro San Carlo and of the Reale Cappella Palatina in Naples. As well as his orchestral activity he worked as a soloist and played in Paris, Florence, Vienna, and Naples. He wrote a huge number of pieces, which indicates how at that time even instrumentalists were keen on music composition.

Sebastiani used a particular clarinet made by the Neapolitan instrument maker Gennaro Bosa. A variant of the standard Müller clarinet, the Bosa clarinet required the use of the right thumb in order to make some passages easier, while in the Müller system of fingering the right thumb usually serves only to sustain the instrument....


Jaymee Haefner

(Gabrielle Marie Sophie)

(b Paris, 18 Sept 1875; d Paris, 1 March 1956). French harpist, composer, and teacher. Henriette Renié was the youngest of five children and the only daughter in her family. While riding on a train with her father, the five-year-old Renié pointed to the harpist Alphonse Hasselmans and declared he would be her teacher. After three years of the piano, Renié began harp lessons at the Érard workshop with Hasselmans and later entered the Conservatoire de Paris, winning her premier prix at the age of 11. As a young girl Renié commented upon the difficulty of the harp’s pedals to Gustave Lyon (of Pleyel), inadvertently renewing interest in cross-strung chromatic harps.

Renié toured with the Lamoureux Orchestra under the baton of Camille Chevillard and collaborated with Paul Paray, Ernest Van Dyck, Jacques Thibaud, Jeanne Raunay, Claire Croiza, and Pablo Casals. She gave the première of Gabrielle Pierne’s Concertstück...


John Koegel

(b Bucyrus, OH, March 15, 1854; d Alameda, CA, Oct 16, 1926). American composer, pianist, conductor, and music educator. He studied piano with William Mason at the Boston Conservatory, and piano and composition with Carl Reinecke in Leipzig, where his Symphony in F (1872) was performed. In the 1880s, because of ill health, he moved to San Luis Obispo, California, for its fine weather, teaching music, and leading local performing groups. In 1889 he moved to Santa Barbara, California, where he also taught music, led the town band, and conducted some of the first performances of Haydn’s music in the western United States. There he met members of the Californio elite, who sang Mexican folk and parlor songs for him. McCoy arranged ten of these in his series Canciones del País: Folk Songs of the Spanish Californians (Santa Barbara, CA, 1895), later issued in San Francisco in ...


Lance W. Brunner

revised by Greg A Steinke

(b Joliet, IL, Dec 14, 1929). American composer and conductor. He studied with Howard Hanson, Bernard Rogers, Louis Mennini, and Wayne Barlow at the Eastman School (1948–57), where he received the BMus, MMus, and DMA degrees, and with Tony Aubin in Paris at the Ecole Normale de Musique (1954–5). In 1956 he joined the faculty of Brown University, where he served as chairman of the music department (1963–73) and as professor from 1968 until his retirement in 1992. He has received many honors, among them a Fulbright award (1954–5), a Ford Foundation fellowship (1963), a Howard Foundation grant (1965–6), NEA grants (1973, 1976, 1979), and many commissions (including the National SO, the Rochester PO, the USAF Band and Chorus, the Rhode Island PO, the Aspen Music Festival, and many colleges and universities). In 1993...


Beth E. Levy

(b Youngstown, OH, July 12, 1874; d Evanston, IL, Feb 17, 1962). American composer, pianist, and teacher. His father Oscar was a Swedish pharmaceutical chemist, who brought the family from Ohio to Washington, DC, and eventually to the Chicago area where Oscar founded the School of Pharmacy at Northwestern University in 1886 and where Arne would spend virtually his entire career. While not a prodigy, Arne Oldberg was an accomplished pianist at an early age. He studied with August Hyllested at the Chicago Musical College before traveling to Vienna in 1893 for two years of instruction with Leschetizky.

Oldberg began composing in the early 1890s, and his teachers included organist wilhelm Middelschulte , Adolph Koelling, and frederick g. Gleason . His most important early scores were keyboard works, including organ fugues and piano suites, and chamber music. He returned to Europe in 1898, this time to study in Munich with ...


Marc Medwin

(b Buffalo, NY, Nov 4, 1961). American composer, educator, and guitarist. He studied composition at DePaul University (BM 1983) and at Northwestern University (MA 1985, DMA 1988). His primary teachers were george Flynn , ben Johnston , and alan b. Stout . From 1986 to 2000 he taught composition and theory at Northwestern University, then moved in 2000 to California Institute of the Arts, where he has also co-chaired the composition department. His music has been performed frequently in the United States, Europe, and Japan. His pieces have been selected twice by the ISCM jury for performance at World Music Days festivals (Copenhagen, 1996; Manchester, 1998), and his music has been heard at festivals in Vienna (Wien Modern, 1997), London (Cutting Edge, 2007), Huddersfield (2009), Glasgow (INSTAL 2009), Berlin (Maerzmusik, 2010), New York (Amplify: stones, 2011), and elsewhere.

Pisaro’s overarching compositional interests include the exploration of minute sonic and timbral details, silence, and the way in which these elements relate over time. In his formative years, the distorted organ and guitars of progressive rock proved catalytic, as did the innovative musical structures, timbres, and orchestrations of Eric Dolphy, Booker Little, John Cage, and Alvin Lucier. These diverse influences led Pisaro to an interest in the relationships between timbre and harmony that would become a determining factor in his compositional aesthetic. Beginning in the early 1990s exposure to works emanating from the Berlin-based Wandelweiser collective cemented his compositional and philosophical trajectory. The composers associated with Wandelweiser—including Antoine Beuger, Jürg Frey, and Radu Malfatti—frequently draw on works by American experimental composers, beginning with Charles Ives, as points of departure for their unconventionally scored compositions, often containing verbal instructions. In ...


David Wright

(Ariah )

(b Brooklyn, NY, March 15, 1933; d New York, NY, Feb 10, 2000). American oboist, teacher, and composer. He first studied recorder and flute, then switched to the oboe at the age of 12 to fill a school orchestra vacancy. His oboe teachers were Abe Klotzman at the High School of Music and Art, Lois Wann at the Henry Street Settlement, and harold Gomberg . He studied composition under Elliott Carter and karol Rathaus at Queens College, CUNY (BA 1950), and privately with ben Weber . In 1973 he began teaching oboe and chamber music at the Juilliard School; he was appointed adjunct professor at Yale University in 1975. Other teaching positions and residencies included SUNY, Stony Brook, the Aspen Music Festival, the Mannes College, and the Aaron Copland School of Music, Queens College. He appeared frequently as a solo recitalist or guest artist, but is best known as principal oboist of several highly regarded chamber ensembles, including the ...


Robert Finn

(b Athens, GA, Oct 26, 1898; d Cleveland, OH, Dec 29, 1952). American pianist, composer, and music educator. As a child he studied piano with his father and with Alex Lambert and toured the United States as a concert pianist (1905–11). After making his formal debut in New York in 1916, he went to Berlin to study with Ferruccio Busoni and José Vianna da Motta. He joined the faculty of the Cleveland Institute in 1921 and served as its director from 1932 until his death. While in Cleveland he formed a two-piano team with Arthur Loesser, which performed widely. Rubinstein’s compositions include an opera, Sleeping Beauty (libretto by John Erskine), which was first performed at the Juilliard School and in Cleveland in January 1938; it was awarded the Bispham Memorial Medal by the American Opera Society of Chicago. He wrote much attractive piano music and was soloist in a performance of his own piano concerto with the Cleveland Orchestra; his purely orchestral music was also played by the Cleveland Orchestra, as well as by several other major American orchestras. He published the book ...


Michael Meckna

(b Albion, NY, Oct 23, 1928; d Ashland, OR, Aug 12, 2000). American composer and tenor. Born into a musical family, he toured as a youth, appearing both as a pianist and a boy soprano. After attending the Eastman Preparatory School (1941–4), he was a pupil of Vivian Major and William Willett at SUNY, Fredonia (BM 1950), then of Wolfgang Niederste-Schee while on a tour of military duty in Frankfurt (1950–2). During this period he gave organ and piano recitals, and was a clarinetist in the 4th Division Infantry Band. At the Eastman School (MM 1954, DMus 1958) he studied with wayne Barlow , bernard Rogers , and howard Hanson . After holding several teaching positions he was a member of the music faculty of San Francisco State University (1959–80) and a visiting professor at the University of Hawaii (1970–1). He was active for many years as a concert tenor....


John A. Emerson

(b Omaha, NE, Oct 3, 1872; d Santa Clara, CA, July 1, 1950). American teacher, pianist, and composer. He received his early musical training at the University of the Pacific, Stockton, California, and with Louis Lisser in San Francisco; later he studied with xaver Scharwenka in New York (piano and composition), and with Karl Heinrich Barth (piano) and Otis Bardwell Boise (theory and composition) in Berlin. In 1901 he joined the faculty of Mills College, Oakland, California, where he taught piano and other courses until 1936 and served as dean of the School of Music from 1910 to 1919. Schneider’s principal form of musical expression was programmatic symphonic poems; composed in a conservative style, exuding post-Wagnerian sentimentalism, they are dominated by lyrical melodies, tonal harmonies with carefully resolved dissonances, and a judicious use of chromaticism. During the 1920s there were frequent performances of his works on the West Coast....