(b Liège, April 7, 1859; d Bruxelles, July 19, 1917). Belgian oboist, teacher, and director of the Brussels Monnaie opera house. He studied oboe at the Liège Conservatoire with Alphonse Romedenne, receiving the premier prix in 1875, and a gold medal in 1877. Guidé started his career as principal oboe of the Association Artistique in Angers, France, where he became acquainted with a number of young French composers including Massenet, Chabrier, Saint-Saëns, and Vincent d’Indy, who dedicated his Fantaisie pour Orchestre et Hautbois principal op.31 to him. In 1884 he became the oboe teacher at the Brussels Conservatoire, and principal oboe of the Monnaie opera house. Much admired by conductors and composers such as Felix Mottl, Hans Richter, and Richard Strauss—who called him ‘the poet of the oboe’—Guidé’s reputation was renowned throughout Europe. Considered the godfather of the Belgian oboe school, the most famous of his students was Henri De Busscher, who influenced Leon Goossens and the English oboe school, and, later, as oboist of the L.A. Philharmonic Orchestra, the American oboe school as well. Also gifted as a conductor and concert organizer, Guidé became co-director, together with Maurice Kufferath, of the Monnaie opera house in ...
(b Canton, OH, Aug 18, 1905; d West Redding, CT, July 31, 1978). American composer, violinist, bandleader, recording engineer, and producer. After graduating from Johns Hopkins University, he performed as a light classical violinist in the United States and Europe. During the 1930s he studied conducting with Maurice Frigara in Paris. After a near-fatal car accident in 1940, he organized his own dance band, the Light Brigade, which recorded for RCA and Columbia. After he disbanded it at the turn of the decade, Light devoted himself to management, working for several record companies before becoming president of Waldorf Music Hall Records in 1954. He founded his own label, Grand Award, in 1956 and had success with Dixieland and honky-tonk piano albums. In 1959, he founded Command Records on which he released Persuasive Percussion, the first in a successful series of high-fidelity albums that used stereo technology to great advantage. Over the next two decades, he continued to produce hit albums drawing on the latest technological savvy and packaged with covers usually designed by Josef Albers. Musicians who appeared on Light’s albums include the Free Design, Doc Severinsen, Dick Hyman, Bobby Byrne, and Bobby Hackett. In ...
(b Naples, Italy, Jan 4, 1881; d San Francisco, CA, Aug 30, 1953). Conductor and impresario of Italian birth. Son of a violinist, he graduated from the Naples Conservatory in 1898 and the following year secured a post as assistant conductor at the Metropolitan Opera in New York. After touring with Henry Savage’s opera company, he became associated with Oscar Hammerstein’s two companies (the Manhattan Opera, 1906–10, and the London Opera, 1910–12), and conducted the San Carlo Opera in San Francisco between 1918 and 1922. A year later he founded the San Francisco Opera, and as its first general director conducted the inaugural performance, La bohème, on 26 September at the Civic Auditorium. In the 30 years he held the position, the San Francisco Opera became one of America’s leading opera companies. Merola filled most of the principal roles with singers from the Metropolitan, and he worked almost entirely within the confines of the standard French, Italian, and German repertory. Nevertheless, he introduced San Francisco to Wagner’s ...
Patrick J. Smith
(Du Pré )
(b Laurens, SC, Sept 21, 1914; d Spartanburg, SC, Oct 1, 2012). American administrator and pianist. After graduating from Duke University (1935) he did graduate work at the University of Michigan and the Philadelphia Conservatory. He later studied piano under harold Morris and Olga Samaroff and appeared in recitals and as a soloist, winning the MacDowell Music Club Young Artists Competition in 1939. During and after the war he held various government positions and then became director of the school of music and professor of music (piano) at the University of Oklahoma, Norman (1950–55). He was director of press and public relations (1955–9), associate managing director (1959–61), managing director (1961–70), and president of the New York Philharmonic (1970–78); this was the first time a major American symphony orchestra had appointed a professional, salaried president. After his retirement Moseley continued his performing career as well as administrative duties. In ...
revised by Joanna R. Smolko
[James Calwell, Jr. ]
(b Reading, PA, March 21, 1945; d Philadelphia, PA, April 6, 1992). American performance artist, composer, writer, and arts administrator. He studied sculpture at the University of Texas, Austin (BFA 1968), and at the University of California, Berkeley (MFA 1972). As an administrator he cofounded and was vice president and curator of the performance space, 80 Langton Street (San Francisco, 1975–6, later renamed New Langton Arts), and was a trustee of the San Francisco Art Institute (1975–8). As artist-in-residence at the Exploratorium in San Francisco (1976–7) he created the visual installation Light Weight Phantoms; and in 1977 he joined the sculpture department of San Francisco State University. He acted as consultant to museums and galleries and to the NEA, and his performances and sound sculptures have been presented in the San Francisco Museum of Modern Art (1979), the Los Angeles Institute of Contemporary Art (...
Terence J. O’Grady
revised by Bryan Proksch
(b Los Angeles, CA, March 31, 1935). American trumpeter, composer, bandleader, and record company executive. He studied trumpet as a child and left college to play in the army for a two-year period. After three years of producing records on his own, he launched A&M Records with Jerry Moss in 1962. A&M’s first issue was also Alpert’s first recording as a trumpeter and bandleader, The Lonely Bull (A&M, 1962). The title track included sounds from the bullring in Tijuana, Mexico, so Alpert dubbed his band the Tijuana Brass. His music exploited a distinctive combination of Mexican mariachi-style brass with jazz rhythms, which was dubbed Ameriachi. A string of hits including “Mexican Shuffle” (A&M, 1964) and “Tijuana Taxi” (A&M, 1965) followed. In 1966 Alpert had five recordings simultaneously listed on the Billboard Top 20. His cover of “This guy’s in love with you” reached no.1 in ...
[Quiñonez, Enrique Arsenio Lucca ]
(b Ponce, PR, April 10, 1946). Puerto Rican salsa pianist, instrumentalist, producer, and arranger. The son of a prominent Puerto Rican bandleader, he studied at Ponce’s Free School of Music. He also took lessons from pianist Ramon Fernandez and had begun his performing career by the age of 11. He subsequently worked with his father’s group, La Sonora Ponçena, and eventually inherited the band as his own. During the 1950s he played alongside such musical luminaries as Machito and Obdulio Morales Ríos and appeared regularly on television, especially on Ruth Fernández’s variety show. After graduating from the University of Puerto Rico, Lucca gained greater prominence through his affiliation with La Sonora Ponçena and his work with other artists. In 1976 he served as performer and producer of La Sonora Ponçena’s Conquista Musical (Fania). He also became the pianist for the Fania All-Stars. One of his notable achievements came with the album ...
(b Niterói, Brazil, Feb 11, 1941). Brazilian pianist, bandleader, arranger, producer and composer, active in the United States. Formally trained in classical music, Mendes turned to jazz, participating in the bossa nova nightclub scene in Rio de Janeiro in the late 1950s and early 1960s. Mendes and his group, the Sexteto Bossa Rio, performed at the pivotal Bossa Nova festival at Carnegie Hall, which contributed significantly to the popularity of bossa nova beyond Brazil.
In 1962, Mendes and the Sexteto Bossa Rio rode the wave of US interest in the genre, recording Do the Bossa Nova with Herbie Mann and Cannonball’s Bossa Nova with Cannonball Adderley. He moved to the United States soon after, adapting bossa nova to the American and international pop, light jazz, and easy listening markets. Mendes arranged, produced, and performed covers of pop hits by the Beatles, Simon and Garfunkel, and Joni Mitchell, as well as Brazilian songs by Antonio Carlos Jobim, Jorge Ben, and others. The signature sound of his group was light and upbeat with two female vocalists singing in unison and a bouncy samba-derived rhythm. His groups were named “Brasil” followed by the year they were launched: ’65, ’66, ’77, ’88, ’99, and ...
(b New York, NY, Sept 19, 1952). American producer, composer, and guitarist. At the helm of the band Chic , Rodgers and his bass-playing production partner Bernard Edwards (1952–96) epitomized the very best of the disco era while transcending the genre with one of popular music’s most dynamic and cohesive rhythm sections. Individually with highly distinctive guitar licks, Rodgers also successfully transitioned into the 1980s, producing platinum pop records for David Bowie, Madonna, Duran Duran, and many other major acts. This effectively made him one of that decade’s most highly regarded and commercially bankable industry figures.
Rodgers and Edwards met in 1970, becoming members of the Big Apple Band that backed R&B vocal group New York City in 1973, and eventually formed Chic in 1977, releasing an eponymous debut album that year on Atlantic Records that included the Top Ten hit and gold record “Dance, Dance, Dance (Yowsah, Yowsah).” The follow-up album ...
(b Upper Darby, PA, June 22, 1948). American singer-songwriter, composer, and producer. He began his career as a teenager singing with the bands Woody’s Truck Stop and the more successful rock quartet Nazz. As a member of the latter group, he wrote two of their hit songs, “Hello, it’s me” and “Open your Eyes” (both 1968). After releasing three albums with Nazz, Rundgren left the group and worked as a solo artist, recording most of the vocal and instrumental parts himself. He cited the songwriter Laura Nyro as a significant influence. During the early 1970s Rundgren worked with a trio, Runt, recording two albums, the second entitled Runt: the Ballad of Todd Rundgren (1971), and his own two-record set, Something/Anything? (1972). The latter album brought him unprecedented fame through the singles “I Saw the Light” and a new version of “Hello, it’s me.” The recordings ...