(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 ...
Giovanni Carli Ballola
revised by Roberta Montemorra Marvin
(b Genoa, c1600; d after 1640). Italian theorist. A Franciscan, he was chaplain and musician to Cardinal Franz von Dietrichstein, Prince-Bishop of Olomouc and governor of Moravia. Before 1629 he probably taught music at the seminary at St Oslowan and from 1629 at the newly established Loretan seminary at Nikolsburg (now Mikulov), the cardinal’s principal residence. He returned to Italy in 1632. His treatise Regulae contrapuncti excerptae ex operibus Zerlini et aliorum ad breviorem tyronum instructionem accommodate (St Oslowan, 1629/R), which in spite of its Latin title and dedicatory letter is written in Italian, was conceived as a textbook of counterpoint for his seminarians. It is an entirely unoriginal and conservative compendium of the most elementary rules concerning the use of consonances and dissonances, derived, according to the title, ‘from the works of Zarlino and others’.ČSHS EitnerQ E. Bohn: Die musikalischen Handschriften des 16. und 17. Jahrhunderts in der Stadtbibliothek zu Breslau...
(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 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....
(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....
Anna Maria Busse Berger
(b Schwiebus [now Świebodzin, Poland], c1486; d Magdeburg, June 10, 1556). German music theorist, teacher and composer. According to his own statements, he came from a peasant family and was largely self-taught in music. By 1520 he was in Magdeburg working as a music teacher. He became choirmaster of the Protestant Lateinschule in about 1525 and retained this position until his death.
Agricola was one of the earliest teachers of music to realize Luther's wish to incorporate music as a central component of Protestant education. His foremost aim in educating students and congregation was to present material as clearly as possible and to reach a large audience. It was for this reason that his early treatises were written in German rather than the customary Latin. His translation of the terms clavis (as Schlüssel), vox (as Stimme or Silbe) and scala (as Leiter) are still used today. His desire to relate music education to everyday life can be seen in his modernization of old-fashioned rules of harmonic and rhythmic proportions, which he related to commercial arithmetic, in particular the Rule of Three, which formed the most important component of arithmetic instruction in Latin schools. He was the only theorist to consider ...
(b Sommersell [now Nieheim], Westphalia, April 17, 1904; d Berlin, Dec 21, 1997). German composer and organist. After studying with Wilhelm Schnippering at the Lehrerseminar (Büren), he studied church music in Münster with Werner Göhr and Fritz Volbach (1924–5). In 1925 he went to Berlin where he pursued further study with Alfred Sittard and Max Seiffert at the Akademie für Kirchen- und Schulmusik and attended Wilhelm Middelschulte’s organ masterclasses. He also studied Gregorian chant at the Benedictine abbeys of Gerleve and Beuron. In 1928 he became a lecturer at the Berlin Akademie, where in 1936 he was promoted to professor. After the war he was appointed to the post of ordinarius for Catholic church music at the Berlin Hochschule für Musik, where, for a time, he was also deputy director. He served as the organist at St Hedwig’s cathedral in Berlin from 1934 until its destruction in ...
H. Wiley Hitchcock
revised by Nicholas Temperley
(b Swanton Morley, Norfolk, bap. Jan 15, 1571; d Amsterdam, ?1622–3). English minister and psalmodist. He attended Cambridge University from 1586 to 1591, leaving without a degree. He was expatriated as a ‘Brownist’ in 1593 and settled in Amsterdam, where he became ‘teacher’ of the Ancient Separatist Church in 1596; in 1610 he founded an Independent church, becoming minister of it himself. He took the Calvinist position on predestination. He was the author of a number of controversial religious tracts, annotations, and translations of scripture. Many consider him one of the finest Hebrew scholars of his day. His Book of Psalmes: Englished both in Prose and Metre, with Annotations (Amsterdam, 1612, 4/1644; music ed. in ISAMm, xv, Brooklyn, NY, 1981) contains all 150 psalms in a new metrical version, together with prose translations and annotations. 48 are provided with monophonic tunes (six melodies are used twice and one three times). 21 of the 40 tunes are drawn from the Continental Reformed tradition, and 16 are from English sources (including three of the newer, short variety such as ...
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
(fl first half of the 11th century). Arab musician and writer. The son of an eminent musician, he became a prominent singer at the Cairo court of the Fatimid caliph al-Ẓāhir (1021–36), and was still active as a teacher in 1057. His music treatise, completed after 1036 and entitled Ḥāwī al-funūn wa-salwat al-maḥzūn (‘Compendium of the arts to comfort sad hearts’), is of particular interest in that it deals with various topics of little concern to other authorities. Written from the perspective of a cultured musician rather than that of a philosopher-theorist, it calls upon a literary tradition of writing about music, and its historical content is frankly derivative, even if of interest for the implication of continuity with the court music of 9th-century Baghdad. But it is wide-ranging in its treatment of contemporary practice, dealing not only with such basics as mode and rhythm, but also with such matters as the normal sequence of events in performance, deportment and etiquette, the materials and construction of the ‘...