(b Chicago, Oct 6, 1893; d Los Angeles, May 6, 1979). American composer. He began his career as a song plugger and arranger for the publishing companies of George M. Cohan and Irving Berlin, and had his first success as a songwriter (in collaboration with the composer George W. Meyer) with Everything's peaches down in Georgia (G. Clarke, 1918), introduced by Al Jolson. He wrote many songs to lyrics by Jack Yellen (with whom he founded the publishing firm Ager, Yellen & Bornstein in 1922), including I wonder what's become of Sally (1924), Ain't she sweet? (1927) and Happy days are here again (1930); the last became closely associated with the presidential campaigns of Franklin D. Roosevelt. Other well-known songs by Ager are I'm nobody's baby (lyrics by B. Davis; 1921), Auf Wiedersehen, my dear (A. Hoffman, E.G. Nelson, A. Goodhart; ...
Samuel S. Brylawski
Philip L. Scowcroft
(b March 26, 1874; d Marlow, Bucks., Dec 14, 1948). English composer and conductor. He studied composition at the GSM with MacCunn and then pursued a career in London's West End, latterly as a musical director, especially at the Playhouse, Winter Garden, Alhambra, Shaftesbury and Adelphi theatres. He subsequently worked for the BBC from 1926 to 1930. Drawing on his theatrical background he composed incidental music and also operettas, of which The King's Bride, Violette and especially the well-characterized Medorah achieved modest success.
He was also adept at writing colourful, attractively scored and melodious suites and single movements. Some of these showed a fondness for Ireland, the country which also inspired his Overture to an Irish Comedy. Others sought to explore fresh ideas in the light concert suite, a common genre in the first half of the 20th century, as in his Mediterranean Suite (three dance movements representing Spain, Italy and France) and ...
(b New York, May 20, 1889; d Harmon, NY, Oct 10, 1918). American composer and pianist. After studying the piano at the National Conservatory of Music in America and taking private lessons with Alexander Lambert, he pursued a varied career in New York, writing material for vaudeville entertainers, serving as a staff pianist for various publishers and recording extensively both on piano rolls (Duo-Art, QRS) and discs (Victor). Arndt’s compositions combine salon gentility with occasional ragtime syncopation, foreshadowing the novelty-piano works of the 1920s by such composers as Confrey and Bargy. They include ...
Thomas L. Gayda
(b Vienna, Aug 17, 1880; d New York, Feb 25, 1942). Austrian composer. He studied law and music at Vienna University, the piano with Hugo Reinhold and L. Thern (1898–1904) and composition with Robert Fuchs and Franz Schmidt. By 1905 he had decided to devote his time to composition, and by 1932 had composed 32 operettas. His first, Vergeltsgott (1905), was produced at the Theater an der Wien and had 69 performances, while one of his greatest successes was Hoheit tanzt Walzer (1912), first produced at the Raimundtheater and performed more than 2500 times over the next ten years. Characteristically Ascher’s music was in a strong local Viennese idiom, and he created a perfect example of the so-called Wienerlied with S’Lercherl von Hernals (1911). He also wrote lieder and film music. Ascher was arrested during the Reichskristallnacht, and upon his release emigrated to the USA (...
Michael J. Budds
(b Kansas City, MO, May 12, 1928). American composer and pianist. He learnt the cello, drums and piano from an early age and developed a particular interest in jazz. He played as a night club pianist, and then served in the army, touring as a pianist (1950–52). He went on to study music at the Mannes College of Music, New York, the New School of Social Research, McGill University, Montreal and gained a scholarship to the Music Academy of the West, Santa Barbara, California. His composition teachers included Milhaud, Martinů and Cowell. Bacharach became an accompanist for Vic Damone, subsequently working with such performers as Polly Bergen, Steve Lawrence, the Ames Brothers and Paula Stewart, to whom he was married from 1953 to 1958. From 1958 to 1961 he toured internationally with Marlene Dietrich. Bacharach began writing arrangements and composing songs in the mid-1950s, working at the Brill Building and collaborating with the lyricist Hal David (...
David Thomas Roberts
(b Newaygo, MI, July 31, 1894; d Vista, CA, Jan 16, 1974). American composer and pianist. He began to study piano at the age of five in Toledo, Ohio. By the time he was 17 he had discarded his ambitions to become a concert pianist, having become fascinated with ragtime pianists in Toledo’s red-light district, including the famous exponent of eastern ragtime Luckey Roberts. After playing professionally in cinemas and organizing a dance band, he was engaged in 1919 by the ragtime composer Charley Straight to edit, play, arrange and compose for Imperial Player Rolls. Bargy’s association with Straight led to his acquaintance with the agent Edgar Benson, who assembled a band directed by Bargy to record for Victor. Bargy later joined Isham Jones’s orchestra for two years and, in 1928, began a 12-year association with Paul Whiteman’s band, for which he is best remembered today. Later he served as conductor and arranger for Larry Ross’s radio show, and from ...
(b Ubá, Nov 7, 1903; d Rio de Janeiro, Feb 9, 1964). Brazilian composer and conductor. In 1920 he moved to Rio de Janeiro where he developed his career, first as a pianist in dance bands and cinemas, then as a composer of pieces for musical theatre, as a radio programmer and announcer, and later as a television programmer. He also composed the sound tracks for various films, especially Walt Disney’s The Three Caballeros (‘Você já foi à Bahia?’), for which he received a diploma from the Hollywood Academy of Cinematographic Sciences and Arts. In 1955, the Brazilian government bestowed upon him, together with Villa-Lobos, the National Order of Merit.
Barroso greatly contributed to the establishment of the classic urban samba in the 1930s. Among the over 160 sambas that he wrote, those of the 1930s and 40s have remained the most popular. Such pieces as Faceira (...
(b London, June 21, 1938). English lyricist. In the 1950s his various jobs included that of a writer for the New Musical Express, a performer in the rapidly declining variety theatres (billed under such titles as ‘Donald Black, the young gangster’ and ‘Don Black, a living joke’) and a song-plugger. He began writing song lyrics in the mid-1950s, gaining success in the 1960s when Matt Monroe recorded his April Fool and Walk away, Black’s English version of the German Eurovision song contest entry Warum nur warum. Beginning with the James Bond film Thunderball (1965) he worked with the composer John Barry on many title songs for films, including Diamonds are Forever (1971), The Man with the Golden Gun (1974), and Born Free (1966), for which Black received an Academy Award. Further collaborations with Barry include the musicals Billy (1974...
Thomas L. Gayda
(b Odessa, Ukraine, 7/April 20, 1905; d Hollywood, CA, Dec 24, 1958). Hungarian composer, active in England and the USA. He learnt the piano as a child, later studying in Rome, Vienna and Budapest. By the late 1920s he had contributed songs to long-forgotten and newly-arranged Viennese operettas. He mainly specialized in film music, writing his first score in Vienna for a film starring Richard Tauber and Gitta Alpar. He continued to write numerous European popular song hits during this period. His reputation took him to England in 1937, where he wrote the songs for C.B. Cochran’s revue Home and Beauty.
Although he is credited with the scores to 14 British films over the next ten years, he was solely a songwriter and incapable of scoring incidental music for dramatic situations. Collaborators were employed, often uncredited, and he is known to have relied upon the skills of Charles Williams and Philip Green, and probably also worked with Mischa Spoliansky, Clive Richardson and Sidney Torch....
Jon Alan Conrad
(b Flint, MI, March 30, 1933; d New Haven, CT, May 11, 2017). American orchestrator, conductor, and composer. He studied music at Michigan State University and then at the New England Conservatory, which included conducting with Neel and Stokowski, and the double bass. The latter led to performing engagements with numerous orchestras; from 1961 to 1967 he also conducted, particularly ballet orchestras. At this time he began conducting tours and concerts of musicals, and in the 1970s his orchestrations for musicals were first heard. These included orchestrations reconciling a variety of sources with the requirements for modern revivals or compilations (as with Jerome Robbins’ Broadway, Carousel, Show Boat, and his contributions to the restoration of the Gershwins’ Strike Up the Band). He composed incidental music, arranged for television and film, provided arrangements for recording (for Mandy Patinkin, Plácido Domingo, Marilyn Horne, Frederica von Stade), and wrote songs and musicals, as well as concert and dance works. Additionally he provided re-creations of Prokofiev’s film music (...