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Wayne D. Shirley

(Bunshaft)

(b Brookline, MA, Nov 28, 1943). American conductor, musicologist, and music librarian. Anderson attended Bryn Mawr (BA 1965), the University of Illinois (MM 1969), and the University of Maryland (MLS 1989). Anderson was a Music Librarian at the Library of Congress from 1978 to 1995 before resigning to pursue an independent career as a conductor, specializing in the conducting of music to accompany the showings of silent films. Her interest in this area began in the late 1970s while working on the score for Carl Dreyer’s The Passion of Joan of Arc. Her conducting is informed by scholarly work; whenever possible her performances use the music for its original release; lacking that, she compiles a score using material which might have been used during the film’s first showings. A good example of her work is the 1922 film Häxan (now on Criterion Collection DVD 134)....

Article

Digby Fairweather

revised by Howard Rye and Barry Kernfeld

(b Wivelsfield, nr Haywards Heath, England, March 20, 1927). English multi-instrumentalist, record producer, and discographer. He learned piano briefly as a child, took up drums in school and guitar during army service in Austria (1945–8), and played banjo in a quartet before working with Mick Mulligan from October 1948. One month after taking up trombone in 1949 he joined the Crane River Jazz Band, with which he remained until spring 1951 and recorded in 1953. He played with the cornetist Steve Lane (1952), Cy Laurie (late 1954), and Sandy Brown (1955 – summer 1956), at which time he began doubling on alto saxophone; his trombone playing can be heard on Brown’s Africa Blues (1955, Tempo A128). He then joined Acker Bilk (for three months in late 1957), for whom he played alto saxophone and guitar, and led his own band. His principal later associations were as trombonist with and arranger for the Temperance Seven (...

Article

Colette Simonot

(Jay )

(b Columbus, OH, Sept 7, 1956). American Singer, pianist, and music archivist. He has been one of the premier interpreters of American standards. More than an entertainer, he has been dedicated to preserving the repertoire of the great American songbook. Feinstein first studied piano at the age of five but soon quit his lessons, preferring to play by ear. As a teenager he performed at weddings and parties in Columbus, Ohio, and after high school he played in local piano bars. In 1976 he moved to Los Angeles and met Ira Gershwin, who hired Feinstein to help catalog his phonograph collection and organize archival materials. For the next six years, Feinstein was Gershwin’s musical assistant, working with him to preserve the Gershwin family’s musical legacy. Through his relationship with Gershwin, Feinstein earned access to many unpublished songs by Gershwin, several of which he has since performed and recorded. After Gershwin’s death in ...

Article

(b Berea, OH, Aug 31, 1878; d Akron, OH, July 20, 1950). American organist, conductor, scholar and librarian. His father Karl H. Riemenschneider, president from 1893 to 1908 of the Methodist Episcopal Deutsches Wallace Kollegium in Berea, first taught him music, and he was a piano, organ and theory pupil of James H. Rogers of Cleveland (1896–1902). He became piano and organ instructor at the Kollegium (1896) and director of its music department (1897). He subsequently studied the piano with Hugo Reinhold and composition with Robert Fuchs in Vienna (1902–3), the organ with Charles Clemens in Cleveland (1903) and with Alexander Guilmant, and composition and organ with Widor in Paris in 1904–5 and for five successive summer sessions. In Paris Riemenschneider developed lifelong friendships with Marcel Dupré and Albert Schweitzer. Meanwhile he continued his work at the Kollegium, which in ...

Article

Charles Barber

revised by José A. Bowen

(b Basle, April 28, 1906; d Basle, May 26, 1999). Swiss conductor, archivist and musical patron. He studied conducting with Weingartner and Moser at the Basle Conservatory and musicology with Karl Nef at the University of Basle. In 1926 he founded the Basle Chamber Orchestra, to which the affiliated Basle Chamber Choir was added in 1928. Both were organized for the exploration of unusual music from the pre-Classical and modern periods. Five years later he created the Schola Cantorum Basiliensis as an institute for research into early music. His explorations of little-known repertory went as far as early Mozart and Haydn and his Basle première of Idomeneo in 1931 helped restore this Mozart opera to the canon. In 1954 he combined the Schola Cantorum with both the conservatory and Musikschule to create the Musikakademie der Stadt Basel, a group that has since become a major centre of musicological and performance research. Sacher served as the Musikakademie’s first director, from ...