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Ann Willison Lemke

[Bettine, Elisabeth]

(b Frankfurt, April 4, 1785; d Berlin, Jan 20, 1859). German writer, editor, publisher, composer, singer, visual artist and patron of young artists. Although known today primarily for her writing and her illustrious associates, Bettine was also a talented musician. She composed songs in a simple folk style, choosing texts by poets she knew and loved, including Goethe, Achim von Armin, and her brother, Clemens Brentano. She helped gather songs for Armin and Brentano’s influential collection Des Knaben Wunderhorn (1806–8) and decades later published a fourth volume based on their notes (ed. Ludwig Erk, 1854). From 1808 to 1809 she studied singing and composition with Peter von Winter and the piano with Sebastian Bopp in Munich. Her first two songs appeared under the pseudonym ‘Beans Beor’ (‘blessing I am blessed’) with Arnim’s literary works. After her crucial meeting with Beethoven in Vienna (May, 1810), she mediated between him and Goethe....

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John Koegel

(b San Francisco, CA, Nov 7, 1875; d Flintridge, CA, Dec 25, 1954). American folklorist, writer, lecturer, music patron, and singer. Born into a wealthy family (her father James Hague was a prominent geologist and mining engineer), she used her inheritance to support her research into Latin American music, particularly Mexican American and Mexican folksong. Prior to moving to Pasadena, California, in 1920, she lived in New York and Stockbridge, Massachusetts. She studied music privately in France and Italy, was a member of the New York Oratorio Society, and directed church choirs in New York before she began work as a folklorist and folksinger by the early 1910s (she gave guitar-accompanied folksong recitals in that decade). Hague published numerous collections and studies of Mexican American, Mexican, and other Latin American folksongs; translated (with Marion Leffingwell) Julián Ribera y Tarragó’s Historia de la música árabe medieval y su influencia en la española...

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Gary Galván

(Bigelow )

(b Corning, NY, Sept 11, 1902; d Greenwich, CT, Dec 10, 1993). American singer and music philanthropist. As an heiress to the Corning Glass fortune and daughter of the New York State senator William J. Tully, Alice Tully enjoyed a life of privilege and culture. She studied voice with Carolyn Torabotti in New York before moving to Paris in 1923 where she studied voice with Jean Périer and stage technique with Georges Wague. Her well received recitals typically included French-language works by Ernest Chausson, Henri Duparc, Claude Debussy, Gabriel Fauré, and Christoph Willibald Ritter von Gluck. Notably, she appeared in the first US opera performed in Paris, William Franke Harling’s Light from St. Agnes.

Tully served on the boards of the Chamber Music Society of Lincoln Center, the Juilliard School of Music, the Metropolitan Opera, the New York Philharmonic, and the Pierpont Morgan Library, as well as the Metropolitan Museum of Art and the Museum of Modern Art. She personally funded and actively participated in the design of New York’s first major performance venue devoted to chamber music—the aptly named Alice Tully Hall at Lincoln Center. The hall’s pipe organ is dedicated to the memory of her lover Edward Graeffe. For her lifelong service to music, Tully was awarded New York’s Handel Medallion (...

Article

(b Munich, July 18, 1724; d Dresden, April 23, 1780). German princess, composer, singer and patron. The eldest daughter of the Elector Karl Albert of Bavaria (later Emperor Karl VII) and of Archduchess Maria Amalia of Austria, she received her first musical training in Munich from Giovanni Ferrandini and Giovanni Porta. After her marriage in 1747 to Friedrich Christian, later Elector of Saxony, she continued her studies in Dresden with Nicola Porpora and J.A. Hasse. With the Seven Years War and the death of the elector in 1763 the cultural life at the Dresden court declined. Her lively exchange of letters with Frederick the Great of Prussia from 1763 to 1779 bears witness to her increasing sense of personal and artistic isolation; the musical ideals she had grown up with as a pupil and devotee of Hasse and a correspondent of Pietro Metastasio lost their validity, and new music, in particular the new Neapolitan operatic style, found no favour with her....