(b Copenhagen, March 2, 1801; d Copenhagen, Nov 8, 1880). Danish folklorist, teacher and composer. He began composing and playing the flute while still in school. After his matriculation he studied law for a time, but influenced by the composer C.E.F. Weyse he soon dedicated himself to music and attracted attention in 1823 with a cantata for the 200th anniversary of Regensen, the students' college in Copenhagen. Over the next few years he composed several more cantatas as well as incidental music for the Royal Theatre. From 1838 he was organist at the Trinitatis Kirke, and from 1843 singing master at the metropolitan school. He held both posts until his death; they led him to an intensive occupation with church and school singing. He composed a notable set of hymn melodies, many of which are still used in the Danish Church, and edited many collections of partsongs for schools, containing several of his own compositions. He also made an important collection of Danish and foreign folksongs and melodies. In ...
revised by Hervé Lacombe
(b Naples, Sept 15, 1808; d Paris, March 19, 1866). French composer, curator and teacher. His paternal grandfather was a wind instrument maker at Lyons and his father a professional horn player who played principal horn at the Teatro S Carlo, Naples, and led the military band for Murat (King of Naples during the First Empire) in the early 19th century. As a result of political and military events at the end of the Empire, the Clapisson family returned to France and settled in about 1815 in Bordeaux, where the father was appointed principal horn at the Grand Théâtre and Louis began his musical studies, particularly of the violin. Soon he was making concert tours in the south of France. On returning to Bordeaux he studied harmony and became a first violin in the Grand Théâtre orchestra. He then went to Paris, entering the Conservatoire on 18 June 1830...
Gordon E. Smith
(b Rivière-du-Loup-en-haut [now Louiseville], Lower Canada [PQ], Nov 7, 1834; d Quebec City, Sept 15, 1915). Canadian composer, organist, teacher and folksong collector. After completing the classical studies programme at the Collège Joliette, he spent three years studying music in Montreal. In 1853 he was appointed organist at St Jean-Baptiste in Quebec City, and from 1864 to 1876 he was organist of the Quebec City Basilica. During the first of two European trips (1857–8 and 1873) Gagnon studied the piano at the Paris Conservatoire with Alexandre Edouard Goria and Henri Herz, and harmony and counterpoint with Auguste Durand.
An exponent of the Louis Niedermeyer method of plainchant accompaniment, Gagnon published in 1903 a large book of accompaniments for use in Quebec parishes (L'accompagnement d'orgue des chants liturgiques). He also composed some church music, as well as several salon-type pieces for solo piano. He was a founder of one of the first regulatory musical institutions in Canada in ...
(b Wilster, Holstein, Oct 15, 1761; d Copenhagen, Dec 30, 1825). Danish folklorist, teacher and composer of German birth. After studying in Kiel (1782–5), where he came to know C.F. Cramer, Grønland took up a post as an official of the German chancellery in Copenhagen. Though he remained a civil servant all his life, his musical activities covered a wide field: he was the teacher of C.E.F. Weyse and acted as correspondent for a number of German and Danish music periodicals. His most important work, however, was concerned with the preservation of Scandinavian folksongs. In about 1810 work on a wide scale had begun in Denmark to rescue extant traditions from the oblivion threatened by the development of communications, especially roads. A valuable outcome of this work was the recording of folksongs, both texts and tunes, and particularly their publication in five volumes (1812–14) by Abrahamson, Nyerup and Rahbek. This newly aroused interest in folksong further resulted in a number of piano arrangements of folktunes. Grønland’s contributions include two manuscript collections, in the Royal Library of Copenhagen, and his publication (...
(bap. Aldersgate, London, Feb 26, 1724; d London, April 15, 1764). English amateur musician. ‘In his younger days he was a great beau’, said Hawkins, who is the chief source of information about Immyns. ‘He had been guilty of some indiscretions, which proved an effectual bar to success in his profession, and reduced him to the necessity of becoming a clerk to an attorney in the city’. He cultivated music assiduously, playing the flute, viola da gamba and harpsichord, and had a ‘cracked counter-tenor voice’. As a member of the Academy of Ancient Music, and as a student and copyist to Pepusch, he became familiar with much old music, which he preferred to that of his own day. In 1741 he founded the Madrigal Society, which began as a small group of mechanics and tradesmen experienced in psalmody, meeting at a tavern in Fleet Street. Immyns was ‘both their president and instructor’, and in preparation for the meetings he copied out some 200 madrigals and canons: his MS survives at the Fitzwilliam Museum, Cambridge. The music was confined to madrigals and other old music, by such composers as Ruffo, Lassus, Marenzio, Vecchi and Gesualdo; the English madrigalists were also explored. Immyns copied seven Palestrina motets for the society's use. From these modest beginnings sprang what is now the oldest musical association in existence....
(b Schneeberg, Saxony, April 4, 1515; d Königsberg, Nov 27, 1585). German jurist and humanist. He was one of the children of a Saxon mine inspector. In 1527 he went to school and later to university in Leipzig; in 1535 he took the Master of Arts degree and remained as a teacher at the university until 1550, when he became Hofmeister (private tutor) to two noble students at Leuven University and, from 1551, at the University of Paris. On returning to Leipzig in 1556, he was appointed councillor and chancellor to the Prince of Meissen (Saxony). In 1562 he went to Bologna to study at the university, taking the degree of Doctor of Laws, and in 1563 he was called by Duke Albrecht of Prussia to the chair of law at Königsberg University, where he stayed until his retirement in 1580.
Lobwasser's great achievement was the translation of the Genevan (or Huguenot) Psalter into German, following the original verse forms exactly, in the years immediately after its completion in ...
Laura Otilia Vasiliu
[ Karol ]
( b Chernivtsi, [now in Ukraine], Oct 20, 1819; d Lviv, Ukraine, May 21, 1897). Armenian-Polish-Romanian pianist, composer, folklorist, and teacher .
He studied the piano in Paris with Frédéric Chopin and composition with Anton Reicha (1844–7). He toured as a concert pianist in Austria, France, Italy, and Russia. He was a professor at and head of the Lviv Conservatory from 1858 to 1888. He then founded his own school. Among his students were the Romanians Ciprian Porumbescu, Paul Ciuntu, and Constantin Gros, but also the musician pianists of Lviv that would be his disciples—Raoul Koczalski, Moriz Rosenthal, and Aleksander Michałowski. He collected, notated, and processed Romanian and Polish folk songs (1848–54). He published a 17-volume critical edition of Chopin’s work (Leipzig, 1879). He used several verified sources, most of which were written or corrected by Chopin himself. His editions of Chopin’s works were first published in America in ...
[Prach, Ivan; Práč, Jan Bohumir]
( b Silesia, c 1750; d ?St Petersburg, c 1818). Czech composer, teacher and folksong collector . Much of his life was spent in Russia. From 1780 until 1795 he taught music at the Smolnïy Institute, and in 1784 he was appointed harpsichord teacher at the St Petersburg Theatre School. His keyboard compositions include a sonata in C (1787), six variations on an allemande by Martín y Soler (1794), Fandango (1795), 12 variations (1802), a sonata based on Russian themes (1806), eight variations on the folktune Tï podi, moya korovushka, domoy (‘Be off home with you, my little cow!’, 1815) and an unpublished rondo. He also made a keyboard arrangement of the music from Martín y Soler’s opera Gorebogatïr Kosometovich (‘The Sorrowful Hero Kosometovich’) and Pashkevich’s Fevey (both 1789). His most important work, however, was the Sobraniye narodnïkh russkikh pesen s ikh golosami...
Alfred E. Lemmon
(dGuatemala, 1765). Guatemalan composer, teacher and collector. He was appointed maestro de capilla of Guatemala City Cathedral on 7 March 1738, and served there until his death. His 28 extant compositions, which survive only in the Archivo Histórico Arquidiocesano ‘Francisco de Paula García Peláez’, Guatemala City, are mainly Spanish villancicos which reveal his interest in local colour and ethnic texts. There are also a few compositions in Latin, including a double-choir motet, Parce mihi, Domine. Most works are for two or four voices, some for as many as seven; all have instrumental accompaniment.
Quiros was also active as a teacher and collector of music. His pupils included his nephew Rafael Antonio Castellanos, who succeeded him as maestro de capilla in Guatemala. His interest in Italian music was encouraged by the Italian-born maestro de capilla of Mexico City, Ignacio Jerusalem, and he acquired works by several Italian composers of the period, including Galuppi, Leo, Pergolesi, Porpora and Vinci. He also collected music by contemporary Spanish composers such as Sebastián Durón, José Nebra and José de Torres y Martínez Bravo, and by composers from elsewhere in the New World, for example Manuel de Zumaya. Through his efforts, copies were made of 16th-century polyphonic music by Iberian composers such as Gaspar Fernandes and Pedro Bermúdez, and also of works by Palestrina and Victoria. The music collected and copied remains in the Archivo Histórico Arquidiocesano....
Israel J. Katz
(b Oviedo, April 8, 1888; d London, Feb 17, 1955). Spanish folklorist, writer on music and literature, teacher, choral conductor and composer . He began his musical education in Oviedo, studied the piano and composition at the Madrid Conservatory (1907–10), and, after two years in Oviedo conducting research on traditional Asturian music, went to the Schola Cantorum in Paris (1912–14), where he studied composition with d’Indy; he also went to lectures by Tiersot (who had influenced him earlier) at the Ecole des Hautes Etudes Sociales. He was invited by Ramón Menéndez Pidal to work at the Madrid Centro de Estudios Históricos in 1916, and was one of the remarkable group of artists living at the Residencia de Estudiantes which included Bal y Gay, Falla, Turina, Adolfo Salazar, Sainz de la Maza, Lorca, J. Ramón Jiménez, Buñuel and Dali. Later he dedicated to the institution his ...
(Ignác František)[Voyachek, Ignaty Kasparovich ]
(b Zlín, Moravia, Dec 4, 1825; d Tsarskoye Selo [now Pushkin], 27 Jan/Feb 9, 1916). Czech musician, active in Russia . He was brought up in Vsetín, where his father obtained a teaching post in 1830, and in Brno, as a chorister of the Augustinian monastery (from 1838). He studied for a year at the University of Vienna (1845–6) and founded a Slavonic student choral society, for which he wrote a large number of male-voice choruses. After working as a music tutor (1846–8) to the family of Count Bethlen in Hermannstadt, Transylvania (now Sibiu, Romania), he returned to Brno, conducting Czech concerts of the Brno Männergesangsverein. He returned to Vienna and in 1852 helped compile a collection of Valachian and Slovak folksongs (he had begun collecting folksongs himself in 1838). In Vienna he got to know the Russian composer Aleksey Fyodorovich L′vov, who obtained a post for him (...