(b Westminster, London, Jan 1648; d Oxford, Dec 14, 1710). English scholar, composer and music collector. He matriculated at Christ Church, Oxford (after early training in mathematics at Westminster School), in 1662, receiving the BA, MA and DD degrees in 1666, 1669 and 1682 respectively. He took holy orders and was assigned the rectorate at Wem, Shropshire, but chose to remain at Christ Church, becoming a canon in 1681 and dean (a unique position in Oxford as head of both college and cathedral) in 1689, also serving as vice-chancellor of the University of Oxford, 1692–5. He was a leader of the Oxford resistance to James II's Catholic advances, and under William III he became one of the chief defenders of High Church practices, publicly opposing both the comprehension of non-Anglicans and revisions to the prayer book. He was an industrious and practically minded scholar, producing books on logic, heraldry and architecture, designing a number of Oxford buildings, serving as draftsman and engraver for the Oxford Almanacks, and producing a sizable body of compositions for the English cathedral service. His account of Greek music survives in manuscript (...
(b Barcelona, March 27, 1862; d Barcelona, March 31, 1908). Spanish composer, folklorist and music critic. He studied composition with Antonio Nicolau and Anselmo Barba and piano with C.G. Vidiella in Barcelona and was music critic for various journals there, including La renaixensa, L'avenç and, from 1905 to 1908, El poble català. He published his Collecció de 6 melodies per a cant i piano and five Cansons per cant i piano (both Barcelona, 1887), which are settings of poems by Angel Guimerá, Francisco Matheu y Fornells, Apeles Mestres and Jacinto Verdaguer. He illustrated the latter volume himself, and some of his work was displayed at an exhibition of the Sociedad de Acuarelistas in Barcelona. A distinguished folklorist as well as a sensitive composer and skilful melodist, he collected Catalan folksongs and published arrangements of 23 of these in Cansons populars catalanas (Barcelona, 1891). He used native rhythms and melodies in his songs and piano pieces (among them ...
Roger J.V. Cotte
(b Fockenhof, Kurland, Feb 14, 1722; d Paris, March 24, 1791). French dilettante, amateur violinist and composer, patron of the arts and instrument collector. A magnificent and very wealthy nobleman, he both amused and astounded his contemporaries. M. Audinot in his comic opera La musicomanie (1779), and possibly E.T.A. Hoffmann in his tale Die Serapionsbrüder (1819), attempted to evoke his strange personality, emphasizing its ridiculous nature.
At the death of his father, a landed nobleman, in 1747, Bagge inherited a large fortune which enabled him to study the violin in Italy with Tartini. By 1750 he had settled in Paris; in the following year he was awarded the title chambellan du Roi de Prusse (then Frederick II) and married the daughter of the Swiss banker Jacob Maudry. With Maudry's death in 1762 the very large inheritance proved a source of contention to the ill-matched couple and they soon separated. Bagge later attempted to gain possession of the inheritance of Mme Maudry, who had died in ...
(b Széplak, April 7, 1799; d Mainz, Oct 4, 1854). Hungarian composer, theatre director and collector of folksongs. He came from a Hungarian noble family and embarked on a career in the civil service; it was not until 1829 that he first appeared on the musical scene, when he and Lajos Menner founded and became directors of the first Pest singing school. Bartay was one of the first to publish Hungarian folksongs: in 1833–4 he published a two-volume collection Eredeti nép-dalok klavir-kísérettel (‘Original folksongs with piano accompaniment’), and in 1834 he brought out one of the earliest Hungarian books on music theory, Magyar Apollo.
In 1837 his comic opera Aurelia, oder Das Weib am Konradstein had its première at the Pest Town Theatre, and in 1839 his comic opera Csel (‘Ruse’) was first performed at the Pest Hungarian Theatre as Ferenc Erkel's benefit performance (Erkel later composed variations on themes from this opera). Bartay was director of the National Theatre in ...
M. Elizabeth C. Bartlet
(b Paris, April 11, 1791; d Niort, Deux Sèvres, Dec 21, 1863). French composer, folk music collector, musical philanthropist and writer on music. He studied the violin with Rodolphe Kreutzer and composition with Benincori before entering the Paris Conservatoire in Méhul’s class. In 1810 he won the Prix de Rome, but instead of going to Italy as the prize required, he settled at Niort and became engaged to Françoise Caroline Rouget de Gourcez, whom he married in 1816. He nonetheless continued to meet the other requirements of the prize, including the submission of both sacred and secular compositions which show him to have been a well-trained though conservative musician. In 1818, the year after Méhul’s death, Beaulieu wrote his most ambitious work, a Requiem in his teacher’s memory.
Beaulieu’s contributions to musical life in Western France were substantial. In 1827 he founded a philharmonic society in Niort to perform vocal music from the 16th century to the 18th, as well as modern works. Eight years later he established a more serious organization, the Association Musicale de l’Ouest; it sponsored annual concert series in Niort, Poitiers, La Rochelle and elsewhere that involved regional professionals and amateurs in large-scale choral works, as well as chamber and orchestral repertory. Under its aegis Mendelssohn’s ...
(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 ...
(b Lugoj, 20 March/April 2, 1877; d Bucharest, Dec 19, 1968). Romanian composer, folklorist and administrator. He studied privately in Lugoj with Josif Czegka and Sofia Vlad-Rădulescu, in Blaj with Iacob Mureşianu, in Sibiu with Hermann Kirchner and in Braşov with Paul Richter. Extremely active in the musical life of Romania, he participated in the foundation of the Romanian Opera, the Romanian National Theatre (1919), the Dima Conservatory, Cluj (1920), the Society of Romanian Composers (1920) and the Astra Conservatory, Braşov (1928); during this period he directed the opera houses in Cluj and Bucharest. He collected more than 2000 folksongs, recorded on 214 cylinders, and made use of them in his ten books of Doine şi cântece poporale (‘Doinas and Other Folksongs’) and in eight books of instrumental pieces published as Jocuri populare româneşti (‘Romanian Folkdances’); he also published a scholarly collection, ...
James B. Kopp
(b Avignon, France, May 18, 1854; d Versailles, France, May 20, 1933). Organist, composer, collector, and writer on musical instruments. Born a count into an old Norman family, he studied organ with Gigout in Paris in the late 1880s and was admitted to the Académie des Sciences Morales, des Lettres et des Arts de Versailles in 1891. Beginning in 1897, de Bricqueville played the organ in the chapel of the palace of Versailles for about 20 years. Writing as a music critic, he enthusiastically promoted Wagner but also appreciated earlier French opera. His studies of historical instruments, instrument collecting, and music iconography, while largely superseded by later research, offer valuable insight to the state of scholarship at the turn of the 20th century. He described his private collection of instruments (mainly European of the preceding three centuries) in three published catalogues, the last being Catalogue sommaire de la collection d’instruments de musique anciens formée par le Cte de Bricqueville...
(b London, c1608; bur. Eydon, Northants., June 8, 1691). English music collector, copyist and amateur composer. On the death of his father in 1621 he was adopted by his wealthy uncle, the merchant taylor John Browne. By the 1630s he was a property-owner in Northamptonshire. In 1636 he was appointed Clerk of the Parliaments, a post that was initially a sinecure, but which led to notoriety at the outbreak of the Civil War in 1642, when he adhered to the parliamentary cause. His office was abolished under the Commonwealth in 1649, but he was restored from 1660 until his death.
Significant as a political archivist, Browne was an astute music lover whose collection is preserved almost entire in Christ Church, Oxford, as part of the music bequeathed by Henry Aldrich. His descendants retained some concordant manuscripts into the 20th century, alongside his parliamentary papers. The collection provides a rare view of Stuart Puritan London up to ...
Viorel Cosma and Owen Wright
(b Silişteni-Fălciu, Moldavia, Oct 26, 1673; dDmitrievka, Russia, Aug 21, 1723). Prince of Moldavia (1683, 1710–11), Romanian scholar, encyclopedist, composer, folklorist and theorist. He started his musical studies under Jeremia Cacavelas in Iaşi and continued them in Istanbul with Kemani Ahmed and Angeli. In the Ottoman capital he compiled a treatise on the theory of Turkish music which used an innovative system of musical notation based on the Arabic alphabet. At the end of this treatise, Edvar-i musiki (‘Textbook of music’), he added notations of some 350 instrumental pieces in the peşrev and semai forms, a few of them his own compositions. These notations provide an important comprehensive record of the late 17th-century Ottoman instrumental repertory.
Back in his country, as Prince of Moldavia (1710–11), he continued his ethnographic and folk music studies, recorded in Descriptio Moldaviae (1716). Appointed councillor to the Tsar of Russia, Peter I, Cantemir settled in Moscow. But he continued his musical activities, compiling (in Romanian) ...
Lyndesay G. Langwill
revised by Rosemary Williamson
(b Newcastle upon Tyne, May 19, 1878; d Great Missenden, Nov 2, 1958). English collector and historian of instruments and composer. He was educated in Hanover (1892) and as a Macfarren scholar at the Royal Academy of Music (1893–1902, ARAM 1902), where he studied composition with Corder. After serving as assistant music master at Winchester College (1909–22), he returned to the RAM in 1922 as professor of harmony and counterpoint, becoming a Fellow of the RAM in the same year; he held the professorship until 1940.
Carse’s early compositions include an orchestral prelude to Byron’s Manfred, a dramatic cantata, The Lay of the Brown Rosary and two symphonies; his later works, for student orchestras and beginners, are light, tuneful and individual, and ideally suited to their purpose as teaching material. His reputation, however, rests on his study of the history of instruments and the orchestra, and on his collection of some 350 old wind instruments, which he gave to the Horniman Museum, London, in ...
(b Dzhalal-Oglï, nr Tbilisi, Georgia, 9/May 21, 1869; d Minsk, Dec 27, 1964). Belarusian folklorist and composer. He completed his studies in composition with Ippolitov-Ivanov at the Tbilisi Music College (1892), and then worked as a music teacher in Baku and from 1903 in the north-west region of Russia (in the towns of Kovno, Vil′no and Mstislavl′). He headed amateur societies and choirs, and began his work as a folklorist. His first volume of 53 Belarusian songs was published in Vil′no in 1910. His opera Osvobozhdyonnïy trud (‘Emancipated Labour’) was written in Mstislavl′ in 1922 and was staged there by amateurs in the same year.
After 1935 Churkin lived permanently in Minsk and devoted himself to folklore. He recorded around 3000 Belarusian, Lithuanian, Polish, Georgian, Armenian and Azerbaidjani folksongs. These served as sources for many of his instrumental works – three sinfoniettas (1925, 1949...
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...
(bap. London, July 18, 1680; d London, March 7, 1748). English violinist, composer and collector. His earliest compositions were songs and incidental music for the Lincoln’s Inn Fields Theatre, where he also played. In 1705 he was engaged to play in the orchestra at the new Queen’s Theatre in the Haymarket, where the following year the semi-opera The British Enchanters, or No Magick like Love, with music mostly by Corbett, had 11 performances. He was greatly admired as a solo performer, often being billed as the chief attraction at the benefit concerts of colleagues in London. He also appeared further afield: he played at Nottingham during race week (1707 and 1709) and at York during Assize week (1709). An instinctive showman, Corbett emphasized the unusual in his concerts and in his own compositions; the viola d’amore, archlute and mandolin made appearances at his benefit concerts (...
Bruce Alan Brown
(Pio Francesco Antonio Maria)
(b Genoa, April 27, 1717; d Padua, Oct 15, 1794). Italian diplomat, theatre director, librettist and art collector, and one of the principal catalysts of reform in 18th-century opera and ballet. The francophilia that coloured nearly all Durazzo's theatrical endeavours was largely the result of his birth into a noble Genoese family (of Albanian origin) with a long history of commercial and political dealings with France. The Durazzos (who produced several doges, including Giacomo's older brother Marcello) were active in Genoa's theatrical life, notably as proprietors of the Teatro del Falcone. Following his inscription into the nobility in 1744, Giacomo was entrusted with several commercial and diplomatic missions to France, during one of which, in 1748, he and his compatriot Agostino Lomellini conceived a plan to rework Quinault and Lully's Armide as an Italian opera on reformed principles. As versified by Migliavacca and set by Traetta, this project was realized in Vienna in ...
revised by Bret Werb
(b Berdyansk, Crimea, 4/April 16, 1868; d Tel-Aviv, Feb 11, 1927). Russian composer, critic, lexicographer and folklorist. He studied law at Kharkov University but soon turned to music, studying theory and composition with Taneyev and Ippolitov-Ivanov at the Moscow Conservatory (1893–7). From 1897 to 1919 he worked as a music critic for the newspaper Russkiye vedomosti. In 1901 his translation of Riemann’s Lexikon into Russian with newly written sections on Russian music was published in Moscow. Although an early opera, Esther, was performed in 1894, his work as a critic overshadowed that as a composer. Under the influence of the Russian nationalist music critic Vladimir Stasov, however, he turned his attention to Jewish folklore, collecting, arranging, performing and publishing the songs of eastern European Jews. In 1909 his first album of ten Jewish folksongs appeared in Moscow; a second volume followed later in the same year. Engel continued to promote his new interest with public lectures and a series of articles in ...
revised by Robert Ford
(b Canterbury, bap. March 27, 1709; d Canterbury, Jan 5, 1798). English composer and music collector. A son of John Flackton, bricklayer and cathedral contractor, he was a chorister at Canterbury Cathedral under William Raylton from 1716 to 1725. During this time he was also apprenticed to Edward Burgess, bookseller, stationer and cathedral lay clerk. In the Kentish Post (December 1727) he announced his return from London and his setting up as a bookseller. He was joined in this business between 1747 and about 1767 by his brother John, a singer and horn player, in which latter connection John is said to be pictured in the painting reproduced as pl. xlix of Karl Geiringer’s Instruments in the History of Western Music (London, 1943, 3/1978); William Flackton’s song The Chace has a prominent horn part in its instrumental accompaniment. Between 1735 and 1752 Flackton was organist of St Mary of Charity, Faversham, where he presented an anthem of his composition at the installation of a new organ in ...
Israel J. Katz
(b Santo Domingo de la Calzada, Logroño, May 14, 1898; d Madrid, Dec 22, 1964). Spanish folklorist and composer. He received his early musical education in Burgos, where, influenced by the musicologist Nemesio Otaño, he became deeply interested in traditional folk music. He qualified as a military bandmaster in 1923 and served as bandmaster for the Spanish army until 1960. In 1926 he founded the Conservatory of Music at Badajoz, where he was the director and an instructor for 20 years. As an active collaborator with the Centro de Estudios Extremeños (1926–46) and the Spanish Institute of Musicology (from 1944) he participated in many field trips throughout the provinces of Extremadura (1924–31), La Rioja (1944–5), Granada (1946, 1960), Ciudad Real (1947), Toledo (1949), Cádiz (1957), Badajoz (1958) and Ávila (1959...
(b London, Dec 26, 1716; d Cambridge, July 30, 1771). English music collector, poet and amateur musician. He was educated at Eton and Peterhouse, Cambridge. After touring Italy with Horace Walpole during the period 1739–41, he divided his time between London, Stoke Poges (where his mother had retired) and Cambridge, where he was first a fellow of Peterhouse and then of Pembroke College. As well as being one of the greatest poets of his time, Gray had a fine connoisseur’s taste in painting, architecture, natural history, and music. While in Italy he began to assemble a remarkable library of Italian music, largely consisting of operatic arias in score. He was especially fond of Pergolesi, but also admired older composers including Palestrina; he had no great love of Handel. He was an accomplished harpsichord player and kept Viscount Fitzwilliam’s instrument in his rooms at Peterhouse; later, perhaps under the influence of his friend ...
Jean Mary Allan
revised by Emily Lyle
(b Parkhill, Aberdeenshire, Feb 10, 1856; d Whitehill, Aberdeenshire, Aug 31, 1914). Scottish folksong collector, author and composer. He took the MA at Aberdeen University in 1876 and became a teacher; in 1879 he was appointed headmaster of Whitehill School and he retained this position until his death. On his mother’s side he was related to James Burness, Robert Burns’s great-grandfather, and like Burns he was keenly interested in collecting folksongs. It is by his extensive work in this field that he is known. He had a sound knowledge of the theory and practice of music, being able to take down songs while they were being sung and to harmonize them. He made the fullest single statement of his findings in a substantial article ‘Folk Song in Buchan’; he also wrote a column called ‘Folk-Song of the North-East’ in the Buchan Observer for a number of years and collected his contributions into two volumes with the same title....