(b Fredrikstad, April 29, 1872; d Oslo, Dec 24, 1932). Norwegian composer, conductor and organist. He studied with Peter Lindeman (organ) and Iver Holter (harmony, counterpoint and composition) at the Christiania Music and Organ School (1888–92), and was then a pupil of Reinecke (composition) and Ruthard (piano) at the Leipzig Conservatory (1892–4). Appointments as organist followed in Drammen (1895–1907) and Oslo (1907–32), where he served at the cathedral from 1916; his First Symphony was completed during a course of study in Berlin in 1897. He was one of those responsible for the foundation of the Norsk Komponistforening, of which he was president from 1921 to 1923. As a member of the Koralbokkomiteen (1922–6) he harmonized most of the melodies in the chorale book of the Norwegian Church, and he edited preludes to all of the chorales. He was active as a choir-conductor, leading the Håndverksangforening (...
Peter Andreas Kjeldsberg
revised by Martin Anderson
(Carlo Zanobi Salvadore Maria )
(b Florence, 8/Sept 14, 1760; d Paris, March 15, 1842). Italian, composer, conductor, teacher, administrator, theorist, and music publisher, active in France. He took French citizenship, probably in 1794, and was a dominant figure in Parisian musical life for half a century. He was a successful opera composer during the Revolutionary period, and had comparable success with religious music from the beginning of the Restoration. He was made director of the Paris Conservatoire and consolidated its pre-eminent position in music education in Europe.
In the biographical preface to his work catalogue, compiled in 1831, Cherubini gave 8 and 14 September as his dates of birth, but the records of the baptistery of S Giovanni state that he was born on 14 September (and baptized the following day). He was the tenth of 12 children. It has been claimed that his mother died when he was four years old (Pougin, ...
Gaynor G. Jones and Michael Musgrave
(b Wetzlar, Jan 6, 1807; d Berlin, Nov 25, 1883). German editor of folksongs, teacher, choral director and composer. He received his first musical training from his father, Adam Wilhelm Erk, who was Kantor, cathedral organist and teacher at Wetzlar. In 1813 the family moved to Dreieichenhain in Hesse-Darmstadt where Erk took piano, organ and violin lessons. After his father’s death in 1820, he went to Offenbach, where he entered J.B. Spiess’s educational institute (at which he taught from 1824). His music teachers at Offenbach were the composer Johann Anton André, the violinist C. Reinwald and the organist J.C.H. Rinck. In 1826 he was offered a temporary appointment at the teachers’ seminary at Moers on the lower Rhine; he founded and directed many music festivals in this area (including the Remscheid, Ruhrort and Duisburg festivals), and also performed as a piano soloist and in ensembles. He accepted a teaching appointment at the Royal Seminary in Berlin in ...
James R. Hines, Barbara Turchin and Nicholas Michael Butler
(b Hesse-Kassel, Germany, c1786; d New York, NY, July 30, 1829). American theater manager, pianist, organist, composer, and music publisher of German birth. He moved to the United States at the end of the 18th century and was probably related to the musician George Gilfert who was in New York as early at 1789. In his first New York advertisement in 1800, he was described as a musician “lately from Europe.” The New York directory of 1805 lists him as a music teacher in that city, but in 1806 he migrated to Charleston, South Carolina, with a number of other theater musicians. He presented his first concert there on 3 March 1807 and quickly became a favorite member of the local music scene. In December 1809 he became the organist of St. John’s Lutheran Church, and in December 1810 he opened a music store in partnership with a fellow German musician, Philip Muck, under the name C. Gilfert and Company. This institution chiefly sold imported instruments, accessories, and music, but in early ...
Samuel F. Pogue
revised by Frank Dobbins
(fl Lyons, 1550–84). French music printer, bookseller, composer and instrumentalist. In 1551 he prepared the third in a series of four books of music for guitar printed in Paris by Robert Granjon and Michel Fezandat (RISM 1551²²). In the dedication Gorlier wrote apologetically of the four-course guitar and his reasons for composing for an inferior instrument, saying that he wanted to show that it was as capable as larger instruments of reproducing music in two or three parts. Besides being an ‘excellent joueur’ on the guitar, as cited on the title-page, he evidently played the spinet; in a pamphlet (now lost) concerning Loys Bourgeois’ Droict chemin de musique (1550) Bourgeois called him ‘trougnon d’épinette’ (‘garbage of the spinet’) and complained that he had not been educated in classical languages and mathematics like the singer-composers in Lyons, Layolle Roussel and Jambe de Fer.
Gorlier was granted a privilege for printing music on ...
(b Kansas City, MO, Jan 12, 1884; d New York, Jan 12, 1964). American pianist, composer, music director, writer, and editor. Horst grew up in a German family that prized music and he first studied violin. After elementary school, the end of his formal education, he took up piano, honed his skills, and soon supported himself as a musician, playing ragtime and improvisations in dance and gambling halls, performing with theater pit orchestras, and accompanying solo classical recitalists.
On the West Coast in 1915, Horst encountered Ruth St. Denis and Ted Shawn, who hired him as accompanist for their Denishawn company and subsequently as music director of their new school. He remained for ten years. Immersed in the developing new abstract form of dancing, he examined the relationship of music to dance, especially through St. Denis’s “music visualizations.” He began to study musical structure and composition, and left Denishawn to continue learning in Vienna and becoming better informed in contemporary theater, art, literature, and film—knowledge he passed on to future choreographers in his book (with Caroll Russell) ...
Alec Hyatt King
(b Dublin, Dec 25, 1762; d Margate, Oct 9, 1826). Irish tenor, composer, theatre manager and music publisher. The eldest of the 14 children of Thomas Kelly (Deputy Master of Ceremonies at Dublin Castle, and a wine merchant), Michael Kelly grew up amid the rich musical life of Dublin, and received singing lessons from various immigrant Italians, notably Passerini and Matteo Rauzzini. His piano teachers included Michael Arne. He made an impromptu début as the Count in Piccinni’s La buona figliuola on 17 May 1777, and went on to sing in Dibdin’s Lionel and Clarissa and Michael Arne’s Cymon, before leaving Dublin in 1779, on Rauzzini’s advice, to study in Naples.
His most influential teachers were Fenaroli and Aprile, and he enjoyed the patronage of Sir William Hamilton. He made his Italian début in Florence in May 1781, and then sang in various Italian cities including Venice where in ...
Ronald D. Stetzel
[Möller, Johann Christoph]
(b Germany, 1755; d New York, Sept 21, 1803). British-American composer, organist, concert manager and music publisher of German birth. After about a decade in London, where his principal works were published (c1775–85), he moved to the USA. He was prominent in the musical life of Philadelphia (October 1790–November 1795) as organist of Zion Lutheran Church and co-manager (with Reinagle) of the City Concerts (1790–93), performing as a pianist, harpsichordist and violist. In New York he was organist of Trinity Episcopal Church and concert manager at fashionable summer pleasure gardens. Moller's and Capron's press (established in March 1793) was among the earliest in the USA for the exclusive printing of music, and Moller alone issued over 40 publications.
(b north of Dundee, Angus, Nov 1600; d London, Sept 4, 1676). Scottish dancing-master, theatrical impresario, writer, publisher and possibly composer , active partly in Ireland. A man of extraordinary versatility who was adept at attracting influential patronage, he successfully survived many misfortunes. His career began as a dancer at the court of Charles I. After a fall during a court masque in 1621 he was forced to give up dancing and became a dancing master and choreographer. About 1633 he accompanied the Duke of Wentworth (later the Earl of Strafford) to Dublin. He is important in the history of music in Ireland as the first holder there of the title of Master of the Revels, a position created for him by the Earl as Lord Deputy on 28 February 1638. In this capacity he erected in Werburgh Street, close to Dublin Castle, the first theatre to be built in the British Isles outside London. On the outbreak of the Civil War in ...
revised by Richard Dyer
(b New York, Nov 22, 1925; d Boston, June 21, 2015). American composer, conductor, educator, writer, publisher, and record producer. He was born into a musical family that had immigrated to America from Germany; his father played in the violin section of the New York PO for 42 years. In 1937 Schuller enrolled in the St. Thomas Church Choir School in New York where his general musical education was supervised by T. Tertius Noble. By the time he finished high school, he was already a horn player of professional caliber. At the age of 16 he performed in the American premiere broadcast of Shostakovich’s Symphony no.7, the “Leningrad,” conducted by Toscanini; his first book, Horn Technique (London and New York, 1962, 2/1992) has remained a standard reference.
After a season touring in the American Ballet Theatre orchestra under the direction of Antal Dorati, Schuller was appointed to the position of principal horn in the Cincinnati SO (from ...
(b Buchau [now Bochov], nr Carlsbad [now Karlovy Vary, Czechoslovakia], c probably 1530; d Eger [now Cheb, Czechoslovakia], mid-Feb 1592). Bohemian music editor, poet, printer, bookseller and ?composer. He may have attended the Lateinschule at Eger or the one at Joachimsthal (now Jáchymov). In 1554, according to his own testimony, he was a student at Leipzig. From April 1558 for about a year he was Kantor at the Lateinschule at Eger. In 1561 he applied again for this post but was refused. Between 1559 and 1567 he seems to have travelled about a good deal – he is known to have visited Budweis (now Ceské Budějovice), whose choir he praised highly, Ossegg, Prague and Nuremberg – and he also had several private pupils. Title-pages of his prints indicate that from at least 1567 until 1569 he was again living at Eger. In 1569–70 he probably stayed for some time at Nuremberg. From ...
Barry S. Brook
(b Wehrsdorf, nr Bautzen, Feb 2, 1748; d Leipzig, Sept 12, 1806). German impresario, composer, horn player, writer on music and publisher. He attended the Gymnasium in Bautzen for seven years; in 1770 he began studying law at Leipzig University but within a year turned to music, becoming first horn player for the Grosse Concert-Gesellschaft in 1771. In 1776 he founded a music copying business and manuscript storehouse, producing a large thematic catalogue (rivalling Breitkopf’s) that he sold in manuscript. He described this catalogue (of manuscript works available for copying) and his idealistic plans for the storehouse in a series of pamphlets published between 1778 and 1781. From 1782 he sponsored a series of independent concerts in Leipzig, later producing the Gewandhaus concerts, Dilettanten concerts and Stadtmusik, and undertaking concert tours as far as Dresden, Hamburg and Prague. In addition to works by Haydn, Mozart and others, he performed a number of his own compositions. In ...