( b Rome, Jan 25, 1960). Italian harpsichordist, organist and conductor . Largely self-taught, he conducted his first major concert, of Cavalli's Calisto, in Rome in 1985, with a group of singers that were to form the nucleus of a permanent ensemble, Concerto Italiano. The ensemble's first recording, of Monteverdi's fourth book of madrigals, was widely acclaimed for its passion and colour, winning a Gramophone award in 1994; subsequent recordings have included madrigals by Monteverdi, Marenzio and Frescobaldi, and vocal works by Lassus. In 1995 Alessandrini founded the complementary Concerto Italiano instrumental ensemble, with whom he has performed and recorded concertos by Bach and Vivaldi, and made an imaginative recording of Bach's Art of Fugue. His other recordings include Bach's sonatas for violin and harpsichord, vocal works by Vivaldi, Alessandro Scarlatti and Pergolesi, and Handel's Roman oratorio Il trionfo del Tempo e del Disinganno. With Concerto Italiano he has appeared at major concert halls and festivals throughout Europe. In ...
(b St Gall, March 17, 1911; d Lausanne, March 17, 1959). Swiss composer, pianist and organist. He began his music studies in Zürich in 1932, for the most part teaching himself; from 1934 to 1937 he studied in Paris with Dupré, Paul Roës and Nadia Boulanger, and returned to Switzerland in 1940. Settling in Lausanne, he worked as a concert pianist, composer, music critic and broadcaster. His eclectic style took elements from the varied musical currents of the time, but he retained a basis of sonata form and tonal harmony. He favoured driving rhythms and his writing is complex and compact. (L. Marretta-Schär: Raffaele d’Alessandro: Leben und Werk, Winterthur, 1979)
Raquel Bustos Valderrama
(b Breslau [now Wrocław], June 8, 1924; d Aug 7, 2005). Chilean composer and educator of German origin. She emigrated to Chile in 1939 and adopted Chilean nationality in 1951. She studied with Frè Focke (1949–53) in Chile and with René Leibowitz and Olivier Messiaen in France in 1954. Through several significant educational projects she contributed to a better public understanding of contemporary music in Chile; she also promoted Chilean musical culture in Europe. Her works won international prizes and she received commissions from patrons and organizations in Europe and the USA. Her music, modernist in style and sometimes using sounds generated by unconventional means, includes two ballets, Las tres caras de la luna (1966) and … a false alarm on the nightbell once answered cannot be made good, no ever (1977–8), and several works for full orchestra, including Cinco epigramas (...
(b Ilimbav, Sibiu, May 14, 1914; d Bucharest, April 20, 1997). Romanian ethnomusicologist. He studied at the Bucharest Royal Academy of Music (1931–6) and became Brăiloiu's closest collaborator, working with him at the folklore archive of the Society of Romanian Composers (1935–49); he continued his research appointment there when the archive was incorporated in the Institute of Ethnography and Folklore (1949), undertaking several field studies and collecting numerous examples of Romanian folksong, some of which have been recorded. He was Brăiloiu's successor in the folklore department of the Royal Academy of Music (1943–8), where he held various posts before becoming professor (1954–9). In 1956 he did research in China and from 1965 to 1967 he was the folklore expert of the Ministry of Culture of the United Arab Republic in Cairo, where he made recordings of Egyptian and Nubian folksong. In ...
Dorothy C. Pratt
(b Constantinople, 1881; d Chamonix, July 27, 1954). Armenian cellist. He studied with Grützmacher and while a student played chamber music with Brahms and Joachim. At the age of 17 he appeared as the soloist in Strauss's Don Quixote with the composer conducting and scored a triumph; he was then invited to play concertos with Nikisch and Mahler. In 1901 he settled in Paris, where Casals saw some of his fingerings and recognized that Alexanian shared his own, then revolutionary, ideas on technique and interpretation. Many years' collaboration followed, leading to the publication in 1922 of their joint treatise Traité théorique et pratique du violoncelle and in 1929 of Alexanian's analytical edition of the solo cello suites of Bach. Alexanian was professor of the Casals class at the Ecole Normale de Musique from 1921 to 1937, when he left for the USA. His classes in Paris, Baltimore and New York attracted artists and students from all over the world, and his influence extended far beyond his own pupils (among them Maurice Eisenberg and Antonio Janigro) to such cellists as Feuermann, Cassadó, Piatigorsky and Fournier. He was also a conductor of distinction....
John C.G. Waterhouse, Virgilio Bernardoni and Johannes Streicher
(b Posillipo, Naples, March 8, 1875; d San Remo, Oct 27, 1954). Italian composer. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Serrao at the Conservatorio di S Pietro a Majella, Naples, he moved in 1895 to Leipzig, where he completed his composition studies with Jadassohn. In 1896 he went to Berlin and launched himself as a pianist, though he did not continue this activity systematically for long: in later life he appeared in public only as a song accompanist and chamber music player, mainly in his own works. From 1899 until about 1905 he was based in Paris, but travelled as far afield as Russia. He then settled in Milan, moving in 1914 to San Remo, which remained at least his summer home for the rest of his life. From 1916 he taught composition at the Liceo Musicale, Bologna, which he directed from ...
[Ricketts, Frederic Joseph]
(b London, Feb 21, 1881; d Reigate, May 15, 1945). English composer and bandmaster. As a cornet-player with the Royal Irish Regiment, he served in India. Subsequently he studied at Kneller Hall (1904–8), qualifying as a bandmaster, and in 1908 was appointed to the 2nd Argyll and Sutherland Highlanders. In 1912, under the pseudonym Alford (his mother's name), he published the marches The Vedette and Holyrood, the first of a long series of marches. Two of the most famous, written during World War I, illustrate differing approaches to march-style. Colonel Bogey (1913) is in simple time; the golfing allusion of the title reflects the work's origin on the green, where Alford's partner would whistle the notes C and A instead of shouting ‘fore’. On the Quarter Deck (1917) is in the compound time made popular by the American John Philip Sousa. Alford is unlikely to have missed Sousa's concert on ...
(b Stockholm, May 1, 1872; d Falun, May 8, 1960). Swedish composer, conductor and violinist. He attended the Stockholm Conservatory (1887–91) and then took private lessons with Lindegren (composition) and Zetterquist (violin); from 1887 he also studied painting. A violinist in the Hovkapellet (the opera orchestra, 1890–92), he decided in 1892 to make his career in music. From 1904 to 1957 he conducted the Siljan Choir – a group of five church choirs and regional choirs in Dalarna – and he was the director of other choruses, including the Orphei Drängar (1910–47), with whom he made 22 tours throughout most of Europe. In addition he was Director Musices of Uppsala University (1910–39). A Hugo Alfvén Foundation has been established in Stockholm.
Alfvén's music is distinguished by orchestral subtlety and by a painterly exploitation of harmony and timbre. His output was almost entirely of programme music, often suggested by the Swedish archipelago; he commented that ‘my best ideas have come during my sea-voyages at night, and, in particular, the wild autumns have been my most wonderful times for composition’. A few pieces, often performed, have maintained his reputation: ...
Both an American Detroit-based hard rock band and the adopted name of its singer and main creative force Vincent Damon Furnier (b Detroit, MI, 4 Feb 1946). Cooper was the son of a minister and the nephew of the storyteller Damon Runyon, after whom he was named. He moved to Arizona, where he attended high school and formed the Nazz. This band eventually took the name Alice Cooper and developed an over-the-top, theatrical shock-rock style that influenced a host of other rock performers.
With snide and clever lyrics, Alice Cooper’s style was mainly hard rock, but some tunes were psychedelic and others would be suitable in a Broadway musical. After moving to Michigan, the band scored numerous hits in the early 1970s. Many of the songs were rebellious youth-focused anthems, including “Eighteen” (Warner, 1971) and “School’s Out” (Warner, 1972). Others centered on ghoulish menace or mere gothic gruesomeness like “Dead Babies” (Warner, ...
(b Palma de Mallorca, Aug 24, 1931; d Madrid, October 29, 2006). Spanish composer. He began his musical studies at the Barcelona Conservatory with Gabriel Gálvez, Luis Millet, Juan Pich Santasusana, Joan Gibert Camins, Joaquín Zamocois and Eduardo Toldrá, and later removed to Geneva to broaden his training. His tireless professional work extended beyond composition to directing various musical and ballet groups, orchestration, performing as a pianist, music criticism on radio and television, and teaching. He taught composition and fugue at the Seville Conservatory until 1971, then composition at the Madrid Conservatory until his retirement in 1997.
Alís’s works number about 200 and comprise a wide variety of genres. Many of them were commissioned by various official organizations. Among them are the orchestral Sinfonietta, Música para un festival en Sevilla, Homenatge a Antoni Gaudí, Seis remembranzas a Eduardo Toldrá and Rêverie, all of which bear witness to his mastery of orchestration, tone-colour and intensity. Equally well known are his pieces for piano, his choral pieces and his string quartets. In addition to his serious music, he composed, orchestrated and conducted commercial and incidental music for publishing houses, CDs, theatre, radio, television and the cinema. A member of various juries of international competitions, he was made Commander of the Imperial Hispanic Order of Carlos V and received numerous honours and prizes....
(b Sin-le-Noble, Nord, May 25, 1923). French bassoonist and teacher. A precocious talent, he won a premier prix at the Paris Conservatoire at the age of 17. He won a first prize at the Geneva International Competition in 1949 and was appointed to the Paris Opéra the same year. In ...
Terence J. O’Grady
revised by Bryan Proksch
(b Los Angeles, CA, March 31, 1935). American trumpeter, composer, bandleader, and record company executive. He studied trumpet as a child and left college to play in the army for a two-year period. After three years of producing records on his own, he launched A&M Records with Jerry Moss in 1962. A&M’s first issue was also Alpert’s first recording as a trumpeter and bandleader, The Lonely Bull (A&M, 1962). The title track included sounds from the bullring in Tijuana, Mexico, so Alpert dubbed his band the Tijuana Brass. His music exploited a distinctive combination of Mexican mariachi-style brass with jazz rhythms, which was dubbed Ameriachi. A string of hits including “Mexican Shuffle” (A&M, 1964) and “Tijuana Taxi” (A&M, 1965) followed. In 1966 Alpert had five recordings simultaneously listed on the Billboard Top 20. His cover of “This guy’s in love with you” reached no.1 in ...
Lori Burns and Jada Watson
(b Newton, NC, Aug 22, 1963). American alternative-rock singer-songwriter, pianist, and record producer. She emerged in the early 1990s amid a resurgence of female singer-songwriters and has been one of the few well known alternative-rock artists to use the piano as her primary instrument. She attended the preparatory division of the prestigious Peabody Conservatory but left the school at the age of 11. She began to play her own music in nightclubs at 14, chaperoned by her father, who was a preacher. After Amos moved to Los Angeles in her late teens to pursue a recording career, her band Y Kant Tori Read released a self-titled album (Atl., 1987). Although this was unsuccessful, Atlantic Records retained her six-album contract.
Amos’s debut solo album, Little Earthquakes (Atl., 1992), earned her critical acclaim for her vocal expressivity, pianistic virtuosity, and fearless exploration of a wide range of personal themes, notably female sexuality, personal relationships, religion, sexual violence, and coming of age. The album ...
Elizabeth A. Clendinning
An amusement park is a commercially-operated, outdoor venue that offers games, rides, and other types of entertainment, including music. The amusement park concept originated in the pleasure gardens of 17th-century Europe, which were originally large landscaped outdoor spaces primary devoted to games with a few refreshment stands. Dances and social and instrumental concerts became commonly integrated into these pleasure gardens in the 18th century. (See Pleasure garden.) Another important part of early amusement park soundscapes was the mechanical organ, which was used by street performers as early as the 18th century and was frequently built into carousel rides by the end of the 19th century. Over the course of the 19th century, the popularity of amusement parks skyrocketed, especially in the United States, where large tracts of land were available for development. Bandstands and pavilions devoted explicitly to musical performances were common in the 19th century, in part influenced by the popular World’s Fairs, which were industrial and cultural expositions that featured specific stages devoted to performers from around the world. A change came with the ...
Roxanne R. Reed
Gospel ensemble. The Angelic Gospel Singers, or the Angelics, were an African American female gospel quartet based in Philadelphia. Founder, lead singer, and pianist Margaret Allison (1921–2008) a native of McCormick, South Carolina, moved with her family to Philadelphia as a youth. Allison joined the Spiritual Echoes in 1942 and learned vocal arranging, composition, and accompanying techniques. Allison’s family was affiliated with the Pentecostal Church, but stylistically her gospel sound was closer to that of the southern Baptist church and gospel tradition. Allison left the Spiritual Echoes in 1944 to form the Angelics. Joining her were fellow former Spiritual Echoes members Lucille Shird and Ella Mae Norris. The third member was Allison’s sister Josephine MacDowell. The quartet’s sound mimicked that of popular male quartets such as the Fairfield Four and the Dixie Hummingbirds with controlled harmonies and simple accompaniment. The Angelic Gospel Singers commonly performed with the Hummingbirds. As a group, the Angelics performed primarily on the Pentecostal Church circuit. Their rendition of Lucie Campbell’s “Touch Me, Lord Jesus” (...
Bill C. Malone
revised by Barry Mazor
[Chester Burton ]
(b nr Luttrell, TN, June 20, 1924, d Nashville, TN, June 30, 2001). American country-music guitarist and recording company executive. Although the first instrument he played professionally was the fiddle, he became internationally famous as a guitarist. Developed while he was in high school, his guitar style was influenced by Merle Travis, Les Paul, Django Reinhardt, and George Barnes and was characterized by the use of the thumb to establish a rhythm on the lower strings and multiple fingers to play melodic or improvisational passages on the higher strings, sometimes with complex voicings. In the early 1940s Atkins toured with Archie Campbell and Bill Carlisle playing both fiddle and guitar, and appeared with them on WNOX radio in Knoxville. He then toured with the second generation Carter Family as a sideman and in 1946 joined Red Foley. After beginning his association with the “Grand Ole Opry” he settled in Nashville in ...
A Sydney-based experimental music organization founded on about 5 February 1970 by David Ahern. For each concert that it held a letter of the alphabet was assigned; its début was concert ‘A’, a 24-hour concert on 21 February 1970 which included Satie’s Vexations. Other composers whose works were performed included Ahern, Cardew, Cage, Steve Reich and Terry Riley. Its concerts attracted considerable publicity and in one case provoked a riot (in Sydney Town Hall on 16 February 1971). From the larger AZ contingent Ahern formed Teletopa, an electronic music improvisation group, which was disbanded after an overseas tour in 1972. A-Z (as the group was called from 1973) held its last concert in August 1975.E. Gallagher: ‘The State of the Art’, Music Maker (Oct 1971), 27–8 G. Barnard: Conversation without Feldman (Sydney, 1980) G. Barnard: ‘AZ it Was’, New Music Articles, 7 (1989), 17–20 E. Gallagher: ‘AZ Music’, ...
Thomas W. Bridges
revised by Maureen Buja
(b Langres; fl Rome, 1551–72). French printer. He was a singer in the Cappella Giulia intermittently from March 1552 until at least the end of 1554, and was also active as a composer: in 1552 his Madrigali a quattro voci were printed in Rome by Valerio and Luigi Dorico.
In 1555 he began to print music, publishing a series of collections entitled ‘delle muse’, Vicentino’s L’antica musica ridotta alla moderna pratica (1555; in 1551 Barrè had been a witness at the famous debate between Vicentino and Lusitano in Rome) and a few volumes devoted to single composers. His first publication, Il primo libro delle muse a cinque (1555), set a high standard, with canzone settings by Barrè himself, Berchem, Vincenzo Ruffo and Arcadelt, including Arcadelt’s superb setting of Petrarch’s Chiare, fresch’e dolci acque. Barrè’s Primo libro delle muse a quattro voci (1555) includes his own setting of four stanzas from Ariosto’s ...
Anne Beetem Acker
Australian piano firm founded by Octavius Beale (b Mountmellick, Co. Laois, Ireland, 23 Feb 1850; d Stroud, New South Wales, Australia, 16 Dec 1930). Beale came to Australia with his family in 1854. Having been sent back to Ireland for schooling, he returned and was working in a hardware store in Melbourne at age 16. Later he became a partner with Hugo Wertheim in a hardware business that imported sewing machines and German upright pianos. In 1884 he moved to Sydney to set up Beale & Co. Ltd, importing pianos labelled ‘Hapsburg Beale’. In 1893, in Sydney, he established the first piano factory in Australia. In 1902 he opened a new factory at 47 Trafalgar St, Annandale, which became the largest piano factory in the southern hemisphere, employing more than 300 skilled workmen by 1907. The firm also made sewing machines and exported veneers.
Beale & Co. emphasised that their pianos were built to withstand hostile climates and kept quality high and costs low through the use of local skilled labour, Australian timbre, and making most components on site. They promoted the tuning stability and longevity of pianos with their ‘all-iron tuning system’, also known as the Beale–Vader tuning system, patented in ...