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Gillian M. Rodger

(b London, England, Feb 1834; d New York, NY, April 11, 1905). American composer, theater orchestra director, and arranger. Born in London’s East End, Braham’s musical education was gained largely through his early education at the British Union School. He initially played the harp, but switched to the violin and became a skilled performer by the time he was 18. Rather than embarking on a career as a professional musician, Braham became a brass turner, making tubing for brass instruments, and supplemented his income by performing in theatrical orchestras in the evenings. In 1856, in the wake of a cholera epidemic that took his mother’s life, he emigrated to New York, where he quickly found employment in theater orchestras. By 1857 he was a regular member of the orchestra attached to Matt Peel’s Campbell Minstrels, and remained with this company, despite personnel conflicts and the reforming of the troupe under a modified name, until ...

Article

Ian Bradley

English comic-opera collaborators. The impact of the comic operas of the librettist W.S. Gilbert (1836–1911) and the composer Arthur Sullivan (1842–1900) in the United States was immediate and lasting. H.M.S. Pinafore, the team’s second significant collaboration, established its transatlantic reputation. In the absence of international copyright agreements, a pirate production opened in Boston on 25 November 1878, exactly six months after the London first night. Within a few months Pinafore mania was sweeping the country. The opera was at one point being performed simultaneously in eight New York theaters within five blocks of each other. By the time the “authorized” version opened at the Fifth Avenue Theater in New York on 1 December 1879, more than 150 productions had played across the United States.

It was a mark of the instant and intense popularity of the first of the major Savoy operas, as Gilbert and Sullivan’s operas became known, that the next work in the canon, ...

Article

Callum Ross, John Snelson and Margaret Campbell

Article

Margaret Campbell

Member of Lloyd-Webber family

(b London, April 14, 1951). Cellist, son of William Lloyd Webber. He studied with Douglas Cameron, Joan Dickson and Harvey Phillips at the RCM and Fournier in Geneva. He made his London recital début in 1971 and his concerto début the following year with the first London performance of Bliss's Cello Concerto, of which he subsequently made the first recording. Lloyd Webber has appeared widely as a soloist in Britain and abroad and has given many premières, including Rodrigo's Concierto como un Divertimento (1982), Arnold's Fantasy for Cello (1987) and Cello Concerto (1989), and Gavin Bryars's Farewell to Philosophy (1995), of which he is also the dedicatee. He was appointed professor of the cello at the GSM, London, in 1978, and was artistic director of Cellothon 88 at the South Bank in 1988. Lloyd Webber is known for his exploratory approach to repertory, introducing many neglected masterpieces into his programmes and recording his brother Andrew’s ...

Article

Callum Ross

(Southcombe)

Member of Lloyd Webber family

(b London, March 11, 1914; d London, Oct 29, 1982). Composer and organist. By the age of 14 he was well known as an organ recitalist. He won an organ scholarship to Mercer’s School and subsequently to the RCM (FRCO 1933), where his teachers included Vaughan Williams, among others. Although World War II interrupted his compositional development, the conclusion of the war marked the beginning of his most prolific years. His works from 1945 to the mid-1950s include the oratorio St Francis of Assisi (1948), the orchestral tone poem Aurora (1951) and the Sonatina for viola and piano (1951). Writing in a style firmly embedded in the Romanticism of such composers as Rachmaninoff, Sibelius and Franck, he became increasingly convinced that his music was ‘out of step’ with the prevailing climate of the time. Rather than compromise his approach, he virtually stopped composing, turning instead to academic music. He taught at the RCM and in ...

Article

Ian Mikyska

(b Bratislava, 16 Oct 1981). Slovak composer, saxophonist, and improviser. Studied composition at the University of Performing arts in Bratislava (VŠMU) (with Jevgenij Iršai and Vladimír Godár) and at the Academy of Performing Arts in Prague (with Michal Rataj), as well as musicology at the Comenius University in Bratislava.

He is unusual in the Czecho-Slovak context for the breadth of his musical and cultural interests – eclecticism and a Schnittkean polystylism are the only unifying elements of his work, perhaps together with relentless demands on the listener’s emotions (in one direction or another). His earlier works betray the influence of Schnittke in their rapid changes and distressed emotiveness interspersed with moments of (ironic?) grandeur, while at other times, his use of explosive improvisation and a range of stylistic contexts brings John Zorn to mind.

He has a close relationship with theatre, both in his operas and video-operas – often made in collaboration with the actor, director, and librettist Marek Kundlák – and in his instrumental music, which doesn’t shy away from theatricality and make-believe. He often treats musics as cultural phenomena, mindful of their history and current position, unafraid to appropriate and explore what he calls the emptied-out or sketched-out worlds that remain in music after the 20th century....

Article

Member of Lloyd-Webber family

(b London, March 22, 1948). Composer and producer, son of William Lloyd Webber.

He was educated at Westminster School and the RCM. From an early age he wrote incidental music for shows with his toy theatre; at Westminster he wrote music for school revues. In the April of 1965 he met the lyricist Tim(othy Miles Bindon) Rice with whom he wrote the unperformed musical The Likes of Us and some pop songs. Their first success came with the commission to write a choral work for Colet Court School; the resulting pop cantata, Joseph and the Amazing Technicolor Dreamcoat, was gradually extended to a full-length show and has become a constant of both amateur and professional repertories. They released the concept album for Jesus Christ Superstar (1970), which became one of the bestselling albums of that time in both the UK and USA; it was then developed for stage and opened in New York (...