(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
Greg A. Handel
(b West Hempstead, NY, April 26, 1956). American music educator, choral arranger, editor, and conductor. He was a member of the American Boychoir (1969–71), and received degrees from St Olaf College (BM 1978), the University of Illinois at Urbana–Champaign (MM 1980), and Michigan State University (DMA 1987). He was on the summer faculty of the American Boychoir School and now serves on the Board of Trustees. He taught at Calvin College (1980–90) before becoming the fourth conductor of the St Olaf Choir and the Harry R. and Thora H. Tosdal Endowed Professor of Music (1990–). Armstrong is the editor for Earthsongs publications and co-editor of the St. Olaf Choir Series. He chronicled the history of the St Olaf Choir in his doctoral dissertation. He is featured on an instructional video for adolescent singers, Body, Mind, Spirit, Voice (2002...
Harry B. Soria Jr.
[Albert R. ]
(b Honolulu, HI, Oct 1, 1879; d Honolulu, HI, Jan 23, 1933). Composer, arranger, publisher, pianist, and bandleader, active in Hawaii. Cunha’s compositions early in the 20th century spearheaded the development of the hapa haole song, featuring predominantly English lyrics with some references to Hawaii and the Hawaiian language, earning him the title of “Father of Hapa Haole Songs.” His innovation is credited with making Hawaii’s music accessible to a much wider audience, which rapidly grew to global proportions over the next few decades.
Cunha left Hawaii to attend Yale University, where he excelled in sports, the Yale Glee Club, and composed Yale’s “Boola, Boola.” Rather than practice law after graduation, he toured the mainland United States performing a new kind of Hawaiian song, combining the popular ragtime rhythm of American music with Hawaiian songs. Cunha returned to Hawaii and composed his first hapa haole song, “Waikiki Mermaid,” in ...
(b Port Huron, MI, April 17, 1943). American composer, conductor, educator, and publisher. He received some of his earliest training in the Salvation Army Instrumental Music program, a debt he later repaid as editor of their music publications. He undertook undergraduate studies at Wayne State University (BM 1966) and graduate studies at Michigan State (MM 1970), studying euphonium with Leonard Falcone and conducting with Harry Begian. His composition teachers were F. Maxwell Wood, James Gibb, Jere Hutchinson, and Irwin Fischer. He has over 400 works in his catalog, mostly tonal, many of which take their inspiration from literature. He is widely known for his symphonic band and brass band works, several of which have won major awards: Symphonic Triptych, Collage for Band (ASBDA/Volkwein, 1977, 1979), Mutanza, Symphonic Variants for Euphonium and Band (ABA/Ostwald, 1980, 1984), and Lochinvar (Coup de Vents, France, 1994). His prolific output for young musicians reflects his many years teaching at public school and college levels. He founded and presides over Curnow Music Press, Inc....
(b Dallas, TX, Jan 26, 1922; d Suffern, NY, Nov 4, 1999). American recorder player, editor, teacher, and conductor. His early musical experience included playing the trumpet in small jazz bands and in Broadway pit bands and arranging music for shows in New York. While studying with erich Katz at the New York College of Music he developed an interest in early music. He learned to play the recorder, crumhorn, sackbut, and viola da gamba and arranged and directed medieval and Renaissance music. He edited music for the American Recorder Society, which published several of his compositions, and later was general editor of the series Music for Recorders (Associated Music Publishers). He took part in the debut of the New York Pro Musica Antiqua under Noah Greenberg in 1953 and rejoined them from 1960 until 1970; during this time he became director of the instrumental consort and assistant director of the Renaissance band. He toured internationally with them and played on many recordings. In ...
(b Antwerp, Belgium, Nov 23, 1897; d Philadelphia, PA, June 12, 1980). Music publisher and conductor of Belgian birth. He was trained at the Antwerp and Amsterdam conservatories and played violin in the Concertgebouw Orchestra of Amsterdam before coming to the United States in 1920. He joined the Philadelphia Orchestra as a viola player and was appointed chorus master and assistant conductor of the Philadelphia Grand Opera Company in 1927. In 1926 he opened a music shop in Philadelphia and two years later was joined by Adolph Vogel (a cellist in the Philadelphia Orchestra) in the establishment of the music publishing firm Elkan–vogel . Elkan became first conductor of the Trenton Civic Orchestra in 1933 and conductor and music director of the Philadelphia Ballet Company in 1935; he founded the Dra-Mu Opera Company in 1945. He left Elkan-Vogel in 1952 but opened his own publishing house, Henri Elkan Music Publisher, Inc., in ...
(b Plzeň, Sept 29, 1882; d Iriški Venac, March 27, 1938). Yugoslav music publisher, conductor, composer, violinist of Czech origin. After working as a freelance musician in Sofia, Bulgaria (1897–1903), he settled in Belgrade in 1903 where he took the post of concertmaster in the National Theater (1904–09) and temporarily in the Orchestra of ‘Kraljeva garda’ [King’s guards]. He was also the conductor and director of several singing societies (‘Lira’ [Lyre], ‘Harmonija’ [Harmony], etc.) as well as of his own salon orchestra which performed regularly in the hotel ‘Moskva’ [Moscow] (1908–14). He was a founder and owner of the publishing house ‘Edition Frajt’, (1921–41), which was dedicated solely to music publishing. It released more than 800 volumes consisting mostly of the works of Austrian, Yugoslav, German, Russian, Czech, and Hungarian composers. The largest part of the collection comprised arias from operettas and operas, arrangements of folk songs and folk dances, salon lyrical character pieces, and popular songs and dances. In addition to the works of established Serbian composers from the 19th century (Davorin Jenko, Stevan Mokranjac, Josip Marinković), Frajt`s catalogue included the works of many Yugoslav composers of his time (Petar Krstić, Stevan Hristić, Mihovil Logar, Marko Tajčević, etc.). Among them were the numerous popular songs based mostly on the rhythm of popular social dances of that period and arrangements of folk songs and dances composed by Frajt himself. Frajt was also the author of several pieces for orchestra (‘Srpska igra’ br. 1 i 2 [Serbian dance no.1 and 2]), vocal-instrumental ensemble (‘Misa u B-duru’ [Mass in B Major]), solo songs, and works for violin solo and violin and piano....
(b Vienna, Austria, Nov 15, 1894; d Manhasset, NY, April 26, 1982). Music editor, conductor, and teacher of Austrian birth. After initially studying cello, Greissle attended the University of Vienna where he studied musicology with Guido Adler. In 1920 he became a private student of arnold Schoenberg and a rehearsal coach in Schoenberg’s Society for Private Musical Performances. In 1921 he married Schoenberg’s oldest daughter Gertrud. As conductor of the Vienna State Opera’s Cantata Society (1924–37) Greissle premiered Schoenberg’s Woodwind Quintet in 1924 and arranged several of his works, including Five Pieces for Orchestra, op.16 for chamber ensemble. After the Anschluss he fled with his family to the United States and settled in New York. There he worked as music editor for G. Schirmer (1938–46) and thereafter for Edward B. Marks. Greissle taught music theory and rehearsal techniques both privately and at Columbia University, the Philadelphia Academy of Music, the 92nd Street Y, and the New School for Social Research....
Robert Orledge and Andrew Thomson
(b Paris, Mar 27, 1851; d Paris, Dec 2, 1931). French composer, teacher, conductor and editor of early music. His famed veneration for Beethoven and Franck has unfortunately obscured the individual character of his own compositions, particularly his fine orchestral pieces descriptive of southern France. As a teacher his influence was enormous and wideranging, with benefits for French music far outweighing the charges of dogmatism and political intolerance.
D’Indy came from a military aristocratic family from the Ardèche region, a fact of the greatest importance in understanding his lifelong nationalist and right-wing political position. His mother died in childbirth, and he was brought up by his paternal grandmother, Thérèse (née de Chorier). Her strict regime, however, was mitigated by deep affection: she was not the tyrannical ogress of received opinion. D’Indy took lessons in piano from Louis Diémer and theory from Albert Lavignac; while showing definite promise, he showed more interest as a boy in military matters and the life of his hero Napoleon. At 18, having passed his ...
L. Brett Scott
(b Port Colborne, ON, Oct 14, 1927; d Caledon East, ON, April 3, 1998). Canadian choral conductor, arranger, editor, and teacher. After graduating from the University of Toronto (BM 1950), he conducted the University of Toronto Symphony Orchestra and All-Varsity Mixed Chorus, was a choir member at St. Mary Magdelene Church under Healey Willan, and apprenticed with Sir Ernest MacMillan as assistant conductor of the Toronto Mendelssohn Choir. In 1964 he was appointed conductor of the Toronto Mendelssohn Choir, a position he held until 1997. He taught choral music at the University of Toronto from 1965 to 1968, and was Adjunct Professor from 1997 until his death in 1998. After his death, the University of Toronto’s Elmer Iseler Chair in Conducting was established in his honor.
Iseler’s work with his professional choirs established his reputation in Canada and internationally. In 1954 he helped found Canada’s first professional choir, the Toronto Festival Singers. He founded the Elmer Iseler Singers in ...
Leonard B. Smith and Raoul F. Camus
(b Southville, MA, Oct 25, 1879; d Palisade, NJ, March 16, 1955). American composer, conductor, editor and arranger. He studied at the New England Conservatory and was playing the violin with professional symphony orchestras in Boston by the age of 16. From 1896 to 1910 he conducted various theatre orchestras, including the orchestra of the Teatro Payret, Havana, then one of the largest theatres in the western hemisphere. He later moved to New York, where he wrote arrangements for Victor Herbert, John Philip Sousa, Edwin Franko Goldman, Percy Grainger, Henry Hadley and George M. Cohan. In 1913 he became editor-in-chief of band and orchestral music at Carl Fischer, a position he held for 35 years. His textbook, The American Band Arranger, was published by Fischer in 1920. He taught at the Ernest Williams School, Columbia University and New York University. He also conducted his band, Symphony in Gold, for NBC radio. More than 3000 of his arrangements and compositions were published, some under the pseudonym Lester Brockton. The Heritage of the March series of recordings includes a sample of his work. Lake’s autobiography is entitled ...
revised by Noël Goodwin
(b London, Nov 19, 1934). English conductor, editor and translator. After reading Russian and German at Oxford University, he studied music privately with Iain Hamilton. As a Russian-language specialist, his first professional engagement was to coach Boris Godunov in Russian at Covent Garden in 1959. He assisted John Pritchard in preparing the Royal Liverpool Philharmonic Orchestra’s ‘Musica Viva’ series in 1960, and became chorus master and assistant conductor of the New Opera Company the same year. In 1963 he began guest engagements with the BBC Welsh Orchestra and other orchestras. He conducted Scottish Opera in his own translation of Boris Godunov in 1967 and gave the first British performances of Fauré’s Pénélope (1970, RAM) and Haydn’s La fedeltà premiata (1971, Camden Festival). He was engaged by the Welsh National Opera and the Wexford Festival, and made his Covent Garden début with Boris Godunov in 1971. The next year he joined Sadler’s Wells Opera as assistant to the musical director and conducted, with conspicuous success, the first British stage performances of Prokofiev’s ...
revised by Richard R. Bunbury
(b Bunceton, MO, Sept 1, 1917; d Staten Island, NY, Oct 7, 2007). American conductor, organist, and editor. He studied at Concordia College in River Forest, Illinois, the University of Chicago (BA 1942), the American Conservatory (BMus 1944, MMus 1946), and Yale University (PhD 1960); he also studied conducting with Nikolai Malko. He was music director at Zion Lutheran School in Chicago (1938–48) and a member of the organ and theory faculty at the American Conservatory (1945–7). From 1957 to 1966 he was an assistant professor at the Massachusetts Institute of Technology, and from 1967 until his retirement in 1983 he was a professor of music at the College of Staten Island in New York City. From his retirement until 1995 he was director of the Collegium Musicum in the Lutheran Summer Music Program. As an organist and choir director Mattfeld was associated with several churches in Chicago, New York, New Jersey, and New England (...
(b London, Sept 24, 1945). English composer, conductor and editor. He was a chorister at Highgate School, following which he studied music at Clare College, Cambridge. He then taught at the University of Southampton, returning to Clare College as the director of music in 1975. In 1979 he left to devote himself to composition and subsequently to found the Cambridge Singers, a professional choir with whom he has made many recordings, both of his own music and of other (mainly European) choral works. Rutter has concentrated on composing vocal music, particularly for choirs. Within this field he has become probably the most popular and widely performed composer of his generation, especially in the UK and the USA. His idiom grows out of the British choral tradition as exemplified by Holst, Vaughan Williams, Howells, Britten and Tippett, but also draws on a wider sympathy for European music of the later 19th and early 20th centuries, especially the harmonic and melodic language of Fauré, Duruflé and their contemporaries. Rutter's particular gift is for skilled craftsmanship and memorable phrase, found at its simplest in works such as the anthem ...
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 Brunswick, MO, Feb 7, 1882; d New York, NY, March 9, 1961). American clarinetist, bandleader, composer, and music publisher. His first professional engagement (c1897–8) was with a “pickaninny” band led by Nathaniel Clark Smith. In 1902 he was assistant leader of P.G. Lowery’s band with Forepaugh and Sells Circus and later that year joined Mahara’s Minstrels band under the leadership of W.C. Handy. In 1903 he formed his own band in Minneapolis, where he made the first recordings by an African American band. Sweatman moved to Chicago in 1908, where he led trios at the Grand and Monogram theaters. In 1911 he made his first vaudeville appearance, and in late 1916 made the first records recognizable as jazz performances. In 1918 Sweatman’s band was signed to an exclusive recording contract with Columbia, their records rivalling those by the Original Dixieland Jazz Band. He continued to work through the 1920s and early 1930s in vaudeville, and in ...
Deane L. Root
(b Island Pond, VT, July 28, 1901; d North Hollywood, CA, July 3, 1986). American bandleader, singer, saxophonist, actor and publisher. From 1918 he learnt the saxophone and played in a theatre orchestra in Portland, Maine, then attended the University of Maine (1921) and Yale University (to 1927). In 1928 he formed his own band, the Connecticut Yankees; he made his début as a singer in George White’s Scandals (1931), and appeared in Broadway musicals, television and over 20 films, mostly as a musician or comic actor. During the 1930s and 1940s, with his salutation ‘Heigh-ho, everybody!’, he was one of the most successful American bandleaders and singers, among the first crooners to inspire mass hysteria in his audience. With his thin, nasal voice and using a megaphone – later a microphone – he popularized the Maine Stein Song, the Yale Whiffenpoof Song, his own ...