(b Szent-György-Ábrány, Oct 15, 1822; d Budapest, Dec 20, 1903). Hungarian writer on music, composer and pianist. He came from the wealthy Eördögh family: the name means ‘devil’ and his father changed it to Ábrányi, the name of their estate. He studied the piano under János Kirch (1810–63) and Vilmos Dolegni. His first composition, Magyar ábránd (‘Hungarian Fantasy’), was published in 1841. In the early 1840s he gave concerts in Hungarian towns, and in 1846 left for Vienna to take piano lessons with Joseph Fischhof. There is no reliable evidence that he was ever a student of Chopin in Paris. From 1847 he lived in Pest, in the 1850s as a piano teacher, and studied composition with Mosonyi, together with whom he became a devoted follower of Liszt and Wagner. He was one of the founders of the first Hungarian music periodical, the Zenészeti lapok, in ...
(b Maynardville, TN, Sept 15, 1903; d Nashville, TN, Nov 23, 1992). American country singer-songwriter and publisher. He was first influenced by traditional music heard at home, much of it British, and by music at the church where his father was the pastor. His Southern Baptist heritage became evident in the mournful, wailing style of his vocals. A keen sportsman, he was denied a professional athletic career through ill-health, but learnt to play his father’s fiddle. His early career was in so-called medicine shows, and radio appearances with local musicians led to the formation of his first group, the Tennessee Crackerjacks. His first record followed in 1937, and he made his début on ‘The Grand Old Opry’ radio show, subsequently becoming a regular contributor as Roy Acuff and the Smoky Mountain Boys. His recording of the Carter family classic Wabash Cannonball earned him a gold disc and led to nationwide tours as well as work in Hollywood....
Gary W. Kennedy and Barry Kernfeld
[Wilton Jameson ]
(b New Albany, IN, July 21, 1939). American educator, publisher, record producer, and saxophonist. He performed locally from the age of 15 and while studying at Indiana University (BM 1961; MM 1962) led groups that worked in southern Indiana and Kentucky. Having taught music education at Indiana University Southeast (1967–9) and classical saxophone at the University of Louisville (1970–72), in the early 1970s he established a week-long jazz workshop (or “jazz camp”) held during the summer; by the late 1990s the workshop took place twice annually. Aebersold also presented workshops in other countries, including Australia, Germany, England, Scotland, Denmark, and Canada. In 1992 he received an honorary doctorate in music from Indiana University and began teaching jazz improvisation at the the University of Louisville.
In addition to his principal instrument, Aebersold plays piano and double bass, but he is far better known as an educator than as a performer. In ...
E. Eugene Helm
revised by Darrell Berg
(b Dobitschen, Saxe-Altenburg, Jan 4, 1720; d Berlin, Dec 2, 1774). German musicographer, composer, organist, singing master and conductor. His father occupied an important post as government agent and jurist in Dobitschen. Burney, who visited the Agricolas in 1772, reported that Johann Friedrich’s mother, born Maria Magdalena Manke, ‘was a near relation of the late Mr Handel, and in correspondence with him till the time of his death’; but later Handel research has failed to substantiate this claim.
Agricola began his study of music as a young child. In 1738 he entered the University of Leipzig, where he studied law; during this time he was a pupil of J.S. Bach and visited Dresden, where he heard performances of Passion oratorios and Easter music by Hasse. In 1741 he moved to Berlin, became a pupil of Quantz, made the acquaintance of C.P.E. Bach, C.H. Graun and other musicians, and embarked on a career that touched many aspects of Berlin’s musical life. He became keenly interested in music criticism and theoretical speculation in Berlin, and his work as a musicographer has proved to be his most lasting accomplishment. In ...
(b Visby, June 5, 1805; d Stockholm, May 4, 1857). Swedish composer, conductor and organist. He studied music at the University of Uppsala and became the musical director of E.V. Djurstrms theatre company in 1828. From 1832 to 1842 he was a teacher at the Gymnasium in Vsterå and the city’s cathedral organist. He then moved to Stockholm, where he was a conductor of various theatre orchestras, for which he composed the music for about 100 productions, often in collaboration with August Blanche. His only full-length opera, Alfred den store (Alfred the Great), based on a text of Theodor Krner, was written in 1848 but never performed; another opera, Abu Hassan, was not finished. His other compositions include about 300 entractes, a vocal symphony, some orchestral works, a piano concerto and solo piano pieces. He also edited collections of Swedish and Nordic folksongs and folkdances and compiled a pocket dictionary of music (...
(b ?Milan, c1644; d Vienna, Sept 22, 1685). Italian composer and musician. He is first heard of in a letter of 6 September 1671 in which the Prince-Bishop of Olomouc, Karl Liechtenstein-Kastelkorn, told J.H. Schmelzer that he need not have apologized for some apparent bad behaviour on Albertini’s part, since he himself in any case had a good opinion of him. At the time of his death (he was murdered) Albertini was chamber musician in Vienna to the dowager Empress Eleonora. He himself prepared for publication his printed collection of sonatas and signed the dedication to Leopold I, but it did not appear until seven years after his death (the delay may have been due to the cost of engraving, towards which the emperor had granted a subsidy as early as 1686). The 12 sonatas have no regular pattern or number of movements. Most of the opening and closing movements are adagios; two sonatas begin with a separate movement marked ‘Praeludium’ characterized by figuration over a supporting bass. The form of each movement stems as a rule from freely varied development of phrases – usually, but not always, the initial one – which reappear in new guises and thus with a fresh impulse. Larger sections are never repeated literally. In a few of the sonatas there are thematic connections between several (though never between all) movements. Sonata no.9 is a passacaglia whose theme is presented at the beginning and end as a canon at the 5th and whose formal sections sometimes overlap with the statements of the ostinato theme. Double stopping appears conspicuously in the last sonata, which consists entirely of imitative movements....
Carolyn Gianturco and Teresa M. Gialdroni
(b Mosso Santa Maria, nr Biella, Jan 31, 1921). Italian musicologist. He took diplomas in piano at the Parma Conservatory (1942) and in choral music at the Turin Conservatory (1948), and studied music history with Della Corte at Turin University, where he took an arts degree (1946). He subsequently taught music history in the conservatories of Bolzano (1950–51), Parma (1951–5) and Milan (1954–88); he has edited the journals Almanacco musicale italiano (1954–5), Ricordiana (1955–7) and Musica d’oggi (1958–63) and has been vice-director of Enciclopedia della musica Ricordi (1960–64). He has been a consulting editor for Ricordi since 1964. Music education is one of his major interests: he became director of the series Manuali di Didattica Musicale and Canti nel Mondo (Ricordi) in 1965, and editor of Educazione musicale...
Peter Andreas Kjeldsberg
revised by Martin Anderson
(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 (...
Roxanne R. Reed
(b Anguilla, MS, March 21, 1919; d Hazel Crest, IL, 15 June, 1995). American gospel director, singer, composer, and publisher. Anderson established a career forming and training gospel groups in Chicago. His formative years were spent as one of the original Roberta Martin Singers, one of the premiere gospel groups of the 1930s and 1940s. He left briefly, between 1939 and 1941, to form the first of his many ensembles, the Knowles and Anderson Singers with R.L. Knowles. He rejoined Martin, but ultimately resigned because of the travel demands. In 1947 he formed Robert Anderson and his Gospel Caravan, but after several members left in 1952, he formed a new set of singers that recorded and performed under the name the Robert Anderson Singers through the mid-1950s. Throughout his career, Anderson recorded on a multitude of labels including Miracle and United with Robert Anderson and the Caravans; and later with the Robert Anderson Singers, on Apollo. Anderson wrote, and often sang lead on, many of the songs his groups performed, including “Why Should I Worry” (...
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...
(b London, Aug 10, 1740; d London, Oct 22, 1802). English composer, conductor, organist, and editor. He was the son of Thomas Arnold, a commoner, and, according to some sources, the Princess Amelia (she was certainly his patron). Arnold received his education as a Child of the Chapel Royal (December 1, 1748 to August 31, 1758), where he was occasionally noticed by Handel (something he ‘remember’d with delight & spoke of with a starting tear’), and on leaving became known as an organist, conductor, and teacher, and composed prolifically. In autumn 1764 he was engaged by John Beard as harpsichordist and composer to Covent Garden; there he compiled several pastiche operas, including the popular The Maid of the Mill (1765), which is among the supreme examples of the form. In 1769 Arnold bought Marylebone Gardens, and during the next six summers produced several short all-sung burlettas, composing or at least contributing to four new examples (now lost). These productions were simply written (from the literary point of view at least) and would have appealed to an audience with no previous experience of operatic music....
Laurie J. Sampsel
(b Milton, MA, Feb 18, 1760; d French Mills, NY, Nov 23, 1813). American composer, singing master, singer, and tunebook compiler. Babcock lived most of his life in Watertown, MA, where he worked as a hatter. As a teenager he fought in the Revolutionary War, and he died while enlisted in the Army during the War of 1812. He was active primarily as a psalmodist during the period from 1790 to 1810. Babcock was the choir leader at the Watertown Congregational church, sang at and composed music for town events, and taught singing schools there in 1798 and 1804. He may also have been an itinerant singing master in the Boston area. Babcock composed 75 extant pieces, including anthems, set pieces, fuging tunes, psalm, and hymn tunes. Most of his music was first published in his own tunebook, Middlesex Harmony, which was published in two editions (1795...
revised by William Waterhouse
(d 1831). English woodwind instrument inventor, maker and player and music publisher. Having originally trained as a turner, he began his career playing oboe, flute and flageolet at two London theatres. As maker, his first patent was in 1803 for a new model of ‘English flageolet’, which, by changing the fingering of the tonic from six to three fingers, led in about 1805 to the development of his double flageolet model in collaboration with John Parry (ii) (1776–1851). Between 1808 and 1821 he was in partnership with John Wood as Bainbridge & Wood, writing and publishing tutors and music for his instruments. From cto 1835 the business was continued by Bainbridge’s widow Harriet, and thereafter until 1855 by his successor, Hastrick, whose mark usually included the words ‘late Bainbridge, inventor’.
The firm’s speciality was the ‘English flute’ or ‘English flageolet’ – not to be confused with the French or the ‘quadrille’ flageolet – in its single, double and occasionally triple form. In addition they made single and double concert flutes with flageolet-type heads to be held transversely. These instruments, designed for amateurs of both sexes, enjoued enormous popularity, the double flageolet being much plagiarised (in spite of two unsuccessful legal actions) by rival makers both at home and abroad. Bainbridge was perhaps the earliest wind-instrument maker with the all-round abilities required to launch such projects successfully, combining single-handedly as he did the diverse skills of inventor, performer, teacher, manufacturer, author and publisher....
(b Altona-Ottmarschen, Sept 24, 1902; d London, Jan 13, 1988). British editor and harpsichordist of German birth. He studied the piano and the flute at the Leipzig Conservatory, but turned from a musical career to the study of law, which he pursued at Halle and Freiburg. He qualified in 1930 and set up his own practice in 1933, often acting on behalf of Jews. In 1938 he was arrested by the Gestapo and imprisoned for three months; shortly after his release he emigrated to London. After internment on the Isle of Man Bergmann worked at Schott as a packer, eventually becoming their most distinguished editor. He brought much hitherto unknown Baroque music into the repertory, especially that of Telemann, for whom he had a special affinity. His many editions include recorder sonatas by Handel, Francesco Barsanti, Francis Dieupart and (with Frans Brüggen) J.C. Schickhardt, and music by Blow and Purcell. Associated with Tippett at Morley College in London in the 1940s, he later taught at the Mary Ward Settlement which stimulated his flair for working with children and amateurs. He also appeared frequently at Alfred Deller's Stour Festival. As harpsichordist he performed with Ilse Wolf, April Cantelo and many other artists, and accompanied Deller in several recordings of Purcell's music. Endowed with a rare generosity of spirit, he encouraged recorder players, such as Brüggen and Michala Petri, and young scholars, notably David Lasocki. He also composed two sonatas for recorder....
(b Mitau [now Jelgava, Latvia], 1794; d St Petersburg, 28 April/May 9, 1871). Russian music publisher, pianist and composer. In 1808 his family moved to Vilnius, where Bernard learnt to play the piano and decided on a musical career in preference to his father's military profession. Two years later he moved to Moscow, where he became involved in the leading musical circles, taking piano lessons from John Field and studying composition with Johann Hässler. Subsequently he decided to abandon his considerably successful performing career, and in 1816 was appointed to take charge of the serf orchestra on Count Potocki's estate. In 1822 he settled in St Petersburg and earned a reputation as a fine piano teacher.
As a composer, Bernard is known primarily for his songs and for an opera, Ol′ga, doch′ izgnannika (‘Olga, the Exile's Daughter’), which enjoyed some success when it was first produced in St Petersburg during the ...
(b Berlin, Feb 17, 1852; d Niederschönenhausen, nr Berlin, June 12, 1889). German pianist, teacher and editor. He was a piano pupil of Theodor Kullak and Richard Wüerst in Berlin, and studied philosophy and modern languages at Berlin University (1868–72), taking the doctorate at Göttingen in 1873 with a dissertation on Bernart de Ventadorn. He taught the piano and (from 1879) theory at Kullak’s Neue Akademie der Tonkunst (1873–8), and later at the Stern Conservatory, where he remained until his death. He also had an active career as a concert pianist, playing mainly chamber music; with the violinist W. Helmich he organized the Monday Concerts at the Berlin Sing-Akademie. He was a leading figure among 19th-century German critical editors. His editions of piano music were exemplary for their time and encompass keyboard works of Bach, Handel, Mozart, Clementi, Weber, Schubert and Schumann, including the first variorum edition of Bach's ...
Thomas F. Heck
(b Kharkiv, Ukraine, May 13, 1898; d Rosendale, NY, Nov 1986). American guitarist and editor of Ukrainian birth. His study of art at the Imperial Kharkiv Art School was halted by the Russian Revolution. He immigrated to the United States in 1922, and became successful in New York as a commercial artist. The classical guitar, to which Andrés Segovia first drew his attention in New York on a tour in 1928, captured Bobri’s deep interest. He became president of the Society of the Classic Guitar in 1936 and editor of its publication The Guitar Review (Guitar Review from 1961) in 1946. His own guitar pieces, editions of guitar music, pedagogical publications, and contributions to Guitar Review for over 35 years attest to his devotion to the instrument. He wrote The Segovia Technique (New York, 1972) and compiled A Musical Voyage with 2 Guitars (New York ...
revised by Klaus-Peter Koch
(b Kraków, May 12, 1805; d Dresden, Nov 2, 1881). Polish guitarist, composer and publisher. He studied in Vienna with Mauro Giuliani (1816–19). After a short career as a soloist he was made, in 1829, secretary of the senate of the Kraków Republic. When news of the 1830 Warsaw uprising reached him, he volunteered for the Polish Army and served as aide-de-camp to Bem; he was awarded the Virtuti Militari order. On the collapse of the uprising in 1831 he emigrated to Germany. In Leipzig he performed at the Gewandhaus with Karol Lipiński, Clara Wieck and others. Liszt called him ‘Chopin sur la guitare’. He wrote about 40 pieces for his instrument, mostly fantasies, marches, polonaises and waltzes, published by Hofmeister or Breitkopf & Härtel. In addition, he revised Carulli's tutor and published his own with Sennewald in Warsaw. He gained particular importance between 1833 and ...
(b c1570; d Copenhagen, Dec 20, 1632). Danish composer, anthologist, organist and instrumentalist probably of Dutch origin. Bonaventura Borchgrevinck, who was possibly his father, took him with him as a treble when he was appointed director of music at the Danish court at Copenhagen on 1 January 1587. Bonaventura left six months later but Melchior stayed on as an instrumentalist and rapidly gained the respect and confidence of the new king, Christian IV. In 1593 his salary was almost doubled, making him, despite his youth, the best-paid musician at court. In 1596 he was sent to Danzig to buy instruments and engage choristers, and at Christmas of that year he was appointed an organist with a further rise in salary. The next year he travelled to England, again to buy instruments, with the party that was sent to bring back the late King Frederik II's Order of the Garter. In ...
Ann Willison Lemke
(b Frankfurt, April 4, 1785; d Berlin, Jan 20, 1859). German writer, editor, publisher, composer, singer, visual artist and patron of young artists. Although known today primarily for her writing and her illustrious associates, Bettine was also a talented musician. She composed songs in a simple folk style, choosing texts by poets she knew and loved, including Goethe, Achim von Armin, and her brother, Clemens Brentano. She helped gather songs for Armin and Brentano’s influential collection Des Knaben Wunderhorn (1806–8) and decades later published a fourth volume based on their notes (ed. Ludwig Erk, 1854). From 1808 to 1809 she studied singing and composition with Peter von Winter and the piano with Sebastian Bopp in Munich. Her first two songs appeared under the pseudonym ‘Beans Beor’ (‘blessing I am blessed’) with Arnim’s literary works. After her crucial meeting with Beethoven in Vienna (May, 1810), she mediated between him and Goethe....