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Leonard B. Smith and Raoul F. Camus

[Brockton, Lester]

(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 ...


Ronald W. Holz and Raoul F. Camus

(b Stockholm, March 25, 1894; d New York, Dec 20, 1962). American composer, arranger and conductor of Swedish birth. He studied at the Swedish Royal Academy of Music, Stockholm, emigrated to the USA in 1915, and by 1923 assumed leadership of the Salvation Army New England Staff Band. In 1926 he moved to New York, where he became music director of the Salvation Army’s Centennial Memorial Temple. He consequently composed hundreds of vocal and instrumental pieces for the Army, and wrote orchestral transcriptions and original works for the Goldman Band, many of which were published by Carl Fischer and Charles Colin. It has been suggested that he also made substantial contributions to many marches by E.F. Goldman and band works by Ernest Williams, including the Symphony in C minor. He was head of the theory department at the Ernest Williams School for eight years, director of the Swedish Glee Club of Brooklyn and the Arma Company band and a teacher at the National Music Camp, Interlochen, Michigan. Between ...


Raoul F. Camus

(b New York, Jan 25, 1921; d Coral Gables, FL, Sept 17, 2005). American composer and conductor of Austrian descent. Born Alfred Friedman, he began studying the trumpet at the age of ten and was playing professionally under the name Alan Reed while still in high school. Private study in theory and harmony with John Sacco and Paul Yartin (1937–8) led to a position as staff composer, arranger and assistant conductor for the Radio Workshop, New York (1938–42). After serving as associate conductor of the 529th US Air Force Band, he attended the Juilliard School (1946–8) where his teachers included Giannini. In 1948 he took a post as staff composer and arranger for NBC and later held a similar position at ABC. He became conductor of the Baylor University SO in 1953, and continued his education at that institution (BM 1955, MM ...


(b Strelna, Russia, 1848; d Tallinn, Estonia, 1925). Russian baron, military officer, musician, and instrument collector. From 1882 he led the St Petersburg court vocal and instrumental ensemble, which used some violins and flutes that had belonged to Alexander I (whose ancestor Peter III had acquired more than 60 valuable instruments). From 1897 Shtakelberg directed the court’s professional orchestra. In 1899 he joined a commission to examine the status of the imperial theatres. With the support of Alexander III, a serious amateur musician, Shtakelberg initiated in 1902 a museum of music that was to have five divisions: a comprehensive collection of instruments of all peoples from antiquity to the present; a centre for instrument design and construction, intended to encourage Russian manufacture; an acoustical laboratory for the exploration and explanation of musical sound; a musicological research library, with a section on the history of music printing; and an archive of music manuscripts, iconography, and memorabilia. The museum was to be complemented with concerts, using instruments from the collection or copies. The project was not completed, but through extensive correspondence and exchanges with other European and American collectors, donations from Russian nobles—the empress Maria Feodorovna herself donated a group of richly decorated Persian instruments—and his own travels, Shtakelberg built an impressive assemblage of historical and exotic instruments that formed the nucleus of the present collection of the St Petersburg State Museum of Theatre and Music....