(b Budapest, April 12, 1919; d Kingston, ON, February 24, 2012). Canadian composer, conductor and pianist of Hungarian birth. He studied with Kodály at the Budapest Academy (1937–41). As a young man he spent a period with other Jewish youths in a forced-labour contingent of the Hungarian Army; his later war experiences – escape, then concealment by friends during the winter of 1944–5 – are described in the memoirs of the novelist Theresa de Kerpely (Teresa Kay). After a season as assistant conductor at the Budapest Opera (1945–6), he went to Paris for further studies in piano (Soulima Stravinsky), conducting (Fourestier) and composition (Boulanger), remaining there for three years. He moved to Canada in 1949 (taking Canadian nationality in 1955), and for three years held a Lady Davis Fellowship and an appointment as assistant professor at McGill University. There he founded the electronic music studio and served for six years as chair of the department of theoretical music. He held grants for electronic music research from the Canada Council (...
Thomas L. Gayda
[Will; Williams, Hugh; Milos, André]
(b Vienna, Aug 11, 1894; d New York, Dec 10, 1939). Austrian composer, pianist and conductor. Born into a Jewish family of jewellers, he studied with the operetta composer Richard Heuberger, Robert Fuchs, the musicologist Guido Adler and Franz Schreker. After he left the Vienna Music Academy in 1919, his Zwei phantastische Stücke was given its first performance by the Vienna PO. The following year he received a doctorate in music from Vienna University. While he remained initially faithful to the late-Romantic, Impressionist line, he became the first Austrian composer to introduce jazz idioms into his music. His grotesque ballet-pantomime Baby in der Bar (1928) marked him as one of the prime exponents of the Zeitgeist of the Weimar era.
In 1927 Grosz moved to Berlin and became the artistic director of the new Ultraphon record company, quickly building up its catalogue as a conductor, arranger and pianist. He formed a well-known piano duo with Wilhelm Kauffman and toured Europe as a highly-sought accompanist and conductor. When the National Socialists seized power in ...
(b Königsberg [now Kaliningrad, Russia], March 2, 1909; d Tel-Aviv, Dec 13, 1990). Israeli composer, conductor and string player . He studied the viola and composition with Hindemith at the Berlin Hochschule für Musik (1927–30). From 1930 to 1933 he played in the Grosses Orchester des Südwestdeutschen Rundfunks. With the rise of the Nazis, he left Germany and, after a year's sojourn in Istanbul, emigrated to Palestine. In 1934 he settled in Jerusalem where he joined the Palestine Music Conservatory (1934–47) and the Jerusalem String Quartet (1934–9), both of which were founded two years earlier by the violinist Emil Hauser of the Budapest String Quartet. He was appointed to the Jerusalem New Conservatory and Academy of Music in 1947 (assistant director, 1949–54; director, 1954–8). He later moved to Tel-Aviv, where he played the viola in the Israel PO until 1974. During 1974–5...
revised by Katharina Uhde
(b Kitsee, nr Pressburg [now Bratislava], June 28, 1831; d Berlin, Aug 15, 1907). Austro-Hungarian violinist, composer, conductor, and teacher. He was born on the Esterházy estates into a Jewish family which moved in 1833 to Pest. His talent was recognized at an early age and systematically nurtured. His first teacher was the leader of the Pest Opera Orchestra, Serwaczyński, with whom Joachim made his public début at the Adelskasino in Pest, on March 17, 1839. He went to Vienna to play first for Hauser and then for Georg Hellmesberger the elder, and took lessons from Joseph Böhm, a former pupil of Rode, himself taught by Viotti, both of whom adhered to the classical French school.
By the age of 12 his technique was fully developed, and in early 1843 he began studying with Mendelssohn in Leipzig. The meeting with Mendelssohn was so decisive for the young Joachim that his life can be understood in terms of a mission to promote Mendelssohn’s work. The composer arranged for Joachim to receive composition tuition from Hauptmann, and also a good general education. After a successful début playing Bériot’s Adagio and Rondo at the Leipzig Gewandhaus in ...
(b Breslau [now Wrocław], Aug 23, 1854; d Paris, March 4, 1925). German pianist, composer and conductor of Polish descent. Born into a wealthy Jewish family, he received his first musical tuition at home, showing exceptional talent from an early age. In 1865 the family moved to Dresden, where Moszkowski was accepted at the conservatory. Moving to Berlin in 1869, he studied at the Stern Conservatory with Eduard Frank (piano) and Friedrich Kiel (composition), and subsequently at Theodore Kullak's Neue Akademie der Tonkunst with Kullak himself (piano) and Richard Wuerst (composition). While still only 17 he accepted Kullak's invitation to join the staff at his academy, where he taught for over 25 years. In 1873 he made his successful début in Berlin as a pianist, and quickly acquired a reputation not only as a brilliant virtuoso but also as a fine interpreter of the Classical and Romantic repertory. He was also a competent violinist, sometimes playing first violin in the academy orchestra. Among his early compositions were several substantial orchestral works, most of which have been lost. These included a piano concerto, first performed in Berlin in ...
[Priwin, Andreas Ludwig]
(b Berlin, April 6, 1929; d Manhattan, NY, Feb 28, 2019). American conductor, pianist, and composer of German birth. Son of a prosperous lawyer who was also a talented amateur musician, he showed exceptional musical talent from his earliest years. Playing piano duets with his father, he quickly developed phenomenal sight-reading ability, and at the age of six entered the Berlin Hochschule für Musik, studying the piano with Rudolf Breithaupt. In 1938 his family (of Russian-Jewish origin) left Germany for Paris, where he studied briefly at the Conservatoire. Emigrating to the USA the following year, the family settled in Los Angeles, where in 1943 he became an American citizen. While still at school he quickly learnt to use his talents as a pianist, playing accompaniments to silent films in a cult movie house and later becoming an orchestrator at the MGM film studios. This led to commissions to write film music of his own, which – following the practice of the studios – he had to conduct himself. This, in turn, fostered an ambition to conduct more widely, and he was soon conducting local performances of the classical repertory with players from the studio orchestras. Meanwhile he was developing a talent for playing jazz, and while still at school was performing in clubs, soon afterwards making his first recordings. At the same time he took composition lessons, with Joseph Achron, Ernst Toch, and Castelnuovo-Tedesco among his teachers, and was invited by the violinist Josef Szigeti to play in private performances of chamber music. Previn was called up for army service in ...
William Y. Elias
revised by Irina Boga
(b Iaşi, April 17, 1929; d Jerusalem, 9 May, 2009). Romanian-born Israeli conductor, composer, and violinist. He studied the violin (with Garabet Avakian) and conducting (with Constantin Silvestri) at the Bucharest Academy of Music (1945–7). In 1957 Rodan pursued advanced studies in conducting and chamber music at the Franz Liszt Academy of Music in Budapest, Hungary. He made his début with the Romanian RSO in 1953. In 1961 he moved to Israel and conducted the Israel PO, becoming chief conductor and music adviser to the Israel Broadcasting SO (1963–72). As a conductor he preferred post-Romantic and less extreme contemporary music. In 1965 he founded the Jerusalem Chamber Orchestra and, as its permanent conductor until 1969, toured with it to Europe, East Asia, Australia, South Africa, and the USA. Rodan appeared as a guest with various European orchestras and frequently conducted at the Israel and Arthur Rubinstein festivals, with such soloists as Rubinstein himself, Barenboim, Rampal, Perlman, and du Pré. In ...
(b Heidelberg, Nov 13, 1897; d Jerusalem, Jan 15, 1974). Israeli composer, conductor, singer and keyboard player of German birth. He studied the organ with Philipp Wofrum and composition with Richard Strauss. From 1920 to 1926 he held the position of conductor at the Hamburg Neues Stadt-Theater, and from 1931 to 1932 was baritone and stage director at the Deutsche Musikbühne. He emigrated to Palestine in 1933, where he was appointed programme director of the newly founded Palestine Broadcasting Service (PBS, later Kol Israel [‘The Voice of Israel’]), a position he held until his retirement in 1962; he founded the PBS Orchestra (later the Kol Israel Orchestra) in 1938.
Many of Salomon’s early works were destroyed. His music from 1933 is tonal with modal inflections, combining European traditions with folk influences to create a light, accessible style. The Sepharadic Suite (1961) incorporates Spanish melodies; popular material is also used in the Second Symphony ‘Leilot be’Cna’an (‘Nights of Canaan’, ...
William Y. Elias
(b Prague, Aug 6, 1908; d Tel-Aviv, Sept 30, 1980). Israeli conductor, composer and pianist of Czech birth. At the Prague Music Academy (1924–6) he studied the piano with Franz Langer and Ervin Schulhoff, and composition with Zemlinsky, winning a piano competition there in 1925. His début as an opera conductor was in 1926 at the Neues Deutsches Theater, Prague, with Kienzl’s Der Evangelimann. He conducted there until 1930, when he went to Hamburg to conduct the Staatsoper. In 1934 he returned to Prague, where he gave the first radio performance of the concert version of Dvořák’s first opera, Alfred. In 1939 he settled in Palestine and in December that year he first conducted the Palestine SO; he later became permanent guest conductor of this orchestra, and also of the Israel Broadcasting SO, the Israel Chamber Orchestra and the Haifa SO. He was among the founders in ...
(b Kiev, Oct 24, 1897; d New York, Jan 10, 1982). American composer, pianist and conductor of Ukrainian birth, father of Yehudi Wyner. In 1914 he emigrated to the USA, where he became an accompanist and coach to prominent singers in New York, while studying composition with Frederick Jacobi, Robert Russell Bennett and Joseph Schillinger. He also conducted several choruses, among them the Workmen’s Circle Chorus (1930–67). From 1930 to 1975 he was music director of the Central Synagogue, and in that capacity was responsible for first performances of compositions by Ernest Bloch, Darius Milhaud and Joseph Achron, as well as of his own works.
A leading exponent of Jewish music in the USA and an expert on Yiddish art song, Weiner taught seminars at Hebrew Union College, the Jewish Theological Seminary and the 92nd Street Y. He served as music director of the WABC weekly radio programme ‘The Message of Israel’ for 35 years (from ...