(b Rio de Janeiro, Feb 4, 1696; d Salvaterra, Portugal, Jan 31, 1759). Portuguese writer on music. Before becoming a calced Carmelite his name was José Pereira de Sá Bacon. He studied at Olinda (Brazil) and at Coimbra, there obtaining the doctorate in theology on 17 May 1725...
(b Exeter, Oct 28, 1823; d Leeds, June 16, 1897). English organist and writer. His father William Spark (1797–1865) was a lay vicar of Exeter Cathedral; two brothers were also musicians. He was a chorister at Exeter Cathedral and was articled to S.S. Wesley for five years in 1840. When Wesley moved to Leeds parish church in 1842, Spark went with him, and was soon appointed organist successively at Chapeltown and St Paul’s, Leeds. Appointments at Tiverton, Daventry, and St George’s, Leeds (1850), followed. From his return to Leeds he was extremely active in local music, founding the Leeds Madrigal and Motet Society, the People’s Concerts, and other organizations. With Henry Smart he designed the large organ for the new town hall, opened in 1858, and was elected borough organist, a post which he held until his death. His views on organ building, tending to promote the French school, were influential. He played an organ sonata at the first Leeds Festival (...
(b Erfurt, Aug 31, 1609; d Erfurt, April 5, 1680). German writer on music and organist. He spent his whole life at Erfurt. He attended the St Michael Lateinschule until 1621, when he transferred to the Protestant Ratsgymnasium, which was at that time noted for its fostering of music. One of his teachers there was Liborius Capsius, director of the collegium musicum and an important Erfurt University professor. He matriculated at the university in 1626, took his bachelor’s degree in 1628 and became a Master of Philosophy in 1629. He then became organist at the Protestant Thomaskirche and at the Catholic church of the Neuwerk monastery. From 1632 to 1635 he was Kantor and teacher at the Protestant school of preaching and also studied theology. In 1635 he was ordained and became deacon (in 1638 pastor) of the Kaufmannskirche in succession to Joseph Bötticher, who had won a good reputation as a musician. In ...
Jamie C. Kassler
(b Dublin, c1715; d 1776). Irish divine and writer on music. He was educated at Trinity College, Dublin (1731–6), ordained deacon in 1744 and installed rector of Kilnamanagh in 1760. He published Two Essays on the Theory and Practice of Music (Dublin, 1766). A primary purpose of this tract was to encourage native Irish composers by supplying a ‘regular Introduction, and easy Method’ for the composition of music. The treatise appeared as the article ‘Music’ in the first edition of the ...
(fl 1833–56). English organist and pioneer of school music. Music in schools, virtually dead in England since the abolition of the song and monastic schools at the Reformation, began its long period of recovery during the decade immediately following the passing of the first Reform Act (1832). Turner's Manual of Instruction in Vocal Music (1833) was the earliest music textbook published for use in English schools. Ostensibly designed to bring about the improvement of congregational psalmody, it was also meant to exert a wider civilizing effect on the industrial population.
Little is known of Turner’s life; but he wrote as an experienced teacher whose book was presented to the public ‘not as an experiment for the first time tried, but as the result of long experience’. Music master at the Westminster Day Training College for Teachers, Turner was also organist and choirmaster at St Stephen’s Church, Avenue Road, St John’s Wood (since demolished), where one of his choristers, L.C. Venables (...
revised by Katharine Ellis
(b Bellême, Sept 6, 1759; d Tours, April 27, 1839). French writer on music . He attended the maîtrise of Le Mans Cathedral, where he met Le Sueur, and studied oriental languages at the Sorbonne. He was ordained a priest and, as a tenor, joined the maîtrise of Notre Dame on the eve of the Revolution. During the Revolution, however, the maîtrise was suppressed, and he joined the Opéra chorus, soon gaining the post of chorus leader.
In 1798 he went to Egypt as a member of a large scientific group accompanying Napoleon on his Egyptian expedition; this journey determined much of Villoteau’s future career. During two years in Egypt he amassed numerous documents, mainly on music, which he later studied with the aid of the principal Paris libraries. He then published several works, the first of which was Recherches sur l’analogie de la musique avec les arts qui ont pour objet l’imitation du langage...
(b Voznesensk, Kostroma province, 5/Sept 17, 1838; d Kostroma, 8/Dec 21, 1910). Russian writer on church music . Voznesensky graduated from the Kostroma Seminary in 1860 and from the Moscow Theological Academy in 1864. He served as teacher of chant in the Kostroma Seminary until 1883, when he became an inspector of the Riga Seminary until 1894; he then served as head priest of the cathedral of the Trinity, Kostroma. In the late 1880s and in the 1890s he published several volumes of studies dealing with the different varieties of chant in Russian churches. His works are basically compilations, and eclectic in nature. He did only a minimal amount of original research on the historical evolution of Russian chant, but he was among the first in Russia to investigate the melodic traditions of south-western Russian provenance from the 17th and 18th centuries preserved in Western staff notation. He translated into Russian a treatise of the ‘method’ of the Greco-Slavonic chanting originally written in Latin by Ioan de Castro (Rome, ...
revised by Bruce Carr
(b London, March 20, 1804; d Bexley, Kent, March 8, 1881). English organist and writer on music. In 1834 he became organist of St Mary’s (Roman Catholic) Chapel, Chelsea, and composed some masses for its service. Between 1840 and 1860 he published many instruction books for organ, reed organ, concertina and church singing.
Warren was a careful and thorough editor of earlier English music: his edition of Boyce’s Cathedral Music, for example, included new biographies of the composers with exhaustive lists of their works. Such scholarship was facilitated by the large and valuable library he collected during his life, including the partbooks from which he edited Hilton’s Ayres or Fa Las, many unique sale catalogues, and autograph manuscripts of Purcell, A. Scarlatti, Haydn, Mozart and Beethoven. The fruits of his research appeared often in the early Musical World.
(fl 1560–92). Scottish clergyman . He compiled an important set of partbooks, sometimes known as the St Andrews Psalter or ‘Thomas Wode’s Partbooks’, containing Scottish (and other) music of the 16th century. A canon of Lindores Abbey before the Reformation (1560), Wood joined the reformers, settled in St Andrews in 1562, became vicar there in 1575, and is frequently mentioned in Kirk Session Registers until 1592. His duplicate sets of partbooks (EIRE-Dtc, GB-Eu , Lbl , US-Wgu ) contain the 106 four-voice psalm settings by David Peebles (1562–6), canticles by Angus, Kemp and Blackhall (1566–9), and motets, anthems, psalms, songs and instrumental pieces – Scottish, English and continental (copied from 1569 to 1592) – together with illuminating and entertaining comments by Wood on many of the items. Between 1606 and about 1625 further additions to the partbooks were made by other hands.H. Scott, ed: ...