(b Koblenz, Germany, Feb 1813; d New York, NY, 30 Dec, 1870). American conductor and composer of German birth. He studied with his father in Koblenz and Frederick Schneider in Dessau. He conducted in Koblenz at the Royal Musical Institution before moving to Nuremberg in 1848 to conduct its orchestra. He took a position in 1849 conducting the German opera at Amsterdam and traveled to London with a German opera troupe the same year. By 1857 Anschütz had become a conductor of great renown throughout the British Isles, and he traveled with Bernard Ullman’s Italian opera troupe to the United States. He conducted this group from 1857 through 1860, bringing Italian opera to American audiences while establishing himself as the most respected conductor in America during this era. In 1862 he founded the German Opera Company in New York. He also played an active role in establishing the New York Conservatory of Music. In addition to his conducting career, Anschütz composed noteworthy music of his own and transcribed Beethoven’s nine symphonies into arrangements for brass band....
Bonnie Elizabeth Fleming
Philip L. Scowcroft
(b March 26, 1874; d Marlow, Bucks., Dec 14, 1948). English composer and conductor. He studied composition at the GSM with MacCunn and then pursued a career in London's West End, latterly as a musical director, especially at the Playhouse, Winter Garden, Alhambra, Shaftesbury and Adelphi theatres. He subsequently worked for the BBC from 1926 to 1930. Drawing on his theatrical background he composed incidental music and also operettas, of which The King's Bride, Violette and especially the well-characterized Medorah achieved modest success.
He was also adept at writing colourful, attractively scored and melodious suites and single movements. Some of these showed a fondness for Ireland, the country which also inspired his Overture to an Irish Comedy. Others sought to explore fresh ideas in the light concert suite, a common genre in the first half of the 20th century, as in his Mediterranean Suite (three dance movements representing Spain, Italy and France) and ...
(b Vevey, Nov 11, 1883; d Geneva, Feb 20, 1969). Swiss conductor. He first followed his father’s profession of mathematician, graduating from Lausanne University in 1903 and returning there as professor of mathematics, 1905–9. By then he had become more keenly interested in music, taking lessons in composition with Ernest Bloch and watching local conductors carefully. He decided to make music his career, and after a year in Berlin (where he sought advice from Nikisch and Weingartner) he conducted his first concerts at Lausanne and Montreux in 1910. In the following year he took over the Kursaal concerts at Montreux from Francisco de Lacerda (whom he acknowledged as the model for his mainly self-taught conducting technique), and in 1915 he became conductor of the Geneva SO.
During this time he formed friendships with several composers, including Debussy, Ravel and Stravinsky (then living in Switzerland). In 1915, on Stravinsky’s recommendation, Ansermet became principal conductor for Diaghilev’s Ballets Russes, with whom he made his North American début at New York in ...
revised by Barry Kernfeld
(b Bentleyville, PA, Jan 20, 1922). Trumpeter and bandleader. He first played professionally in the late 1930s, then worked with bands led by Glenn Miller (1940–41) and Jimmy Dorsey (1942). During World War II he led a navy band for two years. After being discharged he formed a band in 1946 which had a hit single, Bunny Hop, in 1952. This started a national dance craze that contributed considerably to Anthony’s success. As well as continuing to record he performed with his band on television (1953–5) and in several films. He also appeared without the band in other films, including The Five Pennies (1959), a biography of Red Nichols in which he portrayed Jimmy Dorsey, and later in Story of the Big Band Era (1963), in which the jazz element of his studio big band’s performance is enhanced by the participation of such soloists as Frank Rosolino, Dave Pell, and Joe Maini, with Nick Ceroli on drums. After ...
(b Palermo, June 25, 1801; d Trieste, Aug 18, 1859). Italian composer and conductor. His grandfather and father, both composers and conductors, gave him his first instruction in music, and at the age of 12 he conducted his own mass for St Cecilia's Day. In 1817 he made his début in Palermo, as both conductor and composer, with the dramma giocoso Un duello per equivoco, ossia Gli amanti in disturbo. He subsequently travelled for a number of years, as a conductor and an impresario, in Italy, France and England, and was in Venice as conductor of a regimental band in the Austrian army. In 1824 he moved to Trieste to conduct another military band; there his opera semiseria Amina, ovvero L'innocenza perseguitata was successfully given the following year. The libretto, written in 1824 by Felice Romani for Giuseppe Rastrelli, is not the same as that of Bellini's La sonnambula...
(b Skopje, Macedonia, Sept 23, 1909; d Pristina, Kosovo, Oct 21, 1991). Albanian composer, music pedagogue, conductor, and ethnomusicologist. He learned music by analysing the works of other composers and by attending private lessons with professors in Belgrade. During his secondary education he learned to play the violin, the cello, and the piano. He arrived in Kosovo to pursue a career as a music pedagogue. He spent a decade in Prizren (1946–56), which was typified by intense musical activity and during which time he directed the choir SH.K.A. ‘Agimi’ (1944) and was a professor and director of the School of Music (1948). (See E. Berisha: Studime dhe vështrime për muzikën, Pristina, 2004, 209–14).
His familiarity with folk music is evidenced by his analyses of Albanian folk songs, which he summarized in a seven volume work called Albanian Folk Music. As a result of this work, he became known as the first ethnomusicologist specializing in Albanian folklore....
Barry Kernfeld and Gary W. Kennedy
(b Berkeley, CA, Aug 21, 1960). American bandleader, tenor saxophonist, composer, percussionist, and pianist. He played percussion and piano from an early age, took up drums while in elementary school, and began piano lessons when he was nine. In 1975 he formed his own improvisation group, the Berkeley Arts Company, and in 1977 he founded the Hieroglyphics Ensemble, which initially consisted of 16 reed and brass players and himself on drums; the following year he added other instruments to form a rhythm section. Having moved to New York state (c1979) he played percussion and drums in Karl Berger’s Woodstock Workshop Orchestra, and he toured and recorded with the group in Europe with Don Cherry as guest soloist (1979). Under Warren Smith (ii) he performed in the Composer’s Workshop Ensemble, and he played keyboards in Carla Bley’s Burning Sensations and worked briefly with Eddie Jefferson. In ...
(b Turin, May 7, 1894; d Geneva, Feb 12, 1961). Swiss conductor. He studied the violin with Marteau in Geneva, Rémy and Capet in Paris (1908–13) and César Thomson at the Brussels Conservatory (1920), gaining a premier prix. He became leader of the Geneva Opera House orchestra, and made his début as an international soloist. From 1928 to 1943 he held masterclasses at the conservatories of Lausanne and La Chaux-de-Fonds. While leader of the Orchestre de la Suisse Romande (1932–5) he also began, in 1935, to conduct. In 1938 Geneva radio engaged him as permanent conductor; in addition to contemporary music, he championed French and Italian music of the 17th and 18th centuries, particularly the operas of Lully and Rameau, of which he was considered a stylish and elegant interpreter. He also introduced the Jeunesses Musicales into Switzerland. In 1952 he was appointed Chevalier de la Légion d’Honneur. His writings include a number of essays on French Classical music (mainly in ...
(b Rome, c1807; d Rome, Sept 30, 1884). Italian composer, singer and conductor. After her father’s death, her mother married the violinist Andrea Aspri and Appignani adopted her stepfather’s surname and used Orsola as her first name. She studied with Valentino Fioravanti. In 1833 she sang Smeton in a performance of Donizetti’s Anna Bolena, given by the Roman Accademia Filarmonica at Palazzo Lancellotti; already a member of that academy, she was offered honorary membership of the Accademia di S Cecilia, Rome, in 1842. As a conductor she was active in Rome and Florence (1839). She was also a singing teacher and had among her pupils the tenor Settimio Malvezzi. She married Count Girolamo Cenci-Bolognetti. Her melodrammi include Le avventure di una giornata (1827), I pirati (1843) and Clara di Clevers (1876); she also wrote a Sinfonia, a cantata La redenzione di Roma...
John Cowley and Howard Rye
(b Jamaica, c1900; d after 1954). Jamaican tenor saxophonist, clarinetist, and bandleader. He moved to Great Britain around 1924 and performed in dance bands there and in Europe until the early 1930s. He played in London with West Indian jazz musicians, including Leslie Thompson’s Emperors of Jazz (...