(b ?London, c1591; d London, Nov 28, 1641). English anthologist, composer and lutenist, son of John Dowland. From the dedicatory letter to Sir Robert Sidney in A Musicall Banquet (RISM 161020) we learn that Sir Robert was Dowland's godfather. According to the dedication of his Varietie of Lute-Lessons (1610²³), to Sir Thomas Mounson, he received part of his education in Mounson's household while his father was abroad. Between May 1612 and January 1616 Robert was employed by William Cavendish, Earl of Devonshire. In February 1613 he was still in England; his name appears among the lute players who were engaged to play in Chapman's Masque of the Inner Temple and Lincoln's Inn, given at Whitehall as part of the marriage celebrations of Princess Elizabeth and Frederick, Elector Palatine. At some time in the early 1620s he was travelling on the Continent with a group of English actors who sought permission on ...
revised by Robert Spencer
(b Plzeň, Sept 29, 1882; d Iriški Venac, March 27, 1938). Yugoslav music publisher, conductor, composer, violinist of Czech origin. After working as a freelance musician in Sofia, Bulgaria (1897–1903), he settled in Belgrade in 1903 where he took the post of concertmaster in the National Theater (1904–09) and temporarily in the Orchestra of ‘Kraljeva garda’ [King’s guards]. He was also the conductor and director of several singing societies (‘Lira’ [Lyre], ‘Harmonija’ [Harmony], etc.) as well as of his own salon orchestra which performed regularly in the hotel ‘Moskva’ [Moscow] (1908–14). He was a founder and owner of the publishing house ‘Edition Frajt’, (1921–41), which was dedicated solely to music publishing. It released more than 800 volumes consisting mostly of the works of Austrian, Yugoslav, German, Russian, Czech, and Hungarian composers. The largest part of the collection comprised arias from operettas and operas, arrangements of folk songs and folk dances, salon lyrical character pieces, and popular songs and dances. In addition to the works of established Serbian composers from the 19th century (Davorin Jenko, Stevan Mokranjac, Josip Marinković), Frajt`s catalogue included the works of many Yugoslav composers of his time (Petar Krstić, Stevan Hristić, Mihovil Logar, Marko Tajčević, etc.). Among them were the numerous popular songs based mostly on the rhythm of popular social dances of that period and arrangements of folk songs and dances composed by Frajt himself. Frajt was also the author of several pieces for orchestra (‘Srpska igra’ br. 1 i 2 [Serbian dance no.1 and 2]), vocal-instrumental ensemble (‘Misa u B-duru’ [Mass in B Major]), solo songs, and works for violin solo and violin and piano....
Horace Clarence Boyer
(b Fayette, MS, Sept 10, 1899; d Chicago, IL, Aug 26, 1963). American gospel pianist, composer, and publisher. He sang in local choirs before settling in Chicago in 1927. There he joined the Ebenezer Baptist Church and became co-director of its junior choir with Thomas A. Dorsey. With Dorsey he organized in 1931 the first known black gospel chorus. In 1932, with Dorsey, Sallie Martin, and Magnolia Lewis Butts, he formed the National Convention of Gospel Choirs and Choruses, and the same year he and Roberta Martin, pianist for his junior choir, founded the Martin–Frye Quartet (renamed the Roberta Martin Singers in 1935). In the late 1940s Frye began an association with Mahalia Jackson, and it was for her that he surreptitiously secured the song “Move on up a little higher”; her recording in 1947 was a great success, selling over a million copies. Frye later published this composition as his own (he opened a publishing house in the early 1950s), without crediting its rightful composer, William Herbert Brewster. He did, however, compose several well-known gospel songs, including “I am sending my timber up to heaven” (...
Howard Mayer Brown
revised by Lynda Sayce
(b Nuremberg, c1500; d Nuremberg, 1570). German instrumentalist, lute maker and compiler and arranger of several volumes of instrumental music. He was probably the son of Conrad Gerle (d 1521), a well-known lute maker in Nuremberg. He may be presumed to have spent his life in his native city. He may have been related to Georg Gerle who worked as an instrument maker in Innsbruck during the second half of the 16th century.
Hieronymus Formschneider of Nuremberg published three volumes of music by Hans Gerle: Musica teusch, auf die Instrument der grossen unnd kleinen Geygen, auch Lautten (1532), Tabulatur auff die Laudten (1533) and Eyn newes sehr künstlichs Lautenbuch (1552). On the title-page of the last volume the author called himself ‘Hans Gerle den Eltern’ (the elder), implying the existence of a younger relative with the same forename.
The first volume, ...
James R. Hines, Barbara Turchin and Nicholas Michael Butler
(b Hesse-Kassel, Germany, c1786; d New York, NY, July 30, 1829). American theater manager, pianist, organist, composer, and music publisher of German birth. He moved to the United States at the end of the 18th century and was probably related to the musician George Gilfert who was in New York as early at 1789. In his first New York advertisement in 1800, he was described as a musician “lately from Europe.” The New York directory of 1805 lists him as a music teacher in that city, but in 1806 he migrated to Charleston, South Carolina, with a number of other theater musicians. He presented his first concert there on 3 March 1807 and quickly became a favorite member of the local music scene. In December 1809 he became the organist of St. John’s Lutheran Church, and in December 1810 he opened a music store in partnership with a fellow German musician, Philip Muck, under the name C. Gilfert and Company. This institution chiefly sold imported instruments, accessories, and music, but in early ...
Samuel F. Pogue
revised by Frank Dobbins
(fl Lyons, 1550–84). French music printer, bookseller, composer and instrumentalist. In 1551 he prepared the third in a series of four books of music for guitar printed in Paris by Robert Granjon and Michel Fezandat (RISM 1551²²). In the dedication Gorlier wrote apologetically of the four-course guitar and his reasons for composing for an inferior instrument, saying that he wanted to show that it was as capable as larger instruments of reproducing music in two or three parts. Besides being an ‘excellent joueur’ on the guitar, as cited on the title-page, he evidently played the spinet; in a pamphlet (now lost) concerning Loys Bourgeois’ Droict chemin de musique (1550) Bourgeois called him ‘trougnon d’épinette’ (‘garbage of the spinet’) and complained that he had not been educated in classical languages and mathematics like the singer-composers in Lyons, Layolle Roussel and Jambe de Fer.
Gorlier was granted a privilege for printing music on ...
[Grice, George General; Qusim, Basheer]
(b Pensacola, FL, Nov 28, 1925; d Pensacola, FL, March 14, 1983). American jazz saxophonist, flutist, composer, arranger, music publisher, and teacher. Known more as a composer and arranger than as an instrumentalist, he was nonetheless an alto saxophonist out of the Charlie Parker tradition with a lyrical bent and a recognizable style and sound. He studied clarinet initially and after serving in the US Navy (1944–6) attended the Boston Conservatory (to 1952). His first exposure came through an encounter with the saxophonist Stan Getz in Boston who recorded several of Gryce’s compositions. After moving to New York in 1953, Gryce was soon a part of the city’s vibrant milieu, recording with the drummer Max Roach and the pianist Tadd Dameron. Throughout his career, Gryce collaborated with a number of noted trumpet players including Clifford Brown, Art Farmer, Donald Byrd, and Richard Williams. With Byrd, he co-led the Jazz Lab, which made a number of highly regarded recordings in ...
(b Kansas City, MO, Jan 12, 1884; d New York, Jan 12, 1964). American pianist, composer, music director, writer, and editor. Horst grew up in a German family that prized music and he first studied violin. After elementary school, the end of his formal education, he took up piano, honed his skills, and soon supported himself as a musician, playing ragtime and improvisations in dance and gambling halls, performing with theater pit orchestras, and accompanying solo classical recitalists.
On the West Coast in 1915, Horst encountered Ruth St. Denis and Ted Shawn, who hired him as accompanist for their Denishawn company and subsequently as music director of their new school. He remained for ten years. Immersed in the developing new abstract form of dancing, he examined the relationship of music to dance, especially through St. Denis’s “music visualizations.” He began to study musical structure and composition, and left Denishawn to continue learning in Vienna and becoming better informed in contemporary theater, art, literature, and film—knowledge he passed on to future choreographers in his book (with Caroll Russell) ...
(b London, Jan 1, 1896; d Brighton, Feb 2, 1976). English composer, pianist, adjudicator and publisher . He began to learn both the violin and the piano at the age of seven. At 16, a piano scholarship at the Modern School of Music, London, enabled him to receive lessons from Busoni. In 1916 he won a composition scholarship at the RCM, where, with a break for military service, he studied with Stanford and then Holst until 1922. Before leaving the RCM, Jacobson accompanied the tenor John Coates for two years. He also began a lifelong association with J. Curwen & Sons, originally as a reader and editor, becoming a director (1933) and chairman (1950–72). He resumed concert appearances during World War II, giving recitals, notably, with the contralto Kathleen Ferrier. Jacobson was highly regarded in festival adjudicating, with which he was involved for 50 years. As an extension of such work, he was chairman of the National Youth Orchestra’s executive committee (...
John H. Baron
(b Kraków, c1798; d Paris, Aug 10, 1860). American pianist, composer and publisher of Polish birth. He was in New Orleans by 1818, when he is recorded as taking part in a concert; he frequently played the piano, as soloist and accompanist, until 1830. He is credited with the first performance in the USA of a piano concerto by Beethoven, in 1819. In 1824 he composed A Warlike Symphony, Grand Military March, and a comic opera, The Military Stay, all now lost. He became a music dealer in 1826 and opened his own store in New Orleans in 1830, but sold it in 1846 to W.T. Mayo (who sold it in turn in 1854 to P.P. Werlein). In the early 1830s Johns published jointly with Pleyel in Paris his Album louisianais, an elegant collection of songs and piano pieces, the first music known to have been written and published in New Orleans. A few pieces of sheet music also survive. He went to Paris in ...