(b Washington, DC, Aug 25, 1960). American pianist, writer, broadcaster, and new music advocate. An extraordinary performer and champion of new American and experimental music, she began formal piano studies at the age of seven with Sharon Mann. At 16, she performed Bach’s D major Toccata at the chamber music festival Sommermusikwochen in Trogen, Switzerland. In 1977, she briefly attended the San Francisco Conservatory before transferring to the University of Michigan and studying English (BA 1985). She serves on the music faculty of the San Francisco Conservatory, writes reviews, program notes, liner notes, and articles, and hosts the classical music show Then and Now on public radio station KALW 91.7 FM. In her performances and other activities, she has promoted the work of early 20th-century composers, including Henry Cowell and Ruth Crawford, and contemporary figures such as Kyle Gann, Terry Riley, and Frederic Rzewski, among many others....
Anna E. Kijas
Joseph A. Bomberger
(b Berlin, ?June 12, 1838; d New York, April 28, 1881). Prussian critic, editor, conductor, and writer, active in the USA. Carlberg started piano under the instruction of organist Louis Thiele at the age of four. He later studied violin with Gruenwald and harmony with A.B. Marx. Though his father wanted him to pursue medicine, Carlberg decided to enter a career in music. He traveled to New York in 1857, where he continued his musical studies with Carl Anschütz and served as music editor of the New York Staats-Zeitung from 1858 to 1860. Because he was still a Prussian citizen, Carlberg was conscripted in 1861 and served in the Prussian military for eight months. He also became editor of the Neue Berliner Musikzeitung. During the next decade he gave concerts in London, Vienna, Paris, Warsaw, and Berlin. While conducting in Russia in 1871, Carlberg was persuaded by Prince George Galitzin to return to America to conduct some Russian concerts. Though the concerts were a failure, he was engaged as music director for the Pauline Lucca opera season, also writing reviews for the ...
(b Cremona, June 24, 1870; d Sale Marasino, Brescia, Oct 21, 1934). Italian musicologist, critic and double bass player. Besides the double bass, he studied the violin, cello and flute at the Milan Conservatory (1888–91); while visiting Hamburg on tour with the Bimboni orchestra in 1894 he attended the lectures of Julius Bernuth and Arnold Krug at the conservatory there. After taking up his education again in 1903, he took the doctorate in 1908 at Munich University under Sandberger, Kroyer and Lipps, concurrently taking an MA in music under Felix Mottl at the Munich Akademie der Tonkunst. From 1910 he contributed to the newspaper Il secolo, the Rivista musicale italiana and the Revue de pays latins, subsequently working as music critic of the Corriere della sera (1920–34) and correspondent of the Revue de musicologie (1929–34). He was also librarian of the Milan Conservatory (...
(b Bassano del Grappa, nr Vicenza, July 12, 1848; d Bassano del Grappa, June 23, 1916). Italian writer on music. After graduating in law from the University of Padua (1871), he studied the cello, flute and guitar; he also became an outstanding performer on the lute, which led him to investigate the structure, tuning and repertory of that instrument.
Chilesotti owned a large collection of 16th- and 17th-century tablatures, both printed and manuscript, and was a pioneer in transcribing lute music. His methods were interpretative, in that he picked out the implied polyphony in the tablature and retained the single staff in transcription, using a treble clef. In order for the music to be performed on the guitar he employed a false tuning in E rather than the original tuning in G or A. Many scholars were critical of these choices, finding the transcriptions too guitar-like. Chilesotti’s two principal publications, the ...
(b Rochester, NY, June 12, 1982). American composer, organist, writer, and critic. He was exposed to music from an early age (his paternal grandmother was a music teacher and an Eastman graduate). He began piano lessons at age 3; organ lessons with Bruce Klanderman followed at age 10. It was then that he began to turn his attention to composition. His formal education took place at Harvard (AB, 2000) and Carnegie Mellon (MM, 2006). Among his chief composition teachers were bernard Rands and Judith Weir.
With a voracious interest in the entire history of Western music and an unquenchable drive to compose, Cooman has amassed an enormous body of work (nearly a thousand opus numbers before reaching the age of 30), while pursuing parallel career tracks as an organist specializing in contemporary works (including more than 100 premieres), as a writer on many musical subjects, and as a consultant to other composers. His own music embraces a vast range of styles and genres, sacred as well as secular, from tonal choral anthems to atonal orchestral, solo, and chamber music, from songs to full operas, along with a variety of postmodern hybrids. He has written a large number of occasional pieces, as well as compositions for unusual instrumental combinations, avowing a belief in the value of such utilitarian pieces equivalent to that of more ambitious, large-scale works. Most of his recent music has been composed on commission, and his works are performed frequently throughout the United States and Canada, as well as in Europe and elsewhere. Dozens have appeared on recordings....
(b Galaţi, May 20, 1852; d Bucharest, c1918). Romanian music critic, flautist and teacher. He studied at the Bucharest Conservatory with Luigi de Santis (flute) and Gheorghe Brătianu (theory). After working for a short period as a flautist in the orchestra of the Romanian Philharmonic Society, he became a teacher at the Pedagogical Seminary and at the Gheorghe Şincai secondary school in Bucharest. In 1890 he founded and directed the important music journal România Musicală, and began his activity as a music critic; he also initiated the collection Biblioteca Lirică, editing more than 50 booklets on Romanian and European music. He formed an artistic salon in Bucharest, inviting outstanding Romanian and foreign musicians to give concerts in his own home. For the Götzl company of Austria he invented a new type of flute. Cordoneanu drew up the Curs elementar de musică pentru uzul şcoalelor în genere (‘An elementary course of music for general school use’, Bucharest, ...
(b Sydney, Feb 1, 1931). Australian musicologist, music critic and conductor. He graduated from the University of Queensland with the BA in 1964 and founded the department of music at the University of New South Wales, Sydney, in 1966 (the university first offered music as an interdisciplinary study before it established an institute of practical studies and music education). He took the doctorate at New South Wales in 1976 and was appointed Chair in 1984. His work covers a broad spectrum and includes writings on 17th-century Italian and 19th-century German and French opera, but his major contribution has been in Australian music. His Australia's Music: Themes of a New Society (1967) is regarded as the classic study on this topic, and his insights into the Australian repertory (and beyond) have been sharpened through his work as chief music critic at the Sydney Morning Herald (from 1960...
(b Riga, Sept 26, 1906; d Seattle, June 24, 1962). Latvian composer, pianist and critic, son of Emīls Dārziņš. He graduated in 1929 from Vītols’s composition class and in 1934 from Nadežda Kārkliņa’s piano class at the Latvian State Conservatory. From 1928 he worked as a pianist and critic in Riga, but in 1944 fled from the advancing Soviets and worked in the same occupations in Esslingen, Germany, until 1950. Afterwards Dārziņš lived in the USA, teaching first at the Spokane Conservatory in Washington State, then moving in 1955 to Seattle, where he took part in the concerts of the University of Washington School of Music.
In his early music, Dārziņš followed the French post-Impressionists Dukas and Roussel, and also experimented with exoticism, for example in the Spanish Dance Suite (1931). In the 1940s he developed the goal of integrating the unique qualities of Latvian folk music with those of 20th-century art music, much in the manner of Bartók. The results included hundreds of folk melody arrangements and original piano music....
John C.G. Waterhouse
(b Monaco, Jan 14, 1889; d Rome, Dec 8, 1969). Italian composer, conductor and critic. He studied at Turin and with Reger at the Leipzig Conservatory, gaining a diploma there in 1911. In his early 20s he made his début as a conductor in Rome. From 1918 until 1940 he was resident mainly in Paris: Debussian tendencies, already present in his previous works, were reinforced, though he did much to promote modern Italian music. He subsequently returned to Rome, where he worked for Italian radio. Davico’s very uneven output includes several large-scale compositions, some of which achieved success. Yet even in the colourful La tentation de St Antoine and the Requiem per la morte di un povero, which are notable for many refinements and personal touches in detail, there is a certain self-consciousness in overall conception. For Davico was by nature a miniaturist, at his best in his songs. Often conceived on a tiny scale, these have aptly been compared to the Japanese ...
(b Belgrade, May 5, 1905 or 1908; d Belgrade, Feb 18, 1986). Serbian musicologist, music critic, and pianist. She studied comparative literature and history of music (with Miloje Milojević) at the University of Belgrade. She also studied piano with Lazare Lévy in Paris (1927–8). She was the first pianist in Serbia to perform Ravel’s Piano Concerto in G, De Falla’s Nights in the Gardens of Spain and Paderewski’s Piano Concerto. The first woman musicologist in Serbia, she was among the first professors at the Department of Music History and Folklore at the Belgrade Academy of Music (she taught History of Yugoslav Music, 1945–71) and made an important contribution to the newly founded Institute of Musicology of the Serbian Academy of Sciences and Arts (director 1962–74).
Most of her studies were devoted to the history of Serbian music. In particular, she studied the development of Serbian music in the 18th and 19th centuries. She was interested in the history of Serbian musical criticism and writings of the 19th century and the first half of the 20th. She also wrote a biography of the composer Stevan Mokranjac. Her ...
Adelyn Peck Leverett
revised by Christopher Fifield
(b Königsberg [now Kaliningrad], Nov 14, 1804; d Berlin, Jan 10, 1892). German conductor, composer and journalist. He studied the piano, singing and composition in Königsberg, made several long journeys throughout Germany, during which he met Weber in Dresden, and completed his studies with Ludwig Berger, Bernhard Klein and Zelter in Berlin, where his first opera, Rolands Knappen, was produced successfully in 1826. At the same time he became a co-editor of the Berliner allgemeine Muzikzeitung, for which he wrote a spirited defence of the beleaguered Gaspare Spontini. Over the next two decades he built a solid reputation as a conductor of opera, holding theatre posts at Königsberg (1828), Leipzig (1829–32), where he taught counterpoint to the young Schumann, Hamburg (1832), Riga (1834–43), and Cologne (1844–8). He organized the first music festival of the Russian Baltic provinces in Riga (...
(b London, Oct 11, 1853; d London, Nov 28, 1909). English organist and writer on music. While a student at the RAM he was organist of the Surrey Chapel, migrating in 1876 with the pastor and congregation to the newly built Christ Church, Westminster Bridge Road. In 1881 he transferred to St John’s Wood Presbyterian Church, where he remained as organist until 1905; during this period he produced several editions of Nonconformist church music and wrote programme notes for oratorios. Edwards’s most lasting contribution, however, was as a music historian. Besides books on hymn tune origins, London musical places and Mendelssohn’s Elijah, he wrote important articles on cathedrals and on the English Bach revival for the Musical Times, some 21 entries on 19th-century musical figures for the Dictionary of National Biography, and further articles for the second edition of Grove’s Dictionary. In all his work, but especially as contributor to the ...
(b Vienna, Oct 5, 1822; d Berlin, Dec 30, 1899). Austrian pianist, teacher, writer and critic of Hungarian descent. He studied the piano under Henselt, Bocklet and Thalberg, and composition under Sechter. Unwilling to establish himself in one place or occupation, by the time he was 40 he had lived and worked in Bucharest, Hanover (1852–5 as court pianist to King George V), Wiesbaden, London and Frankfurt. In 1862 he settled in Berlin, working as a journalist and piano teacher. From 1864 to 1872 and again at the end of his life (1886–98) he taught the piano at the Stern Conservatory. He wrote political correspondence for the Vossische Zeitung and L’indépendence (1867–9) and later for the Allgemeine Zeitung (1872), and was music critic for the Neue Berliner Musikzeitung (1865–6), Die Gegenwart (1872–92), Die Tribüne (1878) and the ...
(b Jackson, MS, Sept 14, 1910; d New York, NY, Aug 29, 1982). American conductor, composer, arranger, educator, and writer on music. After studying composition at the Cincinnati Conservatory, Engel moved to New York, where he had lessons in composition at the Juilliard School with rubin Goldmark and then privately with roger Sessions . During the late 1930s Engel provided incidental music for plays and dance groups and conducted his own Madrigal Singers under the auspices of the WPA. He conducted the premieres of Kurt Weill’s Johnny Johnson and Aaron Copland’s The Second Hurricane, and he also led the chorus in the audience at the improvised premiere of Marc Blitzstein’s The Cradle Will Rock.
Engel is best known for his work in commercial venues. He supplied vocal and choral arrangements and other forms of incidental music for theatrical and broadcast productions. As a conductor, his most successful shows on Broadway included Gian Carlo Menotti’s ...
(b Woburn, Beds., Sept 24, 1766; d London, Jan 6, 1826). English geologist and writer on music. He was a tenor in the Surrey Chapel Society which met weekly in Southwark to practise sacred music. In 1791, when that society became part of the Choral Fund, Farey served as secretary and librarian and became acquainted ‘with numbers of the most eminent’ practitioners of music. The next year he returned to Woburn as the Duke of Bedford’s land steward and warden of Woburn parish church; from 1802 he lived in London.
Farey found the study of systems of musical temperament ‘a favourite source of amusement, while relaxing from … professional studies and practice’. His thoughts on music appeared mainly in numerous articles in the Philosophical Magazine and reappeared in contributions to David Brewster’s Edinburgh Encyclopaedia and to Abraham Rees’s Cyclopaedia: indeed Rees named only Charles Burney and Farey as ‘co-adjutors’ of the musical articles in the ...
(b Bucharest, Sept 6, 1819; d Bucharest, March 19, 1865). Romanian music critic and flautist. He studied at the School of Vocal and Instrumental Music in Bucharest (1836–8) with Ludwig Wiest (music theory and solfège) and Pietro Ferlendis (flute), and had further instruction in the flute from Michael Foltz (...
Gary W. Kennedy
(b Minneapolis, Jan 22, 1952). American percussionist, clarinetist, pianist, and critic. His father was an orchestral percussionist. Having been exposed to jazz at an early age, he took up drums when he was nine and studied informally with his father. Later he learned piano (1966–7) until he tired of reading music, though he resumed playing the instrument from 1969, took up clarinet in 1972, and doubled on bass clarinet from 1989 to 1992 and alto clarinet from 1992. Around the age of 17 he played in a rock band, but because he wished to explore freer types of music he formed the experimental group Blue Freedom; it was later known as Blue Freedom New Art Transformation and from 1973 as the Milo Fine Free Jazz Ensemble (MFFJE), which from 1975 functioned primarily as a duo with the guitarist Steve Gnitka; the two men toured Europe in ...
(Richard Jeremy )
(b Weymouth, England, April 7, 1921; d Weymouth, May 9, 1991). English writer. From 1965 he was the host in Britain of a weekly radio program, “Jazz Scene” (better known by its later title, “Jazz Today”); he also hosted “Jazz in Britain.” The two shows eventually merged, and continued on BBC Radio 3 until 1988. Fox became the jazz critic of the New Statesman and also contributed occasionally to The Guardian, the Sunday Times, and The Gramophone. In the USA he is best known for The Essential Jazz Records, i: Ragtime to Swing (1984), a guide to 250 jazz recordings written with Max Harrison and Eric Thacker. He also wrote a brief, insightful book on Fats Waller (1960).
(selective list)Fats Waller (New York, 1960); repr. in Kings of Jazz, ed. S. Green (South Brunswick, NJ, and New York, 1978) with P. Gammond and ...
(b Madrid, March 2, 1920). Spanish critic, pianist and composer. At the Madrid Conservatory he studied the piano with Luis Galve and composition with Rogelio del Villar and Conrado del Campo. In 1952 he took over the music section of the Madrid daily Arriba and was appointed head of music programmes of the Spanish National Radio, where he has been particularly successful. He founded the National RO (1953–5), the precursor of the present Spanish Radio and Television SO, which he was instrumental in founding in 1965; he also established the National Radio Choir (later the Spanish Radio and Television Choir), the Cuarteto Clásico of Spanish Broadcasting (1952) and the Barcelona City Orchestra (1967). In 1976 he became director of the music section of the Madrid daily El pais.
Although he began his career as a composer, writing many songs and some film music, Franco has achieved most recognition as a highly sensitive piano accompanist, and is considered the leading critic of his generation in Spain. He is noted for his support of new Spanish composers: in ...
Caroline Polk O’Meara
[Jones, Alexander Roger Wallace ]
(b New York, NY, 1967). American musician and writer. Frere-Jones has performed with his band Ui since the early 1990s, when he also began writing about music for publications including the Village Voice, New York Times, and Spin. Since 2004 he has been the pop music critic at The New Yorker. His columns often cover popular musicians, but he has also been an early champion of many lesser-known groups from the Yeah Yeah Yeahs to the Sleigh Bells. His experience as a professional musician shines in his authorial voice; he writes accessibly and in depth about musical content. Frere-Jones’s controversial 2007 New Yorker article, “A Paler Shade of White,” produced a large amount of support and criticism in the press. The wide-ranging article began with him mourning the absence of African American music traditions in indie rock (centering on the group Arcade Fire) before addressing the question of musical miscegenation, which he claims is sadly absent in most current rock music. Frere-Jones’s clever quips are frequently quoted in the work of other writers, making him something of a critic’s critic....