57,221-57,240 of 57,398 results

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(b Paris, ?March 19, 1785; d Paris, Oct 29, 1853). French pianist, teacher and composer. The son of a Paris piano maker, he entered the Conservatoire in 1798 to study piano with Boieldieu and harmony with J.-B. Rey and then Catel. In 1800 he won a premier prix for piano (over Kalkbrenner) and in 1802 a premier prix in harmony; later he studied composition with Cherubini. From 1811 he assisted in teaching the piano at the Conservatoire and in 1816 was appointed professor. In 1821 he was selected to succeed A.-F. Eler as professor of counterpoint and fugue, but decided to teach the piano only and the vacant post went to Fétis. He was one of the most influential French keyboard teachers of his time; his pupils included Franck, Alkan, Louis Lacombe, Ambroise Thomas, Bizet and A.-F. Marmontel (who succeeded him in 1848). He also taught Gounod (who became his son-in-law). He retired early from public performance in order to devote himself to teaching and composition. His ...

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Tully Potter

(b Lahr, Oct 8, 1966). German viola player. Encouraged by her elder siblings, who wanted to play trios, she started playing a small viola at three and at five began learning the piano. From 1979 she studied with Ulrich Koch at the Staatliche Hochschule für Musik in Freiburg and from 1986 with Sándor Végh at the Salzburg Mozarteum. She was a prizewinner at international competitions at Geneva in 1982, Paris in 1983 – where she was awarded a new Etienne Vatelot viola – and Budapest in 1984. She then began an outstanding career which has taken her all over the world. Her US début was made in 1993 and in 1995 she gave her first recital in Carnegie Hall, New York. Zimmermann is among today's finest viola virtuosos, with a superb technique and an ample, supple tone; but she is also an artist of rare profundity. She is often heard in concert with the pianist Hartmut Höll or the conductor David Shallon, and other close colleagues are the oboist Heinz Holliger, and violinists Gidon Kremer, Thomas Zehetmair and Frank Peter Zimmermann (not related to her). She gave the first performances of Volker David Kirchner's ...

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Lars Klingberg

(b Dresden, Oct 6, 1943). German composer. A member of the Dresden Kreuzchor as a boy, he then attended the Dresden Hochschule für Musik (1962–8), where he studied composition with Thilman, in addition to conducting and singing. His studies were completed by attending Kochan’s masterclasses at the German Academy of Arts in East Berlin (1968–70). Between 1966 and 1968 he received the GDR’s Mendelssohn Scholarship three times, and in 1972 he was awarded the Hanns Eisler Prize of Radio DDR. In 1974 he became founder and director of the Studio Neue Musik of the Dresden Staatsoper and Radio DDR. He became professor of composition at the Dresden Hochschule für Musik in 1982, and directed the Werkstattbühne für Zeitgenössisches Musiktheater in Bonn from 1985 to 1990. In 1986 he was appointed director of the Dresden Centre for Contemporary Music, and in 1988 artistic director of the Musica-Viva-Ensemble, Dresden....

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Friedrich Spangemacher

(b Schwabach, Franconia, April 15, 1949). German composer. He studied with Heider in Nuremberg (1968–70) and performed as a pianist in the ars-nova-ensemble. In 1970 he went to Cologne, where he attended courses on new music given by Kagel. Largely self-taught as a composer, he later studied at the Institute of Sonology, Utrecht (1970–73) with Otto Laske, at the Jaap-Kunst ethnological centre, Amsterdam, and at the Alexander Hamilton Institute, USA (1974), where he took a computer studies course. In 1977 he founded the Beginner-Studio in Cologne, where he organized concerts for a number of years. He has lectured at the Darmstadt summer courses (1982–4) and taught at the Royal Conservatory, The Hague, the Karlsruhe Musikhochschule and the Essen Folkwang-schule. In 1993 he was appointed professor of composition at the Berlin Hochschule der Künste. His honours include the Förderpreis of the city of Cologne (...

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(b Husum, Holstein, bap. March 8, 1743; d Ludwigslust, June 23, 1801). German instrumentalist and composer , brother of Hardenack Otto Conrad Zinck. His father, also named Bendix Friedrich Zinck, was a town musician in Husum, then cathedral organist in Schleswig (c1783), who wrote Kleine Duette für verschiedene Instrumente and other pieces for wind instruments (according to GerberL). Zinck studied the violin, harpsichord and organ with his father. About 1764 he visited Norway and stayed for a time in Christiania (now Oslo), and in 1767 he became a violinist at the Ludwigslust Hofkapelle of the Duke of Schwerin, where he served until his death. From Ludwigslust he made several concert tours to Dresden, Hamburg (where he studied composition with C.P.E. Bach), Berlin, London and elsewhere, becoming known as a violinist and keyboard player. In 1781 he married the court singer Charlotte Nussbaum (1760–1817)....

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(b Husum, Holstein, July 2, 1746; d Copenhagen, Feb 15, 1832). German composer and instrumentalist, brother of Bendix Friedrich Zinck. Like his brother, he was taught several musical instruments and harmony by his father. He continued his studies in Hamburg for ten years and performed in both amateur and public concerts there; he also had the special esteem of his teacher, C.P.E. Bach, under whose direction he performed as a singer in 1768. In 1777 he was recruited as first flautist and chamber musician in the Ludwigslust Hofkapelle of the Duke of Schwerin, where he dedicated himself increasingly to composition, learning from imitation of Classical models and from C.P.E. Bach’s Versuch, Kirnberger’s Kunst des reinen Satzes and Marpurg’s theoretical writings (preface to his Sechs Clavier-Sonaten, 1783). In August 1786 he visited Copenhagen, where he gave a highly successful concert, appearing as a flautist, keyboard player and composer. A year later he was offered the post of ...

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A. Lindsey Kirwan

revised by Stephan Hörner

(b Konstanz, c1570; d Augsburg, Feb 1622). German composer and instrumentalist. He matriculated at Freiburg University in 1589. For 11 years he was a musician in the service of Cardinal Andreas of Austria at Konstanz. He then moved to Augsburg and worked as a cornettist, organist and composer in the service of the town, the cathedral and the influential Fugger family, Maximilian Fugger being a particular patron of his. In 1614 he applied for the post of Kapellmeister at Augsburg Cathedral, in succession to Bernhard Klingenstein, but Georg Mezler was preferred to him. He was a talented instrumentalist and received a special subsidy for training younger cornett players. He was also highly esteemed at the Munich court, where he frequently performed as a cornettist; he received five payments for compositions, the last being in 1619. He was also connected with the court at Innsbruck, being personally acquainted with Archduke Leopold, a keen patron of music....

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Stephen C. Fisher

(‘The Gypsy Girl’)

Intermezzo in two acts by Rinaldo di Capua ; Paris, Opéra, 19 June 1753.

Nisa (soprano), a gypsy girl, with the connivance of her brother Tagliaborsi (tenor), tricks the old miser Calcante (bass) into parting with his purse and finally into marrying her. Tagliaborsi appears in disguise first as a bear and then as a devil. Calcante has a mute servant, Taddeo, and there is a chorus of gypsies in the finale.

Rinaldo’s lively intermezzo played nearly as large a role in the Querelle des Bouffons as Pergolesi’s La serva padrona. It shows a remarkable variety of resources for a comic opera of this date, including both comic and serious arias, accompanied recitatives and a concluding trio with chorus. Its history is complicated. Six of the arias were taken from Rinaldo’s Il cavalier Mignatta (1751), which employs similar stock characters. The first Paris production and a revision given at Pesaro in ...

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R.M. Longyear

revised by Rodobaldo Tibaldi

(b Naples, April 4, 1752; d Torre del Greco, nr Naples, May 5, 1837). Italian composer and teacher. Left fatherless at the age of seven, Zingarelli was enrolled in the Conservatorio di S Maria di Loreto, where his father had taught singing, and studied with Fenaroli, Speranza, Anfossi and Sacchini. After his graduation in 1772 he became organist and violin teacher at Torre Annunziata. When his first patron the Duchess of Castelpagano gave him her support, however, he began his career as an opera composer, in the theatres of northern Italy, Florence and Rome. His first cantata was performed in 1778 and his first opera, Montezuma, in 1781. Although Haydn did not praise this work as highly as once was supposed, he nevertheless produced it (and later Alsinda) at Eszterháza. Between 1785 and 1803 Zingarelli was principally known as an opera composer.

In 1790 he visited Paris, where his opera ...

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Gary W. Kennedy

[Corujo de Magalhàes Alves, Carlos ]

(b Lisbon, Dec 15, 1948). Portuguese violinist. He studied classical music at a conservatory in Lisbon (c1953–1965) and learned organ at a school of sacred music (1967–8). During the 1960s he was a member of a chamber orchestra at Lisbon University, and in 1967 he founded the group Plexus, which explored a fusion of rock, contemporary classical music, and improvisation. Following a period in the Portuguese Army, in 1975 he studied graphic art and stage design at a theater school in Lisbon, and from 1974 to 1980 he served as the music director for a theater company, Comicos; later he founded an art gallery of the same name in which he displayed his own works. He also wrote for the theater, and in 1988 he collaborated on an Italian production of a trilogy by Franz Kafka.

Zingaro performed free jazz and improvised music throughout Europe with Daunik Lazro (from ...

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Hans Heinrich Eggebrecht

(b Frankfurt an der Oder, Nov 21, 1904; d Cologne, Nov 16, 1978). German harpist and musicologist . He was the son of Rudolf Ewald Zingel (1876–1944), an organist, choral conductor and composer in Greifswald. From 1923 to 1927 he studied at the Staatliche Hochschule für Musik in Berlin with harp (under Max Saal) as his main subject. He then studied musicology under Max Schneider, with German literature and aesthetics as secondary subjects, at the universities of Berlin, Breslau (1927–8) and Halle (1928–30). He took the doctorate in Halle in 1930 with a dissertation on harp playing from the 16th century to the 18th. Harpist in the Städtische Orchester of Lübeck from 1932, he joined the Städtische Orchester of Halle in 1934 and the Gürzenich Orchestra in Cologne in 1938, where he remained until his retirement in 1969; he also played in the Bayreuth Festival Orchestra (...

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(b Florence, 1718/20; d Colliges [now Colligis], nr Laon, April 21, 1811). Italian tenor and composer. He studied in Naples at the Conservatorio di S Maria della Pietà dei Turchini. In 1749 he competed unsuccessfully for the post of maestro di cappella of S Stefano (dei Cavalieri) in Pisa. Between 1751 and 1752 he was active in Savona as a singer and maestro di cappella, and he held the same post at S Ambrogio in Alassio between March 1753 and December 1754. From 1756 onwards his career as a singer and composer took him to a number of European cities. In 1759 he joined the opera company of the De Amicis family; in the autumn of 1760 his opera Zenobia was performed in Amsterdam with Anna Lucia De Amicis in the title role. In 1762 the De Amicis company appeared, with Zingoni, in the Smock Alley Theatre in Dublin, where on 27 February of that year Zingoni's comic opera ...

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Mary Hunter

( fl Naples, c 1770–1803). Italian librettist . He worked almost exclusively in Naples, and is known particularly for his connection with P. A. Guglielmi. His librettos, all comic or semi-serious, are often set in or around Naples, and sometimes include dialect roles. He seemed particularly fond of comedies of disguise and mistaken identity; the disguise often involves a change of class and provides opportunities for the depiction of inept attempts to be noble, or true nobility shining through humble circumstances: both are found, for example, in La villanella ingentilita, set by Guglielmi in 1779.

commedie per musica unless otherwise stated

L’amante confuso, P. Anfossi, 1772; Dal finto il vero, G. Paisiello, 1776, La villanella ingentilita, P. A. Guglielmi, 1779; La viaggiatrice (dg), G. Gazzaniga, 1780; La stravagante, Gazzaniga, 1781; I mietitori, Guglielmi, 1781; L’impegno, G. Furno, 1783; Lo studente, G. Monti, 1783; La donna fedele, Monti, 1784; La virtuoso in Mergellina...

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Charles Barber

(Joel)

(b New York, July 10, 1936). American conductor. After early violin studies at the Oberlin Conservatory he studied theory and composition at the University of Minnesota and took up conducting at Tanglewood. He then worked in Maine with Monteux (1958–62), serving as his assistant from 1961 to 1964. Zinman was principal conductor of the Netherlands Chamber Orchestra from 1965 to 1977, music director of the Rochester PO from 1974 to 1985 and chief conductor of the Rotterdam PO from 1979 to 1982. After two years as principal guest conductor, Zinman was appointed music director of the Baltimore SO in 1985, a position he held until 1998. With that orchestra he made important recordings (including a series of Schumann symphonies and much American music) and transformed a regional ensemble into a leading American institution, his musical strengths complemented by an engaging manner, a deep commitment to music education and community relations, deft use of the media and self-deprecating humour (‘I am the Mel Brooks of the violin’, he once declared). He has also appeared with leading orchestras and festivals in the USA, Canada and Europe. Zinman has given numerous premières at Baltimore and elsewhere, including works by Adams, Bolcom, Danielpour, Daugherty, Kernis, Kirchner, Rouse and Torke. His recording of Gorecki’s Symphony no.3 with the London Sinfonietta was an international bestseller. Zinman became music director of the Zürich Tonhalle Orchestra in ...

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Anton Haefeli

(b Geneva, May 9, 1941). Swiss composer and flautist. He studied the flute at the Geneva Conservatory, the Paris Conservatoire and the Accademia Chigiana, Siena. After playing in various European orchestras (1964–7), he became a member of the Zürich Tonhalle-Orchester (1967–75). It was during this period that he began to study composition, working with Hans Ulrich Lehmann at the Zürich Conservatory (1973–5) and privately in Stuttgart and Hanover with Helmut Lachenmann (1975–7). From 1976 to 1978 he was an active participant in the Darmstadt summer school. He later lived in the USA (1979–80, 1983), Berlin (1981–2) and Paris (1982), where he worked at IRCAM. In 1986 he co-founded the Tage für Neue Musik Zürich with Thomas Kessler, serving as co-director until 1994. His honours include the title of guest of honour at the Leningrad Spring Festival (...

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(b Dresden, Jan 5, 1739; d Vienna, Jan 5, 1813). Austrian diarist , nephew of Nikolaus Ludwig von Zinzendorf. A highly placed government official, he chronicled aristocratic life in Vienna and elsewhere in his diary, which he kept from the age of eight to his death. This diary, in 76 volumes, is in the Haus- Hof- und Staatsarchiv in Vienna. The Tagebücher or diaries comprise volumes 6–57 and begin at the time of Zinzendorf's move to Vienna in 1761. Factual and reliable, they have long been consulted by music historians to establish what was performed when, where and for whom; only rarely, however, do they also provide performance details or critical commentary. Although Zinzendorf was a connoisseur of the theatre, he was not especially musical. He generally attended concerts, particularly of instrumental music, only if they were society events. His comment at a performance of Handel's Messiah on 7 April 1789...

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John R. Weinlick

(b Dresden, May 26, 1700; d Herrnhut, May 7, 1760). German religious leader . The founder in 1722 of the Renewed Moravian Church, he was from infancy subject to the ardent Pietism of both sides of his family, which was of noble lineage. Spener, the father of Lutheran Pietism, was his godfather. The early death of his father, and his mother's remarriage, left him under the care of his maternal grandmother on a country estate, where the precocious child acquired a deep sense of personal attachment to Christ. At the age of ten he went to Francke's school at Halle; his six years there were a time of difficult adjustment, but deepened his piety and zeal for future Christian service.

As a nobleman Zinzendorf could not become a pastor. Reluctantly he studied at Wittenberg for three years in preparation for state service, privately reading more theology than law. A grand tour of cultural centres following university introduced him to men of differing religious views; thereafter doctrine was of lesser importance to him than the ‘heart religion’ which united all Christians. His own preference was the Augsburg Confession. On this tour he saw a painting of the crucified Saviour in Düsseldorf which implanted in him a lifelong fixation on the sufferings of Christ, vividly expressed in his hymns and other writings....