(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 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 ...
(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 ...
Gaynor G. Jones
revised by Christopher Fifield
(b Potsdam, Oct 22, 1838; d Danzig, Aug 27, 1922). German critic, pianist, conductor and composer. The son of an organist, he studied music from an early age. In 1859 he enrolled at the University of Berlin, studying theology and later philosophy; during this time he took piano lessons from Hans von Bülow. For a time he was torn between his interests in philosophy and music; having decided upon the latter he studied thoroughbass with Carl Friedrich Weitzmann and composition with Friedrich Kiel. For two and a half years he taught the piano privately in Berlin before accepting a position at Kullak’s Neue Akademie der Tonkunst in 1868. With the singer Clara Werner (whom he married in 1870) he gave concerts in Berlin, Pomerania and Silesia and became organist at the Nikolaikirche in Stralsund in 1869. In his dissertation Praeliminarien zu einer Kritik der Tonkunst (University of Greifswald, ...
(b London, May 3, 1908; d Oxford, June 28, 2000). English music administrator, pianist, educationist and critic. He was educated at Christ’s Hospital and Gonville and Caius College, Cambridge, where he was an organ scholar, and studied with Artur Schnabel in Berlin (1930–33). But though he developed into a fine pianist and made some successful concert appearances, notably in chamber music and in a series of Mozart concertos, which he performed with impeccable technique and style, he at first became a music critic. After a brief period on the Daily Telegraph he joined The Observer (1934–45), succeeding A.H. Fox Strangways as chief critic (1939). He began a new phase of his career as a musical educationist in 1948, when he founded the Summer School of Music at Bryanston, Dorset; it moved in 1953 to Dartington Hall, Devon, and Glock remained its music director until ...
(b Shenandoah, IA, June 2, 1898; d Memphis, TN, Feb 4, 1990). American music critic, conductor, and pianist. He studied at the University of Nebraska (1915–16), Chicago Music College (1920–22, subsequently incorporated into Roosevelt University), and the Gunn School in Chicago (MM 1923). He worked as a music critic for the Chicago Herald and Examiner between 1925 and 1936 and for the Chicago Tribune from 1943 to 1947. Between 1935 and 1943 he served as the Illinois state director of the Works Progress Administration’s Federal Music Project and as a co-conductor of the Illinois SO. In 1947 he became the first full-time music critic for the Los Angeles Times, a position from which he officially retired in 1965. He subsequently contributed to the LA Times as a staff writer and, from 1966 until shortly before his death, as Critic Emeritus. Goldberg was known for his emphatic support of conductors Zubin Mehta and Georg Solti and also for his recollections of such figures as Percy Grainger, Josef Hofmann, Vladimir Horowitz, Lauritz Melchior, and Artur Rubinstein. Trained as a pianist, he was especially knowledgeable about pianists and piano repertory....
(b Topeka, KS, Oct 2, 1874; d Washington, DC, Nov 22, 1963). American music critic, conductor, and pianist. In 1893 he entered the Leipzig Conservatory, where he studied piano with Carl Reinecke. From 1901 to 1905 he taught piano at the Chicago Musical College and studied theory privately with Ziehn. He gave a number of recitals in Chicago that included works by Debussy, Ravel, MacDowell, and Ferruccio Busoni; his playing was described in the Music News as that of a “thinker and experimenter.” From 1910 to 1915, as music critic of the Chicago Tribune, he reviewed works by such composers as De Lamarter, Freer, Clarence Loomis, and Adolph Weidig. Between 1914 and 1916 he taught Ernst Bacon, on whom he exerted a profound influence. He left the Tribune to form the American SO, and became its conductor; the orchestra’s inaugural program (14 November 1915) included works by De Lamarter, Loomis, MacDowell, and Cecil Burleigh. He founded the Glenn Dillard Gunn School of Music and Dramatic Art in ...
Jean Mary Allan
revised by Ruzena Wood
(b Banchory-Ternan, Kincardine, Sept 9, 1861; d Edinburgh, May 2, 1914). Scottish organist and writer on music. His first post, with Routledge, the publisher, gave him the opportunity to study music in his spare time, in particular the organ. Returning to Aberdeen by 1882, he held appointments there, then in Crieff (1884) and finally at St John's Episcopal Church, Edinburgh (1889), where he was one of the first organists in Scotland to hold special musical services on Sunday evenings.
He was a naturally gifted writer, with a clear, vigorous style, and was a sound scholar. His first two biographies, of Handel and Mendelssohn (both 1888), were favourably received. Other books followed, notably those on Haydn and Chopin, commissioned by Dent for the first series of the Master Musicians. His outstanding work, likely to be the most long-lived, is George Thomson, the Friend of Burns...