(fl 1586–8). Italian composer. Five madrigals by him survive in four anthologies of the 1580s. Three of these (RISM 15869, 1588¹4 and 1588¹8) feature Mantuan composers, and this could be a clue to his origins, though he is not found in any of the Mantuan court documents. He is also represented by two works in a volume of three-voice madrigals (...
Harry B. Lincoln
(b Santiago, 1863; d Santiago, May 29, 1911). Chilean composer. He studied theory and singing at the National Conservatory, and the organ and composition privately. He was organist at Santiago Cathedral, and occasionally conducted zarzuelas. In 1902 he composed the first act of his opera-ballet Caupolicán; based on the 16th-century poem La araucana by Alonso de Ercilla, the libretto is by Pedro Antonio Pérez and Adolfo Urzúa Rozas. The première of Act 1 took place at the Teatro Municipal, Santiago, in June 1902. Acevedo then received an award that enabled him to study in Milan, where he composed the last two acts of Caupolicán. The complete work, comprising three acts and 11 scenes, was given its first performance at the Teatro Municipal, Santiago, on 8 December 1942, more than 30 years after the composer’s death. Acevedo also composed masses and other religious works, but the public, devoted to Italian opera at that time, never accepted his music....
Enrique Cordero Rodríguez
(b San José, Aug 24, 1943). Costa Rican composer, ethnomusicologist and baritone. He obtained a teaching diploma and the BA at the University of Costa Rica Conservatory, with singing as his special subject. During 1975–6 he lived in Paris, where he studied singing at the Ecole Normale Supérieure de Musique, Gregorian chant and choral conducting at the Catholic University and ethnomusicology at the Sorbonne. He taught at the Escuela de Artes Musicales of the University of Costa Rica (1976–90; director of the Escuela, 1983–7; dean of the fine arts faculty of the university, 1987–91). In 1994, with the painter Ronald Mills, he co-founded the Centro de Investigaciones y Documentación de Musica y de Artes Plásticas, researching the traditional music of Guanacaste and Limón provinces and of the Costa Rican indigenous people, conducting field studies in Costa Rica, Guatemala and Mexico, making recordings, publishing books and articles, and holding lectures and seminars....
José López-Calo and Andrew Lamb
(b La Granja de S Ildefonso, Segovia, March 20, 1837; d Madrid, Feb 21, 1876). Spanish composer. In 1853 he entered the Madrid Conservatory, where his composition teacher was Emilio Arrieta, and in 1858 he won a gold medal for composition. For an opera competition in 1869 he composed, in collaboration with Antonio Llanos (1841–1906), the prize-winning El puñal de misericordia; he also wrote some religious music, most notably a Stabat mater. However, he was influenced mainly by Arrieta towards the composition of zarzuelas. His works in this genre were well received in his time, particularly Sensitiva (1870), but his fame has now been eclipsed by that of contemporaries such as Barbieri and Oudrid (in collaboration with whom he composed El testamento azul) and Caballero (with whom he composed El trono de Escocia).
zarzuelas unless otherwise stated; for more detailed list see GroveO...
R. Allen Lott
(b Warsaw, Poland, Nov 24, 1892; d New York, NY, May 12, 1948). American pianist and composer of Polish birth and Lithuanian descent, brother of Joseph Achron. Having studied the piano with Anna Esipova, composition with Anatol Liadov, and orchestration with Maximilian Shteynberg at the St. Petersburg Conservatory, he moved to the United States in 1922 and became an American citizen six years later. Until 1933 he was accompanist to Jascha Heifetz, with whom he had first performed in Russia in 1909. Achron then began a successful solo career and gave joint recitals occasionally with his brother Joseph and with his wife, Lea Karina, a Finnish-born mezzo-soprano. His works include two piano concertos (1937, 1942), the first given its premiere by the composer with the New York PO (9 Dec 1937); Suite grotesque (1941), first performed by the St Louis SO (...
(b Lozdzieje, Poland [now Lazdijai, Lithuania], May 13, 1886; d Hollywood, CA, April 29, 1943). American violinist and composer of Lithuanian birth. He was the brother of the pianist and composer Isidor Achron. He began the study of the violin with his father at the age of five, and first performed in public three years later in Warsaw. At the St Petersburg Conservatory, from which he graduated in 1904, he studied the violin with Auer and composition with Lyadov. In 1913 he went to Russia, becoming head of the violin and chamber music departments at the Kharkiv Conservatory, and served in the Russian Army between 1916 and 1918. In the years after World War I he toured extensively as a concert artist in Europe, the Near East and Russia. He was appointed head of the violin masterclass and chamber music department at the Leningrad Artists' Union. In 1925...
(b Sibiu, Nov 3, 1940; d Munich, May 27, 2006). German composer of Romanian birth. He studied the piano, the organ and theory privately with Franz Xaver Dressler in Sibiu (1950–58). From 1959 to 1964 he studied composition with Toduta at the Cluj Academy of Music where, after receiving his diploma, he remained to teach composition and music theory. In 1969 he moved to the Federal Republic of Germany to teach at the Robert Schumann Conservatory, Düsseldorf (1969–72) and attend the Darmstadt summer course (1969). He was appointed to teach theory and composition at the Munich Musikhochschule in 1972, becoming professor of composition there in 1976. His awards included the composition prize of the Prague Spring Festival (1966), the Stuttgart Stamitz prize (1970), the city of Stuttgart composition prize (1971), the Stroud Festival composition prize, the Hitzacker prize (...
Thomas Henry Porter
(b Spring Hill, PA, Jan 21, 1887; d Whittier, CA, July 3, 1960). American gospel composer and editor, brother of Bentley DeForest Ackley. He studied harmony and composition in New York and London, and later became an accomplished cellist. Ackley was ordained by the Presbyterian Church in 1914...
(b Spring Hill, PA, Sept 27, 1872; d Winona Lake, IN, Sept 3, 1958). American gospel music composer and editor, brother of Alfred H(enry) Ackley. He learned to play several instruments, including melodeon, piano, reed organ, alto horn, cornet, piccolo, and clarinet. He studied shorthand and typing and then worked as a stenographer in New York and Philadelphia. Several of his secular songs were published in the 1890s. From 1908 to 1915 Ackley was pianist and private secretary to the evangelist Billy Sunday, and during this period he began to compose gospel songs. In 1910 he and Homer A. Rodeheaver founded the Rodeheaver–Ackley publishing company in Chicago, which became the Rodeheaver Co. the following year. He worked for the firm as a composer and editor until his death; with his brother and Charles H. Gabriel, he provided many of the firm’s copyrighted publications. More than 2000 of Ackley’s gospel songs were published, including “If your Heart Keeps Right” (...
( fl c 1420). Composer . His three-voice rondeau Je demande ma bienvenue survives only in the manuscript GB-Ob Can.misc.213 (facs., Chicago, 1995; ed. in CMM, xi/2, 1959). Its extreme simplicity and economy of gesture suggest that the composer is not identifiable with Johannes Haucourt , composer of an apparently much earlier virelai in the same manuscript....
(b Naples, Aug 25, 1829; d Portici, nr Naples, Feb 2, 1909). Italian composer and pianist. He studied the piano and composition in his native town, where he spent his entire life. His prolific output of fluently written, light and brilliant pieces (more than 400 works) won great success with the conventional middle class in Naples, which was culturally behind the times and inclined towards the flimsy, often frivolous genre of salon pieces: Acton's works became an indispensable part of the piano repertory of all daughters ‘of good family’ in Bourbon Naples. An amiable figure but of little distinction, he had no following of his own as a teacher, unlike his Neapolitan colleagues Costantino Palumbo and Alfonso Rendano.
(b Spånga, Sweden, April 18, 1945). Swedish trumpeter, composer, and leader. He started playing in amateur bands around Stockholm while in his teens and worked towards a career as a lawyer before becoming a full-time musician in 1972, upon the formation of the group Egba; he eventually became the leader of the band and the main contributor of compositions to its repertory. Egba’s music combined jazz-rock with African and Latin rhythms and melodies, though its last album (it disbanded in 1991) incorporates drum machines and other computerized elements. Adåker also worked with Johnny Dyani, the Stockholm-based orchestra Hot Salsa, and Radiojazzgruppen (ii), among others. From the early 1990s he has appeared as a jazz soloist in a variety of settings, often playing in the hard-bop tradition. His own groups have varied in size from quartet to octet (including a string section), and he has displayed great skill and imagination as a composer of works for Radiojazzgruppen (as heard on the album ...
(b Danlí, 1872; d Tegucigalpa, 1947). Honduran composer and concert bandleader. He studied at the Honduran National Conservatory and was active as an organist in Guatemala City and in Danlí. Trained also as a civil engineer, he invented an organ of bamboo pipes he named the orquestrofono. In 1895 he formed a municipal band and orchestra in Danlí, from whose success he was promoted to supervise all military bands, the salient performance ensembles of classical music at the time. Under his leadership, the band of the Supremos Poderes achieved regional prominence. His output of polkas, waltzes, mazurkas and marches all scored for concert band reflects the musical environment of the Honduran middle class in the first decades of the 20th century. Two of his major compositions received international exposure: La suita tropical in Seville, Spain; and Los funerales de un conejito, which was performed by the US Service Orchestra in Washington, DC, in ...
(b La Coruña, Aug 24, 1826; d Lóngora, nr La Coruña, Oct 16, 1881). Spanish composer. He studied the piano with Moscheles in London from 1840 to 1844, and possibly also had lessons from Chopin in Paris. On his return to Spain he lived in La Coruña and Madrid, where some of his compositions were performed, and then at his palace of Lóngora, where he dedicated himself wholly to composition. The influence of Moscheles and, particularly, Chopin was decisive throughout his creative life. He composed one opera, Inese e Bianca, which, in spite of his efforts, was never staged. More important are his piano works and songs, the latter clearly influenced by lieder. In his Cantares nuevos y viejos de Galicia (1877) he united the folklore of Galicia with the technique and spirit of Romantic piano music. He also promoted the musical culture of his native province, developing courses and competitions in music....
Tom R. Ward
revised by David Fallows
(fl 1420–30). Composer, possibly French. His three rondeaux, Au temps vendra, Au grief hermitage and Tout a caup, were copied into the manuscript GB-Ob Can.misc.213 soon after 1430 (all ed. in CMM, xi/2, 1959). He could be identifiable with Adam Fabri, clerc de matines at Notre Dame in Paris in 1415; Adam Meigret, first chaplain to Charles VI of France at the time of the king's death in 1422; Erasmus Adam, mentioned in the motet lamenting the death of King Albrecht II in 1439; Adam Hustini de Ora from Cambrai, who was in the Habsburg chapel in 1442–3; or more likely Adamo Grand (sometimes called Magister Adam), master of the choirboys at the Savoy ducal chapel from 1433 to 1438.J., J.F.R. and C. Stainer, eds.: Dufay and his Contemporaries (London, 1898/R) [incl. complete edition] D. Fallows: A Catalogue of Polyphonic Songs, 1415–1480 (Oxford, 1999)...
Alicia Valdés Cantero
(b Camagüey" country="Cuba, Sept 24, 1873; d Madrid, October 20, 1957). Cuban composer resident in Spain. After moving to Spain with her family at the age of nine, she began her musical training under Joaquín Zuazagoitia in Santiago de Compostela, continuing at the Real Conservatorio, Madrid, where she studied piano (receiving first prize in 1888), harmony, composition, ensemble playing and organ. Later, in Paris, she was a member of Louis(-Joseph) Diémer’s piano class and Jules Massenet’s instrumentation and composition classes; she also studied with Vincent d’ Indy. Her music was performed in Paris, and in Spain she gave recitals and took part in chamber concerts with Pablo Casals. Although resident in Europe, she nevertheless maintained professional and personal links with Cuba and several of her works were performed there, notably by the Havana SO and Havana PO, including, in 1933, the Serenata española, La peregrinación de Childe Harold...
(b Paris, July 24, 1803; d Paris, May 3, 1856). French composer. He composed more than 80 stage works, some of which, especially those written for the Paris Opéra-Comique, obtained considerable and lasting success.
His father (Jean) Louis Adam (b Muttersholtz, Bas-Rhin, 3 Dec 1758; d Paris, 8 April 1848) was a pianist, composer and teacher; he taught the piano at the Paris Conservatoire from 1797 to 1842 (his pupils included Frédéric Kalkbrenner and Ferdinand Hérold), composed several keyboard sonatas (many with violin accompaniment) as well as lighter works, and wrote a Méthode, ou Principe général du doigté pour le forté-piano and a Méthode du piano du Conservatoire that was translated into German and Italian. Adolphe was not encouraged by his father to become a musician, but, influenced by his friendship with Hérold (12 years his senior), he decided at an early age that he wished to compose, and to compose, specifically, theatre music. He first studied the piano with Henry Lemoine, and at 17 entered the Conservatoire, where he studied the organ with Benoist, counterpoint with Reicha and composition with Boieldieu, the chief architect of his musical development. By the age of 20 he was already contributing songs to the Paris vaudeville theatres; he played in the orchestra at the Gymnase, later becoming chorus master there. In ...
( b Sumatra, Nov 5, 1917; d New York, July 4, 1983). American cellist and composer . He spent the first six years of his life in Dutch East Indies (now Indonesia), where his father, Tassilo Adam, worked as an ethnologist; after the family returned to Europe he studied at the Salzburg Mozarteum. In 1929 the family moved to New York, where Adam studied the cello with E. Stoffnegen, D.C. Dounis and (from 1938 to 1940) Feuermann; he also studied conducting with Barzin and composition with Blatt, and was a member of the National Orchestral Association, a training group for young instrumentalists (1935–40). From 1940 to 1943 he was principal cellist of the Minneapolis SO. After serving in the US Air Force during World War II, he studied composition in New York with Wolpe. In 1948 he formed the New Music Quartet, with which he performed until ...
(b Hinsbourg, Jan 4, 1904; d Illkirch-Graffenstaden, Sept 7, 1984). French conductor, composer and opera administrator . He studied in Strasbourg with Erb and in Paris with Koechlin and Gédalge. He joined the Strasbourg Opera in 1933 as a répétiteur and stayed until he retired in 1972, being successively chorus master (1933–6), conductor from 1936, co-director (with Ernest Bour) from 1955 to 1960 and director (1960–72).
Adam sought to create a balanced repertory of French, German and Italian classics, together with contemporary works (such as Jean Martinon’s Hécube, 1956, which was specially commissioned) and revivals of rarely given masterpieces such as Les Troyens (1960) and Roussel’s Padmâvatî (1967). He gave the first French performances of Bizet’s Don Procopio (1958), Françaix’s L’apostrophe (1958), Dallapiccola’s Il prigioniero (1961), Strauss’s Die Frau ohne Schatten (1965), Britten’s ...
Ferenc Bónis and Anna Dalos
(b Szigetszentmiklós, Dec 12, 1896; d Budapest, May 15, 1982). Hungarian composer, conductor and teacher. From 1911 until 1915 he received instruction in organ playing and theory at the Budapest teacher-training college. Then, as a prisoner of war (1916–20), he organized and conducted a men’s choir and an orchestra in Russia. He studied composition at the Budapest Academy of Music under Kodály (1921–25) and conducting in Weingartner’s masterclass in Basle (1933–5). He conducted the orchestra (1929–39) and the choir (1929–54) of the Budapest Academy where he also taught Hungarian folk music, choral conducting and methodology from 1939 to 1959, and where he directed the singing department from 1942 to 1957.
Ádám began his career as a conductor in Budapest in 1929 with a performance of Haydn’s The Seasons. From 1929 until 1933 he was deputy conductor of the Budapest Choral and Orchestral Society. With the male choir Budai Dalárda, which he directed from ...