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Ortrun Landmann

[Jean]

(b c1705; d Dresden, Nov 13, 1779). German composer. He was a Jagdpfeifer at the Dresden court (1733–6), then until his death a violist in the Dresden Hofkapelle. He was also ‘ballet-compositeur’ of the court opera (from c1740), and composer and director of music for the elector’s French theatre (1763–9). According to Burney and Fürstenau, he added ballet music to operas by J.A. Hasse and made an adaptation of Rameau’s Zoroastre (Dresden, 1752); the documents of the Hofkapelle in the Dresden State Archives indicate that he also composed new pieces for various opéras comiques, and in 1756 he published a Recueil d’airs à danser executés sur le Théâtre du Roi à Dresde, arranged for harpsichord. The concertos and chamber works listed under ‘Adam’ in the Breitkopf catalogues may also be attributed to him. Few of his compositions are extant; apart from his arrangements of works by other composers, the Sächsische Landesbibliothek in Dresden contains only a concerto in G for flute and strings by him....

Article

Alan Blyth

(b Dresden, Aug 1, 1926; d Dresden Jan 10, 2019). German bass-baritone. As a boy he was a member of the Dresden Kreuzchor, and he studied in the city and at Weimar before making his début at the Dresden Staatsoper in 1949. He joined the Berlin Staatsoper in 1952. That year he made his début in a small role at Bayreuth, graduating to King Henry in 1954 and to Wotan in 1963; his later roles there included the Dutchman, Amfortas, and Hans Sachs. At the Salzburg Festival he was heard as Ochs (1969) and Wozzeck (1972), and at the Vienna Staatsoper he sang the title role in a new production of Don Giovanni in 1972. Also in Vienna he sang a memorable Pizarro in the Beethoven bicentenary production of Fidelio at the Theater an der Wien in 1970, conducted by Bernstein. His other roles included Philip II, King Mark, and La Roche (...

Article

Thomas Bauman and Paul Corneilson

(b Rohr, nr Rothenburg, Bavaria, Feb 22, 1740, or Munich, July 6, 1743; d Vienna, Aug 24, 1804). German tenor. In 1755 he studied singing with J.E. Walleshauser (Giovanni Valesi) while at the Domus Gregoriana, a Jesuit institution in Munich. In 1760 he joined the Kapelle of Duke Clemens and on Clemens’s death in 1770 was taken into the elector’s Hofkapelle. After making his début at Munich in 1772 he sang leading tenor roles in opere serie at Modena, Venice, Florence, Pisa and Rome (taking the italianized stage name Valentino Adamonti) from 1775 to 1777, then at the King’s Theatre in London until 1779. Following appearances at Florence and Milan, he joined the Singspiel company of the National Court Theatre at Vienna, where he made his début on 21 August 1780. In 1781 he married the Viennese actress Marie Anne Jacquet (1753–1804). On the dissolution of the Singspiel company in ...

Article

Owen Jander

revised by Giancarlo Rostirolla

[‘Il Bolsena’]

(b Bolsena, Nov 30, 1663; d Rome, July 22, 1742). Italian singer, writer and composer of Venetian origin. After early study at Montefiascone he was sent to Rome. Though his admission to the Cappella Giulia was recorded on 1 December 1682, he did not take up a post there until much later. In 1682 (or at the latest 16 September 1686) Adami became a member of the Congregazione dei Musici di S Cecilia, a fact which would confirm his professional activity in the sacred circles of Rome. He was a castrato of obviously unusual talent, but the remarkable success of his career also owed much to the fact that he enjoyed the protection of Cardinal Pietro Ottoboni – the most influential Roman music patron of the day – in whose palace he served as musician-in-residence from 1686 to 1740. On 5 October 1690 he became a member of the Arcadia – the foremost musico-literary academy in Rome – where he was dubbed ‘Caricle Piseo’. Aided by Ottoboni’s patronage he was admitted as a soprano to the Cappella Sistina at the age of 26 (...

Article

Jernej Weiss

(b Dobrova, nr Ljubljana, Slovenia; Dec 25, 1877; d Ljubljana, Dec 6, 1936). Slovenian music educator, conductor, and writer on music. Uncle of composer Bojan Adamič. He received his first musical education at the Ljubljana Glasbena Matica society music school, from 1911 to 1912 he studied at the Conservatory in Trieste, and in 1912 he passed the national examination at the Ljubljana Conservatory. During World War I he joined the Austrian Army, and from 1915 to 1920 was a prisoner of war at Tashkent. In 1920 he returned to Ljubljana, where he taught music at the teacher’s college and at the classical gymnasium until his retirement in 1932. From 1925 to 1928 he was conductor of the Orchestral Society at the Glasbena Matica music society, and from January 1928 to December 1929 editor of the Nova muzika (‘New Music’) magazine. He was also active as a music critic and reviewer for the magazines ...

Article

Dimitri Conomos

revised by George Leotsakos

(b Piraeus, May 19, 1929). Greek composer and musicologist. He graduated in theology from Athens University (1954), in neo-Byzantine music (1955) and harmony (1956) from the Piraeus League Conservatory, and in counterpoint, fugue and composition (1959) from the Hellenic Conservatory, where he studied with Yannis A. Papaïannou. At Brandeis University (1962–5) he studied composition (with Arthur Berger), Byzantine music palaeography and electronic music. In 1950 he revived the boys' choir of the Greek Royal Palace, which he directed until 1967. He also established and conducted the Athens Chamber Chorus (1958–61). Between 1961 and 1963 he taught Byzantine music at the Holy Cross Theological Academy, Boston, Massachusetts. In 1965 he established the first electronic music studio in Athens. He was a founder-member (1965) and later president (1975–85) of both the Hellenic Association for Contemporary Music and the Greek section of the ISCM. In ...

Article

Jeffrey R. Rehbach

revised by Charles S. Freeman

[Tymoteusz]

(b Warsaw, Poland, March 24, 1858; d Boston, MA, April 18, 1943). Polish violinist, active in the USA. He began violin studies at age seven and later studied under Apolinary Katski and Gustaw Robusky at the Warsaw Conservatory, where he graduated with honors in 1874; he also studied with Massart at the Paris Conservatoire. He made his first American tour in 1879, appearing with Clara Louise Kellogg and Max Strakosch before undertaking his own tour. He settled in Boston thereafter, playing with the Boston SO from 1884 until 1907 (except in 1887–8 when he made a European tour) and teaching at the New England Conservatory. Adamowski appeared 82 times as soloist with the orchestra and conducted the summer popular concerts from 1890–4 and again from 1900–7. He also appeared with orchestras in London, Paris, and Warsaw. In 1888 he formed the Adamowski Quartet with violinist Emmanuel Fiedler, violist Daniel Kuntz and cellist Giuseppe Campanari; the group was reconstituted the following year with A. Moldauer, Max Zach and Adamowski’s brother Joseph (who immigrated to the United States in ...

Article

Michael Ethen

(Guy)

(b Kingston, ON, Nov 5, 1959). Canadian rock singer, songwriter, and guitarist, and photographer. The son of a diplomat, he spent his youth in England, Israel, Portugal, and Austria. After returning with his family to North America, he began performing and recording at the age of 15 with rock bands in British Columbia and Ontario. In 1978 he began what became a long and successful songwriting partnership with Jim Vallance, with whom he created most songs recorded under his name up to 1987, as well as songs recorded by Rod Stewart, Kiss, Bonnie Raitt, Neil Diamond, and the Canadian groups Prism, BTO, and Loverboy.

Adams’ albums characteristically alternate between down-tempo piano ballads and straight-ahead rock numbers. His third solo album, Cuts like a Knife (1983) launched him to the status of an international celebrity; its singles included the ballad “Straight from the Heart” and the anthem “Cuts like a Knife,” which both featured for weeks on magazine charts and music television. The next album, ...

Article

H. Wiley Hitchcock

revised by June C. Ottenberg and Jonas Westover

(b Charlestown, MA, Feb 9, 1834; d West Harwich, MA, July 4, 1900). American tenor. Adams was one of the most prominent American singers in European opera houses throughout the 19th century. He studied singing in Boston and in 1856 was soloist in the Handel and Haydn Society’s performance of Haydn’s The Creation. In 1861 he made concert and opera appearances in the West Indies and Holland. He studied in Vienna with Carlo Barbieri and was engaged for three years by the Berlin Royal Opera, then for eight out of nine years (1867–76) as principal tenor of the Vienna Imperial Opera. He also sang at La Scala and Covent Garden. In 1877 he returned to the United States. During the 1877–8 season at the Academy of Music in New York he sang the title role in the first American production of Wagner’s Rienzi. An excellent singer and fine actor, he had a commanding stage presence. His voice was described as very powerful and “a very sweet one and one of great range.” Adams made his way to Chicago in the 1880s, where he regularly performed oratorios with the Chicago Musical Union. Tannhäuser, Lohengrin, Manrico, and Rienzi were his most celebrated parts. From ...

Article

Elizabeth Forbes

(b Bristol, Dec 20, 1928; d Norwich, April 8, 1996). English bass . He was a chorister at Worcester Cathedral and later became an actor. After singing in the D’Oyly Carte Opera chorus, from 1953 to 1969 he was principal bass of the company. In 1963 he co-founded ‘G&S for All’, with whom he toured extensively in Australia and the USA. In 1983 he sang the Mikado in Chicago, returning for Baron Mirko Zeta and the Theatre Director/Banker (Lulu). He made his Covent Garden début in 1983 as a Frontier Guard (Boris Godunov), and later sang Quince and Frank. For the ENO (1985–92) he has sung Dikoj (Kát’a Kabanová), Mozart’s Bartolo, and Pooh-Bah; for the WNO (1985–7) his roles included Monterone and Rossini’s Bartolo. He also appeared at Glyndebourne (Dikoj, Quince and Swallow), Amsterdam, Los Angeles, San Francisco and Geneva. In ...

Article

Brian Priestley

revised by Barry Kernfeld

(Rufus)

(bCovington, GA, April 29, 1940; dNew York, Nov 14, 1992). Americantenor saxophonist and flutist. As a teenager he attended Clark College, Atlanta, where he was taught by Wayman Carver; while studying in Cleveland in the early 1960s he worked in organ trios, including that of Bill Doggett, playing a hybrid of rhythm-and-blues and jazz. He settled in New York in 1968 and from 1969 to 1973 worked with Roy Haynes, recording with him around 1972. He then played with Art Blakey, Charles Mingus (1973–6), Gil Evans (1975–8), and McCoy Tyner (1976–9), performed with Hannibal Peterson at the festival in Antibes, France (1977), and recorded with James “Blood” Ulmer (1977). In 1975, while touring Europe with Mingus’s band, he made his first recordings under his own name with some fellow sidemen; during this time Mingus’s pianists included Don Pullen and Hugh Lawson, and Dannie Richmond returned as the group’s drummer shortly after Adams joined. In ...

Article

Robin Langley

(b c1749; d after 1794). English composer, organist and cellist. According to his recommendation by Francis Hackwood to the Society of Musicians, on 1 February 1784 he was 35 years old, married with two children, organist of Brompton Chapel and a competent violinist, viola player and cellist. He performed as a cellist in the Handel commemoration concerts in 1784 and played in the band for the Academy of Ancient Music during the 1787–8 season. He probably also took part as a cellist in the concerts (held annually) at St Paul’s Cathedral for the relief of the clergy in 1785, 1789, 1790, 1793 and 1795.

From his extant published works it can be seen that Adams was a competent purveyor of small-scale vocal and instrumental works in the manner of Haigh, Osmond or Reeve. His music shows an awareness of changing styles: the early songs and canzonets accompanied either by harpsichord or orchestra with obbligato instrument are in the manner of Arne, giving way to a symphonic style like that of J.C. Bach or Hook in the three sonatas of op.4 (for piano or harpsichord with violin or flute accompaniment); his late sonata for piano duet shows some grasp of larger forms, and ...

Article

Sarah Cahill

(Coolidge)

(b Worcester, MA, Feb 15, 1947). American composer and conductor. Known particularly for his operatic works on contemporary subjects, he is considered one of the most frequently performed living composers of concert music.

He studied the clarinet with his father and with Felix Viscuglia, clarinettist with the Boston SO. At the age of ten he began theory and composition lessons, and at 14 he had his first piece performed by the community orchestra with whom he practised conducting. He also performed with the orchestra alongside his father, often appearing before an audience of mentally-handicapped patients at the New Hampshire State Hospital. As a student at Harvard University (1965–71, MA 1972) he studied composition with Leon Kirchner, Earl Kim, Roger Sessions, Harold Shapero and David Del Tredici. During this period he performed occasionally as a clarinettist with the Boston SO.

After moving to San Francisco in 1971...

Article

Gary Carner

[Park Frederick, III ]

(b Highland Park, MI, Oct 8, 1930; d Brooklyn, NY, Sept 10, 1986). American jazz baritone saxophonist and composer. He grew up in Rochester where he took up tenor and baritone saxophones and clarinet, but settled on baritone after moving to Detroit in 1947 as a means of finding work in the city’s fiercely competitive music scene. After serving for two years in the US Army Band, Adams returned to Detroit in 1953 and worked there with Tommy Flanagan, Barry Harris, Kenny Burrell, and Elvin Jones, in the house band at the Blue Bird and at Klein’s. In 1956 he moved to New York and was a member of Stan Kenton’s big band for six months following a recommendation from Oscar Pettiford. From the following year, Adams spent 20 years working in big bands led by Maynard Ferguson, Benny Goodman, Quincy Jones, Lionel Hampton, and Thad Jones and Mel Lewis. During this period he also performed in small ensembles whenever possible and was in demand as a recording artist. Notably, he co-led a quintet with Donald Byrd from ...

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Article

Herman Klein

revised by Harold Rosenthal

(b Cambridge, MA, Nov 28, 1872; d London, Feb 5, 1953). American soprano. She studied with Mathilde Marchesi and Bouhy in Paris and made her début at the Opéra in 1895 as Juliet; she seems to have studied both Juliet and Faust's Marguerite with Gounod himself, who greatly admired her brilliant yet flexible tone and fine technique. She sang at Covent Garden (...

Article

Maya Gibson

(Yvette )

(b Houston, TX, Aug 27, 1961). American gospel music singer. Adams credits her earliest musical influences as James Cleveland, the Edwin Hawkins Singers, Nancy Wilson, and Stevie Wonder. She worked in a variety of jobs, including stints as a fashion model, television news anchor, and schoolteacher, before devoting herself to gospel music. She began her career as a lead singer touring with the Southeast Inspirational Choir, with whom she garnered the attention of composer/producer Thomas Whitfield who oversaw her debut solo album Just As I Am (1988) with Sound of Gospel Records. Grounded in traditional church music but open to diverse musical influences, Adams is known for infusing traditional gospel with urban musical influences such as jazz, R&B, and hip hop. Her mainstream album Mountain High … Valley Low (Elektra, 1999) is of particular importance in this regard because its diversity of musical styles had the ability to reach both Contemporary Christian and urban music listeners. The album achieved multi-platinum status and went on to earn a Grammy for Best Contemporary Soul Gospel Album (...

Article

William Aide

revised by Gordana Lazarevich

(b Toronto, March 28, 1906; d Victoria, May 6, 2002). Canadian composer, conductor and violinist. He studied the violin with Luigi von Kunits, Kathleen Parlow and Marcel Chailley, and was a member of the Toronto SO (1923–36) and the Toronto Trio (1938–52). He began composition studies with John Weinzweig in Toronto in 1944 and continued with Charles Jones and Darius Milhaud. In 1952 he became head of the music department at the University of Saskatchewan, Saskatoon, where he was appointed composer-in-residence in 1966. His other activities included co-founding the Canadian League of Composers (1951), conducting the Saskatoon SO (1957–60) and serving as a member of the Canada Council (1966–9). His numerous CBC commissions included the Algonquin Symphony (1957–8), Rondino for nine instruments (1961) and an opera, Grant, Warden of the Plains (1967). After his retirement in ...

Article

Mike Hazeldine

(bNew Orleans, April 21, 1904; dNew Orleans, March 1942). Americandrummer. He first played cigar box in a spasm duo with Raymond Burke (1914). From 1923 to 1925 he was a member of Abbie Brunies’s Halfway House Orchestra, with which he made recordings in ...

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Kenny Mathieson

(b Tampa, FL, Nov 25, 1931; d Lakeland, FL, Jan 2, 2000). American jazz cornetist, bandleader, and composer, brother of Cannonball Adderley. He took up trumpet as a child at the suggestion of his father, a cornetist, but switched to cornet in 1950. His career was closely linked with that of Cannonball. They formed their first band as children and played together through school, college, and the Army. Adderley then played with Lionel Hampton (1954–5), before joining Cannonball’s new band after the saxophonist’s Café Bohemia debut (1955). He then worked with J.J. Johnson and Woody Herman (1957–9) while his brother was with Miles Davis, after which he spent 16 years as a member of Cannonball’s successful quintet (1959–75). During this period he played the trumpet part for Sammy Davis Jr. in the film A Man Called Adam (1966). Following Cannonball’s death in ...