(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...
(b Göteborg, Dec 22, 1846; d Stockholm, March 11, 1925). Swedish conductor, composer, teacher and critic. Between 1866 and 1871 he studied in Leipzig with Reinecke, in Munich with Rheinberger and in Dresden with Rietz. He then returned to Göteborg, where he became conductor of the music society (1872–8); he later taught singing in Berlin (1879–83). Back in Sweden he was conductor of the Philharmonic Society in Stockholm (1885–95) and of the Royal Opera (1892–7), as well as founder and conductor of the South Swedish Philharmonic Society (1902–7). From 1909 to 1919 he taught composition at the Stockholm Conservatory.
Hallén’s compositions show an accomplished handling of formal elements and contain stylistic reminiscences of Swedish folk music and the works of other Swedish composers like Söderman. The salient feature of his style, however, and the one which strongly affected contemporary reaction, is its close, almost derivative relationship to German music. Wagner’s works and aesthetic ideas had a particularly strong and lasting influence on Hallén; his operas, although conceived with considerable dramatic skill, are largely dependent on Wagnerian models. As an enterprising and versatile conductor, he gave sympathetic performances of the Wagner operas and brought about performances of many choral masterpieces then almost unknown in Sweden, including the first Swedish performance of Bach's ...
(b Belfast, May 5, 1951). Northern Ireland composer, pianist and critic. At Queen's University, Belfast (BMus 1973, MA 1974), he studied composition with Raymond Warren and Adrian Thomas. He also studied the piano with Rhona Marshall at the Royal Irish Academy of Music, Dublin. In 1988, after a period of school and university teaching he became Music Director and subsequently Performing Arts Director of the Arts Council of Northern Ireland.
Hammond has written for a wide range of media and performers from school children to professionals. His music is direct in expression and tends to eschew excessive complexity. He describes himself as a romantic; the dark side of this comes through in Thanatos (1977), a pioneering work by a Northern Ireland composer in the field of electro-acoustic composition, and the introspective Narcissus (1981). Echoes of Schoenberg and Berg may be felt in his works of the early and mid-1980s, and Hammond's usually strong contact with tonality is here at its most tenuous. German poetry, particularly that of Hesse, has been an important influence. ...
Clive T. Probyn
(b Salisbury, July 20, 1709; d Salisbury, Dec 22, 1780). English writer and musical amateur. He was the eldest son of James Harris by his second wife, Lady Elizabeth Ashley Cooper, sister of the 3rd Earl of Shaftesbury. He studied at Oxford and at Lincoln’s Inn, and was MP for Christchurch from 1761, holding various government offices. He wrote on many subjects, including music. He patronized Salisbury musicians and brought London performers to Salisbury through his association with the Salisbury Subscription Concerts (also known as the Society of Lovers of Musick), and from the mid-1740s was consultant and occasional manager of the Annual Musical Festival, for which he directed from the harpsichord and supplied music, some of it of his own composition. His library contained much music, including Italian and Elizabethan works. Handel and Sacchini (his daughter Louisa’s teacher) visited him, and he may also have known Pepusch. His ...
(b Egham, April 3, 1838; d London, Jan 29, 1901). English clergyman, lecturer and writer. Haweis showed great aptitude for music and studied the violin with Antonio James Oury. At Cambridge University he formed a quartet society and became solo violinist of the Cambridge University Musical Society. Graduating in 1859, two years later he passed the Cambridge examination in theology and was ordained deacon, then priest in 1862. After some short-term curateships, he was appointed perpetual curate of St James's, Marylebone, in 1866, a position he held until his death.
Haweis was a Broad Churchman with powers of dynamic extempore preaching that drew packed congregations to St James's, where his Sunday evening services unconventionally included orchestral music and oratorio performances. In 1867 he married Mary Eliza Joy (1848–98), who gained prominence through her writings on household decoration. In 1884 Haweis supplanted J.A. Fuller Maitland as music critic of the ...
Jamie C. Kassler
(b London, Dec 24, 1786; d London, Aug 7, 1853). English writer and musician. He served in the British Army retiring from active service in 1813. Although he is remembered chiefly as a writer on sport and an improver of firearms, he deserves notice as a music enthusiast, who studied the piano in England and on the Continent and whose several English residences were frequented by musicians. In 1818 he spent three months studying harmony and composition in the London academy of J.B. Logier; in 1821 he was a piano student of H.J. Bertini in Paris and, at an unspecified date, of F.W.M. Kalkbrenner. Hawker promoted Logier and his system of musical education in an anonymous publication, Advice to a Nobleman on the Manner in which his Children should be instructed on the Pianoforte (London, 1818, 5/1840). In 1819 Hawker’s invention of hand moulds ‘for running over the keys of a pianoforte in a mathematically true position’ was accepted for manufacture by Chappell in London and Pleyel in Paris. The hand moulds, similar to those invented by Logier, were patented on ...
Gary W. Kennedy
(b Reading, PA, Dec 18, 1932). American writer. He learned clarinet from the age of 12 and taught himself to play alto saxophone. After studying music theory at Florida State University (BA 1961) he played with the pianist John Benson Brooks (c1961–3), whose trio explored 12-tone composition and improvisation. From the early 1960s Heckman contributed to Down Beat, Metronome, and Jazz Review, and in the process he wrote a number of musical analyses of jazz performances (notably “Miles Davis Times Three,” DB, xxix/23 (1962), 16), which was an unusual practice at the time. Around the same period he played occasionally with Don Ellis, broadcast a jazz radio show on WBAI-FM in New York (1963–4), and performed in the October Revolution in Jazz (1964). From 1964 to 1972, with the tenor saxophonist Ed Summerlin, he co-led the ensemble Improvisational Jazz Workshop, in which Steve Kuhn, Ron Carter, Steve Swallow, Ed Shaugnessy, and Charli Persip were among their sidemen; the group recorded an eponymous album in ...
(b c1000–02; d Füssen am Lech, Bavaria, 1083). Writer on music. He was probably born in Bavaria, and later became a canon of Augsburg Cathedral; by the middle of the 11th century he was acting as scholasticus in the cathedral choir school there. In 1083, as the result of a conspiracy, Henricus was expelled from Augsburg at the same time as his bishop, Wigold. He sought refuge in the monastery of St Mang in Füssen, where he died and was buried. There is insufficient evidence to confirm his identification with Honorius Augustodunensis (see Flint).
Henricus's teachings on music are assembled in a treatise entitled De musica. This survives only in a south German manuscript ( A-Wn cpv 51), which has a lacuna at the end of the treatise. The work is set out in the form of a dialogue between pupil and teacher, a very popular literary technique used two centuries earlier by the author of the ...
George J. Buelow
(d Glaucha, nr Halle, 1744). German organist and writer on music. His only known position was as Kantor at St Georg, Glaucha, from 1732 (he should not be confused with the organist of the same name at the Johanniskirche in Leipzig, 1747–66). Hille was acquainted with J.S. Bach, whom he visited in Leipzig some time about 1739; Bach returned the visit to Hille in Glaucha early in 1740. Both trips are confirmed by a letter to Hille from Bach’s cousin Johann Elias (see David and Mendel, eds.), who asked Hille to sell him as a gift for Anna Magdalena Bach a linnet which had been trained to sing beautifully and which Bach had admired during his stay with Hille. As a composer Hille has been credited with the chorales in Einige neue und zur Zeit noch nicht durchgängig bekante Melodeyen zu dem neuen Cöthenischen Gesangbüchlein, dieselbe mit und ohne Generalbass gebrauchen zu können...