51-60 of 76 results  for:

  • Critic or Journalist x
  • Instrumentalist x
Clear all


Hélène Paul

[Callihou, James ]

(b Cap Saint-Ignace, PQ, July 13, 1892; d Lac Marois, PQ, May 29, 1941). Canadian music critic, composer and pianist. After studying with Gustave and Henri Gagnon in Quebec and with Guillaume Couture and Arthur Letondal in Montreal, Morin won the Prix d’Europe in 1912, enabling him to complete his musical education in Paris with Isidore Philipp, Raoul Pugno, Ricardo Vinès and Jules Mouquet. On his return to Montreal in 1914, he gave numerous concerts and began his career as a critic, co-founding the avant-garde publication, Le Nigog in 1918. He moved to Paris in 1919 and there soon gained a respected position as both pianist and critic, serving as a contributor to Le monde musical (1920). Settling in Montreal from 1925, he was secretary of the Montreal branch of the Pro Musica Society of New York (1926) and a music critic and chronicler for ...


Geoffrey Chew

(b Prague, 23 June 1914; d Prague, 8 Feb 1945). Czech musicologist, violinist, and music critic. After studying law and arts at Prague University, and the violin at the Prague Conservatoire (1933–7), he became a member of the Czech Philharmonic and of the Pro Arte Antiqua ensemble, and was very active as journalist and critic, editing and writing for Hudební věstník and Smetana, besides contributing articles on musical subjects during the German occupation to České slovo, the party organ of the patriotic, moderate-socialist Česká strana národně sociální. As a musicologist he was wide-ranging, writing on 18th-century music, preparing a catalogue of Dvořák’s works and editing 20th-century Czech operas, besides the items listed below. A provocative review in České slovo of a Smetana concert in 1945 led to his being arrested, tortured, and executed by the German occupying authorities.

(selective list)

ed. and trans.: Vlastní životopis V. I. Tomáška...


Viorel Cosma

revised by Laura Otilia Vasiliu

(b Bucharest, Romania, Oct 1, 1890; d Bucharest, Jan 19, 1951). Romanian composer, conductor, music critic, teacher, and violinist. Along with Alfred Alessandrescu and Ion Nonna Otescu, Nottara was among the first disciples of the renowned composition professor Alfonso Castaldi from the Bucharest Conservatory. First under the influence of French impressionism, then of Italian verismo, Nottara’s work then gradually integrated with the tendency of forming a Romanian national style in the first half of the 20th century.

He studied at the Bucharest Conservatory (1900–07) with D.G. Kiriac (music theory and solfège), Alfonso Castaldi (composition), and Robert Klenck (violin); he continued his studies under George Enescu and Berthelier (violin) in Paris (1907–9), and under Klinger (violin) and Schatzenholz (composition) at the Königliche Akademie der Künste, Berlin, (1909–13). His career as a violinist included orchestral playing in the Bucharest PO (1905–7, 1918–20), leading a string quartet (...




Albert Mell

(b Breslau, Oct 3, 1807; d Florence, Nov 18, 1887). German singing teacher, violinist, composer and critic. He studied singing with the Kantors Strauch and Förster, and learnt the violin with Joseph Mayseder. His initial career was as a violinist. About 1834 he settled in Paris, as a performer, critic and composer, and editor of and contributor to the new Gazette et revue musicale; he was also a correspondent for the Neue Zeitschrift für Musik. He was a prolific composer for the violin and of solo songs. After 1840 Panofka’s interest turned towards the art and techniques of the great singers he heard in Paris. He studied the methods of Marco Bordogni, and went to London in 1847 and directed the chorus of the Royal Italian Opera under Lumley. He met Jenny Lind there and studied her vocal techniques, as well as those of Lablache, Fraschini and Staudigl. In London he was esteemed more as a singing teacher than as a violinist. His first didactic work, the ...


Ivan Čavlović

(b Županja, March 6, 1905; d Sarajevo, March 28, 1979). Bosnian-Herzegovinian composer, conductor, pianist, and critic. He studied composition in the class of Blagoje Bersa, conducting in the class of Fran Lhotka, and the piano in the class of Svetislav Stančić at the Academy of Music in Zagreb, graduating in 1927. From 1927 to 1928 he studied composition with Vincent d’Indy at the Schola Cantorum de Paris, and from 1928 to 1929 with Joseph Marx in Vienna.

From 1930 he made his mark conducting several choral ensembles in Zagreb, including Oratorijski zbor sv. Marka, Sloga, Lisinski, and Zagrebački madrigalisti. From 1947 he worked in Sarajevo as a conductor at the Sarajevo Opera House and the Sarajevo Philharmonic Orchestra. From 1955 he taught conducting at the Academy of Music in Sarajevo. He was very active as an accompanist, historian, and critic. He wrote the first historical studies of music in Bosnia and Herzegovina, as well as many articles for newspapers, magazines, radio, and TV programmes. His rather modest composing legacy is permeated with folk elements, within formal designs of (neo)-classical orientation. He also made arrangements of the works of other Bosnian-Herzegovinian composers (notably Franjo Maćojevksi and Bogomir Kačerovski) to meet the particular needs of local performance contexts....


Karl Stapleton

(b Klatovy, Aug 14, 1837; d Prague, July 19, 1888). Czech composer, pianist and critic. His early musical training was with his father, an organist, and the composer Měchura. After studying law at Prague University (1854–63) he became a court official, but most of his life was devoted to music. He attended Smetana's piano school (1854–5), later becoming a lifelong friend and powerful advocate of Smetana's music. He was a co-founder of the Prague Hlahol choral society (1861), the publishing house Hudební Matice (1871) and the Jednota pro Komorní Hudbu (Society for Chamber Music, 1877). He was music critic of Národní listy (1865–78), editor of Hudební listy (1870-72) and Dalibor (1873–5), and of several collected editions of Czech songs and choruses, including Vesna, Záboj and Hlahol. During the 1870s his free musical soirées provided a valuable platform for performances of works by developing Czech composers, including Dvořák and Fibich. He composed many popular and idiomatic Czech songs and choruses....


Robert Stevenson

(b Zamora, Michoacán, Sept 29, 1900; d Mexico City, Dec 3, 1991). Mexican music critic, scholar, pianist and composer . After studying the piano with Antonio Gomezanda in Mexico City, she was a pupil of André Schaeffner, Lazare Lévy and Alfred Cortot in Paris. She gave début piano recitals in New York City in 1938 and in Paris in 1948. Upon resettling in 1949 in Mexico City, she assisted Adolfo Salazar as writer for the newspaper Novedades and contributed extensively to Mexican and foreign journals. In 1963 she established Heterofonía, Mexico’s longest running musicological journal, and was its editor until her decease.

La mujer mexicana en la música (Mexico City, 1958); repr. in Heterofonía, nos.104–5 (1991), 5–99 Ludwig van Beethoven (Mexico City, 1970) ‘Mexico’, VintonD ‘Mexican Women in Music’, LAMR, 4 (1983), 120–31 I. Farfán Cano: ‘En los ámbitos de la música’, Inter-American Music Review, 12/1 (1991), 1–2...


Henri Vanhulst

(b Liège, July 30, 1877; d Liège, April 30, 1952). Belgian composer, pianist and critic. He studied at the Liège Conservatory with his father Jean-Théodore Radoux, and in 1907 he won the Belgian Prix de Rome with his cantata Geneviève de Brabant. Appointed professor of harmony at the Liège Conservatoire in 1905, he was inspector of music education from 1930 to 1942. He founded a piano quartet, and was for a long time active as a music critic. His interest in Walloon folk music resulted in the publication of several collections of songs with his own accompaniments. He employed leitmotifs, and his vocal style is clearly influenced by Wagner, as is the composer’s use of the orchestra to comment on the actions and emotions of the characters. His musical style is thus hardly original, but he was at his best in his operas and choral works, where his lyrical facility was most pleasing....


Ralph Scott Grover

(b Northampton, May 23, 1901; d Gerrards Cross, Feb 14, 1986). English composer, critic, pianist and teacher.

Born into a poor working-class family, Rubbra was fortunate in having music-loving parents. His mother’s pure soprano voice was prominent in her church choir, and she was in demand locally as a soloist. He began piano lessons at eight, transferring later to a teacher who added instruction in harmony and counterpoint. In his uncle’s music shop he discovered the music of Cyril Scott and Debussy. Leaving school at 14 to help his family financially, he worked as an office boy, then a railway clerk. At 17 he organized an all-Scott concert in Northampton, prompting the composer to accept him as a private pupil. In 1920 he won a composition scholarship to Reading University for study with Holst, and also piano with Evlyn Howard-Jones. In 1921 Rubbra won an open scholarship to the Royal College of Music where his teachers were, Holst, Howard-Jones (privately) and R.O. Morris in counterpoint; Vaughan Williams was used as a substitute during Holst’s absences. Of Rubbra’s earliest compositions, some of his songs were published during his RCM days. One, ...