(b Paris, May 24, 1781; d Paris, July 17, 1868). French horn player, teacher and composer. As a boy he was a chorister at Notre Dame in Paris until 1791. He began studying the horn in 1794, with Kenn, a cor basse, at the Institut National de Musique, and continued with him in the first Conservatoire class. In 1797 he was awarded the first-ever premier prix for the horn. The silver-mounted horn by L.-J. Raoux which he received on this occasion is in the Musée de la Musique of the Paris Conservatoire. From 1799 he travelled with the National Guard and Consular Guard bands to campaigns in Egypt and Italy, returning to Paris where he played at the Théâtre Montansier (1801–6). Discontented with the quality of the horn music, he re-entered the Conservatoire to study harmony with Catel and composition with Gossec. Later he studied with Reicha (...
revised by Horace Fitzpatrick and Jeffrey L. Snedeker
(b Hamburg, June 19, 1810; d Klosters, Switzerland, July 18, 1873). German violinist, composer and teacher. His date of birth is given in many sources as 19 January, but 19 June is more probably correct. The son of a well-to-do business man, he and his pianist sister, Louise (1811–50), were both prodigies. He studied the violin with Spohr and theory with Moritz Hauptmann in Kassel from 1823 to 1825. During the next two years he and Louise played in Copenhagen, Leipzig, Dresden and Berlin. In correspondence with Mendelssohn in the summer of 1826, he discussed possible openings in Berlin at either the Royal or Königstadt theatres. While a violinist at the Königstadt (1826–9), he became friendly with Mendelssohn, often playing chamber music with him and Julius and Edward Rietz. After a six-year period (1829–35) as a quartet leader under the patronage of Karl von Liphart in Dorpat (Tartu, Estonia), he went to Leipzig in ...
(b US, 1949). American bassoonist and composer. He earned degrees at the University of Kansas (BM, MM) and the Eastman School of Music (DMA 1980), where he worked with Austin Ledwith and David Van Hoesen, respectively. He also studied composition with John Pozdro, Samuel Adler, and warren Benson ...
(b New York, Sep 12, 1863; d Manchester, England, May 3, 1903). American pianist, organist, composer, and teacher. At 14, he already had a position as organist in New York, where he also studied piano with Rafael Joseffy, among others. He traveled to Germany in 1881, studying first in Berlin with Theodor Kullak, Carl August Haupt, and Heinrich Ehrlich, and eventually making his way in 1882 to Weimar in order to study under Liszt during the mid-1880s. Although quite talented as a pianist, he preferred pedagogy to public performance, so he filled a series of appointments at European conservatories: Helsinki (1890–3), Düsseldorf (1894), Cologne (1895), and Manchester (1896–1903). His appointment at the Royal Manchester College of Music was as “Principal Professor of Pianoforte.” He composed a small number of works, primarily lieder, chamber music, and pieces for solo piano and organ. He was close to both Liszt and Busoni, who had intended to dedicate the Piano Concerto (...
Frederick A. Beck
[Lyle F. ]
(b Delevan, NY, July 12, 1918). American trumpeter, arranger, composer, and teacher. He trained to become a teacher at Fredonia (New York) College (1937–9) and later in life studied with the composers Paul Creston (1947–8) and Stefan Wolpe (1950–53) and the trumpeters Benny Baker (also 1950–53) and Murray Karpilosky (1955–8). In 1938–9 he worked with the clarinetist and saxophonist Dick Stabile and then joined Red Norvo, with whom his brother Arthur had previously played trombone. After leaving Norvo (1941) Dedrick performed and recorded with Claude Thornhill (1941–2), played briefly with Ray McKinley (1946), then returned to Thornhill (1946–7); his imaginative arrangement of ’Deed I do may be heard on the album The Uncollected Claude Thornhill (1947, Hindsight 108). In the 1950s and 1960s he worked as a freelance trumpeter, arranger, and composer in studios in New York, during which time he wrote music for Don Elliott, Maxine Sullivan, and Lee Wiley, among others; he performed with Urbie Green (...
Joseph A. Bomberger
(b Baltimore, MD, Jan 5, 1818; d Baltimore, MD, April 18, 1901). American cellist, teacher, and composer. He was born to Captain Jacob Deems, commander of a company in the 53rd regiment of Maryland infantry. From an early age, Deems showed ability in band music, playing the bugle by the time he was five years old. He received his first musical instruction from Captain William Rountree, learning both clarinet and French horn at the age of 13. In 1839 he studied cello and composition in Dresden under J.J.F. Dotzauer. When he returned to America he taught and played in Baltimore. From 1849 to 1858 he was music instructor at the University of Virginia (the full professorship did not exist until 1919). In 1861 he joined a Maryland cavalry unit and served in the Civil War, becoming a brevet Brigadier General. After the war, he resumed his musical work in Baltimore, where he died in ...
[Edme, Edouard, Emile]
(b Paris, May 31, 1817; d Paris, Nov 6, 1897). French violinist, conductor, composer and teacher. At the age of six he began violin lessons with Sudre, who then took him and the young pianist Louis Lacombe on an ‘artistic journey’ of several months. On 1 March 1825 he entered the Conservatoire, where he studied for the next 16 years, winning several first and second prizes and, in 1838, second place in the Prix de Rome for his cantata La vendetta. His teachers included Habeneck, Reicha, Halévy and Berton; with the latter's help he gave a concert of his own compositions on 6 December 1840.
Deldevez began his professional career as a violinist, first at the Opéra from 1833, and then at the Société des Concerts du Conservatoire from 1839. However, conducting became more important, and he took up positions at both institutions from 1847 and 1872 respectively. He became principal conductor at the Opéra in ...
(b Alverdissen, Lippe, Nov 7, 1828; d Bad Pyrmont, Sept 5, 1890). German pianist, teacher, conductor and composer. Having studied with Marxsen in Hamburg (1849) and Lobe in Leipzig, in 1857 he settled in Hamburg, where he founded a musical society and conducted it until 1868. He moved to Berlin in 1874, where he was Kapellmeister of the Royal Opera in Berlin (1886–8), and also conducted concerts. In 1876 he conducted the Silesian musical society founded in Breslau by Count Hochberg. A detailed description of his teaching methods is given by his pupils (see bibliography), especially by Amy Fay. These methods included avoiding lifting the fingers high, careful attention to muscular movement, special study of pedalling and the use of a low piano stool, all designed to cultivate a very soft, even, but penetrating tone. Among Deppe’s most distinguished pupils was Emil Sauer, and he also gave help and advice to Tovey. Deppe’s system was developed further by Adolf Mikeš, who became an influential exponent of it in Prague, and some of his principles were adopted by Leschetizky. His compositions include a symphony, overtures and songs; he also wrote an essay ‘Armleiden der Klavierspieler’ (in ...
(b Joinville, Haute-Marne, Jan 31, 1759; d Paris, Sept 5, 1803). French flautist, bassoonist, composer and teacher. He was the seventh of eight children born to Pierre Devienne and his second wife Marie Petit. Two obituaries published in 1803, which have since been proved apocryphal, claimed that when he was ten he wrote a mass which was performed by the musicians of the Royal Cravate cavalry regiment. He probably received his earliest training from the organist Morizot in Joinville, and continued his education with his elder brother and godfather, François Memmie, in Deux Ponts (now Zweibrücken) from 1776 to 1778. He left Deux Ponts on 15 May 1778 and may have spent some time with the Royal Cravate regiment during the following year. He joined the Paris Opéra orchestra as last chair bassoonist in autumn 1779 for one season, and studied the flute with the orchestra's principal flautist, Félix Rault. It is likely that Devienne entered the service of Cardinal de Rohan as a chamber musician in spring ...
Barbara A. Petersen
revised by Ellen Bender
(b New York, March 4, 1927). American composer and flautist. He received the BS degree in music education from New York University (1951) and pursued private studies in composition with Riegger and Josef Schmid; his principal flute teacher was Harold Bennett. He joined the faculty of the New England Conservatory in 1969, serving as associate dean and dean (1973–6). Since that time he has taught composition there. As an orchestral flautist he has performed with the New York City Opera, New York PO and other orchestras; his ensemble work has included appearances with the Modern Jazz Quartet, Twentieth Century Innovations Composers’ Forum, Bach Aria Group and the series Music in Our Time. He has also played in many Broadway shows. He has taught the flute for many years both privately and as a member of the faculties of the Greenwich House Music School and Henry Street Settlement in New York City (...
Victoria Eli Rodríguez
(b Havana, Oct 25, 1918). Cuban composer, teacher, conductor, and pianist. He studied music in Havana, where his teachers included Jaime Prats, Pedro Sanjuan, and Roldán, then in 1947 went to New York to the Juilliard School of Music and studied with Steuermann (piano), Bernard Wagenaar (composition) and Fritz Mahler (orchestral conducting). He began teaching in 1936 in the Havana conservatories; in 1959 he founded and directed the Alejandro García Caturla Conservatory, ran the School for Instructors in the Arts, and was responsible for organizing specialized teaching at the Seminary for Popular Music. He was professor of music for the Band of the Staff of the Revolutionary Armed Forces of Cuba, at the National School for the Arts, and at the Higher Institute for the Arts. He has taught the piano, harmony, counterpoint, and fugue, composition, and orchestration, and his writings embrace music theory, harmony, and education. In ...
(b Denver, CO, March 16, 1881; d Altadena, CA, Feb 21, 1947). American composer, pianist and teacher. After graduating from Pomona College, Claremont, California, she moved to Berlin where she studied the piano with Godowsky (1900–06) and composition with Kaun and Heinrich Urban; she later studied composition with Goldmark in New York. Dillon made her début as a pianist in Los Angeles in 1908 and subsequently gave concerts on the West and East coasts of the USA. On 9 February 1918 she played her own works at a piano recital for the Beethoven Society of New York. She was a member of the music faculty at Pomona College (1910–13) and from 1918 until her retirement in 1941 taught in Los Angeles public schools. In 1921, 1923 and 1933 she was in residence at the MacDowell Colony.
The musical language of Dillon’s early works (chiefly piano music) owes much to late 19th-century Romanticism, but by the time of her ...
revised by Ruxandra Arzoiu
(b Blejoi-Prahova, Romania, March 19, 1847; d Bucharest, Romania, May 9, 1928). Romanian composer, cellist, conductor, and teacher. A master of the cello, he was not only a great interpreter with well-defined competence, but also a very good teacher who established a cello school (for which some of his works were especially created). He was an initiator of an important musical life based on chamber repertory.
After studying in Bucharest with Alexandru Flechtenmacher and Eduard Wachmann, he completed his education in Vienna with Schlessinger and in Paris with Franchomme. He was a cellist in the Romanian Philharmonic Society Orchestra and at the National Theatre. Later he conducted the orchestra of the Ministry of Public Instruction (the successor to the Philharmonic). Dimitrescu was also a moving spirit in the field of chamber music. As founder of the first permanent quartet in Bucharest (1880), he held many concerts of music from the great Classical and Romantic literature. As cello teacher at the Bucharest Conservatory, he helped to form a Romanian cello school (among his disciples were Dimitrie Dinicu and George Georgescu)....
(b Philadelphia, PA, Oct 30, 1886; d New York, NY, Jan 25, 1962).
American pianist, composer, singer, and teacher. His early musical studies were with his father, Samuel James Diton, a professional musician. He graduated from the University of Pennsylvania in 1909 and became the first African American pianist to make a cross-country tour of the United States. A protégé of E(mma) Azalia Hackley, he received a scholarship to study in Munich, Germany from 1910–11. After returning to the United States, he taught at Paine College, Georgia (1911–14), Wiley University, Texas (1914–15) and Talladega College, Alabama (1915–18). Seeking a more active musical community, he returned to the Northeast, where he continued to perform as a pianist. He accompanied singers such as Marian Anderson and Jules Bledsoe, and taught privately in Philadelphia and New York City. Also an active composer, he gained acclaim for his solo and choral transcriptions of Negro spirituals and won many prizes for his compositions, including a Harmon award for composition in ...
(b Szczuczyńce, Podolia, 1857; d Otwock, nr Warsaw, Feb 26, 1923). Polish pianist, composer, conductor and teacher. At the St Petersburg Conservatory he studied the piano with Anton Rubinstein and composition with Nicholas Solovyev, and later orchestration with Rimsky-Korsakov. In 1891 he won first prize in the conservatory’s annual Rubinstein Composers’ Competition for his cantata Wieża goryjska (‘The Gorian tower’). While still a student, he organized and conducted the concerts of the St Petersburg Amateur Music Group, and on graduating he became the director of a local orchestra, also working as an accompanist and singing teacher. He moved to Warsaw in 1919 and co-directed the opera class at the conservatory with Antoni Różański from 1920. Dłuski was also made an honorary professor of the Brussels Conservatory.
Dłuski’s two piano sonatas were particularly successful, and were performed by Rubinstein. However, Dłuski’s main interest was in operatic and vocal music. He composed five operas, of which only one (...
(b Pozsony [now Bratislava], July 27, 1877; d New York, Feb 9, 1960). Hungarian pianist, composer, conductor, teacher and administrator. Next to Liszt he ranks as the most versatile Hungarian musician, whose influence reached generations in all spheres of musical life. He is considered the first architect of Hungary’s musical culture in the 20th century.
He received his early training in Pozsony. His father, an outstanding amateur cellist, and Károly Forstner, cathedral organist, gave him lessons in piano playing and theory. Despite the absence of professional training, he showed an extraordinary appetite for music and made rapid progress. Having finished at the Gymnasium, he decided to obtain his formal education in music at the Budapest Academy. He was the first Hungarian of significant talent to do so and his example, as well as his personal intervention, induced Bartók (his friend from early schooldays) to follow the same course. Dohnányi studied the piano with Thomán and composition with Koessler, and received his artist’s diploma in ...
revised by Karl Stapleton
(b Chotěboř, nr Jihlava, May 22, 1780; d Vienna, July 6, 1858). Bohemian composer, instrumentalist and teacher. He was born into the tradition of village schoolmaster–composers which characterized Czech cultural life in the 18th and 19th centuries; his considerable musical talent enabled him to move from his provincial environment to Vienna, where he studied with Albrechtsberger. There he soon became known as a versatile musician, playing the piano and the organ well enough to compete for the position of court organist in 1822 (he was defeated in this contest by his compatriot Voříšek) and giving concerts as a cellist. He also gained a reputation as a teacher and composer.
Most of Doležálek’s compositions are for piano and consist of dances and sets of variations which were published by the Viennese firms of Artaria and Mechetti; among these his Deux marches russes and his Variations sur un thème de M. Umlauf tiré du ballet...
(fl 1735–55). French composer, viol player and teacher (‘maître de viole’). He worked in Paris. Throughout his Pièces de viole op.2, dedicated to the Prince of Carignan, Dollé used the signs for vibrato and ornaments adopted by Marin Marais, and the second of his three suites includes a tombeau for Marais le père, a rondeau whose chordal style, use of the high register and vibrato (called ‘plainte’) recall the expressive playing of the late master of the viol. The Pièces op.3 contains 25 character pieces for six-string pardessus de viole, which are divided into three levels of difficulty. The titles of two pieces, La Roland and La Morel, suggest his acquaintance with the viol players Roland Marais and Jacques Morel. The sonatas in op.4, though consciously italianate in melodic style, with frequent sequences, syncopations and wide leaps, still reflect the French taste in expression and ornamentation. Op.4 includes five ...
(b Gronówek, nr Sieradz, July 16, 1857; d Warsaw, Sept 11, 1925). Polish teacher, pianist and composer. From 1871 to 1874 he studied the piano with R. Lorer and Józef Wieniawski in Warsaw, and later at the St Petersburg Conservatory with A. Kross, Anton Rubinstein, Lyadov and Nikolay Solov′yov; on completing his studies in 1882 he was awarded a gold medal. He gave concerts from 1874, first in Russia, then in Poland, France and Italy. From 1890 to 1900 he was professor of the most advanced piano class at the Kraków Conservatory. In 1900 he settled in Warsaw, where from 1902 to 1925 he was head of the School of Music (later renamed the Chopin High School of Music); he directed the piano class, and under his guidance the academic standards of the school attained a very high level. From 1906 to 1925 he was director of the Warsaw Music Society. Domaniewski wrote ...