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James Deaville

(Heinrich )

(b Brunswick, Sept 5, 1820; d Königsberg [now Kaliningrad], Feb 16, 1886). German pianist, composer, critic and teacher. He quickly developed as a pianist and was sent to Vienna, where he studied the piano with C.M. von Bocklet and theory with Sechter and Seyfried. After a further two years in Brunswick, he settled in 1845 in Königsberg, where he initially worked in the theatre and conducted the Singverein. From 1847 Köhler devoted himself exclusively to piano pedagogy and to writing about music. He was music critic for the Hartungsche Zeitung for almost 40 years (1849–86), and contributed to Signale from 1844 until his death. His correspondence articles from Königsberg for Brendel's Neue Zeitschrift für Musik brought him to the attention of Liszt and Wagner in 1852, but it was his first book, Die Melodie der Sprache (1853), that established him as one of the leading New German writers, a reputation substantiated by his many journal articles, newspaper reviews and books of the 1850s and 60s. He also proposed the idea behind the Allgemeiner Deutscher Musikverein, which he, Liszt and Brendel (among others) developed at the ...

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Miroslav K. Černý

(Michal)

(b Prague, May 2, 1817; d Prague, July 22, 1868). Czech choirmaster, teacher, composer and critic. He was the son of the distinguished Prague choirmaster František Xaver Kolešovský (b Prague, 1781; d Prague, 12 June 1839), a pupil of J.A. Kozeluch. He studied the violin at the Prague Conservatory, theory, organ and singing at the Prague Organ School, and theory and composition with Tomášek and others. He was a member of the Estates Theatre Orchestra in Prague from 1835 until 1839, when he succeeded his father as choirmaster of St Štěpána; here, and later at St Ignác he continued his father's practice of presenting music by earlier Czech masters, especially F.X. Brixi. In the 1850s he was director of the Žofín Academy, an important Prague music institution with choir and school, but gave up the post to found his own school of singing and theory, where his pupils included Fibich. He also taught from ...

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Larisa Georgievna Danko

(b St Petersburg, 25 Nov/Dec 7, 1868; d Leningrad, June 26, 1936). Russian music critic, pianist and translator. He studied law at St Petersburg University, graduating in 1894, and worked as a foreign correspondent for the Ministry of Finance. In 1895 he took Ye. Raphof's courses in music and drama, and continued his musical education at the St Petersburg Conservatory until 1900, studying with Herman Laroche. From 1903 he wrote music criticism for a number of newspapers, including Novaya Rus′, of which he was head of the music section from 1904 to 1910. He reflected the rich musical life of St Petersburg in his writings, and covered the repertory of the Mariinsky and Conservatory theatres, including Chaliapin's appearance in Gounod's Faust, the Ziloti Concerts, Koussevitzky's Tchaikovsky cycle, Nikisch's Beethoven cycle and the visits to the city of Busoni, Debussy and Landowska. His prolific career as a critic continued until ...

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Susan Fast

(b Paris, April 19, 1928; d London, Jan 1, 1984). British guitarist, bandleader, journalist and broadcaster. In the late 1940s and 50s he played traditional jazz and skiffle, but his musical sympathies lay with the country blues of artists such as Leadbelly, Robert Johnson and Big Bill Broonzy. He befriended the jazz musician Chris Barber, who had similar musical interests and had brought several blues artists over to England; Korner met many of these artists and promoted them in articles for journals including Melody Maker and Jazz on Record, and from 1958 through broadcasts on the BBC. With Cyril Davies, he formed the first British blues club, the London Blues and Barrelhouse Club. He had played acoustic guitar in the armed forces in Germany (1947–9), but took up electric guitar only after hearing Muddy Waters in 1958. With Davies he formed the electric band Blues Incorporated (...

Article

John H. Baron

(b ?Kiel, 1643; d Hamburg, May 20, 1721). German organist and writer, son of Jakob Kortkamp. He studied under Weckmann from 1655 until about 1661, and later in the 1660s he served for a short time as organist at the Jakobikirche, Hamburg, under Christoph Bernhard. His main posts – though they were not important ones – were as organist at two other Hamburg churches, the Maria-Magdalena Kloster (1669–1721) and St Gertrud (1676–1721). His only known composition is a jigg. He also arranged for organ a Magnificat secundi toni by Weckmann and wrote the alto and tenor parts of a cantata by Bernhard. His importance lies in his manuscript chronicle of north German music from 1291 to about 1718, written between 1702 and 1718 (it is now in D-Ha ). This gives invaluable accounts of north German organs and their sounds, as well as information about the lives and works of organists, clergy and Kantors, notably in the 16th and 17th centuries. The information he gave on the men whom he and his father knew personally, such as Hieronymus and Jacob Praetorius, Weckmann and Bernhard, is particularly important....

Article

Cecelia H. Porter

(b Breslau [now Wrocław, Poland], July 27, 1812; d Stettin [now Szczecin, Poland], Dec 1, 1893). German conductor, music critic and composer. Kossmaly’s writings reveal much about 19th-century German musical life and intellectual history. He studied in Berlin (1828–30) with Mendelssohn’s teachers Ludwig Berger and C.F. Zelter, and also with Bernhard Klein. From 1838 to 1849 he was music director at opera houses in Wiesbaden, Mainz, Amsterdam, Bremen, Detmold, and Stettin, where he settled and became a highly respected teacher and orchestra conductor. In 1837 Schumann invited Kossmaly to report on music in Frankfurt and Holland for the Neue Zeitschrift für Musik; in 1839 he moved to Leipzig, continuing to contribute profusely to the journal. Schumann, who published some of his lieder there, commended his reviews for their practical musicianship and philosophical depth. Kossmaly’s review of Schumann’s piano works (AMZ, xlvi (1844), 1–5, 17–21, 33–7; trans. in R.L. Todd, ed.: ...

Article

Gerard Béhague

(b Brusque, Santa Catarina, March 17, 1928). Brazilian composer, conductor and critic. He began violin studies at an early age with his father, a composer, conductor and founder of the local conservatory. A state scholarship took him in 1943 to Rio de Janeiro, where he studied the violin with Edith Reis at the conservatory and took lessons in harmony, counterpoint, fugue and composition with Koellreutter (1944–8). He became an active member of Koellreutter's Música Viva group, winning their prize in 1945 for the Woodwind Trio. In 1948 he won first prize at the Berkshire Music Center competition for Latin American composers. He then studied orchestration and composition with Copland, composition with Mennin at the Juilliard School (1948–9) and the violin with Nowinsky at the Henry Street Settlement School. While in New York he had several of his works performed, and he conducted the New York PO on ...

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Article

Charles Jahant

(b New York, NY, March 18, 1912; d New York, NY, Aug 9, 1981). American conductor and music critic. He studied at Columbia University (MA 1934) and the Institute of Musical Art, and was a critic for the New York Herald Tribune from 1939 to 1943. During World War II he served with the US Army in Italy; in 1944 he conducted opera performances at Rome’s Teatro Quirino, and in 1944 and 1945 conducted at the Rome Opera, working with such artists as Gigli, Ferruccio Tagliavini, and Maria Caniglia. He led the Phoenix SO from 1949 to 1952, then went to Turkey where he was conductor of the Ankara SO from 1957 to 1958. In 1959 and 1960 he led the American Opera Society in complete performances of Berlioz’s Les troyens at Carnegie Hall when the scheduled conductor, Sir Thomas Beecham, was indisposed. In 1961 he founded the Friends of French Opera, which presented a number of neglected works, especially those of Jules Massenet. In the early 1970s he was director of Opera Atlanta, then head of the opera department at the Peabody Conservatory. For more than 40 years his radio commentaries were heard during the intermissions of Metropolitan Opera broadcasts. His published writings include ...

Article

Judith E. Olson

(b Rastatt, April 25, 1850; d Baden-Baden, 1927). German composer, pianist and critic. She wrote her first pieces at 15 and made her piano début three years later with the Baden court orchestra. She performed her own compositions for Hans von Bülow, gaining his lifelong encouragement, and was briefly a pupil of Clara Schumann. She studied mainly, however, with Joseph Rheinberger, for which purpose the family moved to Munich in 1874. This was her most fruitful period as a composer and pianist and resulted in many of her best works, composition prizes, many favourable reviews of performances of her works, and meetings with Brahms, Liszt and Hanslick during extensive concert tours. Le Beau’s style, which changed little throughout her life, is characterized by strong, well-shaped themes and strict sonata structure, as well as some use of colourizing, non-functional chords and leitmotifs. Many development sections, however, consist of frequent repetitions of thematic material with little alteration. For this reason (as Hanslick noted) her choral works and smaller pieces with rigid strophic or dance structures are often more successful....