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Hans Heinrich Eggebrecht

(b Neuss, July 6, 1899; d Lüdenscheid, Sept 1, 1994). German musicologist and choir director. He studied musicology with Ludwig at Göttingen University (1919–21) and subsequently with Gurlitt at Freiburg University, where he received the doctorate in 1924 with a dissertation on the melodies Innsbruck, ich muss dich lassen and Ach Gott, vom Himmel sieh' darein. He was a lecturer at the Bauernhochschule in Rendsburg (1924–5) and at the Volkshochschule in Kassel (1925–6). He then acted as music consultant to the Central Office for General Librarianship in Leipzig (1926–8) and lectured in Protestant church music at the University of Münster (1930–39). After the war he lectured at the Landeskirchenmusikschulen of Hanover (1947–8) and the Rhineland (1949–57).

In the early 1920s Ameln embarked on a fruitful career as a choral and orchestral conductor and director of choral courses. His object was the authentic performance of old music, and this was coupled with considerable editorial work. He edited the journal of the Finkenstein League, ...

Article

Christopher Palmer

revised by Sergio Miceli

(Alexandrovich)

(b St Petersburg, 16/Oct 29, 1901; d Rome, June 7, 1983). Italian composer and conductor of Russian origin. A grandson of the composer Nikolay Sokolov and a brother of the cellist Massimo Amfitheatrof, he studied with Vītols in St Petersburg and Křička in Prague, but the greater part of his training was undertaken in Rome, where he studied composition with Respighi at the Conservatorio di S Cecilia (diploma 1924) and the organ at the Pontifical Academy of Sacred Music. He was engaged as a pianist, organist and chorus assistant at the Augusteo (1924–9), also conducting the orchestra under Molinari's supervision. Thereafter he was artistic director of the Genoa and Trieste radio stations and conductor and manager for Italian radio in Turin; he also conducted elsewhere in Europe. In 1937 he went to the USA as associate conductor of the Minneapolis SO, and in ...

Article

Christopher Palmer and Sergio Miceli

(Alexandrovich)

(b St Petersburg, Russia, 16/29 Oct 1901; d Rome, Italy, 7 June 1983). Italian composer and conductor of Russian origin. A grandson of the composer Nikolay Sokolov and a brother of the cellist Massimo Amfitheatrof, he studied with Vītols in St. Petersburg and Křička in Prague, but the greater part of his training was undertaken in Rome, where he studied composition with Respighi at the Conservatorio di S Cecilia (diploma 1924) and the organ at the Pontifical Academy of Sacred Music. He was engaged as a pianist, organist, and chorus assistant at the Augusteo (1924–9), also conducting the orchestra under Molinari's supervision. Thereafter he was artistic director of the Genoa and Trieste radio stations and conductor and manager for Italian radio in Turin; he also conducted elsewhere in Europe. In 1937 he went to the United States as associate conductor of the Minneapolis SO, and in ...

Article

Kenny Mathieson

[Eugene; Jug]

(b Chicago, IL, April 14, 1925; d Chicago, Aug 6, 1974). American jazz tenor saxophonist and bandleader, son of Albert (C.) Ammons. He studied music under Captain Walter Dyett at Du Sable High School and was influenced by Lester Young and Coleman Hawkins. After touring with the trumpeter King Kolax in 1943, he was a member of Billy Eckstine’s seminal big band from 1944 to 1947—Eckstine is said to have given him the nickname Jug, referring to his hat size—and was also a member of Woody Herman’s Second Herd in 1949. Ammons began leading his own small groups in 1947 and had a hit with “Red Top” (named after his wife) that year. In the early 1950s he co-led a popular two-tenor band with Sonny Stitt and in the early 1960s he took part in successful collaborations in a soul-jazz idiom with several organists, including Jack McDuff and Johnny Smith. He served prison sentences for drug offences (...

Article

Jeffry Mark

revised by Gaynor G. Jones

(b Bamberg, 1763; d Wallerstein, nr Nördlingen, March 29, 1825). German conductor and composer. He studied singing with Fracasini and the violin with Bäuerle at Bamberg. After his voice broke, he studied the horn with Punto, who took him on concert tours in Germany, France and Austria. From 1781 to 1782 they stayed in Paris, where Amon studied composition with Sacchini. During his subsequent travels, Amon met J.A. Hiller, Reichardt, Hoffmeister, Haydn and Mozart. He continued to tour with Punto until 1789, when he accepted the post of musical director at Heilbronn. Poor health forced him to give up playing the horn, and he concentrated on improving his violin, viola and piano technique. In 1817 he became Kapellmeister to the Prince of Oettingen-Wallerstein, in whose service he remained for the rest of his life.

Amon was an expert conductor and a versatile musician, a good performer on the horn, and later on the violin, viola and piano; he also taught singing and a variety of instruments. His many compositions include duos, trios, quartets, quintets, symphonies, marches, solo sonatas for various instruments and sonatas and variations for piano. He also wrote concertos, two Singspiels, two masses, cantatas, songs and a requiem which was performed at his funeral. Many of his works are unpublished. His eldest son Ernest wrote a set of variations for flute and orchestra....

Article

Barbara A. Petersen

revised by Don C. Gillespie

(Werner)

(b Philadelphia, Nov 17, 1930). American composer, horn player and conductor. As a youth he played the piano, trumpet and horn, developing a strong interest in jazz as well as classical music. After a year at Oberlin Conservatory (1948), where he studied the horn, he attended George Washington University (BA in history, 1952). He was engaged as a horn player with the National SO, Washington, DC (1951–2), and then played with the Seventh Army SO in Europe; during his three years there he also toured as a soloist, performed with chamber ensembles, and in Paris took part in jazz sessions. He returned to the USA in 1955 and enrolled in the Manhattan School, where he studied with Mitropoulos, Giannini and Schuller; he was also a member of the Manhattan Woodwind Quintet. He was awarded honorary degrees from Moravian College, Bethlehem, Pennsylvania (1979...

Article

Jeremy Thurlow

(b Paris, Aug 29, 1936). French composer and conductor. Having won national first prize in the philosophy Baccalaureat in 1955 he began to compose, and went to study music at the Paris Conservatoire (1955–60), where his teachers included Milhaud, Messiaen and Loriod. But his ideas about composition were particularly galvanized by meeting Boulez in 1956 and his subsequent attendance at the Darmstadt summer courses in 1958 and 1960; the first performance of Mouvements in 1958 by the Domaine Musical marked the beginning of international interest in his work. He began conducting professionally in 1962, and in 1965 he attended Boulez’s conducting course in Basle, going on to succeed him as director of the Domaine Musical from 1967 until it disbanded in 1973. He was then appointed musical adviser to the ORTF, and in 1976 founded the Nouvel Orchestre Philharmonique de Radio-France, an ensemble of variable forces with a particular commitment to contemporary music; he was its chief conductor and artistic director until ...

Article

Arthur Jacobs

revised by Charles Barber and José A. Bowen

(b Tučapy, Bohemia, April 11, 1908; d Toronto, July 3, 1973). Czech conductor. He studied composition and conducting at the Prague Conservatory (1925–9) and then was assistant conductor to Hermann Scherchen in Alois Hába’s opera The Mother at Munich in 1931. He became a member of Scherchen’s conducting class in Strasbourg, and later also studied with Talich in Prague. His career as conductor for the theatre and for Prague radio (1933–9) was interrupted by the Nazi occupation of Czechoslovakia. He was sent to concentration camps and was the only member of his family to survive. He returned to conduct the Prague Opera (1945–8), the Czech RSO (1947–50) and the Czech PO (1950–68), and from 1942 to 1952 was a professor at the Prague Conservatory. He received a Czechoslovakian State Prize in 1958 and was named National Artist in ...

Article

Hans Åstrand

(b Stockholm, March 13, 1914; d Malmö, Jan 4, 1972). Swedish composer, pianist and conductor. During the period 1936–8 he studied composition in Stockholm, Copenhagen, Paris and London, and later in Salzburg and Vienna. He was a piano pupil of Olof Wibergh in Stockholm and studied conducting with Paumgartner, Walter and Weingartner at the Salzburg Mozarteum. In 1934 he made his début as a pianist and composer in Malmö with the later discarded Concertino. He was conductor of the Hippodromtheater, the Malmö operetta theatre (1939–42, 1949–50), and in 1946 founded a chamber orchestra which he directed until its activities ceased in 1950. Thereafter he lived as a freelance composer in Malmö, latterly spending much time in Cologne and Vienna; he sometimes appeared as a pianist or conductor, particularly with the Malmö Ars Nova. His electronic works were composed in his own studio, FEM.

Anderberg’s music of the 1930s and 40s showed French influence, but later he went through a 12-note serial period, stimulated by his profound analyses of Schoenberg’s piano music. In this way he integrated new techniques into an individual style, solidly craftsmanlike in the orchestral works and instrumentally brilliant in the chamber music. Many of his works were suggested by literature or by contemporary events, the latter particularly in later years: the piano concerto (...

Article

Wayne D. Shirley

(Bunshaft)

(b Brookline, MA, Nov 28, 1943). American conductor, musicologist, and music librarian. Anderson attended Bryn Mawr (BA 1965), the University of Illinois (MM 1969), and the University of Maryland (MLS 1989). Anderson was a Music Librarian at the Library of Congress from 1978 to 1995 before resigning to pursue an independent career as a conductor, specializing in the conducting of music to accompany the showings of silent films. Her interest in this area began in the late 1970s while working on the score for Carl Dreyer’s The Passion of Joan of Arc. Her conducting is informed by scholarly work; whenever possible her performances use the music for its original release; lacking that, she compiles a score using material which might have been used during the film’s first showings. A good example of her work is the 1922 film Häxan (now on Criterion Collection DVD 134)....