(b Szent-György-Ábrány, Oct 15, 1822; d Budapest, Dec 20, 1903). Hungarian writer on music, composer and pianist. He came from the wealthy Eördögh family: the name means ‘devil’ and his father changed it to Ábrányi, the name of their estate. He studied the piano under János Kirch (1810–63) and Vilmos Dolegni. His first composition, Magyar ábránd (‘Hungarian Fantasy’), was published in 1841. In the early 1840s he gave concerts in Hungarian towns, and in 1846 left for Vienna to take piano lessons with Joseph Fischhof. There is no reliable evidence that he was ever a student of Chopin in Paris. From 1847 he lived in Pest, in the 1850s as a piano teacher, and studied composition with Mosonyi, together with whom he became a devoted follower of Liszt and Wagner. He was one of the founders of the first Hungarian music periodical, the Zenészeti lapok, in ...
revised by Ruxandra Arzoiu
(b Bucharest, 2/Aug 14, 1893; d Bucharest, Feb 18, 1959). Romanian composer, pianist, conductor, teacher, music critic, and director of music programmes. A leading figure of the first half of the 20th century, he laid the foundation of the Romanian school in music, concert life, and musical journalism. He studied with A. Castaldi, D. Dinicu, D.G. Kiriac, and E. Saegiu at the Bucharest Conservatory (1903–11), completing his education with two periods of study in Paris (1913–14, 1923–4), where he studied with d’Indy at the Schola Cantorum and with Paul Vidal at the Conservatoire. A remarkable accompanist, he worked with Enescu, Thibaud, Mainardi, Moodie, and others during the period 1919–45. As a conductor he always achieved a soberly balanced performance; he conducted more than 1500 performances at the Romanian Opera in Bucharest (1921–59), where he specialized in the French repertory (Bizet, Massenet, and Gounod). In his capacities as conductor of the Romanian Philharmonic Society, and as conductor and artistic manager of the Romanian RSO, he did much to encourage Romanian composers. He was also active as a music critic for Romanian and French reviews. Much of his compositional work was done during his youth, including ...
Robert Paul Kolt
(b Portland, OR, Dec 15, 1906; d Richmond, CA, Aug 19, 1999). American pianist, organist, accompanist, educator, and critic. After childhood training in piano and organ, Allen received his formal music education at the Oberlin College Conservatory of Music, OH, (BM, 1928, MM 1936), where he studied piano with George C. Hastings and Frank H. Shaw; in the interim he studied with Gordon Stanley and James Friskin at the Juilliard School (1928–9). He taught at Howard University, Washington, DC (1929–35), and at Fisk University in Nashville, Tennessee (1936–43, 1951). Allen held a fellowship from the US Department of Education to study piano with Egon Petri in Kraków, Poland (1938–9). When his visit was cut short by the German invasion of Poland in September 1939, he used the remainder of his fellowship to study with Isabelle Vengerova at the Mannes College of Music in New York City (...
revised by Ruxandra Arzoiu
(b Bucharest, Dec 22, 1894/Jan 5, 1895; d Bucharest, Feb 4, 1974). Romanian composer, pianist, teacher, and critic. An erudite personality of Romanian music, he contributed to the formation of a Romanian school of composition during the inter-war years. At the Bucharest Conservatory (1906–13) he studied with Kiriac-Georgescu, Castaldi, Klenck, and Dunicu. In 1919 he graduated law school in Bucharest and then took the PhD in 1922 in Paris. During his stay in France, he participated in the courses of composition of Vincent d’Indy and Gabriel Faure. In 1920, he founded the Society of Romanian composers with other important musicians. At the Bucharest Conservatory (now the National University of Music Bucharest) he taught chamber music (1926–48) and composition (1948–59). His students include Stefan Niculescu, Dumitru Capoianu, and Aurel Stroe. He was not only a partner at the chamber concerts of George Enescu, but also promoted together with Enescu the new Romanian and French chamber music. He wrote for numerous publications on subjects ranging from music aesthetics to jazz and folk music, for instance, ‘George Enescu the Way I Met Him’ in ...
John C.G. Waterhouse
(b San Domenico di Fiesole, Florence, June 20, 1883; d Tunis, Sept 22, 1927). Italian critic, composer and pianist. Largely self-taught, he became music critic of the newspapers La nazione (Florence) from 1915 to 1918 and Il resto del Carlino (Bologna) during 1919–23. He also taught composition and music history at the Nuova Scuola di Musica, Florence (1917). From 1909 to 1915 he regularly contributed to the influential Florentine cultural periodical La voce. His books, notably La crisi musicale europea (1912) in which he explored in depth the idea of decadence, are among the most thought-provoking written by any Italian musician of the time; and he had a knowledge and understanding of current trends (Skryabin, Schoenberg, etc.) which was then rare. His ideas exerted an important influence on progressive Italian musical opinion, and particularly on other composers: in 1911 he was the chief spokesman for a short-lived pressure group known as La Lega dei Cinque or ‘I “Cinque” Italiani’, whose other members were Pizzetti, G. F. Malipiero, Respighi and Renzo Bossi. Bastianelli’s propaganda advocated ‘the ...
revised by Philip E.J. Robinson
(b Paris, Jan 24, 1732; d Paris, May 18, 1799). French writer. The son of a clockmaker, he defended his invention of a watch escapement mechanism against theft by the royal clockmaker Lepaute, whom he replaced at court in 1755. He subsequently became harp teacher to the daughters of Louis XV and, thanks to contact with the homme d’affaires Pâris-Duverney, was ultimately able to buy himself into the nobility. In his Essai sur le genre dramatique sérieux (1767), the preface to his Eugénie, he took up the ideas of Diderot in favour of a distinct genre of drame, different from both French classical tragedy and comedy. His works in this genre outnumber his Figaro comedies, and even these show its influence: he returned to it fully in the third Figaro play, La mère coupable (1792). His racy parades, playlets written for the high-society private stage, served as an apprenticeship in comic musical theatre, particularly in the use of vaudevilles (well-known tunes sung, as part of the dramatic text, to new words). ...
(b Novosibirsk, Russian SFSR [now Russia], March 16, 1947). Russian drummer, writer, broadcaster, and educator. He began playing jazz in 1962, and after graduating from the state medical institute in Novosibirsk in 1971 he pursued a dual career as a jazz musician and an obstetrician. In 1975 he established Tvorcheskoye Dhazovoye Ob’yedinenie (Creative Jazz Unity), the first association of musicians and jazz promoters east of the Urals. He performed with Vladimir Tolkachev in the Musical Improvising Trio (1975–9), with Igor Dmitriev in various groups (including, from 1977, Zolotoye Gody Dhaza (Golden Jazz Years), with Vytautas Labutis in the quartet SibLitMash (Siberian-Lithuanian Jazz Machine, 1980s), and with Vagif Sadykhov in another quartet (1998), while also working as a freelance with Vladimir Chekasin, Anatoly Vapirov, Igor Butman, Joe Locke, Paul Bollenback, and former members of Art Blakey’s Jazz Messengers, among others. In 1990 he began to broadcast on radio, and in ...
William F. Coscarelli
(b Wichita, KS, May 1941). American concert organist. At age five she started piano lessons and at age eleven, after hearing Alexander Schreiner play the Mormon Tabernacle organ, she began organ studies. Bish studied organ with Dorothy Addy, Era Wilder Peniston, Mildred Andrews, and Marie-Claire Alain, studied harpsichord with Gustav Leonhardt, and attended classes with Nadia Boulanger. In 1982 she began her own television series The Joy of Music, which continues to reach a vast worldwide audience every week. She also served as organist at the Coral Ridge Presbyterian Church in Fort Lauderdale, Florida for 20 years.
Bish has won several performance competitions and has been the recipient of prestigious awards. In 1963, while a student at the University of Oklahoma, she won the Mu Phi Epsilon student performance competition and later went on to be a national Mu Phi composition winner. In 1989 she was awarded the National Citation by the National Federation of Music Clubs of America. In ...
(b Bordeaux, ?April 1791; d Paris, Dec 18, 1858). French violinist, composer, dramatist and critic. His date of birth, given as 7 February 1778 in all reference works since Fétis, is contradicted by Blanchard himself in the Revue et gazette musicale (21 January 1838). He was a pupil of Franz Beck in Bordeaux and of Kreutzer (violin), Méhul and Reicha (composition) in Paris. In 1815 he wrote the words and music of a pantomime, Clarisse et Lovelace, and was conductor at the Théâtre des Variétés from 1818 until 1829. There he came into contact with the leading actors and entertainers of the day, and composed a large quantity of vaudeville airs, some of which, for example Tra la la and Guernadier, que tu m’affliges, enjoyed immense popularity. In 1830 he became director of the Théâtre Molière, where a series of his plays appeared, one of which, ...
(b Saint-Gilles, Brussels, May 29, 1890; d Brussels, April 11, 1961). Belgian composer, pianist and critic. He studied at the Brussels Conservatory, where in 1908 he won a first prize for piano in De Greef's class. Wounded in World War I, he was evacuated to England and then moved to Australia, where he became Melba's accompanist. After several international tours he settled in Brussels in 1925. He abandoned his career as a virtuoso pianist to study composition with Gilson and joined the ‘Synthétistes’ group. At the same time he launched into music criticism, giving proof of a caustic wit. Until 1955 he taught harmony (assistant professor 1939, professor 1943) and counterpoint (from 1949) at the Brussels Conservatory. A fluent composer, he began with works describing his memories of travel. He attempted to renew the symphonic poem by choosing modern subjects, as in Le jazz vainqueur, op.33. After ...