(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 ...
E. Eugene Helm
revised by Darrell Berg
(b Dobitschen, Saxe-Altenburg, Jan 4, 1720; d Berlin, Dec 2, 1774). German musicographer, composer, organist, singing master and conductor. His father occupied an important post as government agent and jurist in Dobitschen. Burney, who visited the Agricolas in 1772, reported that Johann Friedrich’s mother, born Maria Magdalena Manke, ‘was a near relation of the late Mr Handel, and in correspondence with him till the time of his death’; but later Handel research has failed to substantiate this claim.
Agricola began his study of music as a young child. In 1738 he entered the University of Leipzig, where he studied law; during this time he was a pupil of J.S. Bach and visited Dresden, where he heard performances of Passion oratorios and Easter music by Hasse. In 1741 he moved to Berlin, became a pupil of Quantz, made the acquaintance of C.P.E. Bach, C.H. Graun and other musicians, and embarked on a career that touched many aspects of Berlin’s musical life. He became keenly interested in music criticism and theoretical speculation in Berlin, and his work as a musicographer has proved to be his most lasting accomplishment. In ...
(b Visby, June 5, 1805; d Stockholm, May 4, 1857). Swedish composer, conductor and organist. He studied music at the University of Uppsala and became the musical director of E.V. Djurstrms theatre company in 1828. From 1832 to 1842 he was a teacher at the Gymnasium in Vsterå and the city’s cathedral organist. He then moved to Stockholm, where he was a conductor of various theatre orchestras, for which he composed the music for about 100 productions, often in collaboration with August Blanche. His only full-length opera, Alfred den store (Alfred the Great), based on a text of Theodor Krner, was written in 1848 but never performed; another opera, Abu Hassan, was not finished. His other compositions include about 300 entractes, a vocal symphony, some orchestral works, a piano concerto and solo piano pieces. He also edited collections of Swedish and Nordic folksongs and folkdances and compiled a pocket dictionary of music (...
(b ?Milan, c1644; d Vienna, Sept 22, 1685). Italian composer and musician. He is first heard of in a letter of 6 September 1671 in which the Prince-Bishop of Olomouc, Karl Liechtenstein-Kastelkorn, told J.H. Schmelzer that he need not have apologized for some apparent bad behaviour on Albertini’s part, since he himself in any case had a good opinion of him. At the time of his death (he was murdered) Albertini was chamber musician in Vienna to the dowager Empress Eleonora. He himself prepared for publication his printed collection of sonatas and signed the dedication to Leopold I, but it did not appear until seven years after his death (the delay may have been due to the cost of engraving, towards which the emperor had granted a subsidy as early as 1686). The 12 sonatas have no regular pattern or number of movements. Most of the opening and closing movements are adagios; two sonatas begin with a separate movement marked ‘Praeludium’ characterized by figuration over a supporting bass. The form of each movement stems as a rule from freely varied development of phrases – usually, but not always, the initial one – which reappear in new guises and thus with a fresh impulse. Larger sections are never repeated literally. In a few of the sonatas there are thematic connections between several (though never between all) movements. Sonata no.9 is a passacaglia whose theme is presented at the beginning and end as a canon at the 5th and whose formal sections sometimes overlap with the statements of the ostinato theme. Double stopping appears conspicuously in the last sonata, which consists entirely of imitative movements....
Peter Andreas Kjeldsberg
revised by Martin Anderson
(b Fredrikstad, April 29, 1872; d Oslo, Dec 24, 1932). Norwegian composer, conductor and organist. He studied with Peter Lindeman (organ) and Iver Holter (harmony, counterpoint and composition) at the Christiania Music and Organ School (1888–92), and was then a pupil of Reinecke (composition) and Ruthard (piano) at the Leipzig Conservatory (1892–4). Appointments as organist followed in Drammen (1895–1907) and Oslo (1907–32), where he served at the cathedral from 1916; his First Symphony was completed during a course of study in Berlin in 1897. He was one of those responsible for the foundation of the Norsk Komponistforening, of which he was president from 1921 to 1923. As a member of the Koralbokkomiteen (1922–6) he harmonized most of the melodies in the chorale book of the Norwegian Church, and he edited preludes to all of the chorales. He was active as a choir-conductor, leading the Håndverksangforening (...
Roxanne R. Reed
(b Anguilla, MS, March 21, 1919; d Hazel Crest, IL, 15 June, 1995). American gospel director, singer, composer, and publisher. Anderson established a career forming and training gospel groups in Chicago. His formative years were spent as one of the original Roberta Martin Singers, one of the premiere gospel groups of the 1930s and 1940s. He left briefly, between 1939 and 1941, to form the first of his many ensembles, the Knowles and Anderson Singers with R.L. Knowles. He rejoined Martin, but ultimately resigned because of the travel demands. In 1947 he formed Robert Anderson and his Gospel Caravan, but after several members left in 1952, he formed a new set of singers that recorded and performed under the name the Robert Anderson Singers through the mid-1950s. Throughout his career, Anderson recorded on a multitude of labels including Miracle and United with Robert Anderson and the Caravans; and later with the Robert Anderson Singers, on Apollo. Anderson wrote, and often sang lead on, many of the songs his groups performed, including “Why Should I Worry” (...
Greg A. Handel
(b West Hempstead, NY, April 26, 1956). American music educator, choral arranger, editor, and conductor. He was a member of the American Boychoir (1969–71), and received degrees from St Olaf College (BM 1978), the University of Illinois at Urbana–Champaign (MM 1980), and Michigan State University (DMA 1987). He was on the summer faculty of the American Boychoir School and now serves on the Board of Trustees. He taught at Calvin College (1980–90) before becoming the fourth conductor of the St Olaf Choir and the Harry R. and Thora H. Tosdal Endowed Professor of Music (1990–). Armstrong is the editor for Earthsongs publications and co-editor of the St. Olaf Choir Series. He chronicled the history of the St Olaf Choir in his doctoral dissertation. He is featured on an instructional video for adolescent singers, Body, Mind, Spirit, Voice (2002...
(b London, Aug 10, 1740; d London, Oct 22, 1802). English composer, conductor, organist, and editor. He was the son of Thomas Arnold, a commoner, and, according to some sources, the Princess Amelia (she was certainly his patron). Arnold received his education as a Child of the Chapel Royal (December 1, 1748 to August 31, 1758), where he was occasionally noticed by Handel (something he ‘remember’d with delight & spoke of with a starting tear’), and on leaving became known as an organist, conductor, and teacher, and composed prolifically. In autumn 1764 he was engaged by John Beard as harpsichordist and composer to Covent Garden; there he compiled several pastiche operas, including the popular The Maid of the Mill (1765), which is among the supreme examples of the form. In 1769 Arnold bought Marylebone Gardens, and during the next six summers produced several short all-sung burlettas, composing or at least contributing to four new examples (now lost). These productions were simply written (from the literary point of view at least) and would have appealed to an audience with no previous experience of operatic music....
Henry Spicer, Samuel Arnold holding the Handel Edition. Miniature in enamel (c. 1789).
In a private collection, reproduced with permission.
Laurie J. Sampsel
(b Milton, MA, Feb 18, 1760; d French Mills, NY, Nov 23, 1813). American composer, singing master, singer, and tunebook compiler. Babcock lived most of his life in Watertown, MA, where he worked as a hatter. As a teenager he fought in the Revolutionary War, and he died while enlisted in the Army during the War of 1812. He was active primarily as a psalmodist during the period from 1790 to 1810. Babcock was the choir leader at the Watertown Congregational church, sang at and composed music for town events, and taught singing schools there in 1798 and 1804. He may also have been an itinerant singing master in the Boston area. Babcock composed 75 extant pieces, including anthems, set pieces, fuging tunes, psalm, and hymn tunes. Most of his music was first published in his own tunebook, Middlesex Harmony, which was published in two editions (1795...