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(b Comber, Co. Down, Aug 10, 1904; d Oxford, Oct 10, 1965). Northern Irish music scholar, teacher, organist, composer and editor. He went to Bedford School, and studied at the RCM in London, Trinity College, Dublin, and New College, Oxford, gaining doctorates of music at both universities. In 1938, after four years as organist and choirmaster at Beverley Minster, he moved to a similar position at New College. Thereafter, he lived and worked in Oxford, where he was a university lecturer in music and a Fellow of New College, and later of Balliol. He also taught at the RCM.

Andrews's published work consists of three books, various articles (including contributions to the fifth edition of Grove's Dictionary of Music), reviews, and several motets, services and songs. The Oxford Harmony, vol.ii, traces the development of chromatic harmony through standard repertory works and relates this to techniques of composition. The opening chapters of ...

Article

Yolande de Brossard

(b Dompierre, bap. Sept 12, 1655; d Meaux, Aug 10, 1730). French priest, theorist, composer, lexicographer and bibliophile. He was descended from a family founded by Antoine de Brossard (b c1286), a natural son of Charles de Valois (son of Philip the Bold) and Hélène Broschart, daughter of the king's treasurer. Sébastien was the last of a family of glass-blowers from lower Normandy. He studied at the Jesuit college in Caen and then attended that city's famous university, studying philosophy for two years and theology for three. When he turned to music, therefore, he was self-taught; he studied the lute, copying and composing pieces for the instrument. He took minor orders in 1675 and became a sub-deacon the next year, but the date when he became a priest is not known, nor is the date of his arrival in Paris. He was living there in ...

Article

Michael Fend

(Carlo Zanobi Salvadore Maria )

(b Florence, 8/Sept 14, 1760; d Paris, March 15, 1842). Italian, composer, conductor, teacher, administrator, theorist, and music publisher, active in France. He took French citizenship, probably in 1794, and was a dominant figure in Parisian musical life for half a century. He was a successful opera composer during the Revolutionary period, and had comparable success with religious music from the beginning of the Restoration. He was made director of the Paris Conservatoire and consolidated its pre-eminent position in music education in Europe.

In the biographical preface to his work catalogue, compiled in 1831, Cherubini gave 8 and 14 September as his dates of birth, but the records of the baptistery of S Giovanni state that he was born on 14 September (and baptized the following day). He was the tenth of 12 children. It has been claimed that his mother died when he was four years old (Pougin, ...

Article

Argia Bertini

revised by Giulia Anna Romana Veneziano

(b Florence, July 8, 1638; d Florence, Jan 16, 1703). Italian composer, teacher, music editor, theorist, organist and singer. He spent his entire life as a priest in Florence. On 1 August 1663 he was appointed chaplain at the cathedral, S Maria del Fiore, where he was also active as an organist and singer. He was particularly admired as a teacher, and it was this above all that determined the nature of his publications; the numerous reprints particularly of Il cantore addottrinato and Scolare addottrinato bear witness to the popularity of his methods. In these two manuals he sought to establish rules for the effective composition and performance of church music, contributing, according to his contemporaries, to the codification of the ‘true rule of ecclesiastical singing’. However, he is better remembered for his Corona di sacre canzoni and Colletta di laude spirituali, which have great importance for the final phase in the history of the ...

Article

Christopher Fifield

(Aloys Theodor)

(b Cologne, Jan 23, 1813; d Berlin, Aug 17, 1887). German music historian, editor, organist and composer. He was a pupil of Joseph Klein and Carl Leibl and in 1828 became organist of the Carmelite church at Cologne and a member of the cathedral choir. In 1832 he went to Berlin, where he studied with A.W. Bach (organ) and K.F. Rungenhagen (composition) and attended A.B. Marx’s lectures. His interest in old music was stimulated by his friendship with Carl von Winterfeld, whom he met in 1835, and by a commission to set in order the library of the Royal Institute for Church Music, which from 1845 held much of Forkel’s personal library. In 1839 Musica sacra, the first of Commer’s many important editions of early music, began to appear. In 1845 he became regens chori of the Hedwigskirche and singing teacher at the Elisabeth School, and he held several other similar positions. He was much decorated by royalty for his research. In ...

Article

Edith Gerson-Kiwi

revised by Bret Werb

[Yuly Dmitrevich]

(b Berdyansk, Crimea, 4/April 16, 1868; d Tel-Aviv, Feb 11, 1927). Russian composer, critic, lexicographer and folklorist. He studied law at Kharkov University but soon turned to music, studying theory and composition with Taneyev and Ippolitov-Ivanov at the Moscow Conservatory (1893–7). From 1897 to 1919 he worked as a music critic for the newspaper Russkiye vedomosti. In 1901 his translation of Riemann’s Lexikon into Russian with newly written sections on Russian music was published in Moscow. Although an early opera, Esther, was performed in 1894, his work as a critic overshadowed that as a composer. Under the influence of the Russian nationalist music critic Vladimir Stasov, however, he turned his attention to Jewish folklore, collecting, arranging, performing and publishing the songs of eastern European Jews. In 1909 his first album of ten Jewish folksongs appeared in Moscow; a second volume followed later in the same year. Engel continued to promote his new interest with public lectures and a series of articles in ...

Article

Israel J. Katz

(b Turgutlu, Turkey, Dec 23, 1896; d Aubervilliers, nr Paris, Oct 7, 1975). Italian composer, ethnomusicologist and music publisher. After education at the Alliance Israélite Universelle in Turgutlu, from 1907 he attended the school of the Société Musicale Israélite in Izmir, studying composition with Shemtov Shikayar and cantorial music with Isaac Algazi. He won a scholarship to Milan Conservatory, where he was a pupil of Zavaldi and Pozzoli (theory and solfège), Gatti (orchestration), Zampieri (history), Bossi (composition) and Andreoli (piano) (1914–15, 1917–19). His studies were interrupted by war service and Hemsi was severely wounded. He returned to Izmir to teach, then on to Rhodes (1923–7) and finally Alexandria. From 1920 he became intensely interested in the traditional music of Sephardi Jewry, collecting material around the eastern Mediterranean, in Alexandria, Jerusalem, Rhodes, Turgutlu, Manisa, Izmir and Thessaloniki. Most of the material in Coplas sefardíes, the work which established his reputation, was furnished by the Sephardi communities of Alexandria, Istanbul and Sofia; his well-suited piano accompaniments brought these songs into the salons and concert halls. In Alexandria he founded the Edition Orientale de Musique, the first Egyptian house to publish the work of composers familiar with Middle Eastern culture. In his own music he sought a compromise between Western technique and oriental tradition, believing that harmonic, equal-tempered music would replace microtonal heterophony. He founded a conservatory to propagate these ideas; he also established and conducted the Alexandria PO (...

Article

Kimberly Greene

(b Branford, CT, Oct 22, 1746; d New Haven, CT, June 5, 1823). American tunebook compiler, composer, clock maker, and engraver. An influential compiler of tunebooks in the 1780s and 1790s, he included established English and American favorites in his books and introduced the works of such new American composers as Lewis Edson and Daniel Reed. His significant compilations are The Chorister’s Companion (1782/R), which was issued in collaboration with the publisher Amos Doolittle; a 48-page supplement to The Chorister’s Companion entitled “Part Third” (1783); A Collection of Favorite Psalm Tunes (1787); The Federal Harmony (1793); and The New Haven Collection of Sacred Music (1818). Jocelin helped to create a distinctive New England idiom which is representative of early American psalmody; his publications are counted among the important early American tunebooks. Details about his life remain scarce. However, Eli Whitney served as his partner in the manufacture of clocks, and his sons Simeon Jr. and Nathaniel, an aspiring portrait painter and active abolitionist, bought several firms in ...

Article

Katherine K. Preston

revised by Thomas L. Riis

(b Louisville, KY, April 13, 1932). American musicologist, music editor, composer, and bibliographer. He studied composition with Claude Almand and George Perle at the University of Louisville (BM 1954, MM 1959), composition with Gordon Binkerd and musicology with Dragan Plamenac at the University of Illinois (MS 1961), and musicology with Janet Knapp at Brown University (PhD 1976). From 1962 until 1964 he was curator of the Americana Collection in the Music Division of the New York Public Library and from 1964 to 1967 composer-in-residence with the Eugene (Oregon) public school system as a Ford Foundation Fellow. He taught at Ohio University (1967–8), Moorhead (Minnesota) State College (1971–2), and Wake Forest University at Winston-Salem (North Carolina), where he also served as director of the Moravian Music Foundation from 1972 until 1980. As a Leverhulme Fellow he taught at the University of Keele, UK (...

Article

George J. Buelow

(b Hamburg, Sept 28, 1681; d Hamburg, April 17, 1764). German composer, critic, music journalist, lexicographer and theorist.

Mattheson was the third and only surviving son of Johann Mattheson, a Hamburg tax collector, and Margaretha Höling of Rendsburg (Holstein). Details of Mattheson’s life come largely from his autobiography published in the Grundlage einer Ehren-Pforte. His education was exceptionally broad, perhaps because his parents hoped he would gain a position in Hamburg society. At the Johanneum he received a substantial background in the liberal arts, including musical instruction from Kantor Joachim Gerstenbüttel. He also had private instruction in dancing, drawing, arithmetic, riding, fencing, and English, French and Italian. At six he began private music lessons, studying the keyboard and composition for four years with J.N. Hanff (later organist at Schleswig Cathedral), taking singing lessons from a local musician named Woldag and instruction on the gamba, violin, flute, oboe and lute. At nine Mattheson was a child prodigy, performing on the organ and singing in Hamburg churches. His voice was of such quality that Gerhard Schott, manager of the Hamburg opera, invited him to join the company, and he sang in J.W. Franck’s opera ...