(b Barcelona, March 27, 1862; d Barcelona, March 31, 1908). Spanish composer, folklorist and music critic. He studied composition with Antonio Nicolau and Anselmo Barba and piano with C.G. Vidiella in Barcelona and was music critic for various journals there, including La renaixensa, L'avenç and, from 1905 to 1908, El poble català. He published his Collecció de 6 melodies per a cant i piano and five Cansons per cant i piano (both Barcelona, 1887), which are settings of poems by Angel Guimerá, Francisco Matheu y Fornells, Apeles Mestres and Jacinto Verdaguer. He illustrated the latter volume himself, and some of his work was displayed at an exhibition of the Sociedad de Acuarelistas in Barcelona. A distinguished folklorist as well as a sensitive composer and skilful melodist, he collected Catalan folksongs and published arrangements of 23 of these in Cansons populars catalanas (Barcelona, 1891). He used native rhythms and melodies in his songs and piano pieces (among them ...
Larisa Georgievna Danko
(b St Petersburg, 17/July 29, 1884; d Moscow, Jan 27, 1949). Russian musicologist, composer and critic. He studied at the St Petersburg Conservatory from 1904 to 1910 with Rimsky-Korsakov and Lyadov, and graduated in 1908 from the faculty of history and philology of the University of St Petersburg. From 1910 he worked as a repetiteur; from 1916 edited and composed ballet music and from 1919 was a member of the board of directors and repertory consultant at the Mariinsky and Mikhaylovsky Theatres. In 1919 he became head of the Central Library for State Musical Theatres. In the same year, in association with Lyapunov and Bulich, he organized the music department at the Petrograd Institute for the History of the Arts (now the Zubov Institute for the History of the Arts); he was its director from 1921. Between 1922 and 1925 he was responsible for the organization there of concerts of contemporary music. He was made a professor at the Leningrad Conservatory in ...
(b Wiesbaden, July 20, 1923). Israeli critic, composer and musicologist. He moved to Mandatory Palestine in 1936. After studying composition with Paul Ben-Haim, his most influential teacher, Bar-Am attended the Ecole Normale de Paris (1949–51). He studied musicology at Tel-Aviv University (BA 1977), where he became the principal lecturer for courses on Jewish music and Israeli contemporary music (1973–96) and the first director of the Archive of Israeli Music. The secretary general of the Israeli League of Composers (1960–76, 1976–8), he became chair of the organizing committee of the ISCM in Israel in 1980. Though most influential as the music critic of the Jerusalem Post between 1958 and 1995, Bar-Am also wrote many essays on Israeli music in Hebrew, English and German, notably ‘A Musical Gateway between East and West’ (Jerusalem Post, 20 April 1988). He ceased composing in the early 1970s but resumed in ...
John Edwin Henken
(b Madrid, Aug 3, 1823; d Madrid, Feb 17, 1894). Spanish composer, musicologist, conductor and critic. Barbieri’s father died in 1823 and the composer used his matronym throughout his life although, in the heated polemic wars of the period, that was sometimes held against him as an Italianate pretence.
Barbieri received his early music training from his maternal grandfather and entered the fledgling Royal Conservatory in 1837, studying the clarinet with Ramón Broca, the piano with Albéniz y Basanta, singing with Saldoni and composition with Carnicer. In 1841 his family moved to Lucena, but Barbieri remained in Madrid, eking out a living as a clarinettist, pianist, teacher and copyist. His earliest compositions were songs and dances, and a paso doble for a militia band in which he played. He also sang baritone roles in Italian operas at the Conservatory and the Teatro del Circo. He wrote the libretto for a one-act zarzuela but did not complete the music in time for its scheduled première in ...
(b Turin, April 25, 1719; d Marylebone, London, May 5, 1789). Italian man of letters. His Fetonte sulle rive del Po was set by G.A. Giai (1750, Turin). In January 1751 he left Italy, where he had a considerable literary reputation, for an appointment at the Italian Opera in London. Shortly after his arrival he wrote two facetious pamphlets relating to a dispute between the actors and the lessee of the Opera. He adapted selected odes of Horace as a sort of Masonic oratorio. Seeking a composer able to avoid the vocal clichés and long ritornellos of Italian opera and ‘to temper alternately the solemnity of church music with the brilliancy of the theatrical’, Baretti chose Philidor, with whom he discussed ‘every syllable … with respect to the best way of expressing musically the meaning of Horace’. Carmen saeculare was performed in London in 1779 and in Paris the year after. Baretti wrote in his copy of Johnson’s ...
revised by Axel Helmer
(b Stockholm, June 6, 1804; d Stockholm, March 17, 1861). Swedish music critic, historian and composer. He was a pupil of Per Frigel. He earned his living as a clerk in the Swedish Customs and was for many years music critic for the Post och inrikes tidningar. In 1849 he was elected a member of the Swedish Royal Academy of Music, the library of which he helped to catalogue. In 1850 he translated Birch’s Darstellung der Bühnenkunst into Swedish. He lectured extensively on music history at the conservatory in 1852, and wrote articles for the Ny tidning för musik during the whole period of its existence (1853–7). The most important of these was ‘En blick på tonkonsten i Sverige’, a survey of Swedish music during the previous 50 years. Boman is considered one of the most reliable and important Swedish writers on music before Adolf Lindgren. (...
(b Lisbon, Oct 12, 1890; d Lisbon, Nov 27, 1955). Portuguese composer, teacher, musicologist and critic. He studied composition in Lisbon privately with Augusto Machado and Tomás Borba, then with Désiré Pâque and Luigi Mancinelli. He also studied the piano and the violin. He completed his studies in Berlin with Humperdinck and Pâque (1910) and in Paris with Grovlez (1911). After his marriage he lived on Madeira for two years, returning to Lisbon in 1914. He taught at the Lisbon Conservatory (1916–39), later becoming its assistant director (1919–24). There he worked with Mota in the major reforms which began in 1918. At the same time he established himself as a composer, musicologist, critic and lecturer and slowly rose to a position of fundamental importance in Portuguese musical life. As a teacher, he also played an important role in the preparation of a new generation of composers. In the 1930s, he began to have difficulties with the political authorities and in ...
(b Rome, 1465; d San Gimignano, 1510). Italian humanist. He was the son of Antonio Cortese, a papal abbreviator (i.e. a writer of papal briefs) and the pupil of Giulio Pomponio Leto and Bartolomeo Platina, both abbreviatores. In 1481 he was appointed to the papal chancery to the place vacated on Platina’s death. He was promoted to papal secretary in 1498, resigned in 1503 and spent the rest of his life in a family villa called Castel Cortesiano, near San Gimignano. There he was the host to such guests as Duke Ercole I of Ferrara, Duke Guidobaldo of Urbino and Cardinal Alessandro Farnese, later Pope Paul III. He must also have had a comfortable house in Rome in which in the early 1490s there were learned discussions, interspersed with strambotti sung by Serafino Aquilano. Cortese may have known Josquin, who was a papal singer at this time. He praised Josquin highly as a mass composer in his ...
(b Bad Kreuznach, April 8, 1897; d Cologne, Dec 15, 1972). German composer, theorist, and critic. He studied at the Cologne Conservatory with Bölsche, von Othegraven, and Abendroth (1919–24) and then undertook musicological studies with Bücken, Kahl, and Kinsky at Cologne University (1924-30), taking the doctorate in 1931. From 1925 to 1969 (except for the years 1933–44) he wrote programme notes for the Gurzenich concerts, from 1927 he worked with Westdeutscher Rundfunk, and from 1930 he served as music specialist on the Kölner Stadtanzeiger. During the period 1935–45 he lived in obscurity as an editor on the Kölnische Zeitung. He returned to Westdeutscher Rundfunk in 1945, becoming director of the late-night music programmes (1948–65) and of the Studio for Electronic Music, which he founded in 1951 and headed until 1962. From 1965 to 1971 he held a professorship at the Cologne Musikhochschule, where he directed the electronic music studio....
revised by Bret Werb
(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 ...