(b Budapest, April 12, 1919; d Kingston, ON, February 24, 2012). Canadian composer, conductor and pianist of Hungarian birth. He studied with Kodály at the Budapest Academy (1937–41). As a young man he spent a period with other Jewish youths in a forced-labour contingent of the Hungarian Army; his later war experiences – escape, then concealment by friends during the winter of 1944–5 – are described in the memoirs of the novelist Theresa de Kerpely (Teresa Kay). After a season as assistant conductor at the Budapest Opera (1945–6), he went to Paris for further studies in piano (Soulima Stravinsky), conducting (Fourestier) and composition (Boulanger), remaining there for three years. He moved to Canada in 1949 (taking Canadian nationality in 1955), and for three years held a Lady Davis Fellowship and an appointment as assistant professor at McGill University. There he founded the electronic music studio and served for six years as chair of the department of theoretical music. He held grants for electronic music research from the Canada Council (...
(b Gor′kiy [now Nizhniy Novgorod], July 6, 1937). Russian pianist and conductor, naturalized Icelandic. He was born into a musical Jewish family and entered the Moscow Central School of Music in 1945; his teacher there for the next ten years was Anaida Sumbatyan. His first major recital, devoted entirely to Chopin, was in the Great Hall of the Moscow Conservatory in April 1955, and later that year he gained second prize at the fifth Warsaw International Chopin Competition. In 1956, now a pupil of Lev Oborin at the Moscow Conservatory, he was awarded first prize at the Queen Elisabeth Competition in Brussels. While still a student he made his first tour outside the USSR the following year, to East and West Germany. After graduating, it was inescapable that he should be groomed for the second International Tchaikovsky Competition in Moscow in 1962 (the American Van Cliburn having won the first), and he duly restored national honour by carrying off a shared first prize (with John Ogdon). His London début followed in ...
(b Buenos Aires, Nov 15, 1942). Israeli pianist and conductor. He was first taught by his parents and made his début as a pianist in Buenos Aires when he was seven. In 1951 the family moved to Europe where he played at the Salzburg Mozarteum, and thence to Israel. Back in Salzburg in 1954, he met Edwin Fischer and Furtwängler, both major influences on his future career. Studies at the Accademia di S Cecilia in Rome and with Boulanger completed his education.
Barenboim made his British début as a soloist in 1955 and his American début two years later, and first conducted, in Israel, in 1962. From 1964 he worked for some years with the English Chamber Orchestra as conductor and pianist, recording with them symphonies by Mozart and Haydn, and a series of Mozart piano concertos. Meanwhile he began an international career as a conductor. He directed the South Bank Summer Festival in London (...
(b Chicago, May 30, 1909; d New York, June 13, 1986). American clarinettist, composer and bandleader.
Goodman received rudimentary musical training from 1919 at Chicago’s Kehelah Jacob Synagogue and, more importantly, two years of instruction from the classically trained clarinettist Franz Schoepp. He made his professional début in 1921. During his formative years he absorbed the music of the New Orleans musicians; he was particularly influenced by Leon Roppolo, the clarinettist with the New Orleans Rhythm Kings. In summer 1923 he met Bix Beiderbecke whose influence may be heard in Goodman’s on-the-beat attacks, careful choice of notes and across-the-bar phrasing on A Jazz Holiday (1928, Voc.) and Blue (1928, Bruns.) – especially on the latter, where Goodman played solos on both alto and baritone saxophone. In August 1925 Goodman left for Los Angeles to join Ben Pollack. Pollack’s band returned to Chicago in January 1926 and early in ...
Thomas L. Gayda
[Will; Williams, Hugh; Milos, André]
(b Vienna, Aug 11, 1894; d New York, Dec 10, 1939). Austrian composer, pianist and conductor. Born into a Jewish family of jewellers, he studied with the operetta composer Richard Heuberger, Robert Fuchs, the musicologist Guido Adler and Franz Schreker. After he left the Vienna Music Academy in 1919, his Zwei phantastische Stücke was given its first performance by the Vienna PO. The following year he received a doctorate in music from Vienna University. While he remained initially faithful to the late-Romantic, Impressionist line, he became the first Austrian composer to introduce jazz idioms into his music. His grotesque ballet-pantomime Baby in der Bar (1928) marked him as one of the prime exponents of the Zeitgeist of the Weimar era.
In 1927 Grosz moved to Berlin and became the artistic director of the new Ultraphon record company, quickly building up its catalogue as a conductor, arranger and pianist. He formed a well-known piano duo with Wilhelm Kauffman and toured Europe as a highly-sought accompanist and conductor. When the National Socialists seized power in ...
(b Königsberg [now Kaliningrad, Russia], March 2, 1909; d Tel-Aviv, Dec 13, 1990). Israeli composer, conductor and string player . He studied the viola and composition with Hindemith at the Berlin Hochschule für Musik (1927–30). From 1930 to 1933 he played in the Grosses Orchester des Südwestdeutschen Rundfunks. With the rise of the Nazis, he left Germany and, after a year's sojourn in Istanbul, emigrated to Palestine. In 1934 he settled in Jerusalem where he joined the Palestine Music Conservatory (1934–47) and the Jerusalem String Quartet (1934–9), both of which were founded two years earlier by the violinist Emil Hauser of the Budapest String Quartet. He was appointed to the Jerusalem New Conservatory and Academy of Music in 1947 (assistant director, 1949–54; director, 1954–8). He later moved to Tel-Aviv, where he played the viola in the Israel PO until 1974. During 1974–5...
revised by Katharina Uhde
(b Kitsee, nr Pressburg [now Bratislava], June 28, 1831; d Berlin, Aug 15, 1907). Austro-Hungarian violinist, composer, conductor, and teacher. He was born on the Esterházy estates into a Jewish family which moved in 1833 to Pest. His talent was recognized at an early age and systematically nurtured. His first teacher was the leader of the Pest Opera Orchestra, Serwaczyński, with whom Joachim made his public début at the Adelskasino in Pest, on March 17, 1839. He went to Vienna to play first for Hauser and then for Georg Hellmesberger the elder, and took lessons from Joseph Böhm, a former pupil of Rode, himself taught by Viotti, both of whom adhered to the classical French school.
By the age of 12 his technique was fully developed, and in early 1843 he began studying with Mendelssohn in Leipzig. The meeting with Mendelssohn was so decisive for the young Joachim that his life can be understood in terms of a mission to promote Mendelssohn’s work. The composer arranged for Joachim to receive composition tuition from Hauptmann, and also a good general education. After a successful début playing Bériot’s Adagio and Rondo at the Leipzig Gewandhaus in ...
(b Helsinki, March 7, 1946). Finnish conductor and violinist. The son of a double bass player in the Helsinki PO, he was given violin lessons and entered the Sibelius Academy at the age of six as a pupil of Onni Suhonen. He became a violinist in the Helsinki Youth Orchestra, and at 18 the leader of the Suhonen Quartet. A year later he joined the Helsinki PO as associate principal second violin, and became leader of the Finnish National Opera Orchestra (1966–8), where he also gained experience as third conductor with the opera company. Self-taught as a conductor, he won the first Herbert von Karajan International Competition at Berlin (1969), which led to engagements with major orchestras in Europe, the USA, Israel and Japan, and to recordings; these brought him a reputation for youthful spontaneity tempered by sensitivity and disciplined feeling. His British début was with the NPO at the Festival Hall in ...
(b Moscow, Oct 30, 1957). Israeli violinist, viola player and conductor of Russian birth . He studied in Israel with Ilona Feher from 1964 to 1973, and made his début with the Israel PO under Zubin Mehta in 1968. In 1973 he went to the USA for his Carnegie Hall début and to study with Dorothy DeLay at the Juilliard School. In 1977 he made a major European tour, appearing with leading orchestras and conductors, and he has subsequently followed an international career as a soloist and chamber music player. He has given recitals with the pianists Itamar Golan and Georges Pludermacher, and as a member of the Golan-Mintz-Haimovitz Trio. He was music director of the Israel Chamber Orchestra from 1989 to 1993, and has also conducted the Israel PO and the Rotterdam PO; in 1994 he was appointed music director of the Limburg SO in Maastricht. Mintz has recorded both violin and viola repertory, and has been awarded the Grand Prix du Disque on several occasions. In ...
(b Breslau [now Wrocław], Aug 23, 1854; d Paris, March 4, 1925). German pianist, composer and conductor of Polish descent. Born into a wealthy Jewish family, he received his first musical tuition at home, showing exceptional talent from an early age. In 1865 the family moved to Dresden, where Moszkowski was accepted at the conservatory. Moving to Berlin in 1869, he studied at the Stern Conservatory with Eduard Frank (piano) and Friedrich Kiel (composition), and subsequently at Theodore Kullak's Neue Akademie der Tonkunst with Kullak himself (piano) and Richard Wuerst (composition). While still only 17 he accepted Kullak's invitation to join the staff at his academy, where he taught for over 25 years. In 1873 he made his successful début in Berlin as a pianist, and quickly acquired a reputation not only as a brilliant virtuoso but also as a fine interpreter of the Classical and Romantic repertory. He was also a competent violinist, sometimes playing first violin in the academy orchestra. Among his early compositions were several substantial orchestral works, most of which have been lost. These included a piano concerto, first performed in Berlin in ...