(b Westminster, London, Jan 1648; d Oxford, Dec 14, 1710). English scholar, composer and music collector. He matriculated at Christ Church, Oxford (after early training in mathematics at Westminster School), in 1662, receiving the BA, MA and DD degrees in 1666, 1669 and 1682 respectively. He took holy orders and was assigned the rectorate at Wem, Shropshire, but chose to remain at Christ Church, becoming a canon in 1681 and dean (a unique position in Oxford as head of both college and cathedral) in 1689, also serving as vice-chancellor of the University of Oxford, 1692–5. He was a leader of the Oxford resistance to James II's Catholic advances, and under William III he became one of the chief defenders of High Church practices, publicly opposing both the comprehension of non-Anglicans and revisions to the prayer book. He was an industrious and practically minded scholar, producing books on logic, heraldry and architecture, designing a number of Oxford buildings, serving as draftsman and engraver for the Oxford Almanacks, and producing a sizable body of compositions for the English cathedral service. His account of Greek music survives in manuscript (...
(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 ...
(b Buenos Aires, April 13, 1913; d Buenos Aires, June 2005). Venezuelan-Argentine ethnomusicologist, folklorist and composer, wife of Luis Felipe Ramón y Rivera. She studied the piano under Rafael González (1923–31) and composition with Athos Palma (1928–33) at the Buenos Aires National Conservatory of Music, instrumentation with Villa-Lobos in Brazil (1937), anthropology (1938–40) and, with Carlos Vega, folklore and musicology (1938–44) at the Museo de Ciencias Naturales de Buenos Aires. She took the doctorate in musicology in 1967 at the Argentine Catholic University with a dissertation on Argentine folk music. She was an associate member of the Instituto Argentino de Musicología from 1938 to 1950. After working as the first professor of ethnomusicology at the Escuela Nacional de Danzas de Argentina (1950–52) she moved to Caracas, Venezuela, where she has held appointments as research fellow in folklore and ethnomusicology at the Instituto Nacional de Folklore de Venezuela (...
(b Tehran, Nov 7, 1915; d Los Angeles, March 5, 1994). Armenian musicologist, folklorist and composer. After moving to Yerevan in 1923 he studied composition at the Yerevan Conservatory. From 1944 he taught harmony at the conservatory and completed a second degree at the Institute of Art of the Armenian Academy of Sciences with Kushnaryov, 1945–8. In 1951 he began taking part in folklore expeditions around Armenia and in 1955 he completed his dissertation at the conservatory on Armenian neumatic (khazer) notation. He joined the staff of the Institute of Arts in 1956 and was appointed professor in 1962 at the conservatory, where he also served intermittently as head of the music theory department until 1991. He was made an Honoured Representative of the Arts of Armenia in 1961. He participated in many congresses both within and outside the former Soviet Union, and was highly regarded as a teacher....
Roger J.V. Cotte
(b Fockenhof, Kurland, Feb 14, 1722; d Paris, March 24, 1791). French dilettante, amateur violinist and composer, patron of the arts and instrument collector. A magnificent and very wealthy nobleman, he both amused and astounded his contemporaries. M. Audinot in his comic opera La musicomanie (1779), and possibly E.T.A. Hoffmann in his tale Die Serapionsbrüder (1819), attempted to evoke his strange personality, emphasizing its ridiculous nature.
At the death of his father, a landed nobleman, in 1747, Bagge inherited a large fortune which enabled him to study the violin in Italy with Tartini. By 1750 he had settled in Paris; in the following year he was awarded the title chambellan du Roi de Prusse (then Frederick II) and married the daughter of the Swiss banker Jacob Maudry. With Maudry's death in 1762 the very large inheritance proved a source of contention to the ill-matched couple and they soon separated. Bagge later attempted to gain possession of the inheritance of Mme Maudry, who had died in ...
(b Széplak, April 7, 1799; d Mainz, Oct 4, 1854). Hungarian composer, theatre director and collector of folksongs. He came from a Hungarian noble family and embarked on a career in the civil service; it was not until 1829 that he first appeared on the musical scene, when he and Lajos Menner founded and became directors of the first Pest singing school. Bartay was one of the first to publish Hungarian folksongs: in 1833–4 he published a two-volume collection Eredeti nép-dalok klavir-kísérettel (‘Original folksongs with piano accompaniment’), and in 1834 he brought out one of the earliest Hungarian books on music theory, Magyar Apollo.
In 1837 his comic opera Aurelia, oder Das Weib am Konradstein had its première at the Pest Town Theatre, and in 1839 his comic opera Csel (‘Ruse’) was first performed at the Pest Hungarian Theatre as Ferenc Erkel's benefit performance (Erkel later composed variations on themes from this opera). Bartay was director of the National Theatre in ...
M. Elizabeth C. Bartlet
(b Paris, April 11, 1791; d Niort, Deux Sèvres, Dec 21, 1863). French composer, folk music collector, musical philanthropist and writer on music. He studied the violin with Rodolphe Kreutzer and composition with Benincori before entering the Paris Conservatoire in Méhul’s class. In 1810 he won the Prix de Rome, but instead of going to Italy as the prize required, he settled at Niort and became engaged to Françoise Caroline Rouget de Gourcez, whom he married in 1816. He nonetheless continued to meet the other requirements of the prize, including the submission of both sacred and secular compositions which show him to have been a well-trained though conservative musician. In 1818, the year after Méhul’s death, Beaulieu wrote his most ambitious work, a Requiem in his teacher’s memory.
Beaulieu’s contributions to musical life in Western France were substantial. In 1827 he founded a philharmonic society in Niort to perform vocal music from the 16th century to the 18th, as well as modern works. Eight years later he established a more serious organization, the Association Musicale de l’Ouest; it sponsored annual concert series in Niort, Poitiers, La Rochelle and elsewhere that involved regional professionals and amateurs in large-scale choral works, as well as chamber and orchestral repertory. Under its aegis Mendelssohn’s ...
(b Copenhagen, March 2, 1801; d Copenhagen, Nov 8, 1880). Danish folklorist, teacher and composer. He began composing and playing the flute while still in school. After his matriculation he studied law for a time, but influenced by the composer C.E.F. Weyse he soon dedicated himself to music and attracted attention in 1823 with a cantata for the 200th anniversary of Regensen, the students' college in Copenhagen. Over the next few years he composed several more cantatas as well as incidental music for the Royal Theatre. From 1838 he was organist at the Trinitatis Kirke, and from 1843 singing master at the metropolitan school. He held both posts until his death; they led him to an intensive occupation with church and school singing. He composed a notable set of hymn melodies, many of which are still used in the Danish Church, and edited many collections of partsongs for schools, containing several of his own compositions. He also made an important collection of Danish and foreign folksongs and melodies. In ...
(b Lugoj, 20 March/April 2, 1877; d Bucharest, Dec 19, 1968). Romanian composer, folklorist and administrator. He studied privately in Lugoj with Josif Czegka and Sofia Vlad-Rădulescu, in Blaj with Iacob Mureşianu, in Sibiu with Hermann Kirchner and in Braşov with Paul Richter. Extremely active in the musical life of Romania, he participated in the foundation of the Romanian Opera, the Romanian National Theatre (1919), the Dima Conservatory, Cluj (1920), the Society of Romanian Composers (1920) and the Astra Conservatory, Braşov (1928); during this period he directed the opera houses in Cluj and Bucharest. He collected more than 2000 folksongs, recorded on 214 cylinders, and made use of them in his ten books of Doine şi cântece poporale (‘Doinas and Other Folksongs’) and in eight books of instrumental pieces published as Jocuri populare româneşti (‘Romanian Folkdances’); he also published a scholarly collection, ...
James B. Kopp
(b Avignon, France, May 18, 1854; d Versailles, France, May 20, 1933). Organist, composer, collector, and writer on musical instruments. Born a count into an old Norman family, he studied organ with Gigout in Paris in the late 1880s and was admitted to the Académie des Sciences Morales, des Lettres et des Arts de Versailles in 1891. Beginning in 1897, de Bricqueville played the organ in the chapel of the palace of Versailles for about 20 years. Writing as a music critic, he enthusiastically promoted Wagner but also appreciated earlier French opera. His studies of historical instruments, instrument collecting, and music iconography, while largely superseded by later research, offer valuable insight to the state of scholarship at the turn of the 20th century. He described his private collection of instruments (mainly European of the preceding three centuries) in three published catalogues, the last being Catalogue sommaire de la collection d’instruments de musique anciens formée par le Cte de Bricqueville...