(b Dobrova, nr Ljubljana, Slovenia; Dec 25, 1877; d Ljubljana, Dec 6, 1936). Slovenian music educator, conductor, and writer on music. Uncle of composer Bojan Adamič. He received his first musical education at the Ljubljana Glasbena Matica society music school, from 1911 to 1912 he studied at the Conservatory in Trieste, and in 1912 he passed the national examination at the Ljubljana Conservatory. During World War I he joined the Austrian Army, and from 1915 to 1920 was a prisoner of war at Tashkent. In 1920 he returned to Ljubljana, where he taught music at the teacher’s college and at the classical gymnasium until his retirement in 1932. From 1925 to 1928 he was conductor of the Orchestral Society at the Glasbena Matica music society, and from January 1928 to December 1929 editor of the Nova muzika (‘New Music’) magazine. He was also active as a music critic and reviewer for the magazines ...
(fl first half of the 11th century). Arab musician and writer. The son of an eminent musician, he became a prominent singer at the Cairo court of the Fatimid caliph al-Ẓāhir (1021–36), and was still active as a teacher in 1057. His music treatise, completed after 1036 and entitled Ḥāwī al-funūn wa-salwat al-maḥzūn (‘Compendium of the arts to comfort sad hearts’), is of particular interest in that it deals with various topics of little concern to other authorities. Written from the perspective of a cultured musician rather than that of a philosopher-theorist, it calls upon a literary tradition of writing about music, and its historical content is frankly derivative, even if of interest for the implication of continuity with the court music of 9th-century Baghdad. But it is wide-ranging in its treatment of contemporary practice, dealing not only with such basics as mode and rhythm, but also with such matters as the normal sequence of events in performance, deportment and etiquette, the materials and construction of the ‘...
revised by Ruxandra Arzoiu
(b Bucharest, 2/Aug 14, 1893; d Bucharest, Feb 18, 1959). Romanian composer, pianist, conductor, teacher, music critic, and director of music programmes. A leading figure of the first half of the 20th century, he laid the foundation of the Romanian school in music, concert life, and musical journalism. He studied with A. Castaldi, D. Dinicu, D.G. Kiriac, and E. Saegiu at the Bucharest Conservatory (1903–11), completing his education with two periods of study in Paris (1913–14, 1923–4), where he studied with d’Indy at the Schola Cantorum and with Paul Vidal at the Conservatoire. A remarkable accompanist, he worked with Enescu, Thibaud, Mainardi, Moodie, and others during the period 1919–45. As a conductor he always achieved a soberly balanced performance; he conducted more than 1500 performances at the Romanian Opera in Bucharest (1921–59), where he specialized in the French repertory (Bizet, Massenet, and Gounod). In his capacities as conductor of the Romanian Philharmonic Society, and as conductor and artistic manager of the Romanian RSO, he did much to encourage Romanian composers. He was also active as a music critic for Romanian and French reviews. Much of his compositional work was done during his youth, including ...
revised by Ruxandra Arzoiu
(b Bucharest, Dec 22, 1894/Jan 5, 1895; d Bucharest, Feb 4, 1974). Romanian composer, pianist, teacher, and critic. An erudite personality of Romanian music, he contributed to the formation of a Romanian school of composition during the inter-war years. At the Bucharest Conservatory (1906–13) he studied with Kiriac-Georgescu, Castaldi, Klenck, and Dunicu. In 1919 he graduated law school in Bucharest and then took the PhD in 1922 in Paris. During his stay in France, he participated in the courses of composition of Vincent d’Indy and Gabriel Faure. In 1920, he founded the Society of Romanian composers with other important musicians. At the Bucharest Conservatory (now the National University of Music Bucharest) he taught chamber music (1926–48) and composition (1948–59). His students include Stefan Niculescu, Dumitru Capoianu, and Aurel Stroe. He was not only a partner at the chamber concerts of George Enescu, but also promoted together with Enescu the new Romanian and French chamber music. He wrote for numerous publications on subjects ranging from music aesthetics to jazz and folk music, for instance, ‘George Enescu the Way I Met Him’ in ...
(b Novosibirsk, Russian SFSR [now Russia], March 16, 1947). Russian drummer, writer, broadcaster, and educator. He began playing jazz in 1962, and after graduating from the state medical institute in Novosibirsk in 1971 he pursued a dual career as a jazz musician and an obstetrician. In 1975 he established Tvorcheskoye Dhazovoye Ob’yedinenie (Creative Jazz Unity), the first association of musicians and jazz promoters east of the Urals. He performed with Vladimir Tolkachev in the Musical Improvising Trio (1975–9), with Igor Dmitriev in various groups (including, from 1977, Zolotoye Gody Dhaza (Golden Jazz Years), with Vytautas Labutis in the quartet SibLitMash (Siberian-Lithuanian Jazz Machine, 1980s), and with Vagif Sadykhov in another quartet (1998), while also working as a freelance with Vladimir Chekasin, Anatoly Vapirov, Igor Butman, Joe Locke, Paul Bollenback, and former members of Art Blakey’s Jazz Messengers, among others. In 1990 he began to broadcast on radio, and in ...
(b Galaţi, May 20, 1852; d Bucharest, c1918). Romanian music critic, flautist and teacher. He studied at the Bucharest Conservatory with Luigi de Santis (flute) and Gheorghe Brătianu (theory). After working for a short period as a flautist in the orchestra of the Romanian Philharmonic Society, he became a teacher at the Pedagogical Seminary and at the Gheorghe Şincai secondary school in Bucharest. In 1890 he founded and directed the important music journal România Musicală, and began his activity as a music critic; he also initiated the collection Biblioteca Lirică, editing more than 50 booklets on Romanian and European music. He formed an artistic salon in Bucharest, inviting outstanding Romanian and foreign musicians to give concerts in his own home. For the Götzl company of Austria he invented a new type of flute. Cordoneanu drew up the Curs elementar de musică pentru uzul şcoalelor în genere (‘An elementary course of music for general school use’, Bucharest, ...
(b Orléans, Dec 23, 1823; d Paris, Aug 8, 1854). French organist, pianist, composer, pedagogue, and music critic. As a child, Dillon learned harmony and piano from her mother, Elisabeth. Dillon later took lessons from the organist Marius Gueit of the Eglise Saint-Paterne in Orléans, displaying a precocious talent for composition and improvisation. In 1837, she and her mother moved to the Parisian suburb of Saint-Germain-en-Laye. Dillon failed to establish a performance career there, but when she was 17, she secured the post of organiste titutlaire at the cathedral in Meaux. She held that post until 1853, the year before her death.
Dillon attracted significant critical attention for her composition Contes fantastiques de Hoffmann (published 1847), which she called a ‘translation’ of E.T.A. Hoffmann’s work. She published this composition under the name ‘Juliette Godillon’, but after multiple reviews referred to her as ‘Juliette G. Dillon’, she assumed the name ‘Juliette Dillon’. In ...
(b Vienna, Oct 5, 1822; d Berlin, Dec 30, 1899). Austrian pianist, teacher, writer and critic of Hungarian descent. He studied the piano under Henselt, Bocklet and Thalberg, and composition under Sechter. Unwilling to establish himself in one place or occupation, by the time he was 40 he had lived and worked in Bucharest, Hanover (1852–5 as court pianist to King George V), Wiesbaden, London and Frankfurt. In 1862 he settled in Berlin, working as a journalist and piano teacher. From 1864 to 1872 and again at the end of his life (1886–98) he taught the piano at the Stern Conservatory. He wrote political correspondence for the Vossische Zeitung and L’indépendence (1867–9) and later for the Allgemeine Zeitung (1872), and was music critic for the Neue Berliner Musikzeitung (1865–6), Die Gegenwart (1872–92), Die Tribüne (1878) and the ...
(b Jackson, MS, Sept 14, 1910; d New York, NY, Aug 29, 1982). American conductor, composer, arranger, educator, and writer on music. After studying composition at the Cincinnati Conservatory, Engel moved to New York, where he had lessons in composition at the Juilliard School with rubin Goldmark and then privately with roger Sessions . During the late 1930s Engel provided incidental music for plays and dance groups and conducted his own Madrigal Singers under the auspices of the WPA. He conducted the premieres of Kurt Weill’s Johnny Johnson and Aaron Copland’s The Second Hurricane, and he also led the chorus in the audience at the improvised premiere of Marc Blitzstein’s The Cradle Will Rock.
Engel is best known for his work in commercial venues. He supplied vocal and choral arrangements and other forms of incidental music for theatrical and broadcast productions. As a conductor, his most successful shows on Broadway included Gian Carlo Menotti’s ...
revised by James Deaville
(b Würzburg, May 28, 1780; d Würzburg, Jan 5, 1862). German teacher, musical organizer, critic, theorist, conductor and composer. He studied music at the student institute of the Juliusspital in Würzburg, and studied law and philosophy at the university there. In 1801 he began his career as a violinist in the prince-bishop’s court orchestra. He also founded the Akademische Bande, a student choral and orchestral group, which in 1804 became the Akademisches Musikinstitut and was made part of the university, thus becoming the basis of the first state music school in Germany. His teaching and organizational work was of the highest importance and encompassed several disciplines and activities. He became reader in aesthetics in 1812, reader in pedagogical studies in 1819 and professor in 1821. In 1820 a singing school was established as part of the institute. He also conducted important historical concerts for King Ludwig I in ...
(b Göteborg, Dec 22, 1846; d Stockholm, March 11, 1925). Swedish conductor, composer, teacher and critic. Between 1866 and 1871 he studied in Leipzig with Reinecke, in Munich with Rheinberger and in Dresden with Rietz. He then returned to Göteborg, where he became conductor of the music society (1872–8); he later taught singing in Berlin (1879–83). Back in Sweden he was conductor of the Philharmonic Society in Stockholm (1885–95) and of the Royal Opera (1892–7), as well as founder and conductor of the South Swedish Philharmonic Society (1902–7). From 1909 to 1919 he taught composition at the Stockholm Conservatory.
Hallén’s compositions show an accomplished handling of formal elements and contain stylistic reminiscences of Swedish folk music and the works of other Swedish composers like Söderman. The salient feature of his style, however, and the one which strongly affected contemporary reaction, is its close, almost derivative relationship to German music. Wagner’s works and aesthetic ideas had a particularly strong and lasting influence on Hallén; his operas, although conceived with considerable dramatic skill, are largely dependent on Wagnerian models. As an enterprising and versatile conductor, he gave sympathetic performances of the Wagner operas and brought about performances of many choral masterpieces then almost unknown in Sweden, including the first Swedish performance of Bach's ...
(b c1000–02; d Füssen am Lech, Bavaria, 1083). Writer on music. He was probably born in Bavaria, and later became a canon of Augsburg Cathedral; by the middle of the 11th century he was acting as scholasticus in the cathedral choir school there. In 1083, as the result of a conspiracy, Henricus was expelled from Augsburg at the same time as his bishop, Wigold. He sought refuge in the monastery of St Mang in Füssen, where he died and was buried. There is insufficient evidence to confirm his identification with Honorius Augustodunensis (see Flint).
Henricus's teachings on music are assembled in a treatise entitled De musica. This survives only in a south German manuscript ( A-Wn cpv 51), which has a lacuna at the end of the treatise. The work is set out in the form of a dialogue between pupil and teacher, a very popular literary technique used two centuries earlier by the author of the ...
(b Brunswick, Sept 5, 1820; d Königsberg [now Kaliningrad], Feb 16, 1886). German pianist, composer, critic and teacher. He quickly developed as a pianist and was sent to Vienna, where he studied the piano with C.M. von Bocklet and theory with Sechter and Seyfried. After a further two years in Brunswick, he settled in 1845 in Königsberg, where he initially worked in the theatre and conducted the Singverein. From 1847 Köhler devoted himself exclusively to piano pedagogy and to writing about music. He was music critic for the Hartungsche Zeitung for almost 40 years (1849–86), and contributed to Signale from 1844 until his death. His correspondence articles from Königsberg for Brendel's Neue Zeitschrift für Musik brought him to the attention of Liszt and Wagner in 1852, but it was his first book, Die Melodie der Sprache (1853), that established him as one of the leading New German writers, a reputation substantiated by his many journal articles, newspaper reviews and books of the 1850s and 60s. He also proposed the idea behind the Allgemeiner Deutscher Musikverein, which he, Liszt and Brendel (among others) developed at the ...
Miroslav K. Černý
(b Prague, May 2, 1817; d Prague, July 22, 1868). Czech choirmaster, teacher, composer and critic. He was the son of the distinguished Prague choirmaster František Xaver Kolešovský (b Prague, 1781; d Prague, 12 June 1839), a pupil of J.A. Kozeluch. He studied the violin at the Prague Conservatory, theory, organ and singing at the Prague Organ School, and theory and composition with Tomášek and others. He was a member of the Estates Theatre Orchestra in Prague from 1835 until 1839, when he succeeded his father as choirmaster of St Štěpána; here, and later at St Ignác he continued his father's practice of presenting music by earlier Czech masters, especially F.X. Brixi. In the 1850s he was director of the Žofín Academy, an important Prague music institution with choir and school, but gave up the post to found his own school of singing and theory, where his pupils included Fibich. He also taught from ...
(b Rudersdorf, nr Berlin, Jan 30, 1844; d Jena, April 27, 1918). German critic, pianist and composer. Although he was best known as the owner and editor of the influential Allgemeine Musik-Zeitung (1882–1907), Lessmann had earlier studied the piano with Bülow and composition with Friedrich Kiel in Berlin. In 1866 he became a piano teacher at the Stern Conservatory and the following year joined the faculty of the Klavier-Schule Tausig, a position he held until Tausig's death in 1871. From 1872 he was head of the music department of the Kaiserin Augusta Stiftung, in Potsdam, and he also taught at the Klindworth-Scharwenka Conservatory. The relationship with Bülow and Tausig was important in bringing him into personal contact with both Liszt and Wagner, and he became a staunch supporter of the New German School.
Lessmann was widely respected as a critic. His prose was judicious and tempered, and it was informed by many years of practical music-making. Generally speaking he championed the new and unusual in music. This made him the polar opposite of his older contemporary Eduard Hanslick, who was seen as representing the more conservative musicians of the time. Lessmann was a regular visitor to Bayreuth and gave generous coverage to the festivals of the Allgemeiner Deutscher Musikverein, of which Liszt was the lifetime president. Liszt thought well of him as a composer and transcribed his three ‘Tannhäuser’ songs for solo piano. He also wrote a monograph on Liszt (...
Patrick J. Smith
(b Los Gatos, CA, June 7, 1934; d New York, Dec 17, 1994). American music critic and pianist. He studied piano with Lev Shorr, Alexander Libermann and Rosina Lhévinne, attended San Francisco State College (BA 1956) and did graduate work in political science at the University of California, Berkeley (MA 1958); he then taught political science at Berkeley (1957–8). He was appointed to the faculty of the Aspen Music School in 1971 and to that of the Waterloo Music Festival, New Jersey, in 1976; he was named artistic director of the festival in 1985. He became music critic of Commentary in 1976, publisher of the New Criterion in 1982 and in the same year was appointed to the National Council on the Arts. He won the Deems Taylor Award in 1977 and 1980 for criticism and again in 1980 for his collection of essays ...
(b New York, NY, Aug 26, 1894; d Cleveland, OH, Jan 4, 1969). American pianist and writer on music, half-brother of frank Loesser . He studied at City College of New York, Columbia University, and the Institute of Musical Art, New York. He made his debut as a pianist in Berlin in 1913 and in New York in 1916, and thereafter toured the United States, Australia, and the Far East. Loesser joined the piano faculty of the Cleveland Institute in 1926; he was head of the piano department there from 1953 until his death. He also wrote program notes for the Cleveland Orchestra (1927–42) and was music critic of the Cleveland Press (1939–56). During World War II Loesser was an intelligence officer with the US Army; after the war he was posted to Japan, where he performed with the Japan SO (1946) and lectured (in Japanese). He was the author of ...
( b 1796; d 1866). Scottish dancing-master . He was the most prominent member of a family of dance teachers in Scotland in the early 19th century, whose descendants numbered more than 20 teachers over five generations and who were active in Scotland, Canada, Australia and New Zealand for some 200 years. With his brothers John, Robert and James, Lowe was influential in establishing Scottish dance in a modern ballroom form. The brothers taught in different parts of Scotland and together wrote Lowes’ Ball-Conductor and Assembly Guide (Edinburgh, c1830), one of the most extensive 19th-century dance manuals. Joseph Lowe also published many arrangements of Scottish dance-tunes for the piano. From 1851 to 1860 he was dance tutor to the family of Queen Victoria, and his journal of these years gives an insight into his teaching at Windsor and Balmoral. His workbook, which contains step descriptions of dances and some entries by his son Joseph Eager Lowe, who taught in New Zealand and Australia, is in the National Library of New Zealand....
(b Chicago, Dec 26, 1950). American writer. He learned piano and flute as a child and pursued his formal education at Syracuse University (1970–72), Mills College (1972), and Roosevelt College (1973–5); he also studied boogie-woogie, swing, and blues piano with leading players in Chicago. In 1975 he embarked on his writing career, working for Down Beat (as associate editor, 1978–81), The Wire, Musical America, Tower Pulse!, the Village Voice, the Washington Post, Billboard, the New York Times Book Review, and Jazziz. He contributed scripts for jazz shows on NPR and held editorial positions at Guitar World (1982–3), Ear (1987–92), the JVC Jazz Festival program guide published by Tower Pulse! (from 1994), and Rhythm Music (1996–7). Mandel was a founder of the Jazz Journalists’ Association: in 1992 he became its president and in 1997 editor of its website, ...
revised by Katja Brooijmans
(b Haarlem, May 28, 1896; d Heerlen, May 22, 1977). Dutch composer, organist, critic and teacher. He studied organ with Jos Verheyen in Amsterdam and Louis Robert in Haarlem. He continued his studies with Jean Baptiste de Pauw (piano and organ) and Sem Dresden (composition) at the Amsterdam Conservatory. He received a state grant for study in Paris at the Schola Contorum with Vincent d’Indy and Louis Aubert. He then taught composition and analysis at the Rotterdam Conservatory and the Amsterdam Conservatory (1927–32). Prolifically active as a critic, he was appointed music editor (in 1933) for the De Tijd-Maasbode group and was since 1946 a regular contributor to the new music journal Mens en melodie.
Characteristic of Monnikendam’s working method is his constancy towards a basic idea. This could be a melodic principle such as the Gregorian chant melody in the Sinfonia sacra (1947...