(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 Pont-de-Vaux, Ain, April 24, 1633; d Paris, May 4, 1691). French lawyer and man of letters. He is often confused with his great-grandson, Charles-Emmanuel Borjon de Scellery (c1715–95). He was active in the law courts of both Dijon and Paris and is known chiefly for his writings on jurisprudence. He also composed poetry (noëls ‘en patois bressan’), published after his death and later set to music, and is credited with Traité de la musette, avec une nouvelle méthode, pour apprendre de soy-mesme à jouer de cet instrument facilement, et en peu de temps (Lyons, 1672, 2/1678/R), which describes an instrument in vogue throughout France at the time and includes examples of music collected by the author.DBF (M. Prevost) P. LeDuc: Les noëls bressans de Bourg, de Pont-de-Vaux et des paroisses voisines (Bourg-en-Bresse, 1845) C.-J. Dufaÿ: Dictionnaire biographique des personnages notables du département de l’Ain...
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 ...
Israel J. Katz
( b Cartagena, Oct 24, 1863; d St Blasien, Baden, Feb 27, 1929). Spanish composer, folklorist and music critic . His father was a captain of a marine infantry battalion, and he began his musical training under a military bandsman in his father's regiment. In the early 1880s, while stationed in Madrid as a second lieutenant, he began to study harmony, counterpoint, fugue and composition with Ruperto Chapí, remaining his sole disciple until Chapí's death in 1909. During these years he devoted most of his spare time to composition. He was a member of the Sociedad Filarmónica Madrileña (1901–11) and a founder-member of La Asociación Wagneriana Madrileña (inaugurated 4 May 1911). He was music critic for the periodical El mundo (1907–15) and also contributed articles to ABC. He also conducted numerous concerts of the Sociedad de Conciertos, Madrid, and the S Cecilia choral society. In ...
(b Voznesensk, Kostroma province, 5/Sept 17, 1838; d Kostroma, 8/Dec 21, 1910). Russian writer on church music . Voznesensky graduated from the Kostroma Seminary in 1860 and from the Moscow Theological Academy in 1864. He served as teacher of chant in the Kostroma Seminary until 1883, when he became an inspector of the Riga Seminary until 1894; he then served as head priest of the cathedral of the Trinity, Kostroma. In the late 1880s and in the 1890s he published several volumes of studies dealing with the different varieties of chant in Russian churches. His works are basically compilations, and eclectic in nature. He did only a minimal amount of original research on the historical evolution of Russian chant, but he was among the first in Russia to investigate the melodic traditions of south-western Russian provenance from the 17th and 18th centuries preserved in Western staff notation. He translated into Russian a treatise of the ‘method’ of the Greco-Slavonic chanting originally written in Latin by Ioan de Castro (Rome, ...