(b Würzburg, March 13, 1767; d Paris, June 19, 1844). German horn player, composer and teacher, active in France. Son of the Hungarian-born principal horn at the Würzburg court, Friedrich Domnich (b Ofen, 9 June 1729; d Würzburg, 22 April 1790), he was the most famous of three horn-playing brothers; the others were Jacob (b Würzburg, 1758; d Philadelphia, after 1806), who in about 1790 emigrated to Philadelphia and taught and played extensively there, and Arnold (b Würzburg, 29 Sept 1771; d Meiningen, 14 July 1834), who was employed at the Saxe-Meiningen court from 1786 until 1834, becoming principal horn in 1803. At an early age Heinrich entered the band of Count von Elz at Mainz, but when subjected to livery service he left in 1783 for Paris, where he studied with Punto for two years. In 1785 he earned praise for the neatness and facility of his playing as second to Jean Lebrun in a double concerto at the Concert Spirituel; this was the first of at least eight appearances there by Domnich between ...
revised by Thomas Hiebert
(b Belfast, Aug 12, 1839; d Manchester, Dec 12, 1911). English clarinettist, brass band conductor and teacher. He was the son of a military bandmaster and had a precocious musical talent; by the age of 11 he was appearing as a piccolo soloist with Louis Jullien’s orchestra. He also appears to have been a talented pianist, but it was as a clarinettist that he made his mark as a player. After touring with a number of theatre bands he became leader of the Harrogate Spa Band, and in 1861 he joined the Hallé Orchestra in which he remained for most of his playing career. In the 1850s he started to conduct brass bands, and he went on to have influential associations with the most successful Victorian bands, particularly the Meltham Mills Band. At the time of his death Gladney was widely referred to as the father of the brass band movement. With two other successful Victorian band conductors, Edwin Swift and Alexander Owen, he shaped the format and idiom of the British brass band. The standard instrumentation comes from their preferred combination of forces (...
Alice Lawson Aber-Count
(b Berlin, 17 Feb ?1821; d Berlin, May 23, 1882). German harpist, teacher and composer, son of Karl Grimm. He studied the harp with Josef Hasselmans at the Strasbourg Conservatory and perfected his skill in Leipzig with Elias Parish Alvars. From 1837 he performed with great success and was much in demand, particularly by Liszt and Bülow. In 1844 he was the principal harpist at the royal chapel in Berlin and 25 years later received the title königliche Concertmeister.
Grimm was the founder of the modern German school of harp playing. Among his pupils were Albert Zabel, Wilhelm Posse, Franz Poenitz, Rosalia Spohr (wife of Louis Spohr) and Ferdinand B. Hummel. His compositions for the harp are unpublished.B. Bagatti: Arpa e arpisti (Piacenza, 1932), 52 M.G. Scimeca: L’arpa nella storia (Bari, 1938), 145–6 W. Henley: Universal Dictionary of Violin and Bow Makers, 2 (Brighton, 1960) A.N. Schirinzi...
Edward H. Tarr
(b Bozí Dar [Gottesgab], Bohemia, March 11, 1795; d Prague, Jan 29, 1871). Czech horn player, teacher and inventor. He graduated from the Prague Conservatory in 1817, and played the horn in the theatre orchestra of Pest from 1819 to 1822 and in the Vienna Hofoper (Kärntnertortheater) from 1822 to 1 December 1824. He then returned to Prague to become principal horn in the Estates Theatre. In June 1826 he was summoned by B.D. Weber, the director of the Prague Conservatory (whose variations ‘for the newly invented keyed horn’ Kail had performed in 1819), to be its first professor for trumpet and trombone (both with valves). From 1852 he also taught the flugelhorn; he retired in 1867.
On 1 November 1823 Kail obtained a privilege, together with the Vienna maker Joseph Riedl, for a trumpet with two Vienna valves; on 11 September 1835 the two received a privilege for a rotary valve; and from ...