(b Toronto, March 28, 1906; d Victoria, May 6, 2002). Canadian composer, conductor and violinist. He studied the violin with Luigi von Kunits, Kathleen Parlow and Marcel Chailley, and was a member of the Toronto SO (1923–36) and the Toronto Trio (1938–52). He began composition studies with John Weinzweig in Toronto in 1944 and continued with Charles Jones and Darius Milhaud. In 1952 he became head of the music department at the University of Saskatchewan, Saskatoon, where he was appointed composer-in-residence in 1966. His other activities included co-founding the Canadian League of Composers (1951), conducting the Saskatoon SO (1957–60) and serving as a member of the Canada Council (1966–9). His numerous CBC commissions included the Algonquin Symphony (1957–8), Rondino for nine instruments (1961) and an opera, Grant, Warden of the Plains (1967). After his retirement in ...
revised by Gordana Lazarevich
(b Kentville, NS, Aug 28, 1939). Canadian flautist, conductor and composer. He studied with Nicholas Fiore (in Toronto) and Marcel Moyse; later with Rampal and Gazzelloni. He was principal flautist of the Vancouver SO (1958–9) and of the Toronto SO (1965–70). In 1971 he was a prizewinner of the Concours International de Flûte de Paris. In 1964 he formed the Lyric Arts Trio with his wife, the pianist Marion Ross, and the soprano Mary Morrison. He is musical director of New Music Concerts (Toronto) and Music Today (Shaw Festival, Ontario), as well as a soloist whose engagements take him to Europe, North America, Japan and Iceland. In 1977 he was one of 12 instrumentalists invited by Boulez to give a solo recital at IRCAM in Paris. Some 50 works have been wrtten for him by composers including Carter, Crumb, R. Murray Schafer and Takemitsu. Technically adept, he has a pure, intense tone and a finished sense of phrasing. In ...
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 ...
Terence J. O’Grady
revised by Bryan Proksch
(b Los Angeles, CA, March 31, 1935). American trumpeter, composer, bandleader, and record company executive. He studied trumpet as a child and left college to play in the army for a two-year period. After three years of producing records on his own, he launched A&M Records with Jerry Moss in 1962. A&M’s first issue was also Alpert’s first recording as a trumpeter and bandleader, The Lonely Bull (A&M, 1962). The title track included sounds from the bullring in Tijuana, Mexico, so Alpert dubbed his band the Tijuana Brass. His music exploited a distinctive combination of Mexican mariachi-style brass with jazz rhythms, which was dubbed Ameriachi. A string of hits including “Mexican Shuffle” (A&M, 1964) and “Tijuana Taxi” (A&M, 1965) followed. In 1966 Alpert had five recordings simultaneously listed on the Billboard Top 20. His cover of “This guy’s in love with you” reached no.1 in ...
John L., Jr. Clark
(b Chattanooga, TN, Sept 19, 1887; d Chicago, IL, July 10, 1972). American jazz and blues pianist, composer, bandleader, arranger, and music director. After studying at Roger Williams University (Nashville) and Knoxville College, she performed on the TOBA circuit and toured accompanying her second husband Buster Austin. In the early 1920s Austin moved to Chicago, where for almost 20 years she directed shows for touring stage performers as the music director and bandleader at the Monogram and Joyland theaters. From 1923 to 1926 she also led the house band at Paramount Records, accompanying blues singers and making instrumental recordings featuring such jazz musicians as Tommy Ladnier, Al Wynn, Johnny Dodds, and Jimmy O’Bryant. After working in a defense plant during World War II, Austin returned to music, working in dancing schools. Her final recording, in 1961 for Riverside Records, was a reunion with her friend Alberta Hunter and several musicians she had previously worked with in Chicago....
Jeannie Gayle Pool
(b Guelph, ON, 23 June 1968). Canadian film and television composer, orchestrator, conductor, pianist, and producer. Barber began composing at the age of ten and was an award winner in Canada’s SOCAN National Competition for Young Composers. She studied music at the University of Western Ontario (BM 1985) and composition at the University of Toronto (MA 1988), where she worked with the composers Gustav Ciamaga and Lothar Klein. She has composed music for various CBC radio dramas, made her film début with her score for Patricia Rozema’s award-winning film When Night is Falling (1995), and has written scores for Miramax, New Line, Focus Features, Nickelodeon, Warner Brothers, and Home Box Office.
Barber has also composed music for the more than 20 theatre productions of Canadian plays, including Unidentified Human Remains and The True Nature of Love (Brad Fraser), Love and Anger (George F. Walker), ...
(b Edgard, LA, Dec 24, 1920; d New Orleans, June 23, 2019). American trumpeter, arranger, producer, songwriter, bandleader, and singer. He started his career as a trumpeter playing with established bands led by, among others, Papa Celestin, Joe Robichaux, and Claiborne Williams before joining Fats Pichon’s ensemble, considered one of the top groups in New Orleans, in 1939. During World War II he played in the 196th AGF (Army Ground Forces) Band, where he met Abraham Malone, who taught him how to write and arrange. After the war, he formed his own band in New Orleans, which made its début at the Dew Drop Inn and later performed at Sam Simoneaux’s club Graystone where many of the city’s top instrumental players, including the drummer Earl Palmer and the saxophonists Lee Allen and Red Tyler, were showcased.
Bartholomew is best known for his talents as an arranger and songwriter. In the 1950s and 60s he worked with many of the biggest stars of the day, including Smiley Lewis, Lloyd Price, Shirley and Lee, and Joe Turner. By the 1970s he had associations with some of rock and roll’s most established talents, including Paul McCartney, Elton John, and the Rolling Stones. His most productive association was with Fats Domino, whom he met through Lew Chudd, the owner of Imperial Records, where he worked as a house arranger, an A&R man, and an in-house bandleader. From ...
(b Detroit, March 28, 1866; d Chicago, Dec 6, 1945). American violinist, conductor, musical director, teacher, and composer. Bendix was born to Jewish parents who had emigrated from Germany. His father William was a music teacher. Bendix began formal study at the Cincinnati College of Music where, at the age of twelve, he performed with the college orchestra, directed by Theodore Thomas. This began a long association between the two men, leading to Bendix’s appointment as first violinist and concertmaster of the Theodore Thomas Orchestra in 1886. In August 1893 Thomas resigned his position as music director of the Chicago World’s Columbian Exposition following a series of unsuccessful concerts. Bendix took Thomas’s place as conductor of the Exposition orchestra. This created tension between the two men, and Bendix left the Thomas orchestra in 1896. He went on to serve as conductor at the Manhattan Opera House and to conduct orchestras for world fairs in St. Louis (...
(b Montreal, Canada, Nov 10, 1932; d Montreal, Jan 3, 2016). Canadian jazz pianist, composer, record producer, and bandleader. He was established by the age of 17, when Oscar Peterson recommended him as his replacement for the last year of an engagement at the Alberta Lounge in Montreal. After moving to New York to attend the Juilliard School (1950–54), he became part of the traditional and modern music scenes and recorded his first album as leader, with Charles Mingus and Art Blakey among his sidemen (Introducing Paul Bley, 1953, Debut). He also played with other notable musicians such as Ben Webster, Lester Young, Roy Eldridge, and Charlie Parker during the 1950s. In 1957 he moved to Los Angeles where he performed at the Hillcrest Club. His quintet, which included Charlie Haden, Billy Higgins, Don Cherry, and Ornette Coleman, became Coleman’s quartet when Bley left for New York in ...
Warren M. Sherk
(b New York, Aug 3, 1902; d San Diego, Jan 1, 1983). American composer, arranger, conductor, music director, and pianist. He was musically trained by, and performed with, the Grace Church Choir School in New York from age eight. Deciding on a music career as a teenager, he attended what is now the Juilliard School, where he was a student of pianist Helena Augustin and studied music with Percy Goetschius and A. Madley Richardson. After receiving a diploma in 1921, he enrolled in the postgraduate piano program for two years before furthering his music studies with conductor Clemens Heinrich Krauss in Austria, and with conductor Hugo Rühr and composer Walter Courvoisier in Germany. He supported himself in Europe by playing piano in small jazz combos in nightclubs and coaching opera singers. Returning to New York in 1927, he found work writing, arranging, performing, and conducting music for the National Broadcasting Company. As an NBC radio artist, he was associated with the Cities Service Concerts and served as a vocal coach and arranger for the Cavaliers quartet. For two years in the early 1930s he was a radio station musical director in Schenectady, New York. A brief job at Fox Music Publishing in New York led to his relocating to Hollywood in ...
John C.G. Waterhouse and Virgilio Bernardoni
(b Turin, July 25, 1883; d Rome, March 5, 1947). Italian composer, organizer, pianist and conductor. He was the most influentially innovative figure in Italian music between the two world wars.
After studying with his mother, he showed precocious promise as a pianist, first playing in public in 1894. He also became intensely interested in science, and for a time wavered between two possible careers. Music prevailed and in 1896, following the advice of Martucci and Bazzini, his parents sent him to study at the Paris Conservatoire. The rich musical and cultural life of the French capital (which remained his base for the next 19 years) broadened his horizons and had a lasting influence on him. Before long the focus of his interests shifted from the piano to composing, and in 1900–01 he attended Fauré’s composition classes. His close friends at this time included Enescu and Ravel; and he developed immense enthusiasm not only for the music of Debussy but also for that of the Russian nationalists, Strauss, Mahler and in due course Bartók, Schoenberg and Stravinsky. Revolutionary trends in the visual arts (cubism, futurism, ...
Alice Lawson Aber-Count
(b London, 1784; d after 1835). English violinist, harpist, composer, tenor, conductor and music seller. He studied the violin with Claude Joseph Duboeck, making his début at the age of 9 and performing a concerto at the age of 11. Articled to study with John Ashley in 1796, he became a violinist and assisted in the Oratorio orchestra at Covent Garden and at Ranelagh Gardens. He conducted the bands at the Richmond Theatre (1799), the Birmingham Theatre (1800) and Sadler's Wells (1803/4); he also studied the harp and the piano, which he played brilliantly. He became a member of the Royal Society of Musicians and published four preceptors, for the flute, harp, piano and violin.
In 1807 Challoner was the first tenor at the Harmonic City Concerts, where Mozart's Don Giovanni was first performed in England. From 1809 to 1829 he was the harpist at the Italian Opera in London. An associate of the newly formed Philharmonic Society, he sang principal second tenor at its concerts from ...
[Colón Román jr, William Anthony; ‘El malo’]
(b South Bronx, New York, April 28, 1950). American bandleader, composer, arranger, trombonist, popular singer, producer and actor. Dubbed ‘El malo’ (the ‘bad boy’) of salsa, he began playing the trumpet in 1963 with the teenage band the Dandees. Switching to trombone, he made his professional début at 17 with the album El malo (Fania, 1967). Both as a bandleader and a member of the Fania All-Stars, he quickly moved to the fore of the burgeoning New York salsa scene, cementing the raw, trombone-heavy ‘New York sound’ inspired by earlier artists such as Eddie Palmieri and Mon Rivera. Between 1967 and 1973 he made a series of important recordings with vocalist Hector Lavoe, which included the albums Asalto Navideño I and II (Fania, 1972 and 1973) with cuatro virtuoso Yomo Toro, where traditional Puerto Rican Christmas aguinaldos were fused with salsa. During his second period (...
(b Lisbon, April 22, 1828; d Lisbon, Nov 26, 1880). Portuguese composer, cellist, conductor and administrator of French descent. He had training in the piano, harp and cello from his parents and studied harmony with Santos Pinto. In 1843 he was elected to the Brotherhood of S Cecilia, became a cellist of the S Carlos theatre orchestra and made the first of several successful concert tours to Paris and London. In 1849 he was made a court chamber musician. He went to Paris in 1853 and played for two years in the Opéra orchestra. After his return to Lisbon he organized an important series of popular concerts in the Lisbon casino. In 1861 he became professor of the cello and double bass at the Lisbon Conservatory and was appointed its director two years later. Having published his first compositions when he was 20, he continued to compose, even though later in life he became increasingly involved with the theatre, sharing with Campos Valdez and Guilherme Lima the direction of the Teatro de S Carlos from ...
(b Pozsony [now Bratislava], July 27, 1877; d New York, Feb 9, 1960). Hungarian pianist, composer, conductor, teacher and administrator. Next to Liszt he ranks as the most versatile Hungarian musician, whose influence reached generations in all spheres of musical life. He is considered the first architect of Hungary’s musical culture in the 20th century.
He received his early training in Pozsony. His father, an outstanding amateur cellist, and Károly Forstner, cathedral organist, gave him lessons in piano playing and theory. Despite the absence of professional training, he showed an extraordinary appetite for music and made rapid progress. Having finished at the Gymnasium, he decided to obtain his formal education in music at the Budapest Academy. He was the first Hungarian of significant talent to do so and his example, as well as his personal intervention, induced Bartók (his friend from early schooldays) to follow the same course. Dohnányi studied the piano with Thomán and composition with Koessler, and received his artist’s diploma in ...
Warren M. Sherk
(Louis) [Forbstein, Louis E.]
(b St. Louis, MO, Aug 12, 1902; d Los Angeles, June 17, 1981). American music director, conductor, composer, and violinist. In Kansas City he played violin for the symphony orchestra and in the pit orchestras at the New Royal and Newman theaters. As a teenager he conducted at the New Royal. He took Lou Forbes as his professional name in the mid-1920s, perhaps to avoid confusion with his older brother, Leo F. Forbstein, who pursued a similar career path. For Paramount Publix, Forbes organized and directed theater orchestras and stage bands, for the Palace in Dallas in 1928, the Metropolitan in Houston in 1929, and the Paramount in Atlanta in 1930. His career as a musical director in Hollywood began at Universal Pictures in 1936. After two years he moved to Selznick International Pictures where he was active through 1944. For producer David O. Selznick, Forbes oversaw the production of music for ...
revised by Finn Egeland Hansen
(b Copenhagen, Feb 22, 1817; d Copenhagen, Dec 21, 1890). Danish composer, conductor, violinist, educationist and administrator. For his wide-ranging musical activity Gade ranks as the most important figure in 19th-century Danish music.
He had musical parents, his father being a cabinet maker who about the time of Gade’s birth began to specialize in making musical instruments. Gade showed a pronounced musical talent at an early age, and plans for him to join his father’s business as an apprentice were quickly overtaken by his desire to become a musician. At 15 he began to study the violin with F.T. Wexschall and theory and composition with A.P. Berggreen, a leading figure in the Danish folk-ballad movement. He made his début as a violinist in May 1833, and in the following year he was engaged as a junior violinist in the Royal Orchestra.
During the 1830s Gade developed his talents, playing chamber music with friends from the Royal Orchestra (Beethoven’s string quartets were a particular favourite), and composing feverishly. His early attempts at composition include songs, chamber music, ballet music and orchestral overtures, although the results were inconsistent. Some of the songs were successful, but the overture ...
(b Prague, Czechoslovakia, April 17, 1948). American jazz keyboard player, composer, producer, drummer, and bandleader of Czech birth. His mother, Vlasta Pruchova, was a jazz singer in Prague and his father played bass and vibraphone. He attended the Academy of Musical Arts in Prague and formed the Junior Trio with the bass player Miroslav Vitous and the drummer Alan Vitous, which lasted from 1962 to 1966. After the invasion of Czechoslovakia by the USSR in 1968, he moved to the USA to accept a scholarship to study at the Berklee College of Music. However, he abandoned his studies after a year and a half to work with Sarah Vaughan.
As a member of John McLaughlin’s group the Mahavishnu Orchestra (1971–3), Hammer played electric and acoustic pianos and began using the Minimoog synthesizer (on the album Birds of Fire), quickly becoming a major influence on other keyboard players. Hammer is often cited as having developed a synthesizer style that mimics that of an electric guitar, but he instead credits the influence of Indian and Eastern European music. Several albums on which Hammer performed with Elvin Jones during the early 1970s helped to introduce the synthesizer to more mainstream jazz. ...
Gary W. Kennedy
(b New York, Dec 9, 1954). American record producer, composer, bandleader, and percussionist. He began playing percussion at the age of nine and as a teenager he performed with local Latin bands and with Carla Bley. After studying art at Cooper Union in New York and then independently in the western Sahara, India, Haiti, and Europe, he worked with Chico Freeman. In 1979 he founded the record company and label American Clavé, the first release of which was Jerry Gonzalez’s album Ya yo ma curé; other artists presented by the label include the Argentinian bandoneon player Astor Piazzolla. In 1984 Hanrahan formed the group Conjure, which performs his own compositions and uses lyrics based on the poetry of Ishmael Reed. From the mid-1980s into the 1990s he performed internationally in both small groups and large orchestras, collaborating with, among others, Olu Dara, Lester Bowie, David Murray, Don Pullen, D. D. Jackson, Kenny Kirkland, Billy Bang, Jean-Paul Bourelly, Steve Swallow, Anthony Cox, Jamaaladeen Tacuma, Andy Gonzalez, Jack Bruce, Billy Hart, Ignacio Berroa, Little Jimmy Scott, the Latin percussionist Milton Cardona, the avant-rock guitarist Arto Lindsay, and the blues singer Taj Mahal. Hanrahan usually serves as a conductor, but he also plays guitar and sings. His eclectic style of music blends elements of rock, jazz, blues, and popular song over various rhythmic structures, which are often based on Latin music. He likens his role to that of a film director and has been called “the Jean-Luc Godard of music.”...
Israel J. Katz
(b Orense, Oct 1, 1918). Spanish pianist, composer, conductor, administrator, critic and writer on music. He studied piano and composition with José Cubiles and Conrado del Campo at the Madrid Conservatory, taking diplomas in piano (1935) and composition (1944); later he was a pupil of Marguerite Long, Lazare Lévy and Yves Nat in Paris and of Isidore Philipp in New York, and studied conducting with Luís de Freitas Branco and Louis Fourestier. He has made concert tours of Europe, North Africa and the USA. His professional activities have included the founding (1957) and directing of the Orense Conservatory of Music, giving piano masterclasses and teaching the interpretation of Spanish music at Música en Compostela (from 1958) and organizing the Manuel de Falla seminars and courses at Granada. He created (1962) the Semanas de Música Religiosa at Cuenca and as music adviser to the Instituto de Cultura Hispánica planned music festivals in Spain and the USA in collaboration with the Organization of American States; he has served as secretary-general of the Spanish section of ISCM (whose festivals he organized in ...