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Article

Arend Koole

revised by Paul van Reijen

leading figure in the development of musical life in Amsterdam. He conducted performances at the theatre there of operas including Paul Wranitzky’s Oberon and Dittersdorf’s Der Apotheker und der Doktor and Das rothe Käppchen (all 1796 ) and Mozart’s Die Entführung aus dem Serail ( 1797 ) and Die Zauberflöte ( 1799 ), probably adapting and in some cases translating them himself. He also translated, and inserted his own music into, many French opéras comiques , including Grétry’s Les deux avares (as ‘De twee gierigaards’, 1787 ) and Richard Coeur-de-lion

Article

Fabio Fano

revised by Roberta Costa

MGG1 ( R. Allorto ) A. D’Angeli : ‘L’opera musicale di Guido Alberto Fano’, Cronaca musicale , 13 (1909), 256–60 I. Valetta : ‘Rassegna musicale: i concerti al Corea’, Nuova Antologia , 44 (1909), 331–2 F. Fano : ‘Di una corrispondenza di Guido M. Gatti con Guido Alberto Fano con notizie e considerazioni connesse’, Quadrivium , 14 (1973), 45–64 F. Fano : ‘La figura di Guido Alberto Fano’, Rassegna musicale Curci , 28/2–3 (1975), 41–4 V. Fano : ‘Come far uscire la fanciulla dal pozzo – Vicissitudini di un’opera: Juturna di Guido Alberto Fano ed Ettore

Article

Kurt Stephenson

as a music teacher (from 1885 at the Conservatory), as a choir director and as conductor of the Altona Singakademie and the Hamburg Liedertafel. Being in contact with the Classical–Romantic tradition and under the spell of the works of Brahms, Krug composed vocal music of all genres except opera, mostly with chorus or for chorus a cappella . He was also a versatile instrumental composer; with his String Sextet op.68 he participated in the attempt by the violin maker Alfred Stelzner to enrich the string family with a violotta, an instrument whose register lay between

Article

Romeo Ghircoiaşiu

revised by Laura Otilia Vasiliu

stage as an opera. His symphonic overture Ştefan cel Mare (‘Stefan the Great’) is one of the first Romanian pieces of programme music. As a forerunner of the school of Romanian piano music, he wrote miniatures in a Romantic style, a rhapsody, and fantasies on folk themes, and many dances collected in different regions of the country. His five vaudevilles and his operetta Millo director , all based on comedies by Vasile Alecsandri, were performed by amateur theatre companies. His choruses and songs for schools, salons, and musical societies were all composed according

Article

John C.G. Waterhouse and Folco Perrino

minore di G. Martucci’, RMI , 3 (1896), 128–66 L. Torchi : ‘La seconda sinfonia (in fa maggiore) di Giuseppe Martucci’, RMI , 12 (1905), 151–209 L. Perrachio : ‘L'opera pianistica di Martucci’, Il pianoforte , 3 (1922), 72–81 G. Piccioli : Il ‘concerto’ per pianoforte e orchestra (Como, 1936, 3/1954), 193–9 F. Perrino : ‘Premessa e considerazioni all'articolo di Luigi Perrachio su l'opera pianistica di Giuseppe Martucci’, Musicalbrandé , 9/36 (1967), 10–11 F. Perrino : ‘Il Concerto in si bemolle minore op.66 per pianoforte e orchestra di Martucci’,

Article

Steven Ledbetter and Victor Fell Yellin

career commentators noted ‘American’ traits in his music, as in the String Quartet no.2 and the scherzos of his first two symphonies. Some works, such as the lyric drama Judith , show an interest in French sonorities, while The Padrone , for all its evocation of American urban life, draws on the techniques of verismo opera. In the scherzo of the Second Symphony he uses a pentatonic melody resembling black American song nine years before Dvořák included the better-known example in his Symphony no.9 (‘From the New World’). Most movements of Chadwick’s symphony use

Article

Peter Branscombe

1782 (Lipowsky) he married the singer Johanna Roithner (who later sang at the Munich Opera until at least 1811 ). The couple were at Brünn (now Brno) in 1783 as members of Waizhofer's company, and in 1785 they moved on to Linz, where Lasser directed the company in the 1786–7 season. In 1788 , after a brief season as director at Eszterháza, he rejoined Waizhofer, then at Graz. In 1791 the Lassers went to Munich, where he distinguished himself at court by singing arias in all four registers, and by playing a violin concerto. Apart from a successful guest appearance

Article

Christopher Fifield

and the Klavier-Schule Klindworth in Berlin, or guest conducting at the Berlin and Hamburg opera houses. His precarious mental state began to decline in the 1890s and he entered a private institution in 1893 . Ill-health persuaded him the following year to seek the warmth and dry air of Egypt, but he died in a Cairo hotel. Eduard Dannreuther described Bülow’s pianism as possessing a ‘passionate intellectuality’ (his detractors preferred to omit the word ‘passionate’) with ‘all effects analysed and calculated with the utmost subtlety, and yet the whole left an impression

Article

Gérard Streletski

of his teachers, particularly Halévy and Berton. However, it was above all his talents as an orchestrator that were recognized by his contemporaries; Gounod and Berlioz in particular paid tribute to his skill. Works MSS at F-Pn, printed works published in Paris Sacred 3 requiems op.7, 1843 (n.d.) op.28 no.1, 1877 op.28 no.2, 1870 Choeurs religieux, hymnes, op.18 (1847) O salutaris, op.14a, 1847 (n.d.) Prière pour la paix, op.28 no.6 (1870) Dramatic Operas Samson, 1837, lost Lionel Foscari (1), 1841, F-Pn *; Le violon enchanté

Article

David Charlton

revised by Hervé Audéon

intelligence with which Citizen Grasset conducts the orchestra, which itself is made up of the most skilful artists to be found in Paris’ ( Courrier des spectacles , 29 March 1798 ). He entered the Opéra orchestra in about 1799 and was professor at the Paris Conservatoire from 1800 to 1816 . In 1804 Grasset was appointed conductor of the Théâtre Italien (or Opera Buffa); he held this position until 1830 . His direction and solo performances were popular, enabling him to survive several changes of management. Meanwhile he undertook other conducting engagements

Article

Lester Trimble

revised by Severine Neff

Conferences. In addition Luening was a co-founder of ACA ( 1938 ) and the American Music Center ( 1939 ). In 1944 Luening was appointed director of opera productions at Columbia University, where he developed a graduate seminar in composition, and professor at Barnard College. During his tenure at Columbia he conducted the world premières of Menotti’s opera The Medium , Thomson’s The Mother of Us All , and his own opera Evangeline . Luening was a founder of CRI ( 1954 ) and a trustee of the American Academy in Rome ( 1953–70 ), where he was also composer-in-residence

Article

Romantic symphonies and overtures. The conductor of three Roman Catholic church choirs, he introduced Haydn masses into church services; with the Toonkunst choir he performed oratorios from Handel to Schumann as well as 16th- and 17th-century works. After the success in the 1830s of his operas Saffo and Le bandit , and of Rossini’s Guillaume Tell , he was appointed music director of the Hollandsche Schouwburg in 1840–41 . He served as president of Toonkunst ( 1849–50 ) and from 1853 until his death directed the Amsterdam section’s newly founded music school. Van Bree’s

Article

Clive Brown

virtually a mirror image of his symphonic activity: between 1811 and 1832 he wrote just three symphonies, all in a Classical format, but in the 1830s and 40s he composed six more, all but one with explicit or implicit programmes. The two patterns are not unconnected, for in the climate of the 1830s and 40s, unpropitious for German opera, the programme symphony and oratorio provided an outlet for the dramatic energies Spohr had earlier expended on opera. The Mozartian influences that, despite a scherzo of Beethovenian scale, dominate the First Symphony gave way

Article

Deanne Arkus Klein

music director of the Opéra-Comique in 1816 , and lived in Versailles until his death in 1829 . Blasius had two brothers who became noted musicians: Pierre Blasius ( b Lauterbourg, 2 Sept 1752 ), a violinist, and Ignace Blasius ( b Lauterbourg, 11 April 1755 ), a bassoonist. Both were members of the National Guard Band, and taught at the Institut National de Musique and the succeeding Conservatoire. Works printed works published in Paris unless otherwise stated; thematic catalogue in Rau (1974) and McCormick (1983) Theatrical all first performed in Paris

Article

Jorge Luis Acevedo Vargas

Milagro de amor ( 1955 ) and the opera María ( 1976 ), both emphasizing local manners and customs. In 1971 his Cantata de la Independencia earned him second prize at the celebrations of the 150th anniversary of Central American independence, and in 1979 he won the competition for the Latin American Parliamentary Hymn with lyrics by another Costa Rican, Efraín Nuñez Madriz. In 1982 he won the Aquileo J. Echevarría prize for his Marcha de Pontifical Monseñor Antonio Troyo . Works ( selective list ) Stage (all perf. at San José, Nacional,

Article

Walter G. Simmons

Fulbright Fellowship to continue his studies at the Accademia di S Cecilia, Rome ( Diploma di studi superiori 1956 ). From 1950 to 1977 he was professor of composition and conducting at the Manhattan School. He was also active as a conductor at the Chicago Lyric Opera ( 1961 ) and the New York City Opera ( 1967 ), and appeared frequently as a pianist. His many recordings with the Rome SO and the Rome Chamber Orchestra span a broad repertory. Flagello’s own music represents a distillation and intensification of European post-Romanticism, tempered by an American concision

Article

Rolf Haglund

and later also with Bäck, Blomdahl, Fortner, Krenek and Jelinek. He studied conducting with Tor Mann and Swarowsky and the piano with Carl Tillius, Olof Wibergh and Gottfrid Boon. He was conductor at the Riksteater ( 1958–60 ), the Stora Teater in Göteborg ( 1962–5 ), the Stockholm Opera ( 1967–8 ) and the Örebro Orchestra Foundation ( 1968–74 ); he has also been a guest conductor with most Swedish orchestras. He taught at the College of Speech and Drama in Göteborg ( 1963–7 ) and its equivalent in Stockholm, now the Operahögskola, from 1968 to 1970 , and from 1974

Article

Peter Branscombe

es Musiktheater im späten 18. Jahrhundert: Typologie, Dramaturgie und Anthropologie einer populären Gattung (Tübingen, 1998) D. Link : The National Court Theatre in Mozart’s Vienna: Sources and Documents, 1783–1792 (Oxford, 1998) See also from The New Grove Dictionary of Opera : Bergknappen, Die ; and Schöne Schusterinn, Die .

Article

although he retained the post until his death. Although Kranz composed music for several plays, as well as keyboard variations and violin concertos (all in a Classical style), he was most significant as a conductor and director. Under his leadership the Weimar Hofkapelle became one of the best in Germany, and his contributions to the court theatres, in collaboration with Goethe, were equally valuable. Works all stage works first performed in Weimar unless otherwise stated Inkle und Yarico (ballet), ?1772, scenario pubd Incid music in plays Der Gross-Cophta

Article

Barbara A. Petersen

revised by Don C. Gillespie

Amram began a long association with Joseph Papp, producer for the New York Shakespeare Festival, who commissioned incidental music for Titus Andronicus ; during the period 1956–67 Amram composed scores for 25 Shakespeare productions at the festival, and in 1968 completed his comic opera Twelfth Night . Among his many subsequent commissions for television, jazz bands, films and the theatre is the incidental music for Archibald MacLeish's J.B. , which won a Pulitzer Prize in 1959 . Amram formed friendships with Jack Kerouac and Allen Ginsberg and other writers of