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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

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Alfred Loewenberg and Andrew Lamb

almost certainly Genée wrote the lyrics, as usual. Genée also wrote many partsongs, among which one for male voices, Italienischer Salat , is most amusing in its satire on the older style of Italian operas, being sung to nonsense words. His brother Rudolf ( b Berlin, 12 Dec 1824 ; d Berlin, 19 Jan 1914 ) also wrote some librettos. Works ( selective list ) all stage works, in order of first performance; for more detailed list and for list of librettos see GroveO Polyphem [Ein Abenteuer auf Martinique] (komische Oper), 1856 Der

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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

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Lester Trimble and 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

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turned to teaching and composing to supplement his income. In 1767 Bach left Berlin to replace Telemann in Hamburg, and Fasch was promoted to first accompanist at the Prussian court. In 1774 , after the death of J.F. Agricola, he was given the responsibility for conducting the royal opera; he held this position until the spring of 1776 , soon after J.F. Reichardt was appointed Kapellmeister. After the Bavarian War of Succession in 1779 the king rarely saw his musicians, and after he died in 1786 Fasch was retained even though the new king was not particularly

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performances of Die Zauberflöte , Don Giovanni and Così fan tutte . His own greatest success as opera composer came with Die Geisterinsel to Gotter’s adaptation of Shakespeare’s The Tempest . His name became widely known through the numerous ballads and lieder published from 1791 onwards, mostly by Breitkopf & Härtel in Leipzig. Zumsteeg himself was able to publish only part of the seven volumes of Kleine Balladen und Lieder , comprising 170 settings in all, before his death of a heart attack. Although Zumsteeg composed a number of instrumental works, vocal

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Black, el payaso (opereta), 1942 Don Manolito (sainete madrileño), 1943 La eterna canción (sainete madrileño), 1945 Los burladores (zar), 1948 Entre Sevilla y Triana (sainete andaluz), 1950 La opera del mogollón (zar bufa), 1954 Brindis (revista), 1955 Las de Caín (comedia musical), 1958, collab. P. Sorozábal jr; Juan José (drama lírico popular), unperf. Arrs. (all perf. Madrid) H. Berté: Die Dreimäderlhaus (after Schubert), 1935 Albéniz: San Antonio de la Florida Fuencarral, 1954 F.A. Barbieri: Pan y toros, 1960 Albéniz: Pepita Jiménez, 1964

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Zofia Chechlińska

Polish composers. From 1905 to 1908 he was director and conductor of the Warsaw PO, and from 1907 was also director of the opera. He occasionally directed choirs. Throughout his life he wrote music criticism for the daily press and for journals. In his concert reviews he also drew attention to more general musical problems. Noskowski was one of the most important Polish composers of the second half of the 19th century. He composed all types of music, including popular works intended for a wide public and pieces for children. His large output was uneven in quality

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Warren A. Bebbington and Larry Sitsky

College, Sydney, 1962–3 . In 1973 he won a Churchill Fellowship for further study, and he took the University of London DMus the following year. He was head of academic studies at the Canberra School of Music ( 1967–84 ) and musical director of the Canberra Choral Society and Canberra Opera, and composer-in-residence with the Tasmanian SO, 1990–91 . Soon after, Hollier made a decision to distance himself from Australian musical life, and went to live abroad, in Greece and Wales for an extended time, only returning to Australia in the 2000s. He currently lives in New South

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Guy Bourligueux

Subiza ( 1870 ), which had 300 performances in one year. The jota he wrote for Lombía’s play El sitio de Zaragoza has remained a popular favourite. After 1867 he conducted Italian opera in Madrid, in 1870 becoming director of the Teatro Real, where he died suddenly during a rehearsal of Mignon . Works complete list of stage works in Peña y Goñi 88 zars, all first performed in Madrid, incl. La venta del puerto, o Juanillo el contrabandista (1, M. Fernández), Príncipe, 16 Jan 1847 La pradera del Canal (1, Azcona), Cruz, 1847, collab. S

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E. Eugene Helm and Darrell Berg

of Amor e Psiche , he wrote to his attendant Pöllnitz: ‘You will tell Agricola that he must change all of Coli’s arias – they are worthless – as well as those of Romani, along with the recitatives, which are deplorable from one end to the other’. An effort of 1772 entitled Oreste e Pilade , ordered by Frederick as entertainment for a visit by the Queen of Sweden and the Duchess of Brunswick, proved to be so far from what Frederick wanted that the entire opera had to be rewritten and retitled I greci in Tauride . As a performer-teacher, and in aspects of composition

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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

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Nicholas Temperley

into an Anglican service. These lavish choral services, which were really in the nature of sacred concerts, were continued by Barnby on a still more ambitious scale when he moved to St Anne’s, Soho, in 1871 . The services at this church soon gained the popular nickname of ‘The Sunday Opera’. From 1873 onwards Barnby conducted an annual performance of Bach’s St John Passion with orchestra in the church. Meanwhile Barnby had been extremely active elsewhere in the cause of choral music. He had been musical adviser to Novello & Co. since 1861 , and in 1867 the company

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Warren M. Sherk

head of the composition department. He spent the next three years teaching privately in Vienna and Leipzig, where he studied with composers Max Reger and Hans Sitt. Back in the United States, he lived in Georgia from 1912 to 1916 , directing the Atlanta Philharmonic, conducting light opera, and teaching at Brenau College in Gainesville. After moving to New York, he taught at the Malkin School of Music and contributed music to a National Academy of Music university course. He spent 1919 in Great Britain and France, conducting vaudeville shows in Paris. After he settled

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John Warrack and Rosemary Williamson

spirit of the German; its most crucial fault is that what is archaic in German sounds merely quaint in English. Of Corder’s own operas, only Nordisa met with any success, being widely performed after its première on 26 January 1887 by the Carl Rosa Opera Company at the Royal Court Theatre, Liverpool. But after the death of Carl Rosa, Corder was forced to abandon his hopes of a career as a composer for an established English opera, and turned to teaching. From 1888 he was a professor of composition at the RAM (curator, 1889 ), and there taught many composers

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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,

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Edward F. Rimbault and Alfred Loewenberg

Macfarren), Surrey, 17 May 1828 collab. A. Lee Mischief-Making (interlude, J.B. Buckstone), Surrey, 16 Sept 1828 † My Old Woman (comic op, Macfarren, after Scribe, Delavigne: La vieille), Surrey, 14 Jan 1829, lib pubd after Fétis’s opera Black-Eyed Susan, or All in the Downs (musical play, D. Jerrold), Surrey, 8 June 1829 (1829), lib pubd The House of Aspen (play, incidental music, W. Scott), Surrey, 17 Nov 1829, lib pubd Paul Clifford (musical drama, E. Fitzball, after Bulwer-Lytton), CG, 28 Oct 1835,

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George J. Ferencz

education are obscure, though an honorary doctorate was awarded by Bethany College (Kansas) in 1935 . Pietro Floridia was his principal teacher of composition and orchestration. A fine clarinettist, Shilkret played with the Russian SO, as well as New York's SO, PO and Metropolitan Opera orchestra. He also performed in bands led by Sousa, Pryor and Goldman. Freelance recording engagements led to employment at the Victor Talking Machine Corporation (later RCA Victor) before 1920 . He is best known for his work at Victor where, as Director of Light Music, he conducted

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Sarah Cahill

approached Adams about writing an opera on the improbable subject of Richard Nixon’s momentous six-day visit to China to meet Mao Zedong in 1972 . Given its première by the Houston Grand Opera in October 1987 , Nixon in China was performed over 70 times in the following few years. The opera was televised by PBS and received both an Emmy and a Grammy award. The Nonesuch recording was named ‘one of the ten most important recordings of the decade’ by Time magazine. Between 1989 and 1991 Adams and Alice Goodman created a second opera on a contemporary event, the

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Anna Levy, Gregory Myers and Milena Bozhikova

felt among Bulgarian composers. His monographs Lyubomir Pipkov and Slovo i delo (‘Word and deed’) were published in Sofia in 1958 and 1997 , respectively. Works ( selective list ) Vocal and dramatic Operas Boyanskiyat maystor [Boyana’s Master] (4, M. Hadzhimishev, after S. Zagorchinov), 1962, Sofia, National Opera, 3 Oct 1962 Elenovo tzarstvo [The Kingdom of the Deer] (3, Iliev), 1973, Ruse, 1976 Choral Chudnoto khoro [The Miraculous Dance] (suite), female chorus, ww qnt, pf, 1956 Selska pesen [Peasant Song] (cant.), 1965 Zeleni