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Leonard B. Smith and Raoul F. Camus

Caprice (1934) Democracy (1934) Hungarian Fantasy (1934) Valse caprice (1934) Yankee Rhythm (1934) Nutty Noodles (1935) Opera in the Barnyard (1935) Pleasant Recollections (1935) The Roosters Lay Eggs in Kansas (1936) Yea, Drummer (1936) Assembly Selection (1937) Coming Home (1937) Robin Hood Fantasy (1939) Naida, cornet, band (1940) Golden Century Ov. (1941) Little Red Riding Hood (1944) In the Land of Shangri-La (1946) Kreutzer in Waukegan (1950) All Out for America (1951) Sweetheart, 3 tpt, 3 trbn, band (1982) many arrs., incl. works by Bizet, Grieg, Herbert, Massenet


Albert Mell and Matthias Wiegandt

embrace nearly all genres, though few are of lasting interest. Notable are some of his stage works, the Third Symphony op.31, the Oboe Concerto op.33, some overtures and piano pieces, in particular the Piano Sonata op.17, the Flute Sonata op.42 and some of his songs. In matters of form as well as instrumentation Rietz followed Mendelssohn, and he remained unaffected by the orchestral and musico-dramatic innovations of the school of Wagner and Liszt. In his last years Rietz was again active as an editor. He prepared the scores of a number of Mozart operas, which were later


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


Michael Fend

to the fore in the thematic development of the final movement. In a similarly experimental fashion, in Quartet no.6 the openings of all the previous movements are quoted in the finale. In Quartet no.1, his most popular quartet, movements are linked thematically and by emphasizing contrapuntal technique; its Scherzo is a ‘Spanish’ genre piece with refined texture and colourful instrumentation. Cherubini's overtures to his French operas became popular concert overtures in their own right during the 19th century. He quickly replaced the Italian overture of Ifigenia in


John W. Wagner

until 1811 , his longest period of residence at one address being from 1801 to 1810 at 59 Maiden Lane. From 1792 until the end of March 1808 , he was conductor of the orchestra at the Park Street Theatre, where his duties included arranging and composing music for many ballad operas and other musical productions. He also operated his own ‘musical repository’, where he gave lessons and sold musical instruments and music composed by himself and others. Although his musical activities in Boston began as early as 1805 , the family did not move there until 1811


Norbert Carnovale and Richard Dyer

Steuermann, both of whom became his friends and mentors, through his wife, Marjorie Black, a singer and pianist. Schoenberg’s theories, life, and work were particularly influential to Schuller throughout his subsequent career. From 1945 to 1959 Schuller played in the Metropolitan Opera Orchestra, spending nine seasons as principal and working with many prominent conductors. During this period, he pursued his interest in jazz, sparked by an Ellington concert he had heard in Cincinnati. He listened to recordings obsessively and comprehensively, notating path-breaking