1-4 of 4 results  for:

  • All: Opera for all x
  • Composer or Arranger x
  • Instrumentalist x
Clear all


Ned Quist

revised by Linda L. Giedl

three years of intensive work, he submitted his doctoral dissertation (Die italienische Sonate für mehrere Instrumente im 17ten Jahrhundert, diss., U. of Heidelberg, 1932 ). Later that year he was engaged as a coach and conducting assistant to Hans Schmidt-Isserstedt at the Darmstadt Opera. Beaten with guns by Adolf Hitler’s Stormtroopers in early 1933 , Schlossberg left Germany for Paris. Taking the name Jean Berger in 1934 , he became a sought-after concert accompanist and vocal coach, founded and conducted a small chorus (Les Compagnons de la Marjolaine) and a


Giselher Schubert

some of the best conductors of the day, among them Willem Mengelberg, Wilhelm Furtwängler, Fritz Busch and Hermann Scherchen, men who would later champion his compositions. The principal conductor, Ludwig Rottenberg, conducted the German premières of operas by Debussy, Dukas and Bartók and promoted Schreker’s operas above all. (Hindemith married his youngest daughter, Gertrud, in 1924 .) In 1915 Hindemith became the second violinist in Rebner’s string quartet. He also appeared as a violin soloist playing concertos by Haydn, Mozart, Beethoven and Mendelssohn. In 1923


Keith Moore

incorporating a rock group and requiring three conductors. From 1976 he focussed on assimilating the entire American musical tradition, including hymn tunes, marches and ragtime, and with Americana, or, A New Tale of the Genii he began his most ambitious project yet: a cycle of three operas, each encompassing a century of America’s musical heritage. Later works such as Arabesques Redux and The Blue Box use modes taken from jazz and non-Western traditional musics. Works ( selective list ) Dramatic Pyramus and Thisbe (chbr


Gerald R. Benjamin

composers and thought that the development of the ‘13th sound’ revolution would in itself be sufficient to give universal renown to Mexico. Out of it would result a new order, less complex though providing for complexity, less constrained though providing for restraint. Works Operas Without microtones La princesse Oïna (Ossian) (1, H. Albert), 1902 México en 1810 (Matilde) (4, L. Viramontes), 1909 Xulitl (3, C. d’Erzel), 1921, rev. 1947 Orchestral With microtones Sym. no.1 ‘Colombia’, c 1926 Serenata, ¼-tone vc, orch, 1926 Sym. no