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Royalty, Globe, Her Majesty’s and other theatres in London and New York. He wrote numerous parlour pieces for the piano and comic songs, and as a composer of comic operas he was one of the most accomplished contemporaries of Sullivan. Solomon’s melodies are usually in an English ballad or a march style with repeated melodic phrases and simple rhythms. His comic operas, many of which echo Sullivan’s, were all performed in London and include Billee Taylor (Imperial, 30 October 1880 ), Claude Duval (Olympic, 24 August 1881 ), The Vicar of Bray (Globe, 22 July 1882

and finally conductor at the Teatro Principal. Eventually he confined himself to teaching and composition. Despite their settings, dialogue and costumes, his Catalan zarzuelas evince the influence of Italian opera so pervasive in Spain during that epoch. He was a gifted orchestrator and made effective use of colour to project dramatic situations. Works all zarzuelas; first performed in Barcelona unless otherwise stated La romería de Recasens (2), 1867 L’ultim rey de Magnolia (1, S. Pitarra), Romeo, Dec 1868 Els pescadors de

the Metropolitan Opera after half a dozen performances, though G. Schirmer published the work in full score, an unprecedented distinction for an American opera. 3. Instrumental music. Herbert’s instrumental music fell out of favour after his own time, though it has begun to reappear in concert and recordings. The one substantial exception was the Second Cello Concerto, in E minor, first performed by the composer with the New York PO under Anton Seidl in 1894. The work is Lisztian in its thorough-going employment of thematic transformation in all three movements

became a leading light in the musical life of Slovakia. He was head of opera at the newly established Slovak National Theatre, director of the Bratislava radio station and a reader at both the university and the music academy. He also conducted concerts for the Cultural Union for Slovakia. His work at the National Theatre included giving the premières of Bella’s Wieland der Schmied ( 1926 ) and Figuš’s Detvan ( 1928 ). In 1930 he committed suicide by jumping from an upper window of the Zagreb Opera House. As a composer Nedbal achieved world renown for his operettas

Mangelsdorff (with whom he also occasionally performed in the German All Stars), and, from 1986 , collaborated with the songwriter Konstantin Wecker. In his early work Dauner’s piano playing showed traces of Bill Evans (ii) and Paul Bley, but he soon developed an individual virtuoso style combining intense free improvisation with lyrical and meditative passages. His compositions in the mid- to late 1960s made use of jazz and contemporary art music, and often incorporated elements of theatre, opera, and dance; Free Action (originally performed at the Berliner Jazztage

still largely awaits decipherment. Works ( * Collaborative works with Billy Strayhorn. For the nature and extent of such collaboration, see van de Leur, 2002. ) theatrical Operas Boola (Ellington, inc.), 1939 Shout up a Morning, musical drama (P. Farrow, unproduced), 1970 Queenie Pie, street opera (Ellington, inc., compl. M. Ellington, M. Peress), Philadelphia, 1986 Musical comedies Harlem is Heaven (unproduced), 1937 H.M.S. Times Square (unproduced), 1943–5

flute in orchestras in Harrogate, then at Bournemouth under Dan Godfrey. He subsequently conducted at various London theatres (among them the Adelphi, Terry's, Daly's and Drury Lane), for over 30 years. He toured the USA with Messager's Véronique and recorded excerpts from the Savoy operas. He also composed musicals of his own, but these have survived less well than the splendidly scored orchestral works produced for Boosey & Hawkes, both original pieces and arrangements, for whom he was a staff composer. His compositions include suites and separate movements, many

recorded her first work for large ensemble, A Genuine Tong Funeral (RCA). Two years later Charlie Haden commissioned her to arrange music for his album Liberation Music Orchestra ( 1969 , Imp.), and she subsequently arranged for all of the group’s future albums. The first performance of her best-known work, the genre-bending avant-garde jazz opera Escalator over the Hill ( 1971 , with lyrics by Paul Haines), featured a huge cast that included Jack Bruce, Linda Ronstadt, Don Cherry, and John McLaughlin. In 1964 Bley helped to organize the Jazz Composer’s Guild. The

Verità (pocket op), Milan, 1967 Un quarto di vita (opera da strada, 2, Gaslini), Parma, 1968 Drakòn ballet, Palermo, 1969 Colloquio con Malcolm X (azione musicale, E. Capriolo), Genoa, 1970 Contagio, ballet, Milan, 1971 Mister O (jazz melodrama, V. Franchini), Verona, 1996 Carmen Graffiti, ballet, Milan, 1997 Orchestral Serenata, double chbr orch, 1953 Canto della città inquieta da ‘Totale’, orch, tape, 1965 Totale II, 1967 Sinfonia per un nuovo giorno, 1970 Jazz ens Tempo e relazione, 1957 Oltre, 1963 Dall’alba all’alba, 1964 Nuovi sentimenti, 1966 La stagione incantata