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Article

Philip L. Scowcroft

pseudonyms Paul Aubry, Robert Harrington, H.S. Iseledon, Georges Latour and Ch.G. Mustal. His work is discussed in P.L. Scowcroft: British Light Music: a Personal Gallery of Twentieth Century Composers (London, 1997 ). Works ( selective list ) unless otherwise stated, all theatres in London all works published under the name of Clutsam Stage The Queen's Jester (op), 1904 A Summer Night (op, 1, Clutsam), His Majesty's, 23 July 1910 [after story from the Heptameron ] After a Thousand Years (op, 1), Tivoli, 1912 König Harlekin (music masque, 4, R. Lothar), Berlin

Article

Jeff Pressing, John Whiteoak and Roger T. Dean

Selected recordings (recorded for Cherry Pie unless otherwise indicated) Duos with D. Burrows This Time Tassie (1979, 70201-2) As sideman D. Burrows: The Don Burrows Quartet at the Sydney Opera House (1974, 1017) J. Sangster: Australia and All that Jazz, ii (1976, CPF 1027) S. Grappelli: Steph’ n’ Us (1977, 1032) Bibliography A. Bisset : Black Roots, White Flowers: a History of Jazz in Australia (Sydney, 1979, rev. 2/1987) B. Johnson : The Oxford Companion

Article

David Flanagan

as trombonist and arranger for Georgie Auld, Buddy Rich, and Benny Goodman (all 1949 ) and Charlie Ventura and Teddy Powell ( c 1950 ). He then joined the staff of WMGM in New York to write music for radio and television and undertook similar work for Ray Ventura in Paris, where he also recorded an album as the leader of a small group ( Jazz on the Left Bank , 1956 , Phi. B081124). Later he returned to Europe as a member of Quincy Jones’s orchestra and played for Harold Arlen’s blues opera Free and Easy ( 1959–60 ). From 1960 to 1965 Byers was Jones’s assistant

Article

John Snelson

Ellis, Vivian ( John Herman ) ( b Hampstead , Oct 29, 1903 ; d London , June 19, 1996 ). English composer , lyricist and pianist . His grandmother Julia Woolf ( 1831–93 ) was a pianist and composer, publishing piano pieces, songs and the comic opera Carina ( 1888 ), and his mother was a violin pupil of Ysaÿe. He won a music scholarship to Cheltenham College and later studied the piano with Myra Hess at the RAM; his recordings of piano medleys of his own work, especially that from Streamline ( 1934 ), reveal a strong technique. Inspired by the music

Article

Andrew Lamb

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

Article

S. Timothy Maloney

Hades. In the same year he performed on a John Coltrane tribute album with the David Murray Octet and collaborated on Murray and Bob Weir’s opera Satchel Paige . He has also written two operas, Quebecité and Trudeau: Long March/Shining Path , which premiered in Canada in 2003 and 2006 , respectively, and the musical comedy Depressed, Depressed , which was first performed in Chicago in 2006 . He wrote the music for all 26 episodes of “The Ocean Room,” a Canadian children’s television show, and has also composed for “The Wonder Pets,” another children’s show

Article

Walter Aaron Clark

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

Article

Marcello Piras

He was a professional at 13 and was considered the best pianist in town at 15. He was much in demand in the red-light district because of his musical memory and vast repertoire, embracing classical, light classical, opera, cake-walk (which he danced while playing), popular songs from the United States, Europe, and Latin America, blues, and, above all, ragtime. He could read and improvise, sing in a powerful operatic style in any range from baritone to soprano, and even adopt blues inflections. His attire was widely imitated. Jelly Roll Morton considered him a great

Article

Steven Ledbetter

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

Article

Lars Westin

theatre and eventually for string quartet and other chamber ensembles; his opera Balagantjyk received its première in Stockholm in 1985 , and his requiem, För levande och döda (For the living and the dead), based on poetry by Tomas Tranströmer, was performed in several Swedish cathedrals in the 1990s. He was much in demand as a teacher in colleges in Stockholm, Malmö, and elsewhere; his mission, as he put it, was “to re-establish the musical climate from the era of Bach and before, when all professional musicians were improvisers and composers as well as interpreters

Article

Charles K. Wolfe

revised by Linda J. Daniel

music singer-songwriter and guitarist . He was born in a small Texas community where his family farmed cotton and vegetables. Later they moved to Dallas. His mother eventually remarried, Price spending the school year in the city and summers working on the farm with his father. His opera-loving stepfather encouraged him to study classical voice which he did for six years during his early teens. While in college, he began to sing at Roy’s House Café in Dallas. Price made his first record for Bullet at Jim Beck’s Dallas studio in 1950 and appeared regularly on the

Article

Barry Jean Ancelet

Special” for Opera Records, in French and in a style that harked back to the traditional sounds of earlier in the century. The record was surprisingly popular, especially among Cajuns who were increasingly concerned about drifting away from their cultural and linguistic heritage. He recorded all of his subsequent records with Eddie Shuler of Goldband Records of Lake Charles, Louisiana. He became a mainstay on the Cajun dance circuit, and though he recorded only a couple of dozen more sides before he died in an automobile accident, they are virtually all still being

Article

Val Wilmer

Hutchinson, and Cab Kaye. After moving to Paris he worked with George Johnson, Peanuts Holland, Don Byas, Pierre Michelot, and Kenny Clarke; he also toured with Bill Coleman ( 1953–4 , 1956 ). Wilson toured Italy with the European All-Stars (a sextet including Reece, Guy Lafitte, and Wallace Bishop), and on the French Riviera he joined the opera orchestra of the dancer Katherine Dunham. Based in Germany from 1957 to 1959 , he was featured on stage and radio there, in Belgium, and in the Netherlands. As a leader he played in Poland, and in Vienna he introduced cool jazz

Article

Oldřich Pukl

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

Article

Joachim E. Berendt

revised by Wolfram Knauer

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

Article

Andrew Lamb

W(illiam) ( b Wolverhampton , July 30, 1875 ; d Stoke-on-Trent , Feb 5, 1922 ). English composer and accompanist , elder brother of the soprano Maggie Teyte. He gained varied theatrical experience as an actor, in management, and as musical director for the Carl Rosa Opera Company and at Wyndham's Theatre. In 1902 he married the music hall singer Lottie [Charlotte Louisa] Collins ( 1865–1910 ) for whom he conducted; in 1912 he married another singer, Clarice Mayne (Clarice Mabel Dulley, 1886–1966 ), with whom he formed a highly successful music-hall

Article

Marcello Piras

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

Article

your beau to the seashore, You built a fire down in my heart, The Ragtime College Girl, The Fascinating Widow] The Wall Street Girl (B.H. Burt), New York, 15 April 1912 [incl. The Deedle Dum Dee, I want a regular man, On the Quiet] Bibliography W. McSpadden : Light Opera and Musical Comedy (New York, 1936) S. Spaeth : A History of Popular Music in America (New York, 1948) D. Ewen : Popular American Composers (New York, 1962; suppl. 1972) N. Lincke : ‘Singspiel – Operette – Musical: die heitere Muse in Böhmen/Mähren/Schlesien’, Die musikalischen

Article

Lars Helgert

Hemphill, Anthony Braxton, Chico Hamilton, Muhal Richard Abrams, Anthony Davis, John Carter, James Newton, and his own groups such as the Dark Woods Ensemble, Traveler’s Tales, and the Marty Ehrlich Quartet. Ehrlich has also performed as a classical musician with the New York City Opera and the New York City Ballet, and he gave the premiere of David Lang’s The Passing Measures (for solo bass clarinet, chorus, and orchestra, 1998 ) with the Birmingham SO and David Schiff’s Singing in the Dark (for alto saxophone and string quartet, 2002 ) with the Miami String

Article

Philip L. Scowcroft

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