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T. Brown

Canada, and from 1936 he pursued a freelance career. In 1947 he was appointed music adviser to the CBC and organized the CBC Opera Company. As CBC director of music from 1952 his principal responsibility was the CBC SO (formed in 1952 , disbanded in 1964 ), which became one of the foremost in Canada. The orchestra performed numerous works by Canadian composers, including many commissions, and introduced new works by composers from all over the world. In its time it was the only symphony orchestra in North America supported solely by a broadcasting organization


Warren M. Sherk

music lessons at age seven after his grandfather gave him a violin. Studies include violin with Solomon Elin, piano and harmony with E.J. Falk, and, later, composition with Pietro Floridia. From 1907 to 1917 he performed with the Volpe SO, Sam Franko Quartette, Russian SO, Boston Opera Orchestra, New York City SO, and New York PO. Embarking on a career as a music director and conductor in motion picture theaters, he was in New York at the Rialto for three years and the Capitol for one. In 1921 he relocated to Chicago where he served as the general music director


John C.G. Waterhouse and Virgilio Bernardoni

fiaba, prol., 3, C.V. Lodovici, after C. Gozzi), op.50, 1928–31, Rome, Opera, 17 March 1932 La favola d’Orfeo (chbr op, 1, C. Pavolini, after A. Poliziano), op.51, 1932, Venice, Goldoni, 6 Sept 1932 Il deserto tentato (mistero, 1, Pavolini), op.60, 1936–7, Florence, Comunale, 19 May 1937 La camera dei disegni (Balletto per Fulvia) (ballet), op.64, Rome, Arti, 28 Nov 1940 [partly after 11 pezzi infantili, op.35, pf] La rosa del sogno (ballet, 1), op.66, Rome, Opera, 16 March 1943 [partly after Paganiniana, op.65, orch] Other


Marisol Negrónh

released by the newly formed Fania Records. Affectionately nicknamed “ El judío maravilloso ” (the marvelous Jew) by fellow musicians, he became a member and producer of the original Fania All-Stars, an ensemble band that achieved international acclaim for its live concerts. In 1973 Harlow brought Latin music to Carnegie Hall with the opera Hommy (inspired by the Who’s rock opera Tommy ), and in 1974 he released Salsa , considered one of his best recordings. In addition, La Raza Latina: a Salsa Suite ( 1977 ), which narrated the diasporic histories of salsa


Bálint Vázsonyi

this field are all of a high standard. The rest of his output is variable, but he composed excellent works in almost every genre. They show an unerring mastery of form and instrumentation, fluency, and a rich but utterly natural sense of harmony, which enabled him to make unbridled chromatic excursions without ever losing the tonal centre. He succeeded in blending the ‘Brahmsian’ preservation of classical form with the Lisztian concept of motivic strands binding together a large-scale work. His best opera, Der Tenor , is one of the few true comic operas written in the


Reinhold Sietz

concertos avoid grand soloistic mannerisms, and his own style of playing, with hands still and fingers curved, reflected his belief in classical practice. Of his three symphonies, the first employs small forces, while the second is a cyclically organized work on a grand scale. His operas, despite their Wagnerian trappings, were not successful; his better-known musical fairy tales, based in part on his own texts (written under the name Heinrich Carsten), were composed in a tasteful folk-style. Gifted in many fields, he was also a talented painter and poet. His lucidly