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Article

Nancy B. Reich

work became known to the musical world. Almost without exception, Clara played at the première of each work he wrote for or with piano; and almost all his orchestral works were introduced in concerts in which she was the solo artist. In 1878 Clara Schumann became principal teacher of piano at the Hoch Conservatory in Frankfurt, but did not relinquish her performing career. Her presence attracted students from all over the world and especially from England, where she was an immensely popular performer. She made her last public appearance as a pianist in 1891

Article

Suzanne Clercx-Lejeune

Pierre continued his itinerant career in the prince's entourage, accompanying him on all his travels, in Austria and to Paris, Mariemont and Tervuren. He also continued to compose numerous symphonies. As peace approached, however, he began to think of settling, and in 1762 he obtained a seven-year contract as director of the Brussels Grand Théâtre; there he conducted, and was in charge of choosing the repertory: tragedies and comedies of the French theatre, as well as opéras comiques which he had composed ( La bagarre ), arranged ( Les soeurs rivales ) or written

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three small children’. Nothing further is known of Grabu's activities until April 1683 , when he competed unsuccessfully for a post in the French royal chapel. That autumn Thomas Betterton recruited him ‘to represent something at least like an Opera in England for his Majestyes diversion’. His setting of Dryden's allegorical opera Albion and Albanius was put into rehearsal during winter 1684 , only to be interrupted by Charles II's death on 6 February 1685 . It was finally produced on 3 June, but ran for only six nights before being interrupted by Monmouth's rebellion

Article

Lionel Salter

first rank; he later made five world tours. Almost entirely self-taught as a composer, Manén had begun to write at 13, and in 1900 he conducted a concert of his own works in Barcelona. His first opera, Juana de Nápoles (produced when he was 19), was well received at the Barcelona Liceu, and he immediately followed this with Acté , for which (as for all his later operas) he wrote his own libretto. He then spent time in Germany, where he acquired an admiration for Wagner and Richard Strauss, which can be observed in his orchestral writing. Strauss’s influence on his

Article

Peter Holman and Robert Rawson

where according to Walther he composed ‘more German operas’. During this period a number of his instrumental collections were published by Roger of Amsterdam. By 1706 he was in Breslau in the service of Duke Karl Philipp of Neuberg, the younger brother of the Elector Palatine. He remained in Karl Philipp's service for the rest of his life; in October 1707 he was a Kammermusiker in the Innsbruck Hofkapelle and rose to the position of Konzertmeister in 1708 . In that same year Finger was back in Berlin, where his operas Der Sieg der Schönheit über die Helden and

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interest of his chamber works. His brother Joseph(-Antoine) Godecharle ( b Brussels, bap. 17 Jan 1746 ; d Brussels, 21 March 1829 ) was first oboist at the royal chapel from 1766 until the chapel was disbanded in 1794 , and in 1768 oboist in the orchestra at the Brussels Opéra. Another brother, Louis-Joseph-Melchior ( b Brussels, bap. 5 Jan 1749 ; d Brussels, 8 June 1807 ), was attached to the church of St Michel et Ste Gudule as a singer, and was a baritone at the royal chapel until 1794 . Works 6 sinfonie a 4 o 8 partite

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choir in Gregorian chant, and in 1909 visited the Benedictine monastery at Maria Laach, Germany, where he studied chant practice. He remained active in the musical life of Boston, retaining unofficial ties with the Boston SO; he was a member of the board of directors of the Boston Opera Company, and served as an adviser on various competition juries. Loeffler also had interests in New York, serving as an adviser on the foundation of the Juilliard Graduate School ( 1924 ). Loeffler's major occupation was composition. He was a skilled and careful, even fastidious,

Article

least 25 boleros or seguidillas boleras for 1–3vv, acc. gui/pf, some pubd; 33 ariettas, lv, pf, all pubd London; Sp., It., Eng. songs and duets, acc. pf, all pubd London or Paris; cant.; O crux, ave spes unica, motet; mass, lost Instrumental waltzes, quadrilles, other pieces, pf 2–4 hands, all pubd; March for military band, arr. pf, pf 4 hands (St Petersburg, c 1826) 3 pieces for harpolyre (Paris, c 1830) 2 syms., 3 str qts, Concertante, gui, str trio, all lost Bibliography MGG1 ( H. Radke ) ‘Sor’, Encyclopédie pittoresque

Article

Friderica Derra De Moroda and Elisabeth Cook

(pastorale en ariettes et vaudevilles, 3, Desfontaines or P.-T Gondot), Fontainebleau, 1773 Apelles et Campaspe (ballet, choreog. Noverre), Paris, Opéra, 1 Oct 1776 Spurious La mort d’Hercule (ballet, choreog. Noverre), 1762 [by Deller] Other works Ariette en simphonie (Paris, 1764) Lauda Jerusalem, motet a grand choeur, perf. Paris, Concert Spirituel, 13 May 1779, lost Other inst (all pubd Paris, n.d.) 1er concerto, hn ( c 1779) 2me concerto, hn; 24 fanfares, 3 hn; easy fanfares, 2 hn; vn duos, 3 vols.; vn études, 2 vols.

Article

Philippe Vendrix

early works. As his reputation grew his works were published in Berlin, as well as London, and his theoretical and practical treatises on the violin, harmony, counterpoint and figured bass were also published. Gehot played at the Professional Concert and taught the violin at the Opera House, Hanover Square. In the summer of 1792 , together with James Hewitt, B. Bergman, William Young and Phillips, Gehot decided to leave London for the United States. The arrival of these musicians caused a great stir in New York, and Gehot scored a veritable triumph at an opening

Article

Philippe Mercier

chamber music avoids theatrical effects. Fétis commented that, in spite of many strong sections and good musical organization, Pauwels’s operas are hindered by their weak librettos. Marie-Anne-Jeanne (or Jeanne-Catherine) Pauwels ( 1795–1839 ), a pianist and composer active in Brussels, was apparently unrelated to this family. Works printed works published in Brussels, unless otherwise indicated Stage All first performed at Brussels, Théâtre de la Monnaie La maisonnette dans les bois (oc, 1), 3 Aug 1796 L’auteur malgré lui (oc, 1, Claparède)

Article

Herbert C. Turrentine

made possible by his position with the Prince de Conti, which shielded him from the exploitation of publishers. Soon after his arrival in Paris Schobert married a Frenchwoman by whom he had at least two children. In 1765 he made a single, and thoroughly unsuccessful, venture into opéra comique , with La garde-chasse et le braconnier (he had earlier contributed to a pasticcio). The only remaining information concerning his life is Baron Grimm’s account of his gruesome death, along with his wife and one child, as a result of eating poisonous mushrooms. Grimm’s eulogy

Article

Olive Baldwin and Thelma Wilson

was in England to sign each year for the livery payment due to him on 30 November. On 28 October 1704 the Diverting Post reported that two operas, one of them by Clayton, were being prepared for the opening of John Vanbrugh’s new playhouse in the Haymarket. However, Clayton’s opera, Arsinoe, Queen of Cyprus , was put on by Christopher Rich’s company at Drury Lane on 16 January 1705 . It was the first all-sung opera in the Italian style to be performed on the English stage and was a considerable success for two seasons. The libretto by Stanzani had originally

Article

James L. Jackman

narrow. The orchestral flute concertos each contain five movements, the ‘concerto’ for two flutes and bass only three. In the latter all three movements are in binary form without repeats, and a movement’s second section returns to start again in the tonic: the two sections differ in their developmental material and in the keys emphasized; brief dynamic contrasts are a constant feature. Works Operas All comic; all for Naples Lo secretista (P. Trinchera), Nuovo, spr. 1738 La tavernola abentorosa (Trinchera), monastery

Article

Michael A. Keller

revised by Elisabeth Cook

director and removed all his manuscripts), new artists were introduced to the orchestra and chorus, and Pierre Gaviniès was appointed leader-conductor. Dauvergne’s sacred works were all written for this organization, mostly in the earlier part of his 11-year term there. His tenure passed without notable incident until administrative and artistic misfortunes beset his final two years. In 1769 Dauvergne became, with Joliveau, P.-M. Berton and J.-C. Trial, a director of the Opéra. Perhaps the most significant aspect of his first term as director of the Opéra was his involvement

Article

John A. Parkinson

revised by Simon McVeigh

tuneful dance movements in a variety of styles, the tambourin being especially favoured. Works all published in London Opera dances Pieces in The Comic Tunes to All the Late Opera Dances … Compos’d by Sigr. Hasse, vi–vii (1758–9) The Comic Tunes to All the Late Opera Dances … Compos’d by Sigr. Agus (1761) [selection from vol. viii of the above series] The Allemands Danced at the King’s Theatre (1768) Opera Dances, fl/vn/hpd, i–v ( c 1768– c 1788) The Ballet Champêtre, a Comic Dance, pf (1775)

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in Montpellier. A chaconne by Berton was falsely attributed to Granier, who denied authorship in a letter to the Mercure ( September 1765 ). He later collaborated with Berton in a new version of Lully’s Bellérophon . Works unless otherwise stated, all are stage works, first performed at the Paris Opéra Choruses for Racine Athalie, Brussels, 1765 Théonis, ou Le toucher (pastorale héroïque, 1, A.A.H. Poinsinet), 11 Oct 1767, collab. P.-M. Berton, J.-C. Trial, F-Pc , Po [2nd entrée of Poisinet: Fragments nouveaux ] Médée et Jason (ballet-pantomime, 3

Article

Carolyn V. Ricketts

court to St Petersburg, where he was involved in the first opera production in the city, La forza dell’amore e dell’odio by Francesco Araia ( 1736 ). He married the singer Sophie Amalia Kayser. Verocai left St Petersburg in June 1738 and travelled to Brunswick, where he became Kapellmeister and director of the Opera. He remained in Brunswick until his death and all his operas were produced there. Although Mooser reported the date of his death as 13 December 1745 , Loewenberg pointed out that his operas were produced regularly until 1747 , with no indication in

Article

David Fuller

revised by Bruce Gustafson

arpeggio or scale formulae for motivic material. Simon is not to be confused with a Simon, violist at the Opéra, who composed six symphonies in 1748 , nor with a Simon, author of considerable vocal music from 1757 to 1771 . Works Pièces de clavecin dans tous les genres, some acc. vn, op.1 (Paris, 1761) 4 sonates et 2 concertos, hpd, vn acc., op.2 (Paris, 1770) 6 concerts, hpd, ad lib vn, op.3 (Paris, 1770) Suitte d’ariettes, arrs. of comic opera airs, hpd, vn, c 1765–77, F-Pn Other arrs. in MS anthologies ?Several petits motets, ?lost

Article

C. Peter Lynch

interesting and substantial in all respects, and make considerable technical demands upon the soloist, as do the flute sonatas. The arias are melodramatic (as befits their texts) and contain some telling harmonic, orchestral and dynamic effects. Counterpoint is not a stylistic feature, but its use in both trio sonatas in G and in the double-fugue finale of the cembalo sonata in E shows some proficiency. Georg Schünemann, who studied the Bückeburg library music, reached the conclusion that Serini was ‘a competent musician, equally well-versed in all areas of work, who wrote