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Nils Schiørring

collaborators, he added outstanding harmonizations; these collections introduced monorhythmic chorale melodies (in minims) into Danish church song. Schiørring also edited collections of secular music (particularly popular songs from operas, plays and other works) and contributed to Gerber's Lexicon. ( DBL , N. Schiørring) Works all published in Copenhagen Kirke-melodierne, 4vv (1781) Choral-bog … til psalme-bogen af 1778 (1783) [with figured bass] Choralsange, 4vv (1783) [ptbks] Sang-bog (1783) [melodies only]


David Nicholls and Joel Sachs

credentials and with a prison record. Thanks to Seeger, he got consulting work with the Pan American Union, but all such jobs looked unstable as war neared. When he was offered a position of music editor in the new Office of War Information (the central organ of propaganda), a pardon became crucial, since the government could not hire a felon. At the end of 1942 , after an enormous struggle by Sidney during which she gained the enthusiastic support of all the major figures in her husband’s case including the judge and the prosecutor, he was pardoned by California governor


secular music (his sacred compositions are mostly arrangements of secular works). His chief interest lay in piano music – sonatas, piano trios and concertos – but he wrote almost as much symphonic and vocal music; he also composed for the stage, though most of his ballets and all but one of his operas are lost, making his achievement difficult to assess. Kozeluch's output falls into three main stylistic (though not chronological) divisions: except for the oratorio Moisè in Egitto the galant style of the Viennese Rococo characterizes the greater part of his vocal output


Albert Mell

revised by Matthias Wiegandt

embrace nearly all genres, though few are of lasting interest. Notable are some of his stage works, the Third Symphony op.31, the Oboe Concerto op.33, some overtures and piano pieces, in particular the Piano Sonata op.17, the Flute Sonata op.42 and some of his songs. In matters of form as well as instrumentation Rietz followed Mendelssohn, and he remained unaffected by the orchestral and musico-dramatic innovations of the school of Wagner and Liszt. In his last years Rietz was again active as an editor. He prepared the scores of a number of Mozart operas, which were later


Barry S. Brook

strict control of all copying rights; the contract to last for the lifetime of the composer and his widow, with works becoming the dealer’s property when the composer’s orphaned children came of age. Thomas’s Bekantmachung and Kurzgefasster Entwurf further describe his copying and distribution practices, proposing an ingenious manuscript subscription scheme and developing his grandiose but naive vision of a conservatory – not a music school, but the expansion of his musical storehouse idea – which would serve as a permanent musical depository for all of Europe for


Leon Plantinga

revised by Luca Lévi Sala

pianists at all levels. Thus in several ways he impressed his stamp on piano playing and writing from about 1790 until far into the 19th century. And increasing numbers of modern editions and recordings of his works made 20th-century musicians and audiences aware once more of his virtues as a composer. Workslist for more detailed information on sources, see Tyson (1967) and the Clementi Critical Edition (CCE, 2008—); opus numbers are those of the most authentic editions, as determined by Tyson and updated in the new catalogue [CCE xv] (sn – senza numero d’opera; wo – without