1-8 of 8 Results  for:

  • All: Opera for all x
  • Composer or Arranger x
  • Publisher or Editor x
Clear all


Robert Hoskins

incidental music, wrote, or contributed to, over 70 operas. Although some of his writing is lacking in compositional finesse, having been produced at great speed and with little thought, the number of editions and stage productions of his operas testifies to Arnold’s popularity in the last quarter of the 18th century. Statistics show that Arnold’s more successful operas, such as The Agreeable Surprise ( 1781 ) and Inkle and Yarico ( 1787 ), an early anti-slavery opera, were among the most frequently performed of all operas of the time. No doubt Arnold’s prominence as


E. Eugene Helm

revised by Darrell Berg

of Amor e Psiche , he wrote to his attendant Pöllnitz: ‘You will tell Agricola that he must change all of Coli’s arias – they are worthless – as well as those of Romani, along with the recitatives, which are deplorable from one end to the other’. An effort of 1772 entitled Oreste e Pilade , ordered by Frederick as entertainment for a visit by the Queen of Sweden and the Duchess of Brunswick, proved to be so far from what Frederick wanted that the entire opera had to be rewritten and retitled I greci in Tauride. As a performer-teacher, and in aspects of composition


Robert Orledge and Andrew Thomson

Davies : ‘The French Wagnerians’, Opera , 19 (1968), 351–7 L. Davies : César Franck and his Circle (London, 1970/ R ) A. Balsan : ‘L’hérédité Drômoise de Vincent d’Indy: notes généalogiques’, Revue Drômoise , no.421 (Oct 1981), 373–7 S. Giocanti : ‘Vincent d’Indy et le régionalisme musical’, France Latine , no.113 (1991), 81–104 See also Franck, César, §1: Life Chabrier, Emmanuel, §2: Works Symphonic poem, §6: France See also from The New Grove Dictionary of Opera : Indy, (Paul Marie Théodore) Vincent d’ (opera); Etranger, L’; Fervaal


Michael Fend

to the fore in the thematic development of the final movement. In a similarly experimental fashion, in Quartet no.6 the openings of all the previous movements are quoted in the finale. In Quartet no.1, his most popular quartet, movements are linked thematically and by emphasizing contrapuntal technique; its Scherzo is a ‘Spanish’ genre piece with refined texture and colourful instrumentation. Cherubini’s overtures to his French operas became popular concert overtures in their own right during the 19th century. He quickly replaced the Italian overture of Ifigenia in


Leonard B. Smith and Raoul F. Camus

Caprice (1934) Democracy (1934) Hungarian Fantasy (1934) Valse caprice (1934) Yankee Rhythm (1934) Nutty Noodles (1935) Opera in the Barnyard (1935) Pleasant Recollections (1935) The Roosters Lay Eggs in Kansas (1936) Yea, Drummer (1936) Assembly Selection (1937) Coming Home (1937) Robin Hood Fantasy (1939) Naida, cornet, band (1940) Golden Century Ov. (1941) Little Red Riding Hood (1944) In the Land of Shangri-La (1946) Kreutzer in Waukegan (1950) All Out for America (1951) Sweetheart, 3 tpt, 3 trbn, band (1982) many arrs., incl. works by Bizet, Grieg, Herbert, Massenet


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


John W. Wagner

until 1811 , his longest period of residence at one address being from 1801 to 1810 at 59 Maiden Lane. From 1792 until the end of March 1808 , he was conductor of the orchestra at the Park Street Theatre, where his duties included arranging and composing music for many ballad operas and other musical productions. He also operated his own ‘musical repository’, where he gave lessons and sold musical instruments and music composed by himself and others. Although his musical activities in Boston began as early as 1805 , the family did not move there until 1811


Norbert Carnovale

revised by Richard Dyer

Steuermann, both of whom became his friends and mentors, through his wife, Marjorie Black, a singer and pianist. Schoenberg’s theories, life, and work were particularly influential to Schuller throughout his subsequent career. From 1945 to 1959 Schuller played in the Metropolitan Opera Orchestra, spending nine seasons as principal and working with many prominent conductors. During this period, he pursued his interest in jazz, sparked by an Ellington concert he had heard in Cincinnati. He listened to recordings obsessively and comprehensively, notating path-breaking